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How Blest Is He Whose Trespass
Meter: 7.6.7.6 D Appears in 31 hymnals Matching Instances: 31 First Line: How blest is he whose trespass Has freely been forgiven
How Blest Is He Whose Trespass
RUTHERFORD
Meter: 7.6.7.6.7.6.7.6 Appears in 250 hymnals Matching Instances: 11 Composer and/or Arranger: Chrétien Urhan; Edward F. Rimbault Tune Key: F Major Incipit: 33322 11144 34225 Used With Text: How Blest Are They Whose Trespass
RUTHERFORD
[How blest is he whose trespass]
Appears in 7 hymnals Matching Instances: 1 Composer and/or Arranger: Ira D. Sankey Incipit: 55456 53217 12334 Used With Text: Whosoever Calleth
[How blest is he whose trespass]
[How blest is he whose trespass]
Appears in 2 hymnals Matching Instances: 1 Composer and/or Arranger: J. B. Herbert Incipit: 55545 66677 77111 Used With Text: When I Confessed
[How blest is he whose trespass]
How Blest Is He Whose Trespass
Author: Anonymous Hymnal: The Cyber Hymnal #2197 Meter: 7.6.7.6 D Lyrics: 1. How blest is he whose trespass
Hath freely been forgiv’n,
Whose sin is wholly covered
Before the sight of Heav’n.
But he to whom Jehovah
Will not impute his sin,
Who has a guileless spirit,
Whose heart is true within.
2. While I kept guilty silence
My strength was spent with grief;
Thy hand was heavy on me,
My soul found no relief;
But when I owned my trespass,
My sin hid not from Thee,
When I confessed transgression,
Then Thou forgavest me.
3. So let the godly seek Thee
In times when Thou art near;
No whelming floods shall reach them,
Nor cause their hearts to fear.
In Thee, O Lord, I hide me,
Thou savest me from ill,
And songs of Thy salvation
My heart with rapture thrill.
4. I graciously will teach thee
The way that thou shalt go,
And with Mine eye upon thee
My counsel make thee know.
But be ye not unruly,
Or slow to understand,
Be not perverse, but willing
To heed My wise command.
5. The sorrows of the wicked
In number shall abound,
But those that trust Jehovah,
His mercy shall surround.
Then in the Lord be joyful,
In song lift up your voice;
Be glad in God, ye righteous,
Rejoice, ye saints, rejoice. Languages: English Tune Title: RUTHERFORD
How Blest Is He Whose Trespass
How Blest Are They Whose Trespass
Hymnal: Lift Up Your Hearts #669 (2013) Meter: 7.6.7.6 D Lyrics: 1 How blest are they whose trespass
has freely been forgiven,
whose sins are wholly covered
before the sight of heaven.
Blest they to whom the LORD God
does not impute their sin,
who have a guileless spirit,
whose heart is true within.
2 While I kept guilty silence,
my strength was spent with grief:
your hand was heavy on me;
my soul found no relief.
But when I owned my trespass
and did not hide my sin,
then you forgave my guilt, LORD,
restored my life within.
3 So let the godly seek you
in times when you are near;
no whelming floods shall reach them
or cause their hearts to fear.
O LORD, you are my refuge,
you are my hiding place,
and you surround me always
with songs of saving grace.
4 "I graciously will teach you
the way that you should go,
and, with my eye upon you,
help you my counsel know.
Then do not be unruly
or slow to understand;
be not perverse, but willing
to heed my wise command."
5 The sorrows of the wicked
increase from year to year,
but those who trust the LORD God
know love instead of fear.
Then in the LORD be joyful,
in song lift up your voice;
be glad in God, you righteous:
rejoice, O saints, rejoice! Topics: Repentance; Elements of Worship Forgiviness and Grace Scripture: Psalm 32 Languages: English Tune Title: RUTHERFORD
How Blest Are They Whose Trespass
How Blest Is He Whose Trespass
Hymnal: Trinity Hymnal (Rev. ed.) #551 (1990) Meter: 7.6.7.6 D Lyrics: 1 How blest is he whose trespass
has freely been forgiv'n,
whose sin is wholly covered
before the sight of heav'n.
Blest he to whom Jehovah
will not impute his sin,
who has a guileless spirit,
whose heart is true within.
2 While I kept guilty silence
my strength was spent with grief,
thy hand was heavy on me,
my soul found no relief;
but when I owned my trespass,
my sin hid not from thee,
when I confessed transgression,
then thou forgavest me.
3 So let the godly seek thee
in times when thou art near;
no whelming floods shall reach them,
nor cause their hearts to fear.
In thee, O Lord, I hide me,
thou savest me from ill,
and songs of thy salvation
my heart with rapture thrill.
4 I graciously will teach thee
the way that thou shalt go,
and with mine eye upon thee
my counsel make thee know.
But be ye not unruly,
or slow to understand,
be not perverse, but willing
to heed my wise command.
5 The sorrows of the wicked
in number shall abound,
but those that trust Jehovah,
his mercy shall surround.
Then in the Lord be joyful,
in song lift up your voice.
