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Scripture:Hebrews 11:29-40; Hebrews 12:1-2

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For All the Saints

Author: William Walsham How Meter: 10.10.10 with alleluias Appears in 567 hymnals Scripture: Hebrews 12:1-2 First Line: For all the saints who from their labors rest Lyrics: 1 For all the saints who from their labors rest, who to the world by faith their Lord confessed, your name, O Jesus, be forever blest. Alleluia, alleluia! 2 You were their rock, their fortress, and their might; you, Lord, their captain in the well-fought fight, and in the darkness drear, their one true light. Alleluia, alleluia! 3 May all your soldiers, faithful, true, and bold, fight as the saints who nobly fought of old, and win with them the victor's crown of gold. Alleluia, alleluia! 4 O blest communion, fellowship divine! We feebly struggle, they in glory shine; yet all are one within your great design. Alleluia, alleluia! 5 And when the strife is fierce, the warfare long, far off we hear the distant triumph song; and hearts are brave again, and arms are strong. Alleluia, alleluia! 6 But then there breaks a yet more glorious day: the saints triumphant rise in bright array; the King of glory passes on his way. Alleluia, alleluia! 7 From earth's wide bounds, from ocean's farthest coast, through gates of pearl streams in the countless host, singing to Father, Son, and Holy Ghost: Alleluia, alleluia! Topics: Comfort & Encouragement; Deliverance; Funerals; Reformation; Warfare, Spiritual; Alternative Harmonizations; Church and Mission; Alleluias; Church; Comfort & Encouragement; Deliverance; Easter; Heritage; New Creation; Reformation; Victory; Warfare, Spiritual Used With Tune: SINE NOMINE
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My Faith Looks Up to Thee

Author: Ray Palmer Meter: 6.6.4.6.6.6.4 Appears in 2,195 hymnals Scripture: Hebrews 12:1-2 Lyrics: 1 My faith looks up to thee, thou Lamb of Calvary, Savior divine! Now hear me while I pray, take all my guilt away. O let me from this day be wholly thine! 2 May thy rich grace impart strength to my fainting heart, my zeal inspire. As thou hast died for me, O may my love to thee pure, warm, and changeless be, a living fire! 3 While life's dark maze I tread and griefs around me spread, be thou my guide. Bid darkness turn to day, wipe sorrow's tears away, nor let me ever stray from thee aside. 4 When life's swift race is run, death's cold work almost done, be near to me. Blest Savior, then in love fear and distrust remove. O bear me safe above, redeemed and free! Topics: Biblical Names & Places Calvary; Funerals; Love Our Love to God; Confession and Forgiveness; Biblical Names & Places Calvary; Confession of Sin; Forgiveness; Funerals; Lamb of God; Pilgrimage & Conflct; Prayer Used With Tune: OLIVET

I Want to Walk as a Child of the Light

Author: Kathleen Thomerson, b. 1934 Meter: 10.7.10.8 with refrain Appears in 40 hymnals Scripture: Hebrews 12:1-2 Refrain First Line: In him there is no darkness at all Topics: Heaven, Eternal Life; Transfiguration of Our Lord, The; Epiphany; Advent Used With Tune: HOUSTON

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SINE NOMINE

Meter: 10.10.10 with alleluias Appears in 214 hymnals Composer and/or Arranger: Ralph Vaughan Williams Scripture: Hebrews 12:1-2 Tune Key: G Major Incipit: 53215 61253 32177 Used With Text: For All the Saints
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OLIVET

Meter: 6.6.4.6.6.6.4 Appears in 1,012 hymnals Composer and/or Arranger: Lowell Mason Scripture: Hebrews 12:1-2 Tune Key: D Major Incipit: 13554 32244 32326 Used With Text: My Faith Looks Up to Thee
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HOUSTON

Meter: 10.7.10.8 with refrain Appears in 39 hymnals Composer and/or Arranger: Kathleen Thomerson, b. 1934 Scripture: Hebrews 12:1-2 Tune Key: D Major Incipit: 13455 56545 1345 Used With Text: I Want to Walk as a Child of the Light

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Does the Journey Seem Long?

