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O Sacred Head, Now Wounded
Author: Paul Gerhardt; James W. Alexander Meter: 7.6.7.6.7.6.7.6 Appears in 724 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
O Sacred Head, Now Wounded
Alas! and Did My Savior Bleed
Author: Isaac Watts Meter: 8.6.8.6 Appears in 2,299 hymnals Scripture: Matthew 27:45 Lyrics: 1 Alas! and did my Savior bleed,
and did my Sovereign die?
Would he devote that sacred head
for sinners such as I?
2 Was it for sins that I have done
he groaned upon the tree?
Amazing pity, grace unknown,
and love beyond degree!
3 Well might the sun in darkness hide
and shut its glories in
when Christ, the mighty Maker, died
for his own creatures' sin.
4 Thus might I hide my blushing face
while his dear cross appears,
dissolve my heart in thankfulness,
and melt mine eyes to tears.
Topics: Cross of Christ; Suffering of Christ; Lent; Atonement; Cross of Christ; Suffering of Christ Used With Tune: MARTYRDOM
Alas! and Did My Savior Bleed
Were You There?
Meter: 10.10.14.10 Appears in 214 hymnals Scripture: Matthew 27:35 First Line: Were you there when they crucified my Lord Lyrics: 1 Were you there when they crucified my Lord?
Were you there when they crucified my Lord?
Oh! Sometimes it causes me to tremble, tremble, tremble.
Were you there when they crucified my Lord?
2 Were you there when they nailed him to the tree?
Were you there when they nailed him to the tree?
Oh! Sometimes it causes me to tremble, tremble, tremble.
Were you there when they nailed him to the tree?
3 Were you there when they laid him in the tomb?
Were you there when they laid him in the tomb?
Oh! Sometimes it causes me to tremble, tremble, tremble.
Were you there when they laid him in the tomb?
4 Were you there when he rose up from the dead?
Were you there when he rose up from the dead?
Oh! Sometimes I feel like shouting glory, glory, glory!
Were you there when he rose up from the dead? Topics: Good Friday; Jesus Christ Death; Jesus Christ Resurrection; Lord’s Supper; Spirituals Used With Tune: WERE YOU THERE? Text Sources: Afro-American spiritual
Were You There?
HERZLICH TUT MICH VERLANGEN
Meter: 7.6.7.6.7.6.7.6 Appears in 504 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
HERZLICH TUT MICH VERLANGEN
WERE YOU THERE?
Meter: 10.10.14.10 Appears in 166 hymnals Scripture: Matthew 27:35 Tune Sources: Afro-American spiritual Tune Key: E Flat Major Incipit: 51333 21321 13555 Used With Text: Were You There?
WERE YOU THERE?
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
All hail the power of Jesu's name
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
Before the Cross
Alas, and Did My Savior Bleed
Author: Isaac Watts Hymnal: The Hymnal of The Evangelical United Brethren Church #112 (1957) Meter: 8.6.8.6 Scripture: Matthew 27:45 First Line: Alas! and did my Savior bleed Lyrics: 1 Alas, and did my Savior bleed,
And did my Sovereign die!
Would He devote that sacred head
For sinners such as I!
2 Was it for sins that I have done
He died upon the tree?
Amazing pity, grace unknown,
And love beyond degree!
3 Well might the sun in darkness hide,
And shut its glories in,
When Christ, the great Redeemer, died
For man the creature's sin.
4 Thus might I hide my blushing face
While His dear cross appears,
Dissolve my heart in thankfulness,
And melt mine eyes to tears.
5 But drops of grief can ne'er repay
The debt of love I owe;
Here, Lord, I give myself away;
'Tis all that I can do.
