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Author: James Montgomery Meter: 7.7.7.7.7.7 Appears in 503 hymnals Scripture: Matthew 27 Lyrics: 1 Go to dark Gethsemane, all who feel the tempter's power; your Redeemer's conflict see, watch with him one bitter hour: turn not from his griefs away teach us, Lord, how we should pray. 2 Follow to the judgment hall, view the Lord of life arraigned. Oh, the wormwood and the gall! Oh, the pangs his soul sustained! Shun not suffering, shame, or loss help us, Lord, to bear our cross. 3 Calvary's mournful mountain climb; there, adoring at his feet, mark the miracle of time, God's own sacrifice complete: "It is finished!" hear him cry save us, Lord, when death draws nigh. Topics: Biblical Names & Places Calvary; Biblical Names & Places Gethsemane; Cross of Christ; Epiphany & Ministry of Christ; Suffering of Christ; Lent; Atonement; Biblical Names & Places Calvary; Biblical Names & Places Gethsemane; Cross of Christ; Epiphany & Ministry of Christ; Suffering of Christ Used With Tune: REDHEAD 76

When in Our Music God Is Glorified

Author: Fred Pratt Green Meter: 10.10.10.4 Appears in 84 hymnals Scripture: Matthew 26:30 Lyrics: 1 When in our music God is glorified, and adoration leaves no room for pride, it is as though the whole creation cried, "Alleluia!" 2 How often, making music, we have found a new dimension in the world of sound, as worship moved us to a more profound alleluia! 3 So has the church, in liturgy and song, in faith and love, through centuries of wrong, borne witness to the truth in every tongue: alleluia! 4 And did not Jesus sing a psalm that night when utmost evil strove against the Light? Then let us sing, for whom he won the fight: alleluia! 5 Let every instrument be tuned for praise! Let all rejoice who have a voice to raise! And may God give us faith to sing always, "Alleluia!" Topics: Doxologies; Praise & Adoration; Church and Mission; Alleluias; Church; Doxologies; Majesty of God; Music; Opening of Worship; Praise & Adoration; Witness Used With Tune: ENGELBERG

O Sacred Head, Now Wounded

Author: Paul Gerhardt; James W. Alexander Meter: 7.6.7.6.7.6.7.6 Appears in 723 hymnals Scripture: Matthew 27:29 Lyrics: 1 O sacred head, now wounded, with grief and shame weighed down, now scornfully surrounded with thorns, your only crown. O sacred head, what glory and blessing you have known! Yet, though despised and gory, I claim you as my own. 2 My Lord, what you did suffer was all for sinners' gain; mine, mine was the transgression, but yours the deadly pain. So here I kneel, my Savior, for I deserve your place; look on me with your favor and save me by your grace. 3 What language shall I borrow to thank you, dearest Friend, for this, your dying sorrow, your mercy without end? Lord, make me yours forever, a loyal servant true, and let me never, never outlive my love for you. Topics: Cross of Christ; Epiphany & Ministry of Christ; Love Our Love to God; Suffering of Christ; Lent; Atonement; Blood of Christ; Confession of Sin; Cross of Christ; Epiphany & Ministry of Christ; Love Our Love to God; Suffering of Christ; Thanksgiving & Gratitude Used With Tune: HERZLICH TUT MICH VERLANGEN Text Sources: Latin, medieval

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Tunes

Tune authorities

HERZLICH TUT MICH VERLANGEN

Meter: 7.6.7.6.7.6.7.6 Appears in 509 hymnals Composer and/or Arranger: Hans L. Hassler; Johann S. Bach Scripture: Matthew 27:29 Tune Sources: St. Matthew's Passion, 1729, in Tune Key: a minor Incipit: 51765 45233 2121 Used With Text: O Sacred Head, Now Wounded

REDHEAD 76

Meter: 7.7.7.7.7.7 Appears in 452 hymnals Composer and/or Arranger: Richard Redhead Scripture: Matthew 27 Tune Key: D Major Incipit: 11234 43112 32211 Used With Text: Go to Dark Gethsemane

ENGELBERG

Meter: 10.10.10.4 Appears in 140 hymnals Composer and/or Arranger: Charles V. Stanford Scripture: Matthew 26:30 Tune Key: G Major Incipit: 51325 67165 55432 Used With Text: When in Our Music God Is Glorified

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Instances

Published text-tune combinations (hymns) from specific hymnals

All hail the power of Jesu's name

Author: Edward Perronet, 1726-1792 Hymnal: Common Praise #163 (2000) Meter: 8.6.8.6 Scripture: Matthew 27:34 Lyrics: 1 All hail the power of Jesu's name; let angels prostrate fall; bring forth the royal diadem to crown him Lord of all. *2 Crown him, ye morning stars of light, who fixed this floating ball; now hail the Strength of Israel's might, and crown him Lord of all. 3 Crown him, ye martyrs of your God, who from his altar call; praise him whose way of pain ye trod, and crown him Lord of all. 4 Ye seed of Israel's chosen race, ye ransomed of the fall, hail him who saves you by his grace, and crown him Lord of all. 5 Sinners, whose love can ne'er forget the wormwood and the gall, go spread your trophies at his feet, and crown him Lord of all. 6 Let every tribe and every tongue to him their hearts enthral, lift high the universal song and crown him Lord of all. Topics: Ascension; Lent IV Year B; Easter VII Year A; Proper 21 Year A Languages: English Tune Title: MILES LANE