Author: Joseph Fielding Smith, 1876–1972 Hymnal: Hymns of the Church of Jesus Christ of Latter-day Saints #127 (1985) Meter: 6.6.9.6.6.9 Scripture: Hebrews 12:1-3 First Line: Does the journey seem long Lyrics: 1. Does the journey seem long, The path rugged and steep? Are there briars and thorns on the way? Do sharp stones cut your feet As you struggle to rise To the heights thru the heat of the day? 2. Is your heart faint and sad, Your soul weary within, As you toil ’neath your burden of care? Does the load heavy seem You are forced now to lift? Is there no one your burden to share? 3. Let your heart be not faint Now the journey’s begun; There is One who still beckons to you. So look upward in joy And take hold of his hand; He will lead you to heights that are new— 4. A land holy and pure, Where all trouble doth end, And your life shall be free from all sin, Where no tears shall be shed, For no sorrows remain. Take his hand and with him enter in. Topics: Assurance; Comfort; Enduring to the End; Guidance; Prayer and Supplication; Trials Languages: English Tune Title: FIELDING
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Alas! and Did My Savior Bleed (At the Cross)

Author: Ralph E. Hudson; Isaac Watts Hymnal: The New Century Hymnal #199 (1995) Meter: 8.6.8.6 with refrain Scripture: Hebrews 12:1-3 First Line: Alas! and did my Savior bleed Refrain First Line: At the cross, at the cross Lyrics: 1 Alas! and did my Savior bleed, and did my Sovereign die? Would God devote that sacred head for sinners such as I? Refrain: At the cross, at the cross where I first found the light, and the burden of my heart rolled away, It was there by faith all my fears took flight, and now I am happy all the day. 2 Was it for crimes that I have done, he groaned upon the tree? Amazing pity! Grace unknown! And love beyond degree! [Refrain] 3 Well might the sun in shadows hide, and shut its glories in, When Jesus Christ my Savior died for human creatures' sin. [Refrain] 4 But tears of grief cannot repay the debt of love I owe; Here, Christ, I give myself away as all that I can do! [Refrain] Topics: Faith and Aspiration; Lent; Year A Passion Sunday; Year B Passion Sunday; Year C Passion Sunday; Year C Proper 6 Languages: English Tune Title: HUDSON
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Alas! and Did My Savior Bleed (At the Cross)

Author: Isaac Watts Hymnal: The New Century Hymnal #200 (1995) Meter: 8.6.8.6 Scripture: Hebrews 12:1-3 First Line: Alas! and did my Savior bleed Lyrics: 1 Alas! and did my Savior bleed, and did my Sovereign die? Would God devote that sacred head for sinners such as I? 2 Was it for crimes that I have done, he groaned upon the tree? Amazing pity! Grace unknown! And love beyond degree! 3 Well might the sun in shadows hide, and shut its glories in, When Jesus Christ my Savior died for human creatures' sin. 4 But tears of grief cannot repay the debt of love I owe; Here, Christ, I give myself away as all that I can do! Topics: Confession of Sin; Good Friday; Lent; Year A Passion Sunday; Year B Passion Sunday; Year C Passion Sunday; Year C Proper 6 Languages: English Tune Title: MARTYRDOM (AVON)

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Ralph Vaughan Williams

1872 - 1958 Scripture: Hebrews 12:1-2 Composer of "SINE NOMINE" in Psalter Hymnal (Gray) Through his composing, conducting, collecting, editing, and teaching, Ralph Vaughan Williams (b. Down Ampney, Gloucestershire, England, October 12, 1872; d. Westminster, London, England, August 26, 1958) became the chief figure in the realm of English music and church music in the first half of the twentieth century. His education included instruction at the Royal College of Music in London and Trinity College, Cambridge, as well as additional studies in Berlin and Paris. During World War I he served in the army medical corps in France. Vaughan Williams taught music at the Royal College of Music (1920-1940), conducted the Bach Choir in London (1920-1927), and directed the Leith Hill Music Festival in Dorking (1905-1953). A major influence in his life was the English folk song. A knowledgeable collector of folk songs, he was also a member of the Folksong Society and a supporter of the English Folk Dance Society. Vaughan Williams wrote various articles and books, including National Music (1935), and composed numerous arrange­ments of folk songs; many of his compositions show the impact of folk rhythms and melodic modes. His original compositions cover nearly all musical genres, from orchestral symphonies and concertos to choral works, from songs to operas, and from chamber music to music for films. Vaughan Williams's church music includes anthems; choral-orchestral works, such as Magnificat (1932), Dona Nobis Pacem (1936), and Hodie (1953); and hymn tune settings for organ. But most important to the history of hymnody, he was music editor of the most influential British hymnal at the beginning of the twentieth century, The English Hymnal (1906), and coeditor (with Martin Shaw) of Songs of Praise (1925, 1931) and the Oxford Book of Carols (1928). Bert Polman

