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Love divine, all loves excelling

Author: Charles Wesley Meter: 8.7.8.7 D Appears in 1,848 hymnals Lyrics: Love divine, all loves excelling, Joy of heaven, to earth come down! Fix in us thy humble dwelling, All thy faithful mercies crown. Jesus, thou art all compassion, Pure, unbounded love thou art; Visit us with thy salvation, Enter every trembling heart. Come, almighty to deliver, Let us all thy life receive; Suddenly return, and never, Nevermore thy temples leave. Thee we would be alway blessing; Serve thee as thy hosts above; Pray, and praise thee without ceasing; Glory in thy perfect love. Finish then thy new creation, Pure and spotless let us be: Let us see thy great salvation, Perfectly restored in thee: Changed from glory into glory, Till in heaven we take our place: Till we cast our crowns before thee, Lost in wonder, love, and praise. Amen. Topics: Sundays after Trinity The Divine Love; Sunday Schools General Use; Parochial Missions Used With Tune: LOVE DIVINE

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HYFRYDOL

Meter: 8.7.8.7 D Appears in 538 hymnals Composer and/or Arranger: Rowland Hugh Prichard, 1811-1887 Tune Key: F Major Incipit: 12123 43212 54332 Used With Text: Love divine, all loves excelling
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BEECHER

Meter: 8.7.8.7 D Appears in 741 hymnals Composer and/or Arranger: John Zundel Tune Key: B Flat Major Incipit: 55653 23217 61654 Used With Text: Love Divine, All Loves Excelling
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BLAENWERN

Meter: 8.7.8.7 D Appears in 84 hymnals Composer and/or Arranger: William Rowlands, 1860-1937 Tune Key: G Major Incipit: 55665 13321 7655 Used With Text: Love Divine, all loves excelling

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Love Divine, All Loves Excelling

Author: Charles Wesley, 1707-1788 Hymnal: Evangelical Lutheran Worship #631 (2006) Meter: 8.7.8.7 D Lyrics: 1 Love divine, all loves excelling, Joy of heav'n, to earth come down! Fix in us thy humble dwelling, all thy faithful mercies crown. Jesus, thou art all compassion, pure, unbounded love thou art; visit us with thy salvation, enter ev'ry trembling heart. 2 Breathe, oh, breathe thy loving Spirit into ev'ry troubled breast; let us all in thee inherit; let us find thy promised rest. Take away the love of sinning; Alpha and Omega be; end of faith, as its beginning, set our hearts at liberty. 3 Come, Almighty, to deliver; let us all thy life receive; suddenly return, and never, nevermore thy temples leave. Thee we would be always blessing, serve thee as thy hosts above, pray, and praise thee without ceasing, glory in thy perfect love. 4 Finish then thy new creation, pure and spotless let us be; let us see thy great salvation perfectly restored in thee! Changed from glory into glory, till in heav'n we take our place, till we cast our crowns before thee, lost in wonder, love and praise! Topics: Hope, Assurance; Joy, Celebration; Advent; Christian Life; Compassion, Caring; Hope, Assurance; Joy, Celebration; Love; Mercy Languages: English Tune Title: HYFRYDOL
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Love Divine, All Love Excelling

Author: Charles Wesley Hymnal: Hymnal for Church and Home #26 (1927) Lyrics: 1 Love divine, all love excelling, Joy of heav'n to earth come down! Fix in us Thy humble dwelling, All Thy faithful mercies crown: Jesus, Thou art all compassion, Pure, unbounded love Thou art; Visit us with Thy salvation, Enter ev'ry trembling heart. 2 Breathe, O breathe Thy loving Spirit Into ev'ry troubled breast! Let us all in Thee inherit, Let us find Thy promised rest. Take away the love of sinning, Alpha and Omega be; End of faith, as its beginning, Set our hearts at liberty. 3 Come, Almighty, to deliver, Let us all Thy life receive; Graciously return, and never, Never more Thy temples leave! Thee we would be always blessing, Serve Thee as Thy hosts above, Pray, and praise Thee without ceasing, Glory in Thy perfect love. 4 Finish, then, Thy new creation, Pure and spotless let us be: Let us see Thy great salvation, Perfectly restored in Thee. Changed from glory into glory, Till in heav'n we take our place, Till we cast our crowns before Thee, Lost in wonder, love, and praise. Topics: Opening Hymns Languages: English Tune Title: [Love divine, all love excelling]
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Love Divine, All Loves Excelling