Amen. Topics: Jesus Christ Passion Tune Title: MARTYRDOM
Alas, and Did My Savior Bleed
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)
Johann Sebastian Bach
Hans Leo Hassler
1564 - 1612 Person Name: Hans L. Hassler Scripture: Matthew 27:29 Composer of "HERZLICH TUT MICH VERLANGEN" in Psalter Hymnal (Gray) Hans Leo Hassler Germany 1564-1612. Born at Nuremberg, Germany, he came from a family of famous musicians and received early education from his father. He then studied in Venice, Italy, with Andrea Gabrieli, uncle of Giovanni Gabrieli, his friend, with whom he composed a wedding motet. The uncle taught him to play the organ. He learned the polychoral style and took it back to Germany after Andrea Gabrieli's death. He served as organist and composer for Octavian Fugger, the princely art patron of Augsburg (1585-1601). He was a prolific composer but found his influence limited, as he was Protestant in a still heavily Catholic region. In 1602 he became director of town music and organist in the Frauenkirche in Nuremberg until 1608. He married Cordula Claus in 1604. He was finally court musician for the Elector of Saxony in Dresden, Germany, evenually becoming Kapellmeister (1608-1612). A Lutheran, he composed both for Roman Catholic liturgy and for Lutheran churches. He produced two volumns of motets, a famous collection of court songs, and a volume of simpler hymn settings. He published both secular and religious music, managing to compose much for the Catholic church that was also usable in Lutheran settings. He was also a consultant to organ builders. In 1596 he, with 53 other organists, had the opportunity to examine a new instrument with 59 stops at the Schlosskirche, Groningen. He was recognized for his expertise in organ design and often was called on to examine new instruments. He entered the world of mechanical instrument construction, developing a clockwork organ that was later sold to Emperor Rudolf II. He died of tuberculosis in Frankfurt, Germany.
John Perry
Hans Leo Hassler
Isaac Watts
1674 - 1748 Scripture: Matthew 27:50 Author of "Hymn 44 Part 1" in Psalms and Hymns of Isaac Watts, The Isaac Watts was the son of a schoolmaster, and was born in Southampton, July 17, 1674. He is said to have shown remarkable precocity in childhood, beginning the study of Latin, in his fourth year, and writing respectable verses at the age of seven. At the age of sixteen, he went to London to study in the Academy of the Rev. Thomas Rowe, an Independent minister. In 1698, he became assistant minister of the Independent Church, Berry St., London. In 1702, he became pastor. In 1712, he accepted an invitation to visit Sir Thomas Abney, at his residence of Abney Park, and at Sir Thomas' pressing request, made it his home for the remainder of his life. It was a residence most favourable for his health, and for the prosecution of his literary labours. He did not retire from ministerial duties, but preached as often as his delicate health would permit.
The number of Watts' publications is very large. His collected works, first published in 1720, embrace sermons, treatises, poems and hymns. His "Horae Lyricae" was published in December, 1705. His "Hymns" appeared in July, 1707. The first hymn he is said to have composed for religious worship, is "Behold the glories of the Lamb," written at the age of twenty. It is as a writer of psalms and hymns that he is everywhere known. Some of his hymns were written to be sung after his sermons, giving expression to the meaning of the text upon which he had preached. Montgomery calls Watts "the greatest name among hymn-writers," and the honour can hardly be disputed. His published hymns number more than eight hundred.
Watts died November 25, 1748, and was buried at Bunhill Fields. A monumental statue was erected in Southampton, his native place, and there is also a monument to his memory in the South Choir of Westminster Abbey. "Happy," says the great contemporary champion of Anglican orthodoxy, "will be that reader whose mind is disposed, by his verses or his prose, to imitate him in all but his non-conformity, to copy his benevolence to men, and his reverence to God." ("Memorials of Westminster Abbey," p. 325.)
--Annotations of the Hymnal, Charles Hutchins, M.A., 1872.
=================================
Watts, Isaac, D.D. The father of Dr. Watts was a respected Nonconformist, and at the birth of the child, and during its infancy, twice suffered imprisonment for his religious convictions. In his later years he kept a flourishing boarding school at Southampton. Isaac, the eldest of his nine children, was born in that town July 17, 1674. His taste for verse showed itself in early childhood. He was taught Greek, Latin, and Hebrew by Mr. Pinhorn, rector of All Saints, and headmaster of the Grammar School, in Southampton. The splendid promise of the boy induced a physician of the town and other friends to offer him an education at one of the Universities for eventual ordination in the Church of England: but this he refused; and entered a Nonconformist Academy at Stoke Newington in 1690, under the care of Mr. Thomas Rowe, the pastor of the Independent congregation at Girdlers' Hall. Of this congregation he became a member in 1693.