William Walsham How

1823 - 1897 Scripture: Hebrews 12:1-2 Author of "For All the Saints" in Psalter Hymnal (Gray) William W. How (b. Shrewsbury, Shropshire, England, 1823; d. Leenane, County Mayo, Ireland, 1897) studied at Wadham College, Oxford, and Durham University and was ordained in the Church of England in 1847. He served various congregations and became Suffragan Bishop in east London in 1879 and Bishop of Wakefield in 1888. Called both the "poor man's bishop" and "the children's bishop," How was known for his work among the destitute in the London slums and among the factory workers in west Yorkshire. He wrote a number of theological works about controversies surrounding the Oxford Movement and attempted to reconcile biblical creation with the theory of evolution. He was joint editor of Psalms and Hymns (1854) and Church Hymns (1871). While rector in Whittington, How wrote some sixty hymns, including many for chil­dren. His collected Poems and Hymns were published in 1886. Bert Polman =============== How, William Walsham, D.D., son of William Wybergh How, Solicitor, Shrewsbury, was born Dec. 13, 1823, at Shrewsbury, and educated at Shrewsbury School and Wadham College, Oxford (B.A. 1845). Taking Holy Orders in 1846, he became successively Curate of St. George's, Kidderminster, 1846; and of Holy Cross, Shrewsbury, 1848. In 1851 he was preferred to the Rectory of Whittington, Diocese of St. Asaph, becoming Rural Dean in 1853, and Hon. Canon of the Cathedral in 1860. In 1879 he was appointed Rector of St. Andrew's Undershaft, London, and was consecrated Suffragan Bishop for East London, under the title of the Bishop of Bedford, and in 1888 Bishop of Wakefield. Bishop How is the author of the Society for Promoting Christian Knowledge Commentary on the Four Gospels; Plain Words , Four Series; Plain Words for Children; Pastor in Parochia; Lectures on Pastoral Work; Three All Saints Summers, and Other Poems , and numerous Sermons , &c. In 1854 was published Psalms and Hymns, Compiled by the Rev. Thomas Baker Morrell, M.A., . . . and the Rev. William Walsham How, M.A. This was republished in an enlarged form in 1864, and to it was added a Supplement in 1867. To this collection Bishop How contributed several hymns, and also to the S. P. C. K. Church Hymns , of which he was joint editor, in 1871. The Bishop's hymns in common use amount in all to nearly sixty. Combining pure rhythm with great directness and simplicity, Bishop How's compositions arrest attention more through a comprehensive grasp of the subject and the unexpected light thrown upon and warmth infused into facia and details usually shunned by the poet, than through glowing imagery and impassioned rhetoric. He has painted lovely images woven with tender thoughts, but these are few, and found in his least appreciated work. Those compositions which have laid the firmest hold upon the Church, are simple, unadorned, but enthusiastically practical hymns, the most popular of which, "O Jesu, Thou art standing"; "For all the Saints who from their labours rest," and "We give Thee but Thine