There Is a Fountain

Author: William Cowper, 1731-1800 Hymnal: Total Praise #257 (2011) Meter: 8.6.8.6.6.6.8.6 Scripture: Matthew 26:28 First Line: There is a fountain filled with blood Lyrics: 1 There is a fountain filled with blood Drawn from Immanuel's veins, And sinners plunged beneath that flood Lose all their guilty stains: Lose all their guilty stains, Lose all their guilty stains; And sinners plunged beneath that flood Lose all their guilty stains. 2 The dying thief rejoiced to see That fountain in his day, And there may I, though vile as he, Wash all my sins away: Wash all my sins away, Wash all my sins away; And there may I, though vile as he, Wash all my sins away. 3 Dear dying Lamb, Thy precious blood Shall never lose its pow'r, Till all the ransomed Church of God Be saved to sin no more: Be saved, to sin no more, Be saved to sin no more; Till all the ransomed Church of God Be saved to sin no more. 4 E'er since by faith I saw the stream Thy flowing wounds supply, Redeeming love has been my theme And shall be till I die: And shall be till I die, And shall be till I die; Redeeming love has been my theme And shall be till I die. Topics: Cleansing; Faith; Jesus Christ His Blood; Jesus Christ Shepherd and Lamb; Redemption; Salvation; Sin Languages: English Tune Title: CLEANSING FOUNTAIN

Before the Cross

Author: Isaac Watts (1674-1748) Hymnal: Songs of Praise with Tunes #111 (1889) Scripture: Matthew 27:45 First Line: Alas, and did my Savior bleed? Topics: Christ Atonement of; Christ Passion of; Christ Sacrifice; Consecration Of Self; Contrition; Cross At the Cross; Imputation; Penitential; Sin Hatred of; Sinners Penitent Tune Title: AVON

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People

Authors, composers, editors, etc.

Fred Pratt Green

1903 - 2000 Scripture: Matthew 26:30 Author of "When in Our Music God Is Glorified" in Psalter Hymnal (Gray) The name of the Rev. F. Pratt Green is one of the best-known of the contemporary school of hymnwriters in the British Isles. His name and writings appear in practically every new hymnal and "hymn supplement" wherever English is spoken and sung. And now they are appearing in American hymnals, poetry magazines, and anthologies. Mr. Green was born in Liverpool, England, in 1903. Ordained in the British Methodist ministry, he has been pastor and district superintendent in Brighton and York, and now served in Norwich. There he continued to write new hymns "that fill the gap between the hymns of the first part of this century and the 'far-out' compositions that have crowded into some churches in the last decade or more." --Seven New Hymns of Hope , 1971. Used by permission.

Johann Sebastian Bach

1685 - 1750 Person Name: Johann S. Bach Scripture: Matthew 27:29 Adapter and Harmonizer of "HERZLICH TUT MICH VERLANGEN" in Psalter Hymnal (Gray) Johann Sebastian Bach was born at Eisenach into a musical family and in a town steeped in Reformation history, he received early musical training from his father and older brother, and elementary education in the classical school Luther had earlier attended. Throughout his life he made extraordinary efforts to learn from other musicians. At 15 he walked to Lüneburg to work as a chorister and study at the convent school of St. Michael. From there he walked 30 miles to Hamburg to hear Johann Reinken, and 60 miles to Celle to become familiar with French composition and performance traditions. Once he obtained a month's leave from his job to hear Buxtehude, but stayed nearly four months. He arranged compositions from Vivaldi and other Italian masters. His own compositions spanned almost every musical form then known (Opera was the notable exception). In his own time, Bach was highly regarded as organist and teacher, his compositions being circulated as models of contrapuntal technique. Four of his children achieved careers as composers; Haydn, Mozart, Beethoven, Mendelssohn, Schumann, Brahms, and Chopin are only a few of the best known of the musicians that confessed a major debt to Bach's work in their own musical development. Mendelssohn began re-introducing Bach's music into the concert repertoire, where it has come to attract admiration and even veneration for its own sake. After 20 years of successful work in several posts, Bach became cantor of the Thomas-schule in Leipzig, and remained there for the remaining 27 years of his life, concentrating on church music for the Lutheran service: over 200 cantatas, four passion settings, a Mass, and hundreds of chorale settings, harmonizations, preludes, and arrangements. He edited the tunes for Schemelli's Musicalisches Gesangbuch, contributing 16 original tunes. His choral harmonizations remain a staple for studies of composition and harmony. Additional melodies from his works have been adapted as hymn tunes. --John Julian, Dictionary of Hymnology (1907)

