Chapter VII: Book I: Hymns for Worship and Praise (1)

WORSHIP—PRAISE AND ADORATION

1. Holy, holy, holy _Reginald Heber_, 1783-1826

A metrical paraphrase of Revelation 4:8-11. The hymn was written for use on Trinity Sunday of the Church Year but has found a wide general use as a morning hymn. It ranks high in any list of “best hymns.” Some give it first place.

The author, Reginald Heber, was educated at Oxford, England, for the Anglican ministry. For sixteen years he served as rector at Hodnet, Shropshire, where most of his hymns were written. He became an eminent churchman, as well as hymn writer, and was made bishop of Calcutta in 1822. After four years, his life came to an end suddenly at the close of a day in which he had baptized forty-two native converts. He is the author of the popular missionary hymn, “From Greenland’s icy mountains” (333).

“Holy, holy, holy,” was one of Alfred Tennyson’s favorite hymns, and it was sung at his funeral service in Westminster Abbey, April 12, 1892.

_MUSIC._ The tune, NICAEA, was composed for this hymn and was so named because the text deals with the doctrine of the Trinity as expounded in the Council of Nicaea which met in the city of Nicaea in Asia Minor, 325 A.D., the first ecumenical council of the Christian Church. It convened at the call of the Emperor, Constantine, to settle the so-called “Arian controversy” concerning the nature of Christ. Arius, a presbyter of Alexandria, taught that Christ was neither divine nor human, but superangelic. After sitting from May 20 to August 25, to hear all sides of the heated debate, the council decided in favor of Athanasius, a deacon of Alexandria and chief opponent of Arius. The result was incorporated in the Nicene creed which declares that Christ is “the same substance with the Father.” Our hymn asserts the same doctrine: “God in Three Persons, blessed Trinity.”

J. B. Dykes, 1823-76, composer of the tune, was born in Hull, England, the son of a banker. He was educated at Cambridge for the ministry but had also received a thorough training in music and became one of England’s leading hymn-tune writers. For a score of years he was vicar of the Anglican church, St. Oswald’s, in the city of Durham. He published sermons and other writings but is best known for his 300 hymn tunes, many of which are still in wide use. One of his most popular tunes is “Lux Benigna” which is always associated with John Henry Newman’s hymn, “Lead kindly light” (162).

2. God is in His holy temple _Anonymous_

Based on Hab. 2:20: “The Lord is in his holy temple: let all the earth keep silence before him.” The hymn, whose authorship is anonymous, is a call to silence and reverence as the worshipper bows in the presence of God.

_MUSIC._ The origin of the popular and useful tune, AUTUMN, has been in dispute. Some books refer to it as a Spanish melody, and others have seen in the tune a reminiscence of a psalm-tune found in the _Genevan Psalter_ of 1551. It is ascribed here to one, Louis von Esch, but Dr. Robert McCutchan, editor of the _Methodist Hymnal_ and author of _Our Hymnody_, says: “There is no basis whatever for ascribing it to any other than Barthélémon.”

Francois H. Barthélémon was born in Bordeaux, July 27, 1741, and died in London, July 20, 1808. He gave up his position as an officer in the French army to make music his profession and became a composer and distinguished violinist and conductor in England. Most of his compositions were of a secular nature. His other church pieces are “Morning Hymn” (25) and “Ballerma” (146, 585). Late in life Barthélémon joined the Swedenborgian Church. He died of paralysis at the age of 67.

3, 4, 5. All hail the power of Jesus’ name _Edward Perronet_, 1726-92

The original version of this hymn contained eight stanzas and first appeared in the _Gospel Magazine_, Augustus Toplady’s journal, the first stanza together with the tune “Miles Lane,” in November, 1779, and the remaining stanzas in April, 1780. It is one of the popular, stirring hymns of the English language, sung in England almost invariably to the tune “Miles Lane” and in America more generally to “Coronation.”

Edward Perronet was born in 1726 and became a vicar in the Church of England in Shoreham. Later, under the influence of John Wesley, he left the established church to become an itinerant Methodist preacher. After some years he left the Methodists and ministered to a small dissenting congregation in Canterbury, where he died in 1792.