Leaving the Academy at the age of twenty, he spent two years at home; and it was then that the bulk of the Hymns and Spiritual Songs (published 1707-9) were written, and sung from manuscripts in the Southampton Chapel. The hymn "Behold the glories of the Lamb" is said to have been the first he composed, and written as an attempt to raise the standard of praise. In answer to requests, others succeeded. The hymn "There is a land of pure delight" is said to have been suggested by the view across Southampton Water. The next six years of Watts's life were again spent at Stoke Newington, in the post of tutor to the son of an eminent Puritan, Sir John Hartopp; and to the intense study of these years must be traced the accumulation of the theological and philosophical materials which he published subsequently, and also the life-long enfeeblement of his constitution.
Watts preached his first sermon when he was twenty-four years old. In the next three years he preached frequently; and in 1702 was ordained pastor of the eminent Independent congregation in Mark Lane, over which Caryl and Dr. John Owen had presided, and which numbered Mrs. Bendish, Cromwell's granddaughter, Charles Fleetwood, Charles Desborough, Sir John Hartopp, Lady Haversham, and other distinguished Independents among its members. In this year he removed to the house of Mr. Hollis in the Minories. His health began to fail in the following year, and Mr. Samuel Price was appointed as his assistant in the ministry. In 1712 a fever shattered his constitution, and Mr. Price was then appointed co-pastor of the congregation which had in the meantime removed to a new chapel in Bury Street. It was at this period that he became the guest of Sir Thomas Abney, under whose roof, and after his death (1722) that of his widow, he remained for the rest of his suffering life; residing for the longer portion of these thirty-six years principally at the beautiful country seat of Theobalds in Herts, and for the last thirteen years at Stoke Newington. His degree of D.D. was bestowed on him in 1728, unsolicited, by the University of Edinburgh. His infirmities increased on him up to the peaceful close of his sufferings, Nov. 25, 1748. He was buried in the Puritan restingplace at Bunhill Fields, but a monument was erected to him in Westminster Abbey.
His learning and piety, gentleness and largeness of heart have earned him the title of the Melanchthon of his day. Among his friends, churchmen like Bishop Gibson are ranked with Nonconformists such as Doddridge. His theological as well as philosophical fame was considerable. His Speculations on the Human Nature of the Logos, as a contribution to the great controversy on the Holy Trinity, brought on him a charge of Arian opinions. His work on The Improvement of the Mind, published in 1741, is eulogised by Johnson. His Logic was still a valued textbook at Oxford within living memory. The World to Come, published in 1745, was once a favourite devotional work, parts of it being translated into several languages. His Catechisms, Scripture History (1732), as well as The Divine and Moral Songs (1715), were the most popular text-books for religious education fifty years ago. The Hymns and Spiritual Songs were published in 1707-9, though written earlier. The Horae Lyricae, which contains hymns interspersed among the poems, appeared in 1706-9. Some hymns were also appended at the close of the several Sermons preached in London, published in 1721-24. The Psalms were published in 1719. The earliest life of Watts is that by his friend Dr. Gibbons. Johnson has included him in his Lives of the Poets; and Southey has echoed Johnson's warm eulogy. The most interesting modern life is Isaac Watts: his Life and Writings, by E. Paxton Hood. [Rev. H. Leigh Bennett, M.A.]
A large mass of Dr. Watts's hymns and paraphrases of the Psalms have no personal history beyond the date of their publication. These we have grouped together here and shall preface the list with the books from which they are taken.