Be glad in God, ye righteous,
rejoice, ye saints, rejoice.
Topics: The Christian Life Forgiveness of Sins; Christians Blessedness of Scripture: Psalm 32 Languages: English Tune Title: RUTHERFORD
How Blest Is He Whose Trespass
Chrétien Urhan
1790 - 1845 Composer of "RUTHERFORD" in Psalter Hymnal (Gray) Chrétien Urhan (Baptised as Christian Urhan; 16 February 1790, Montjoie - 2 November 1845, Belleville) was a French violinist, organist, composer and player of the viola and the viola d'amore.
His father first introduced him to the violin. He was first mentioned in 1804 by Joséphine de Beauharnais that he had replaced a violinist for a performance of Haydn's The Creation, at the young age of 14. From there he was sent to work in Paris, where he took instruction from Jean-François Lesueur, master of the chapel of the Tuileries. He also learned from prominent teachers such as François-Antoine Habeneck, Rodolphe Kreutzer and Pierre Rode. He was invited to join the imperial chapel as a violinist in 1810.
In this period the young Urhan shared lodgings with his friends the harpist Franz Anton Stockhausen (father of Julius Stockhausen) and the painter Carl Begas the elder (who was studying with Antoine Jean Gros, 1813-15). In 1815, through a Quartermaster in the Prussian army of occupation, Urhan and Stockhausen (who corresponded with Beethoven) obtained a score of Beethoven's Eroica Symphony and set it before Habeneck, with the result that the work was introduced to Paris. The two were among Amis de Beethoven, or Beethoven-Bruder in Paris, together with Wilhelm Mangold and others. In the early 1820s the violinist Sina, a member of the string quartet led by Schuppanzigh for Andreas Razumovsky, with Urhan gave new encouragement to Habeneck to continue with the master's works. Until Stockhausen's marriage to the singer Margarethe Schmuck, a member of their circle, in 1825, he lived with Urhan, who remained a lifelong friend.
In 1816, Urhan was appointed solo viola at the Opéra de Paris, and became solo violinist in 1825. Strongly Catholic, he was also appointed the organist at the Church of Saint-Vincent-de-Paul in Paris in 1827, a position that he held until his death. In this position he met the young Franz Liszt, with whom he played chamber music, and also the Beethoven Kreutzer Sonata in a mass. A number of composers wrote prominent parts for Urhan. Meyerbeer composed for him solo viola and solo viola d'amore parts in his opera Les Huguenots, and Rudolph Kreutzer, the solo viola d'amore part in his opera Le Paradis de Mahomet. In 1834, Berlioz wrote his Harold en Italie for orchestra with viola obbligato at the request of Niccolò Paganini, who refused to play the work. Berlioz offered the solo viola part to Urhan and the premiere was given on 23 November 1834 at the Paris Conservatory.
According to Ernest Legouvé, he was both entirely religious and entirely devoted to music. He lived like a medieval ascetic, abstaining from almost everything except his daily visit to the Café des Anglais. His love for theatre music created a severe inner conflict, which he overcame by asking the permission of the Archbishop to play in the orchestra of the Opéra (of which he was Leader), being told it was a matter for his own conscience. He accepted this by always being seated with his back to the stage, so that he never saw the singers or dancers for whom he played, even when providing solo accompaniment for a dancer.
Legouvé thought there were several greater violin virtuousi in Paris than Urhan, but that he outshone them through his profound knowledge of the masters and respect for their music, and through the indefinable quality of style which he brought to them. He often differed with Habeneck, when the conductor wanted to make cuts, and actually published and signed an article against Habeneck when he withdrew some double-basses from Beethoven's Choral Symphony. He did not merely guard the reputation of the old masters, but he was also a fierce advocate and defender of the new, and of those of the future. He was the first to introduce a song of Schubert's into France ('L'Adieu'). For Legouvé, to see him play was like watching Fra Angelico painting in his cell, a medieval mystic at work.
The Stockhausens visited Urhan in his fifth-floor Paris apartment in 1839, and found him living in great simplicity in two rooms, with a piano and five stools in his bedroom, where they sat and were made very welcome. In 1843 Urhan encouraged their son Julius while he was in Paris. In November 1845 Julius wrote to inform his parents of Urhan's death. He had been living in pitiable conditions in Belleville, and began to refuse his food: thoughts of suicide made him resolve to starve himself to death. He suffered agonies of pain and descended into a frenzy, giving terrible grief to his friends, none of whom could talk him out of it. All interventions failed, and Urhan, whom the Stockhausen and Legentil families considered their dear friend, and who had formerly taken communion every Sunday, lost his faith in God and his desire for life. Thus he died, quietly at last with friends at his bedside, on 2 November 1845.