The fourth stanza is attributed by some authorities to the Rev. John Rippon, a Baptist minister.

A missionary in India, E. P. Scott, went to visit a mountain tribe when one day he found himself surrounded with a number of wild, ferocious tribesmen, pointing their spears at him. Expecting death, he closed his eyes and sang this hymn, “All hail the power of Jesus’ name,” playing the tune “Miles Lane” on his violin. The music and words produced such a profound effect upon these wild tribesmen that they spared Scott’s life and invited him to settle among them. For over two years, until his health failed, he worked with great success among them, and when he was compelled to return to America, they accompanied him thirty or forty miles and begged him to return. Upon regaining his health, he did return and labored with them until his death.

_MUSIC._ MILES LANE (No. 3) was composed by William Shrubsole, 1760-1806, especially for this hymn. He was an intimate friend of the author of the hymn. Most of his life was spent as music teacher and organist in various English churches. The tune is very effective, especially in its thrilling climax in the fourfold repetition of “Crown Him.” However, due to its wide melodic range, its sustained notes, and interrupted pace, it is more difficult to sing than “Coronation.”

CORONATION (No. 4) was composed by Oliver Holden. He had little formal training in music and was a carpenter by trade. He was born in Shirley, Mass., Sept. 18, 1765. After the English burned Charlestown, across the river from Boston, Holden helped in the task of rebuilding and made considerable money. Later he engaged in the real estate business, owned a music store, and all the while led choirs and singing schools. He was elected representative to the Congress. He was an influential citizen and a prominent member of the Baptist Church. However, he is remembered by posterity as the composer of this much-loved tune.

DIADEM (No. 5) is an effective tune widely used on anniversary occasions. The composer, James Ellor, an English Methodist, was born in Lancashire in 1819. He was not a professional musician, but a hatter by trade. For a time he worked as a railway employee. While still a young man, he came to America, where he worked at the hatmaking trade. For some years before his death in 1899, he was nearly blind. This tune was composed when Ellor was only 19 years old. It was written especially for this hymn and has had wide use as a choir number.

6. Ye servants of God, your Master proclaim _Charles Wesley_, 1707-88

This hymn by Charles Wesley, perhaps the greatest hymnist of all ages, was No. 1 in a collection published in 1774 and entitled, _Hymns for Times of Trouble and Persecution_. The original had six stanzas and was marked, “To be sung in a tumult.” The Wesleys knew the meaning of persecution and tumults. They were often attacked by godless men who used physical violence. Hoodlums were known to try to break up their meetings by blowing horns, ringing bells, or barking in front of the preacher. Sometimes cattle were driven into the congregation. The Wesleys were also opposed by the clergy and people of the established church who hated the upheavals and disturbances these men caused in the staid and stolid church life of the times. Nothing could stop the Wesleys or repress their enthusiasm. John, who once thanked God for getting together such a “congregation of drunkards, swearers, and Sabbath breakers,” continued his preaching; and Charles his hymn writing. With the early apostles, the Wesleys could say, “We cannot but speak the things which we have seen and heard.”

Charles Wesley, John’s youngest brother, graduated from Oxford in 1729 and became a devout priest in the Anglican Church. He came to Georgia in 1735 as secretary to General Oglethorpe but after one year, he returned to England on account of failing health. The years from 1738 to 1756 were devoted whole heartedly to assisting his brother John in the great revivalistic work among the masses of the common people in England, Scotland, and Ireland. He was a prolific writer, being the author of about 6,500 hymns. Of these only a few score survive, so difficult is it to write hymns that stand the test of time. Twenty-three of his hymns, more than of any other author, are included in the _Hymnary_. Wesley, being Arminian in his theology (as opposed to the predestinarian views of Calvinism) emphasizes in his hymns the power of Christ to save to the uttermost. Others of his hymns surpass this one from the standpoint of good literature, but very few equal its spirit of adoring praise and fervid enthusiasm.

_MUSIC._ HANOVER is a vigorous, singable, hymn-tune which has long been associated with these words, although the tune “Lyons” (7), too, is frequently set to this hymn. It is one of the earliest examples of the English psalm-tune, as distinguished from the Genevan. The triple measure was novel and met with objection when it first appeared.