own," have attained to a foremost rank. His adaptations from other writers as in the case from Bishop Ken, "Behold, the Master passeth by," are good, and his Children's hymns are useful and popular. Without any claims to rank as a poet, in the sense in which Cowper and Montgomery were poets, he has sung us songs which will probably outlive all his other literary works. The more important of Bishop How's hymns, including those already named, and "Lord, Thy children guide and keep"; "O Word of God Incarnate"; "This day at Thy creating word"; "Who is this so weak and helpless"; and others which have some special history or feature of interest, are annotated under their respective first lines. The following are also in common use:— i. From Psalms & Hymns, 1854. 1. Before Thine awful presence, Lord. Confirmation. 2. Jesus, Name of wondrous love [priceless worth]. Circumcision. The Name Jesus . 3. Lord Jesus, when we stand afar. Passiontide. 4. O blessing rich, for sons of men. Members of Christ. 5. 0 Lord of Hosts, the earth is Thine. In time of War. 6. O Lord, Who in Thy wondrous love. Advent. ii. From Psalms & Hymns, enlarged, 1864. 7. Lord, this day Thy children meet. Sunday School Anniversary. iii. From Supplement to the Psalms & Hymns, 1867. 8. Hope of hopes and joy of joys. Resurrection. 9. 0 daughters blest of Galilee. For Associations of Women. 10. O happy feet that tread. Public Worship. 11. With trembling awe the chosen three. Transfiguration. iv. From Parish Magazine, 1871, and Church Hymns, 1871. 12. O Jesu, crucified for man. Friday. 13. Yesterday, with worship blest. Monday. v. From the S. P. C. K. Church Hymns. 1871. 14. Bowed low in supplication. For the Parish. 15. Great Gabriel sped on wings of light. Annunciation, of the Blessed Virgin Mary. 16. O blest was he, whose earlier skill. St. Luke. 17. O God, enshrined in dazzling light. Omnipresence. Divine Worship . 18. O heavenly Fount of Light and Love. Witsuntide. 19. O Lord, it is a blessed thing. Weekdays. 20. 0 One with God the Father. Epiphany. 21. O Thou through suffering perfect made. Hospitals. 22. Rejoice, ye sons of men. Purification of the B. V. M. 23. Summer suns are glowing. Summer. 24. The year is swiftly waning. Autumn. 25. Thou art the Christ, O Lord. St. Peter. 26. To Thee our God we fly. National Hymn. 27. Upon the holy Mount they stood. Transfiguration and Church Guilds. 28. We praise Thy grace, 0 Saviour. St. Mark. vi. From the S. P. C. K. Children's Hymns, 1872. 29. Behold a little child. Jesus the Child's Example. 30. Come, praise your Lord and Saviour. Children's Praises. 31. It is a thing most wonderful. Sunday School Anniversary. 32. On wings of living light. Easter. Bishop How's hymns and sacred and secular pieces were collected and published as Poems and Hymns, 1886. The Hymns, 54 in all, are also published separately. He d. Aug. 10, 1897. --John Julian, Dictionary of Hymnology (1907) =================== How, W. W., p. 540, i. He died Aug. 10, 1897. His Memoir, by F. D. How, was published in 1898. --John Julian, Dictionary of Hymnology, New Supplement (1907)