Charles Wesley

1707 - 1788 Scripture: Matthew 27:66 Author of "Christ the Lord Is Risen Today" in Rejoice in the Lord Charles Wesley, M.A. was the great hymn-writer of the Wesley family, perhaps, taking quantity and quality into consideration, the great hymn-writer of all ages. Charles Wesley was the youngest son and 18th child of Samuel and Susanna Wesley, and was born at Epworth Rectory, Dec. 18, 1707. In 1716 he went to Westminster School, being provided with a home and board by his elder brother Samuel, then usher at the school, until 1721, when he was elected King's Scholar, and as such received his board and education free. In 1726 Charles Wesley was elected to a Westminster studentship at Christ Church, Oxford, where he took his degree in 1729, and became a college tutor. In the early part of the same year his religious impressions were much deepened, and he became one of the first band of "Oxford Methodists." In 1735 he went with his brother John to Georgia, as secretary to General Oglethorpe, having before he set out received Deacon's and Priest's Orders on two successive Sundays. His stay in Georgia was very short; he returned to England in 1736, and in 1737 came under the influence of Count Zinzendorf and the Moravians, especially of that remarkable man who had so large a share in moulding John Wesley's career, Peter Bonier, and also of a Mr. Bray, a brazier in Little Britain. On Whitsunday, 1737, [sic. 1738] he "found rest to his soul," and in 1738 he became curate to his friend, Mr. Stonehouse, Vicar of Islington, but the opposition of the churchwardens was so great that the Vicar consented that he "should preach in his church no more." Henceforth his work was identified with that of his brother John, and he became an indefatigable itinerant and field preacher. On April 8, 1749, he married Miss Sarah Gwynne. His marriage, unlike that of his brother John, was a most happy one; his wife was accustomed to accompany him on his evangelistic journeys, which were as frequent as ever until the year 1756," when he ceased to itinerate, and mainly devoted himself to the care of the Societies in London and Bristol. Bristol was his headquarters until 1771, when he removed with his family to London, and, besides attending to the Societies, devoted himself much, as he had done in his youth, to the spiritual care of prisoners in Newgate. He had long been troubled about the relations of Methodism to the Church of England, and strongly disapproved of his brother John's "ordinations." Wesley-like, he expressed his disapproval in the most outspoken fashion, but, as in the case of Samuel at an earlier period, the differences between the brothers never led to a breach of friendship. He died in London, March 29, 1788, and was buried in Marylebone churchyard. His brother John was deeply grieved because he would not consent to be interred in the burial-ground of the City Road Chapel, where he had prepared a grave for himself, but Charles said, "I have lived, and I die, in the Communion of the Church of England, and I will be buried in the yard of my parish church." Eight clergymen of the Church of England bore his pall. He had a large family, four of whom survived him; three sons, who all became distinguished in the musical world, and one daughter, who inherited some of her father's poetical genius. The widow and orphans were treated with the greatest kindness and generosity by John Wesley. As a hymn-writer Charles Wesley was unique. He is said to have written no less than 6500 hymns, and though, of course, in so vast a number some are of unequal merit, it is perfectly marvellous how many there are which rise to the highest degree of excellence. His feelings on every occasion of importance, whether private or public, found their best expression in a hymn. His own conversion, his own marriage, the earthquake panic, the rumours of an invasion from France, the defeat of Prince Charles Edward at Culloden, the Gordon riots, every Festival of the Christian Church, every doctrine of the Christian Faith, striking scenes in Scripture history, striking scenes which came within his own view, the deaths of friends as they passed away, one by one, before him, all furnished occasions for the exercise of his divine gift. Nor must we forget his hymns for little children, a branch of sacred poetry in which the mantle of Dr. Watts seems to have fallen upon him. It would be simply impossible within our space to enumerate even those of the hymns which have become really classical. The saying that a really good hymn is as rare an appearance as that of a comet is falsified by the work of Charles Wesley; for hymns, which are really good in every respect, flowed from his pen in quick succession, and death alone stopped the course of the perennial stream. It has been the common practice, however for a hundred years or more to ascribe all translations from the German to John Wesley, as he only of the two brothers knew that language; and to assign to Charles Wesley all the original hymns except such as are traceable to John Wesley through his Journals and other works. The list of 482 original hymns by John and Charles Wesley listed in this Dictionary of Hymnology have formed an important part of Methodist hymnody and show the enormous influence of the Wesleys on the English hymnody of the nineteenth century. -- Excerpts from John Julian, Dictionary of Hymnology (1907) ================== Charles Wesley, the son of Samuel Wesley, was born at Epworth, Dec. 18, 1707. He was educated at Westminster School and afterwards at Christ Church, Oxford, where he graduated M.A. In 1735, he took Orders and immediately proceeded with his brother John to Georgia, both being employed as missionaries of the S.P.G. He returned to England in 1736. For many years he engaged with his brother in preaching the Gospel. He died March 29, 1788. To Charles Wesley has been justly assigned the appellation of the "Bard of Methodism." His prominence in hymn writing may be judged from the fact that in the "Wesleyan Hymn Book," 623 of the 770 hymns were written by him; and he published more than thirty poetical works, written either by himself alone, or in conjunction with his brother. The number of his separate hymns is at least five thousand. --Annotations of the Hymnal, Charles Hutchins, M.A., 1872.

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