Author: Charles Wesley Hymnal: Yes, Lord! #38 (1982) Lyrics: 1 Love divine, all loves excelling, Joy of heaven to earth come down, Fix in us Thy humble dwelling, All Thy faithful mercies crown. Jesus, Thou art all compassion, Pure, unbounded love Thou art; Visit us with Thy salvation, Enter every trembling heart. 2 Breathe, O breathe Thy loving Spirit Into every troubled breast: Let us all in Thee inherit, Let us find Thy promised rest. Take away our bent to sinning, Alpha and Omega be: End of faith, as its beginning, Set our hearts at liberty. 3 Come, Almighty to deliver, Let us all Thy life receive; Suddenly return, and never, Nevermore Thy temples leave. Thee we would be always blessing, Serve Thee as Thy hosts above, Pray, and praise Thee without ceasing, Glory in Thy perfect love. 4 Finish then Thy new creation, Pure and spotless let us be: Let us see Thy great salvation Perfectly restored in Thee. Changed from glory into glory, 'Til in heaven we take our place, 'Til we cast our crowns before Thee, Lost in wonder, love, and praise. Amen. Topics: Worship and Adoration Languages: English Tune Title: [Love divine, all loves excelling]

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Henry Thomas Smart

1813 - 1879 Person Name: Henry Smart Composer of "BETHANY" in Redemption Songs Henry Smart (b. Marylebone, London, England, 1813; d. Hampstead, London, 1879), a capable composer of church music who wrote some very fine hymn tunes (REGENT SQUARE, 354, is the best-known). Smart gave up a career in the legal profession for one in music. Although largely self taught, he became proficient in organ playing and composition, and he was a music teacher and critic. Organist in a number of London churches, including St. Luke's, Old Street (1844-1864), and St. Pancras (1864-1869), Smart was famous for his extemporiza­tions and for his accompaniment of congregational singing. He became completely blind at the age of fifty-two, but his remarkable memory enabled him to continue playing the organ. Fascinated by organs as a youth, Smart designed organs for impor­tant places such as St. Andrew Hall in Glasgow and the Town Hall in Leeds. He composed an opera, oratorios, part-songs, some instrumental music, and many hymn tunes, as well as a large number of works for organ and choir. He edited the Choralebook (1858), the English Presbyterian Psalms and Hymns for Divine Worship (1867), and the Scottish Presbyterian Hymnal (1875). Some of his hymn tunes were first published in Hymns Ancient and Modern (1861). Bert Polman

Edmund S. Lorenz

1854 - 1942 Person Name: E. S. Lorenz Arranger of "GEINSHEIM" in Tried and True Pseudonymns: John D. Cresswell, L. S. Edwards, E. D. Mund, ==================== Lorenz, Edmund Simon. (North Lawrence, Stark County, Ohio, July 13, 1854--July 10, 1942, Dayton, Ohio). Son of Edward Lorenz, a German-born shoemaker who turned preacher, served German immigrants in northwestern Ohio, and was editor of the church paper, Froehliche Botschafter, 1894-1900. Edmund graduated from Toledo High School in 1870, taught German, and was made a school principal at a salary of $20 per week. At age 19, he moved to Dayton to become the music editor for the United Brethren Publishing House. He graduated from Otterbein College (B.A.) in 1880, studied at Union Biblical Seminary, 1878-1881, then went to Yale Divinity School where he graduated (B.D.) in 1883. He then spent a year studying theology in Leipzig, Germany. He was ordained by the Miami [Ohio] Conference of the United Brethren in Christ in 1877. The following year, he married Florence Kumler, with whom he had five children. Upon his return to the United States, he served as pastor of the High Street United Brethren Church in Dayton, 1884-1886, and then as president of Lebanon Valley College, 1887-1889. Ill health led him to resign his presidency. In 1890 he founded the Lorenz Publishing Company of Dayton, to which he devoted the remainder of his life. For their catalog, he wrote hymns, and composed many gospel songs, anthems, and cantatas, occasionally using pseudonyms such as E.D. Mund, Anna Chichester, and G.M. Dodge. He edited three of the Lorenz choir magazines, The Choir Leader, The Choir Herald, and Kirchenchor. Prominent among the many song-books and hymnals which he compiled and edited were those for his church: Hymns for the Sanctuary and Social Worship (1874), Pilgerlieder (1878), Songs of Grace (1879), The Otterbein Hymnal (1890), and The Church Hymnal (1934). For pastors and church musicians, he wrote several books stressing hymnody: Practical Church Music (1909), Church Music (1923), Music in Work and Worship (1925), and The Singing Church (1938). In 1936, Otterbein College awarded him the honorary D.Mus. degree and Lebanon Valley College the honorary LL.D. degree. --Information from granddaughter Ellen Jane Lorenz Porter, DNAH Archives