The composer, William Croft, 1678-1727, had a doctor’s degree in music and was organist, for a time, in Westminster Abbey, London, where his remains lie buried. He labored hard, amidst many discouragements, to improve the music in the Church of England, and made for himself in the field of sacred music, one of the greatest names in English musical history. His tunes and anthems are widely used.

7. O worship the King, all glorious above _Robert Grant_, 1779-1838

A simple, yet majestic hymn, based on the magnificent 104th Psalm. A careful reading of the Psalm will result in a new appreciation of this free paraphrase by Grant.

Robert Grant was born in Bombay, India. When six years old, his parents moved to London. He received his education in Oxford, was admitted to the bar, elected to Parliament in 1808, and then held various responsible government positions, climaxed in 1834 by his appointment as Governor of Bombay. He died at Delpoonie, India, where a medical school, bearing his name, was erected in his memory. Though a prominent man and active in public affairs, Grant will be remembered principally as the author of this, his most important hymn. He wrote a number of other hymns but only this one and “Savior, when, in dust, to Thee” (145) have survived.

_MUSIC._ The tune LYONS is by Haydn, not the famous “Papa” Haydn who wrote symphonies, string quartets, and _The Creation_, but J. Michael Haydn, 1737-1806, a younger brother. He was born in Austria. Though self-taught in music (like his famous brother Franz), he became the teacher of many eminent musicians of his time, including Carl von Weber. Haydn was a warm-hearted, devout, and gifted man, and might have become famous except for two things—his life was lived in the shadow of his more illustrious brother, and he was too modest to permit most of his works to be published.

LYONS is a singable tune with a fine melodic curve and is strikingly similar to “Hanover” (6) with which it may be interchanged with good effect.

8. Come Thou Almighty King _Charles Wesley_, 1707-88

This hymn of praise and prayer is widely used in all branches of the Christian church in the English speaking world and has been translated into many foreign languages. It has been generally attributed to Charles Wesley, the great “Bard of Methodism,” but the authorship is uncertain. The hymn appeared as the first of only two selections in a small booklet published by John Wesley about 1757. The second hymn was by Charles Wesley and was entitled, “The Backslider.” “Come, Thou Almighty King,” with the title, “An Hymn to the Trinity,” did not bear the name of Charles Wesley, and it appears nowhere in his collected works. No one can be certain, therefore, of the authorship or date of its writing. Like all good hymns, it rises above time or personal circumstance and expresses for all Christians their feeling of praise and adoration of God. It was originally sung to the tune, “God Save the King,” the hymn following the same metrical pattern as the British National Anthem and our own “America.”

_MUSIC._ ITALIAN HYMN, also called “Trinity,” and “Moscow,” is one of our most famous hymn tunes and deserves its renown. It was composed for this hymn by Felice de Giardini, 1716-1796, an Italian violinist, who spent many years in England and ranked among the top-notch artists and teachers of violin in Europe. Though a great artist, he was a capricious and peevish personality, had few friends and many enemies, was a poor business manager, and died in poverty and distress in the city of Moscow where he had gone to better his fortune and failed.

9. Christ is our Cornerstone _Latin, 8th century_
_Tr. John Chandler_, 1806-76

This is a translation of a mediaeval Latin hymn. At the beginning of the Christian era, the prevailing language was Greek. With the dominance of Rome over the empire of Alexander the Great, Greek gradually gave way to the Latin tongue, and from the fourth century to the dawn of the Reformation, a rich treasury of Latin hymns came into existence in the church. Many of these have now been translated for use in modern English speaking churches. They are stately, reverent, devout pieces of devotional literature which have been the joy and consolation of countless saintly souls down through the centuries. Other examples of hymns from Latin sources are found at Nos. 67, 80, 87, 114, 116, 171, 277, 382, and 415.

“Christ is our Cornerstone” is based on “_Angularis fundamentum_,” a dedication hymn of anonymous authorship, attributed here to the 8th century, but it may be of much earlier origin. Hymn 277, “Christ is made the sure foundation,” is another rendering of the same Latin poem, by a different translator and into a different meter, and is there dated “6th or 7th century.”

