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He Comes to Us As One Unknown
Author: Timothy Dudley-Smith (1926-); Albert Schweitzer (1875-1965) Meter: 8.6.8.8.6 Appears in 10 hymnals Scripture: 1 Kings 19:1-18 Lyrics: 1 He comes to us as one unknown,
a breath unseen, unheard;
as though within a heart of stone,
or shriveled seed in darkness sown,
a pulse of being stirred.
2 He comes when souls in silence lie
and thoughts of day depart,
half-seen upon the inward eye,
a falling star across the sky
of night within the heart.
3 He comes to us in sound of seas,
the ocean's fume and foam;
yet small and still upon the breeze,
a wind that stirs the tops of trees,
a voice to call us home.
4 He comes in love as once he came
by flesh and blood and birth;
to bear within our mortal frame
a life, a death, a saving name
for every child of earth.
5 He comes in truth when faith is grown;
believed, obeyed, adored:
the Christ in all the Scriptures shown,
as yet unseen, but not unknown,
our Saviour and our Lord. Topics: Call and Vocation; Advent; Easter (third Sunday); Salvation/Redemption Used With Tune: LOBT GOTT, IHR CHRISTEN Text Sources: The Quest of the Historical Jesus, 1910
He Comes to Us As One Unknown
Come, living God, when least expected
Author: Alan Gaunt (b. 1935) Meter: 9.8.9.8 Appears in 8 hymnals Scripture: 1 Kings 19:1-15 Lyrics: 1 Come, living God, when least expected,
when minds are dull and hearts are cold,
through sharpening word and warm affection
revealing truths as yet untold.
2 Break from the tomb in which we hide you
to speak again in startling ways;
break through the words in which we bind you
to resurrect our lifeless praise.
3 Come now, as once you came to Moses
within the bush alive with flame;
or to Elijah on the mountain,
by silence pressing home your claim.
4 So, let our minds be sharp to read you
in sight or sound or printed page,
and let us greet you in our neighbours,
in ardent youth or mellow age.
5 Then, through our gloom, your Son will meet us
as vivid truth and living Lord,
exploding doubt and disillusion
to scatter hope and joy abroad.
6 Then we will share his radiant brightness,
and, blazing through the dread of night,
illuminate by love and reason,
for those in darkness, faith's delight. Topics: Doubt; God Presence of; Light; Renewal; Truth; The Word of God Used With Tune: SPIRITUS VITRE
Come, living God, when least expected
Rock of Ages, Cleft for Me
Author: Augustus Montague Toplady, 1740-1778 Meter: 7.7.7.7.7.7 Appears in 2,896 hymnals Scripture: 1 Kings 19:1-18 Topics: Forgiveness; Trust Used With Tune: REDHEAD NO. 76 (PETRA)
Rock of Ages, Cleft for Me
REDHEAD NO. 76 (PETRA)
Meter: 7.7.7.7.7.7 Appears in 452 hymnals Composer and/or Arranger: Richard Redhead, 1820-1901 Scripture: 1 Kings 19:1-18 Tune Key: E Flat Major Incipit: 11234 43112 32211 Used With Text: Rock of Ages, Cleft for Me
REDHEAD NO. 76 (PETRA)
Rock of Ages, Cleft for Me
Author: Augustus Montague Toplady, 1740-1778 Hymnal: Common Praise (1998) #522 (1998) Meter: 7.7.7.7.7.7 Scripture: 1 Kings 19:1-18 Topics: Forgiveness; Trust Languages: English Tune Title: REDHEAD NO. 76 (PETRA)
Rock of Ages, Cleft for Me
Dear God, Compassionate and Kind
Author: John Greenleaf Whittier (1807-1892) Hymnal: Common Praise (1998) #455 (1998) Meter: 8.6.8.8.6 with repeat Scripture: 1 Kings 19:1-18 Lyrics: 1 Dear God, compassionate and kind,
forgive our foolish ways.
Re-clothe us in our rightful mind,
in purer lives thy service find,
in deeper reverence, praise,
in deeper reverence, praise.