George F. Root

1820 - 1895 Arranger of "AUTUMN" in Services for Congregational Worship. The New Hymn and Tune Book Root, George F., MUS. DOC, born in Sheffield, Berkshire County, Mass., Aug. 30, 1820. He is much more widely known as a composer of popular music than as a hymn writer. Four of his hymns are in I. D. Sankey's Sacred Songs & Solos, 1878. Nos. 16, 100, 293, and 297. A sympathetic biographical sketch, with portrait, is in The Tonic Sol-Fa Reporter, Sep. 1886. He died Aug. 6, 1895. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) ===================== George Frederick Root was born in Sheffield, Mass., August 30, 1820. His father moved to North Reading, near Boston, when the boy was six years old, and there his youth was spent. He was always fond of music— not singing at all as a boy, but played upon every kind of instrument that came in his way. At thirteen it was his pride that he could "play a tune" on as many instruments as he was years old. His dream of life was to be a musician, although such an ambition was looked down upon by all his relatives and friends, excepting a fond mother. In the fall of 1838 he went to Boston and made an engagement to work for Mr. A. N. Johnson and take lessons on the piano. His father and one of the brothers were at the time in South America, and the mother, with six younger children, was at home on the farm. When he secured the engagement with Mr. Johnson to receive three dollars a week and board and lessons, the neighbors became interested and encouraged him to go ahead, they promising to help look after the farm and see that the family got along. The young man's happiness over these events can better be imagined than described. On the second day of October, 1838, he entered upon his duties in his new heaven on earth located at Harmony Hall, Mr. Johnson's music-room, in Boston. His duties were to see to the fires, care for the room, answer callers, give information about Mr. Johnson when he was out, and practice his lessons when not otherwise engaged. He worked industriously and made steady progress. It was but a few weeks till Mr. Johnson had him playing for the prayer-meeting, and but a few more till he began turning over pupils to him. In about seven weeks' time Mr. Johnson encouraged him by a considerable increase of salary. A most important event to him was meeting Dr. Lowell Mason and being accepted as a bass singer in the celebrated Bowdoin Street choir. Also, on Mr. Johnson's recommendation, he began taking private voice lessons of Mr. Geo. Jas. Webb, the then celebrated voice teacher of Boston. He continued at least a year with Mr. Webb. His first real singing class was taught the following fall, 1839, at the North End. It lasted nearly through the winter, and on the closing night his class made him a present of a silver goblet, suitably engraved, which he kept among his treasures. Before the first year was up Mr. Johnson proposed a five year partnership, by which Mr. Root was to receive one-third of their earnings, and the former was to have the privilege of visiting Germany part of the time if he chose. They then changed their quarters to three rooms in the basement of Park Street Church. The annual rental was six hundred dollars. They were kept quite busy. At this time Dr. Mason's music teaching in the public schools was a growing success, and Messrs. Johnson and Root were employed to assist him. Drs. Mason and Webb had introduced what is now called Musical Conventions a year or two previous to this. They called them "The Teachers' Class." Teachers and singers were called to Boston from surrounding territory to study and practice pretty much as they do now at normals. In 1841 Mr. Root became one of the teachers in this class. He taught vocal training and continued this work for years afterward in Dr. Mason's teachers' classes, and later incorporated the same method in his own normals. During this year Mr. Johnson went to Germany, and left the two large church choirs (Winter Street and Park Street) in charge of Mr. Root. One of the organs was played by a pupil — Mr. S. A. Bancroft. Everything went smoothly during Mr. Johnson's absence as it did also after his return. During the last year of the five-year partnership, Mr. Root was called to take the organ at Bowdoin Street, Mr. Mason changing to Winter Street. An amicable settlement was made between Messrs. Johnson and Root, and the partnership dissolved. In 1811, Mr. Jacob Abbott (father of Lyman Abbott)and his three brothers had established a young ladies' school in New York City. They wanted a music teacher, and offered the position to Mr. Root. They also secured him the organ and choir of the Mercer Street Church, with prospects for other good work. It required pretty strong persuasive arguments to tempt Mr. Root to leave Boston, he was doing well there, and as the sequel shows, there was an attraction in Boston that held him in too tight a grasp to be relinquished by the mere offer of greater power and place. He made up his mind, however, only after getting the consent of the powders of Boston to take with him this [to him] the greatest attraction