John Chandler, the translator, was one of a group of Anglican clergymen belonging to what was known in England as the Oxford Group (not to be confused with the recent Oxford group movement headed by John Buchman). They were interested in restoring to the church a dignified service of worship. These Latin hymns contributed to this purpose. Chandler was a scholar as well as preacher, author of several books and many printed sermons and tracts, and was one of the first and best translators of Latin hymns. This, of course, is not a literal translation, for consideration had to be given to poetic and doctrinal fitness for modern use.

_MUSIC._ The tune DARWALL was composed by John Darwall, 1731-89, an Anglican clergyman and also an enthusiastic amateur musician. He composed a tune for each of the 150 metrical Psalms, each written in two parts only, treble and bass. DARWALL was set to Psalm 148. His tunes, for the most part, have not been published and have passed into oblivion.

10. Joyful, joyful we adore Thee _Henry van Dyke_, 1852-1933

A nature hymn of the first order, written by one who himself had a profound appreciation and love of the out-of-doors. The words from beginning to end are an expression of the beauty in nature and the resulting joy and spirit of praise it brings to the worshipper. The hymn was written in 1907 while the author was on a preaching visit to Williams College; it was designated to be sung to the “Hymn to Joy” in the last movement of Beethoven’s _Ninth Symphony_. The words fit the music perfectly. It is one of the most joyful hymns in the English language.

Henry van Dyke was born in Germantown, Pa.; received his education in Princeton University and Theological Seminary; and began his work as pastor of the United Congregational Church in Newport, R. I. After four years he was called to the pulpit of the Brick Presbyterian Church in New York where he became a widely known figure. In 1900 he was called to the chair of English Literature in Princeton. He was a friend of President Woodrow Wilson who appointed van Dyke as minister to the Netherlands and Luxemburg, which post he held from 1913 to 1917. He is the author of many books, including the beautiful story entitled, _The Other Wise Man._

_MUSIC._ HYMN TO JOY is a hymn tune arrangement from the fourth movement of Beethoven’s _Ninth Symphony_, probably the greatest symphony ever penned, even though the composer was stone-deaf when he wrote it.

Ludwig von Beethoven was born at Bonn, Germany, in 1770 and died in Vienna in 1827. During his tempestuous life, he composed many compositions for piano, violin, orchestra, and string quartet. His nine symphonies are on the repertoire of all the great modern symphony orchestras.

11. Give to our God immortal praise _Isaac Watts_, 1674-1748

Recognized as the best of three versions which Watts made of Psalm 136. The hymn expresses with dignity and fervor the high praise of God.

Isaac Watts, scholar, poet, and pastor of the Independent Church in Mark Lane, London, ranks among the greatest of English hymn writers. He is the author of about 600 hymns and versions, many of which are still in common use. The _Hymnary_ contains 19 of his works. Watts is often referred to as the “father of English hymnody.” Though suffering from bodily ailments during the greater part of his adult life, he was robust in his thinking and became a bold and sturdy fighter for the cause of intellectual and religious freedom. Watts was one of the gentlest and kindest of men and a friend of the young. His wide intellectual interests enabled him to write textbooks on logic, geography, and astronomy, which were used in the universities of England as well as Harvard and Yale. Though he was never married and had no children of his own, Watts was a lover of children and wrote one of the world’s most beautiful cradle songs—“Hush, my dear, lie still and slumber.” In 1715, he issued a notable book of verse for children. One of the poems, entitled, “Against Quarrelling and Fighting,” runs as follows:

Let dogs delight to bark and bite
For God hath made them so;
Let bears and lions growl and fight
For ’tis their nature to.

But children, you should never let
Such angry passions rise;
Your little hands were never made
To tear each other’s eyes.

Let grown-ups in our day grasp the idea in this simple poem!

_MUSIC._ The tune, LASST UNS ERFREUEN, one of the most famous in any hymn book, was published in _Geistliche Kirchengesäng_, Cologne, 1623. It was set to an Easter hymn beginning, “_Lasst uns erfreuen herzlich sehr_,” from whence it derives its name. The tune is unusual for its simplicity of structure and its invariable repetition of phrases throughout. Usually the alleluias in lines 3 and 6 are sung in harmony, the rest of the song in unison. The tune lends itself well to antiphonal or echo singing on the rare occasions when such varied effects are desired. The composer is not known.