2 In simple trust like theirs who heard,
beside the Syrian sea,
the gracious calling of the Lord,
let us, like them, without a word,
rise up and follow thee,
rise up and follow thee!
3 O Sabbath rest by Galilee!
O calm of hills above,
where Jesus knelt to share with thee
the silence of eternity
interpreted by love,
interpreted by love!
4 Drop thy still dews of quietness,
till all our strivings cease;
take from our souls the strain and stress,
and let our ordered lives confess
the beauty of thy peace,
the beauty of thy peace.
5 Breathe through the heats of our desire
thy coolness and thy balm;
let sense be dumb, let flesh retire;
speak through the earthquake, wind, and fire,
O still, small voice of calm,
O still, small voice of calm. Topics: Call and Vocation; Forgiveness; Lent (season); Peace of God Languages: English Tune Title: REPTON
Dear God, Compassionate and Kind
There Is a Place of Quiet Rest (Near to the Heart of God)
Author: Cleland Boyd McAfee Hymnal: Glory to God #824 (2013) Meter: 8.6.8.6 D Scripture: 1 Kings 19:1-15 First Line: There is a place of quiet rest Refrain First Line: O Jesus, blest Redeemer Lyrics: 1 There is a place of quiet rest,
near to the heart of God,
a place where sin cannot molest,
near to the heart of God.
Refrain:
O Jesus, blest Redeemer,
sent from the heart of God,
hold us, who wait before thee,
near to the heart of God.
2 There is a place of comfort sweet,
near to the heart of God,
a place where we our Savior meet,
near to the heart of God. [Refrain]
3 There is a place of full release,
near to the heart of God,
a place where all is joy and peace,
near to the heart of God. [Refrain]
Topics: Comfort; Death; Joy; Living and Dying in Christ; Personal Peace; Prayer; Rest Languages: English Tune Title: MC AFEE
There Is a Place of Quiet Rest (Near to the Heart of God)
Alan Gaunt
b. 1935 Person Name: Alan Gaunt (1935-) Scripture: 1 Kings 19:1-18 Author of "Transfigured Christ, None Comprehends" in Common Praise (1998)
Alan Gaunt
C. Hubert H. Parry
1848 - 1918 Person Name: Charles Hubert Hastings Parry (1848-1918) Scripture: 1 Kings 19:1-18 Composer of "REPTON" in Common Praise (1998) Charles Hubert Hastings Parry KnBch/Brnt BMus United Kingdom 1848-1918. Born at Richmond Hill, Bournemouth, England, son of a wealthy director of the East India Company (also a painter, piano and horn musician, and art collector). His mother died of consumption shortly after his birth. His father remarried when he was three, and his stepmother favored her own children over her stepchildren, so he and two siblings were sometimes left out. He attended a preparatory school in Malvern, then at Twyford in Hampshire. He studied music from 1856-58 and became a pianist and composer. His musical interest was encouraged by the headmaster and by two organists. He gained an enduring love for Bach’s music from S S Wesley and took piano and harmony lessons from Edward Brind, who also took him to the ‘Three Choirs Festival in Hereford in 1861, where Mendelssohn, Mozart, Handel, and Beethoven works were performed. That left a great impression on Hubert. It also sparked the beginning of a lifelong association with the festival. That year, his brother was disgraced at Oxford for drug and alcohol use, and his sister, Lucy, died of consumption as well. Both events saddened Hubert. However, he began study at Eton College and distinguished himself at both sport and music. He also began having heart trouble, that would plague him the rest of his life. Eton was not known for its music program, and although some others had interest in music, there were no teachers there that could help Hubert much. He turned to George Elvey, organist of St George’s Chapel, Windsor Castle, and started studying with him in 1863. Hubert eventually wrote some anthems for the choir of St George’s Chapel, and eventually earned his music degree. While still at Eton, Hubert sat for the Oxford Bachelor of Music exam, the youngest person ever to have done so. His exam exercise, a cantata: “O Lord, Thou hast cast us out” astonished the Heather Professor of Music, Sir Frederick Ouseley, and was triumphantly performed and published in 1867. In 1867 he left Eton and went to Exeter College, Oxford. He did not study music there, his music concerns taking second place, but read law and modern history. However, he did go to Stuttgart, Germany, at the urging of Henry