Lowell Mason

1792 - 1872 Scripture: Hebrews 12:1-2 Composer of "OLIVET" in Psalter Hymnal (Gray) Dr. Lowell Mason (the degree was conferred by the University of New York) is justly called the father of American church music; and by his labors were founded the germinating principles of national musical intelligence and knowledge, which afforded a soil upon which all higher musical culture has been founded. To him we owe some of our best ideas in religious church music, elementary musical education, music in the schools, the popularization of classical chorus singing, and the art of teaching music upon the Inductive or Pestalozzian plan. More than that, we owe him no small share of the respect which the profession of music enjoys at the present time as contrasted with the contempt in which it was held a century or more ago. In fact, the entire art of music, as now understood and practiced in America, has derived advantage from the work of this great man. Lowell Mason was born in Medfield, Mass., January 8, 1792. From childhood he had manifested an intense love for music, and had devoted all his spare time and effort to improving himself according to such opportunities as were available to him. At the age of twenty he found himself filling a clerkship in a banking house in Savannah, Ga. Here he lost no opportunity of gratifying his passion for musical advancement, and was fortunate to meet for the first time a thoroughly qualified instructor, in the person of F. L. Abel. Applying his spare hours assiduously to the cultivation of the pursuit to which his passion inclined him, he soon acquired a proficiency that enabled him to enter the field of original composition, and his first work of this kind was embodied in the compilation of a collection of church music, which contained many of his own compositions. The manuscript was offered unavailingly to publishers in Philadelphia and in Boston. Fortunately for our musical advancement it finally secured the attention of the Boston Handel and Haydn Society, and by its committee was submitted to Dr. G. K. Jackson, the severest critic in Boston. Dr. Jackson approved most heartily of the work, and added a few of his own compositions to it. Thus enlarged, it was finally published in 1822 as The Handel and Haydn Society Collection of Church Music. Mason's name was omitted from the publication at his own request, which he thus explains, "I was then a bank officer in Savannah, and did not wish to be known as a musical man, as I had not the least thought of ever making music a profession." President Winchester, of the Handel and Haydn Society, sold the copyright for the young man. Mr. Mason went back to Savannah with probably $500 in his pocket as the preliminary result of his Boston visit. The book soon sprang into universal popularity, being at once adopted by the singing schools of New England, and through this means entering into the church choirs, to whom it opened up a higher field of harmonic beauty. Its career of success ran through some seventeen editions. On realizing this success, Mason determined to accept an invitation to come to Boston and enter upon a musical career. This was in 1826. He was made an honorary member of the Handel and Haydn Society, but declined to accept this, and entered the ranks as an active member. He had been invited to come to Boston by President Winchester and other musical friends and was guaranteed an income of $2,000 a year. He was also appointed, by the influence of these friends, director of music at the Hanover, Green, and Park Street churches, to alternate six months with each congregation. Finally he made a permanent arrangement with the Bowdoin Street Church, and gave up the guarantee, but again friendly influence stepped in and procured for him the position of teller at the American Bank. In 1827 Lowell Mason became president and conductor of the Handel and Haydn Society. It was the beginning of a career that was to win for him as has been already stated the title of "The Father of American Church Music." Although this may seem rather a bold claim it is not too much under the circumstances. Mr. Mason might have been in the average ranks of musicianship had he lived in Europe; in America he was well in advance of his surroundings. It was not too high praise (in spite of Mason's very simple style) when Dr. Jackson wrote of his song collection: "It is much the best book I have seen published in this country, and I do not hesitate to give it my most decided approbation," or that the great contrapuntist, Hauptmann, should say the harmonies of the tunes were dignified and churchlike and that the counterpoint was good, plain, singable and melodious. Charles C. Perkins gives a few of the reasons why Lowell Mason was the very man to lead American music as it then existed. He says, "First and foremost, he was not so very much superior to the members as to be unreasonably impatient at their shortcomings. Second, he was a born teacher, who, by hard work, had fitted himself to give instruction in singing. Third, he was one of themselves, a plain, self-made man, who could understand them and be understood of them." The personality of Dr. Mason was of great use to the art and appreciation of music in this country. He was of strong mind, dignified manners, sensitive, yet sweet and engaging. Prof. Horace Mann, one of the great educators of that day, said he would walk fifty miles to see and hear Mr. Mason teach if he could not otherwise have that advantage. Dr. Mason visited a number of the music schools in Europe, studied their methods, and incorporated the best things in his own work. He founded the Boston Academy of Music. The aim of this institution was to reach the masses and introduce music into the public schools. Dr. Mason resided in Boston from 1826 to 1851, when he removed to New York. Not only Boston benefited directly by this enthusiastic teacher's instruction, but he was constantly traveling to other societies in distant cities and helping their work. He had a notable class at North Reading, Mass., and he went in his later years as far as Rochester, where he trained a chorus of five hundred voices, many of them teachers, and some of them coming long distances to study under him. Before 1810 he had developed his idea of "Teachers' Conventions," and, as in these he had representatives from different states, he made musical missionaries for almost the entire country. He left behind him no less than fifty volumes of musical collections, instruction books, and manuals. As a composer of solid, enduring church music. Dr. Mason was one of the most successful this country has introduced. He was a deeply pious man, and was a communicant of the Presbyterian Church. Dr. Mason in 1817 married Miss Abigail Gregory, of Leesborough, Mass. The family consisted of four sons, Daniel Gregory, Lowell, William and Henry. The two former founded the publishing house of Mason Bros., dissolved by the death of the former in 19G9. Lowell and Henry were the founders of the great organ manufacturer of Mason & Hamlin. Dr. William Mason was one of the most eminent musicians that America has yet produced. Dr. Lowell Mason died at "Silverspring," a beautiful residence on the side of Orange Mountain, New Jersey, August 11, 1872, bequeathing his great musical library, much of which had been collected abroad, to Yale College. --Hall, J. H. (c1914). Biographies of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company.