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Worship, and Thanks, and Blessing
Author: Charles Wesley Meter: 7.7.8.7 D Appears in 34 hymnals Matching Instances: 34 Lyrics: 1. Worship, and thanks, and blessing,
And strength ascribe to Jesus!
Jesus alone defends His own,
When earth and hell oppress us!
Jesus with joy we witness
Almighty to deliver;
Our seals set to, that God is true,
And reigns a King for ever.
2. Omnipotent Redeemer,
Our ransomed souls adore Thee;
Our Savior Thou, we find it now,
And give Thee all the glory.
We sing Thine arm unshortened,
Brought through our sore temptation;
With heart and voice in Thee rejoice,
The God of our salvation.
3. Thine arm hath safely brought us
A way no more expected,
Than when Thy sheep passed through the deep,
By crystal walls protected.
Th glory was our rearward,
Thy hand our lives did cover,
And we, e’en we, have passed the sea,
And marched triumphant over.
4. Save as devoted Peter
Betwixt the soldiers sleeping,
Like sheep we lay to wolves a prey,
Yet still in Jesus’ keeping.
Thou from th’infernal Herod,
And Jewish expectation,
Hast set us free! All praise to Thee
O God of our salvation.
5. The world and Satan’s malice
Thou, Jesus, hast confounded;
And, by Thy grace, with songs of praise
Our happy souls resounded.
Accepting our deliverance,
We triumph in Thy favor,
And for the love which now we prove,
Shall praise Thy name forever. Used With Tune: WORSHIP (Haydn) Text Sources: Hymns for Those That Seek and Those That Have Redemption in the Blood of Jesus Christ, 1747
Worship, and Thanks, and Blessing
DELIVERANCE
Appears in 6 hymnals Matching Instances: 3 Composer and/or Arranger: Dr. H. J. Gauntless, 1805-1876 Tune Key: B Flat Major Incipit: 11715 65571 43233 Used With Text: Worship, and thanks, and blessing
DELIVERANCE
DYING STEPHEN
Meter: 7.7.4.4.7 D Appears in 6 hymnals Matching Instances: 1 Composer and/or Arranger: J. F. Lampe, 1703-51 Tune Key: F Major Incipit: 13454 32166 56543 Used With Text: Worship, and thanks and blessing
DYING STEPHEN
WORSHIP (Haydn)
Meter: 7.7.8.7 D Appears in 35 hymnals Matching Instances: 1 Composer and/or Arranger: Johann M. Haydn, 1737-1806 Tune Key: G Major Incipit: Used With Text: Worship, and Thanks, and Blessing
WORSHIP (Haydn)
Worship, and Thanks, and Blessing
Author: Charles Wesley Hymnal: The Cyber Hymnal #7630 Meter: 7.7.8.7 D Lyrics: 1. Worship, and thanks, and blessing,
And strength ascribe to Jesus!
Jesus alone defends His own,
When earth and hell oppress us!
Jesus with joy we witness
Almighty to deliver;
Our seals set to, that God is true,
And reigns a King for ever.
2. Omnipotent Redeemer,
Our ransomed souls adore Thee;
Our Savior Thou, we find it now,
And give Thee all the glory.
We sing Thine arm unshortened,
Brought through our sore temptation;
With heart and voice in Thee rejoice,
The God of our salvation.
3. Thine arm hath safely brought us
A way no more expected,
Than when Thy sheep passed through the deep,
By crystal walls protected.
Th glory was our rearward,
Thy hand our lives did cover,
And we, e’en we, have passed the sea,
And marched triumphant over.
4. Save as devoted Peter
Betwixt the soldiers sleeping,
Like sheep we lay to wolves a prey,
Yet still in Jesus’ keeping.
Thou from th’infernal Herod,
And Jewish expectation,
Hast set us free! All praise to Thee
O God of our salvation.
5. The world and Satan’s malice
Thou, Jesus, hast confounded;
And, by Thy grace, with songs of praise
Our happy souls resounded.