Hugh Pierson, to learn re-orchestration, leaving him much more critical of Mendelssohn’s works. When he left Exeter College, at his father’s behest, he felt obliged to try insurance work, as his father considered music only a pastime (too uncertain as a profession). He became an underwriter at Lloyd’s of London, 1870-77, but he found the work unappealing to his interests and inclinations. In 1872 he married Elizabeth Maude Herbert, and they had two daughters: Dorothea and Gwendolen. His in-laws agreed with his father that a conventional career was best, but it did not suit him. He began studying advanced piano with W S Bennett, but found it insufficient. He then took lessons with Edward Dannreuther, a wise and sympathetic teacher, who taught him of Wagner’s music. At the same time as Hubert’s compositions were coming to public notice (1875), he became a scholar of George Grove and soon an assistant editor for his new “Dictionary of Music and Musicians”. He contributed 123 articles to it. His own first work appeared in 1880. In 1883 he became professor of composition and musical history at the Royal College of Music (of which Grove was the head). In 1895 Parry succeeded Grove as head of the college, remaining in the post the remainder of his life. He also succeeded John Stainer as Heather Professor of Music at the University of Oxford (1900-1908). His academic duties were considerable and likely prevented him from composing as much as he might have. However, he was rated a very fine composer, nontheless, of orchestrations, overtures, symphonies, and other music. He only attempted one opera, deemed unsuccessful. Edward Elgar learned much of his craft from Parry’s articles in Grove’s Dictionary, and from those who studied under Parry at the Royal College, including Ralph Vaughn Williams, Gustav Holst, Frank Bridge, and John Ireland. Parry had the ability when teaching music to ascertain a student’s potential for creativity and direct it positively. In 1902 he was created a Baronet of Highnam Court in Gloucester. Parry was also an avid sailor and owned several yachts, becoming a member of the Royal Yacht Squadron in 1908, the only composer so honored. He was a Darwinian and a humanist. His daughter reiterated his liberal, non-conventional thinking. On medical advice he resigned his Oxford appointment in 1908 and produced some of his best known works. He and his wife were taken up with the ‘Suffrage Movement’ in 1916. He hated to see the WW1 ravage young potential musical talent from England and Germany. In 1918 he contracted Spanish flu during the global pandemic and died at Knightsscroft, Rustington, West Sussex. In 2015 they found 70 unpublished works of Parry’s hidden away in a family archive. It is thought some may never have been performed in public. The documents were sold at auction for a large sum. Other works he wrote include: “Studies of great composers” (1886), “The art of music” (1893), “The evolution of the art of music” (1896), “The music of the 17th century” (1902). His best known work is probably his 1909 study of “Johann Sebastian Bach”.
John Perry
C. Hubert H. Parry
Timothy Dudley-Smith
b. 1926 Person Name: Timothy Dudley-Smith (1926-) Scripture: 1 Kings 19:1-18 Author of "He Comes to Us As One Unknown" in Common Praise (1998) Timothy Dudley-Smith (b. 1926) Educated at Pembroke College and Ridley Hall, Cambridge, Dudley-Smith has served the Church of England since his ordination in 1950. He has occupied a number of church positions, including parish priest in the diocese of Southwark (1953-1962), archdeacon of Norwich (1973-1981), and bishop of Thetford, Norfolk, from 1981 until his retirement in 1992. He also edited a Christian magazine, Crusade, which was founded after Billy Graham's 1955 London crusade. Dudley-Smith began writing comic verse while a student at Cambridge; he did not begin to write hymns until the 1960s. Many of his several hundred hymn texts have been collected in Lift Every Heart: Collected Hymns 1961-1983 (1984), Songs of Deliverance: Thirty-six New Hymns (1988), and A Voice of Singing (1993). The writer of Christian Literature and the Church (1963), Someone Who Beckons (1978), and Praying with the English Hymn Writers (1989), Dudley-Smith has also served on various editorial committees, including the committee that published Psalm Praise (1973).
Bert Polman
Timothy Dudley-Smith