of the city — Miss Mary Olive Woodman — an accomplished lady, a sweet singer, and a member of a prominent family of musicians. He went to New York first to prepare a home, and in August, 1845, returned for his bride, who took her place in his New York choir as leading soprano, and through his long and eventful career she was ever at his side, a true helpmeet. He was soon employed at Rutger's Female Institute, Miss Haines' School for Young Ladies, Union Theological Seminary and the New York State Institution for the Blind. Within six weeks after he arrived in New York his time was fully occupied. He continued with Mr. Abbott's young ladies' school ten years. While teaching in New York he continued his summer work with Messrs. Mason and Webb in Teachers' Classes. Up to the year 1849 he had written but little music; only a few hymn tunes while in Boston. He needed more music for the young ladies of his schools, so he made his first book, The Young Ladies' Choir, of which he had enough copies made for his own use, as he had no thought of offering it to the public. Then in connection with Mr. J. E. Sweetser, they compiled the Root and Sweetser's Collection. Mr. Root did work enough for two men, hence broke down in health. Mr. Abbott suggested that he take a trip to Paris. After weighing the matter carefully, in December, 1853, he sailed, and in due time arrived at Paris, where he began studying French, voice culture and piano under celebrated teachers. After spending nearly a year abroad, he returned home in improved health and ready for active work. He began to feel the need of new music for his classes, and after some thought decided upon a musical play ; the subject and title, The Flower Queen. At the Institution for the Blind was a young lady, a former pupil, but now a teacher who had shown some poetical talent. He asked her to help him with the words. He would suggest in prose what the flowers might say and she would put it into rhyme. She did it so well that it seldom needed any alteration. This lady was the now famous Fanny Crosby. The cantata became very popular. About this time Mr. Root wrote a half dozen simple songs for the people. They all sold pretty well, but Hazel Dell and Rosalie, the Prairie Flower, became the most popular, and had a large sale. It was in the summer of 1853 that the first real normal was held. Mr. Root originated it, and held it in New York. The principal teachers were Messrs. Mason, Root, Hastings, and Bradbury. This school became famous. Sessions were also held at North Reading, Mass., a village near Mr. Root's "Willow Farm Home," with Dr. Mason, Mr. Webb, Mr. Bradbury and himself as principal teachers. About this time Mr. Root decided to give up his work in New York, and devote himself entirely to conventions, normal work and authorship. He was eminently successful. Among the most eminent teachers and composers of our country have been students in Dr. Geo. F. Root's Normal Musical Institute. In 1860 Dr. Root settled in Chicago and entered the music publishing business with his brother E. T. Root, and C. M. Cady, as "Root & Cady," Mr. Root's reputation being the most important capital of the firm. His books and popular songs soon made the new firm prosperous. Then came the war with its horror. Dr. Root wielded his musical sword in the way of writing war songs, which made him famous. The Battle Cry of Freedom, Just Before the Battle, Mother, and others, made thousands of dollars for the music house. In the great Chicago fire of 1871 the interests of the firm of Root & Cady became engulfed in the general ruin. Their loss was upward of a quarter of a million dollars. They then sold their book catalogue, plates and copyrights to John Church & Co., of Cincinnati, and the sheet music plates and copyrights to S. Brainard's Sons, Cleveland. These sales realized about §130,000. The final result was that Dr. Root, his talented son F. W., and others became connected with John Church & Co. Under this new business relationship Mr. Root went right on with his normal and convention work; also issued a great many new books and cantatas. In 1872 the Chicago University very worthily conferred upon him the degree Doctor of Music. In 1886 he made a trip to Scotland and England, and arranged with publishers to issue some of his cantatas. He was royally received. Dr. Root was the author of about seventy-five books, nearly two hundred songs in sheet form, and many popular gospel songs. Dr. Root occupies a prominent place in the musical history of this country. It was Dr. Mason who lifted music from almost nothing and gave it an impetus, but he left no better follower than Dr. Root to carry on his work. He was a man of spotless integrity and high Christian character, and to know him was to love him. At the time of Dr. Root's death he was at Bailey Island, Maine, a summer resort, where he and other relatives had cottages. On August 6, 1895, he was seized with neuralgia of the heart — and died within one hour. He was buried at North Reading, Mass., his old home. --Hall, J. H. (c1914). Biographies of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company.