Accepting our deliverance,
We triumph in Thy favor,
And for the love which now we prove,
Shall praise Thy name forever. Languages: English Tune Title: WORSHIP (Haydn)
Worship, and Thanks, and Blessing
Worship and thanks and blessing
Author: Charles Wesley, 1707-1788 Hymnal: Methodist Hymn and Tune Book #d888 (1894) Languages: English
Worship and thanks and blessing
Worship, and thanks, and blessing
Hymnal: Hymns for the Use of the Methodist Episcopal Church. Rev. ed. #887 (1849) Languages: English
Worship, and thanks, and blessing
Charles Wesley
1707 - 1788 Author of "Worship, and Thanks, and Blessing" in The Cyber Hymnal 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.
Charles Wesley
Henry J. Gauntlett
1805 - 1876 Composer of "DELIVERANCE" in Hymns and Psalms Henry J. Gauntlett (b. Wellington, Shropshire, July 9, 1805; d. London, England, February 21, 1876) When he was nine years old, Henry John Gauntlett (b. Wellington, Shropshire, England, 1805; d. Kensington, London, England, 1876) became organist at his father's church in Olney, Buckinghamshire. At his father's insistence he studied law, practicing it until 1844, after which he chose to devote the rest of his life to music. He was an organist in various churches in the London area and became an important figure in the history of British pipe organs. A designer of organs for William Hill's company, Gauntlett extended the organ pedal range and in 1851 took out a patent on electric action for organs. Felix Mendelssohn chose him to play the organ part at the first performance of Elijah in Birmingham, England, in 1846. Gauntlett is said to have composed some ten thousand hymn tunes, most of which have been forgotten. Also a supporter of the use of plainchant in the church, Gauntlett published the Gregorian Hymnal of Matins and Evensong (1844).
Bert Polman
Henry J. Gauntlett
Michael Haydn
1737 - 1806 Person Name: Johann M. Haydn, 1737-1806 Composer of "WORSHIP (Haydn)" in The Cyber Hymnal Johann Michael Haydn Austria 1737-1806. Born at Rohrau, Austria, the son of a wheelwright and town mayor (a very religious man who also played the harp and was a great influence on his sons' religious thinking), and the younger brother of Franz Joseph Haydn, he became a choirboy in his youth at the Cathedral of St. Stephen in Vienna, as did his brother, Joseph, an exceptional singer. For that reason boys both were taken into the church choir. Michael was a brighter student than Joseph, but was expelled from music school when his voice broke at age 17. The brothers remained close all their lives, and Joseph regarded Michael's religious works superior to his own. Michael played harpsichord, violin, and organ, earning a precarious living as a freelance musician in his early years. In 1757 he became kapellmeister to Archbishop, Sigismund of Grosswardein, in Hungary, and in 1762 concertmaster to Archbishop, Hieronymous of Salzburg, where he remained the rest of his life (over 40 years), also assuming the duties of organist at the Church of St. Peter in Salzburg, presided over by the Benedictines. He also taught violin at the court. He married the court singer, Maria Magdalena Lipp in 1768, daughter of the cathedral choir-master, who was a very pious women, and had such an affect on her husband, trending his inertia and slothfulness into wonderful activity. They had one daughter, Aloysia Josepha, in 1770, but she died within a year. He succeeded Wolfgang Amadeus Mozart, an intimate friend, as cathedral organist in 1781. He also taught music to Carl Maria von Weber. His musical reputation was not recognized fully until after World War II. He was a prolific composer of music, considered better than his well-known brother at composing religious works. He produced some 43 symphonies,12 concertos, 21 serenades, 6 quintets, 19 quartets, 10 trio sonatas, 4 due sonatas, 2 solo sonatas, 19 keyboard compositions, 3 ballets, 15 collections of minuets (English and German dances), 15 marches and miscellaneous secular music. He is best known for his religious works (well over 400 pieces), which include 47 antiphons, 5 cantatas, 65 canticles, 130 graduals, 16 hymns, 47 masses, 7 motets, 65 offertories, 7 oratorios, 19 Psalms settings, 2 requiems, and 42 other compositions. He also composed 253 secular vocals of various types. He did not like seeing his works in print, and kept most in manuscript form. He never compiled or cataloged his works, but others did it later, after his death. Lothar Perger catalogued his orchestral works in 1807 and Nikolaus Lang did a biographical sketch in 1808. In 1815 Anton Maria Klafsky cataloged his sacred music. More complete cataloging has been done in the 1980s and 1990s by Charles H Sherman and T Donley Thomas. Several of Michael Haydn's works influenced Mozart. Haydn died at Salzburg, Austria.
John Perry
Michael Haydn