--en.wikipedia.org/wiki/ (excerpts)
Chrétien Urhan
Edward F. Rimbault
1816 - 1876 Arranger of "RUTHERFORD" in Psalter Hymnal (Gray) Edward Francis Rimbault PhD LLD United Kingdom 1816-1876. Born in Soho, London, England, son of an organist and composer of French descent, he was taught music by his father., Samuel Wesley, and Wiliam Crotch. At age 16 he became organist of the Swiss Church in Soho. He later became organist at various churches, including St Peter’s, Vere Street, and St John’s Wood Presbyterian Church. He edited many collections of music, journals, and publications of music, and arranged music compositions. In addition to editing or arranging contemporary operas, he had a strong interest in editing or arranging earlier English music. He studied the musical treatises in the library of Archbishop Tenison, one of the oldest public libraries in London. In 1838, At age 22 he began lecturing about the history of English music, and was in much demand due to the interest aroused. He did editorial work for the Percy Society, the Camden Society, the Motet Society, and the Handel Society. For the latter he edited the “Messiah”, “Saul”, and “Samson” He was elected a Fellow of the Society of Antiquaries, and was granted membership in the Academy of Music in Stockholm, Sweden. Gottingen University also conferred upon him a PhD. His reputation was such that he was offered a teaching position at Harvard University in the U.S., which he turned down. In 1848 he was given an honorary degree by the University of Oxford. In 1849 he published a collection of English nursery rhymes and the tunes to which they were sung. Rimbault authored 76 books, a few named here include : “Bibliotheca madrigaliana” (1847); “The pianoforte” (1860); “Early English organ builders and their works” (1865). In 1855 he co-authored “The organ- its history and construction” with John Hopkins. He did a small amount of composing as well. He wrote an operetta in 1838, and a musical drama. He also composed a large number of pianoforte scores for operas by others. He was an admirable harmonium player. Traveling to various auctions for years, he accumulated a rare collection of books. After his death his extensive collection was auctioned off in 1877, with many items going to the British Library. About 300 items were sold to an individual, and upon his death in 1888, the ‘Drexel collection’ was bequeathed to the Lenox Library (precursor of the New York Public Library). Today, the collection is part of the Music Division of the NY Public Library for the Performing Arts. He was an author, editor, arranger, composer, lithographer, translator, scribe, adapter, and bookseller. He died at London, England. No information found regarding a family.
John Perry
Edward F. Rimbault
James McGranahan
1840 - 1907 Composer of "[How blest the man whose trespass]" in Bible Songs James McGranahan USA 1840-1907. Born at West Fallowfield, PA, uncle of Hugh McGranahan, and son of a farmer, he farmed during boyhood. Due to his love of music his father let him attend singing school, where he learned to play the bass viol. At age 19 he organized his first singing class and soon became a popular teacher in his area of the state. He became a noted musician and hymns composer. His father was reluctant to let him pursue this career, but he soon made enough money doing it that he was able to hire a replacement farmhand to help his father while he studied music. His father, a wise man, soon realized how his son was being used by God to win souls through his music. He entered the Normal Music School at Genesco, NY, under William B Bradbury in 1861-62. He met Miss Addie Vickery there. They married in 1863, and were very close to each other their whole marriage, but had no children. She was also a musician and hymnwriter in her own right. For a time he held a postmaster’s job in Rome, PA. In 1875 he worked for three years as a teacher and director at Dr. Root’s Normal Music Institute. He because well-known and successful as a result, and his work attracted much attention. He had a rare tenor voice, and was told he should train for the operatic stage. It was a dazzling prospect, but his friend, Philip Bliss, who had given his wondrous voice to the service of song for Christ for more than a decade, urged him to do the same. Preparing to go on a Christmas vacation with his wife, Bliss wrote McGranahan a letter about it, which McGranahan discussed with his friend Major Whittle. Those two met in person for the first time at Ashtubula, OH, both trying to retrieve the bodies of the Bliss’s, who died in a bridge-failed train wreck. Whittle thought upon meeting McGranahan, that here is the man Bliss has chosen to replace him in evangelism. The men returned to Chicago together and prayed about the matter. McGranahan gave up his post office job and the world gained a sweet gospel singer/composer as a result. McGranahan and his wife, and Major Whittle worked together for 11 years evangelizing in the U.S., Great Britain, and Ireland. They made two visits to the United Kingdom, in 1880 and 1883, the latter associated with Dwight Moody and Ira Sankey evangelistic work. McGranahan pioneered use of the male choir in gospel song. While holding meetings in Worcester, MA, he found himself with a choir of only male voices. Resourcefully, he quickly adapted the music to those voices and continued with the meetings. The music was powerful and started what is known as male choir and quartet music. Music he published included: “The choice”, “Harvest of song”, “Gospel Choir”,, “Gospel hymns #3,#4, #5, #6” (with Sankey and Stebbins), “Songs of the gospel”, and “Male chorus book”. The latter three were issued in England. In 1887 McGranahan’s health compelled him to give up active work in evangelism. He then built a beautiful home, Maplehurst, among friends at Kinsman, OH, and settled down to the composition of music, which would become an extension of his evangelistic work. Though his health limited his hours, of productivity, some of his best hymns were written during these days. McGranahan was a most lovable, gentle, modest, unassuming, gentleman, and a refined and cultured Christian. He loved good fellowship, and often treated guests to the most delightful social feast. He died of diabetes at Kinsman, OH, and went home to be with his Savior.
John Perry
James McGranahan