(l) Horae Lyricae. Poems chiefly of the Lyric kind. In Three Books Sacred: i.To Devotion and Piety; ii. To Virtue, Honour, and Friendship; iii. To the Memory of the Dead. By I. Watts, 1706. Second edition, 1709. (2) Hymns and Spiritual Songs. In Three Books: i. Collected from the Scriptures; ii. Composed on Divine Subjects; iii. Prepared for the Lord's Supper. By I. Watts, 1707. This contained in Bk i. 78 hymns; Bk. ii. 110; Bk. iii. 22, and 12 doxologies. In the 2nd edition published in 1709, Bk. i. was increased to 150; Bk. ii. to 170; Bk. iii. to 25 and 15 doxologies. (3) Divine and Moral Songs for the Use of Children. By I. Watts, London, 1715. (4) The Psalms of David Imitated in the Language of the New Testament, And apply'd to the Christian State and Worship. By I. Watts. London: Printed by J. Clark, at the Bible and Crown in the Poultry, &c, 1719. (5) Sermons with hymns appended thereto, vol. i., 1721; ii., 1723; iii. 1727. In the 5th ed. of the Sermons the three volumes, in duodecimo, were reduced to two, in octavo. (6) Reliquiae Juveniles: Miscellaneous Thoughts in Prose and Verse, on Natural, Moral, and Divine Subjects; Written chiefly in Younger Years. By I. Watts, D.D., London, 1734. (7) Remnants of Time. London, 1736.
454 Hymns and Versions of the Psalms, in addition to the centos are all in common use at the present time.
--Excerpts from John Julian, Dictionary of Hymnology (1907)
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Watts, I. , p. 1241, ii. Nearly 100 hymns, additional to those already annotated, are given in some minor hymn-books.
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
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Watts, I. , p. 1236, i. At the time of the publication of this Dictionary in 1892, every copy of the 1707 edition of Watts's Hymns and Spiritual Songs was supposed to have perished, and all notes thereon were based upon references which were found in magazines and old collections of hymns and versions of the Psalms. Recently three copies have been recovered, and by a careful examination of one of these we have been able to give some of the results in the revision of pp. 1-1597, and the rest we now subjoin.
i. Hymns in the 1709 ed. of Hymns and Spiritual Songs which previously appeared in the 1707 edition of the same book, but are not so noted in the 1st ed. of this Dictionary:—
On pp. 1237, L-1239, ii., Nos. 18, 33, 42, 43, 47, 48, 60, 56, 58, 59, 63, 75, 82, 83, 84, 85, 93, 96, 99, 102, 104, 105, 113, 115, 116, 123, 124, 134, 137, 139, 146, 147, 148, 149, 162, 166, 174, 180, 181, 182, 188, 190, 192, 193, 194, 195, 197, 200, 202.
ii. Versions of the Psalms in his Psalms of David, 1719, which previously appeared in his Hymns and Spiritual Songs, 1707:—
On pp. 1239, U.-1241, i., Nos. 241, 288, 304, 313, 314, 317, 410, 441.
iii. Additional not noted in the revision:—
1. My soul, how lovely is the place; p. 1240, ii. 332. This version of Ps. lxiv. first appeared in the 1707 edition of Hymns & Spiritual Songs, as "Ye saints, how lovely is the place."
2. Shine, mighty God, on Britain shine; p. 1055, ii. In the 1707 edition of Hymns & Spiritual Songs, Bk. i., No. 35, and again in his Psalms of David, 1719.
3. Sing to the Lord with [cheerful] joyful voice, p. 1059, ii. This version of Ps. c. is No. 43 in the Hymns & Spiritual Songs, 1707, Bk. i., from which it passed into the Ps. of David, 1719.
A careful collation of the earliest editions of Watts's Horae Lyricae shows that Nos. 1, 7, 9, 10, 11, 12, 14, 16, p. 1237, i., are in the 1706 ed., and that the rest were added in 1709. Of the remaining hymns, Nos. 91 appeared in his Sermons, vol. ii., 1723, and No. 196 in Sermons, vol. i., 1721. No. 199 was added after Watts's death. It must be noted also that the original title of what is usually known as Divine and Moral Songs was Divine Songs only.
--John Julian, Dictionary of Hymnology, New Supplement (1907)
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