12. O for a thousand tongues to sing _Charles Wesley_, 1707-88

From a poem of 18 stanzas, written by Wesley to celebrate the first anniversary of his great spiritual change, a conversion experience in which he felt the clear light of the Gospel possessing his soul. The poem was entitled, “For the Anniversary Day of One’s Conversion.” Wesley was greatly influenced by the Moravian missionary Peter Bohler who once said to him: “Had I a thousand tongues, I would praise Him with them all.” The incident, lingering in Wesley’s mind, was turned into a song which expresses the joy and confidence of the redeemed. For 150 years, and until recently, this hymn appeared as No. 1 in Methodist hymnbooks on both sides of the Atlantic.

For further comments on Charles Wesley see Hymn 6.

_MUSIC._ AZMON was introduced into this country from Germany where it was a favorite school song. Carl G. Gläser, the composer, was born at Weissenfels, Germany, 1784, and died at Barmen, 1829. He was a teacher of piano, violin, and voice, and director of choruses. He also owned and managed a music store.

Lowell Mason, the arranger of the tune, was one of America’s earliest exponents and teachers of public school music and did much to bring worthy popular hymn tunes into the churches. He was born January 8, 1792, at Orange, N. J. At the age of 16, he was a choir leader and teacher of singing classes. At 23, he went to Savannah, Ga., as a bank clerk, returning to Boston in 1827 to become president and conductor of the Handel and Haydn Society. He wrote a large number of singable hymn tunes which have had wide use in the hymn books of all denominations. More of his compositions are found in the _Hymnary_ than of any other composer. He died at Orange, N. J., August 11, 1872.

13. Great God, the followers of Thy Son _Henry Ware, Jr._, 1794-1843

Written for an ordination service which took place in Baltimore in 1819, William E. Channing preaching the sermon.

The author, Henry Ware, Jr., was born at Hingham, Mass., April 21, 1794; died September 25, 1843, at Framingham, Mass. He was educated at Harvard, and served as minister of the Second Unitarian Church, Boston, 1817 to 1829, with Ralph Waldo Emerson as assistant for a time. From 1829 to 1842, he was Professor of Pulpit Eloquence and Pastoral Care in the Harvard Divinity School. He was editor of the _Christian Disciple_ and later of the _Christian Register_.

_MUSIC._ For comments on Lowell Mason, composer of HEBRON, see Hymn 12.

14. The God of Abraham praise _Daniel Ben Judah, 14th century_
_Revised version by Thomas Olivers_, 1725-99

This praise hymn, with its magnificent tune, had its origin in a Jewish synagogue in London. Thomas Olivers, a Welshman and follower of John Wesley, spent fifty years of his life as a Methodist minister, during which time he travelled more than 100,000 miles on horseback in his evangelistic work. His fame, however, rests upon this hymn. While visiting in London, he went to the Great Synagogue in Duke’s Place and heard the cantor sing the Hebrew _Yigdal_ or doxology, in which the articles of the Jewish faith are recited. Upon hearing this, Oliver wrote “The God of Abraham praise,” a Christian version of the _Yigdal_. The original is by Daniel Ben Judah of the 14th century. Oliver then called on the Cantor, Meyer Leoni, who gave him this melody to suit the hymn he had written.

_MUSIC._ LEONI, according to Winfield Douglas, is probably not older than the 17th century and is not related to ancient Jewish music. Although written in a minor key, it strikes the note of praise. Its rhythm and vigor of movement adapts it well for use as a processional or recessional hymn.

15. We praise Thee, O God, our Redeemer _Julia Bulkley Cady Cory_

A notable hymn of praise written by Mrs. Julia Cady Cory, who was born and reared in what was reputed to be one of the happiest Christian homes in New York City. Her father, J. Cleveland Cady, was a nationally known architect. A devout Christian, he had a genuine love for boys and girls and was superintendent of the same Sunday school for fifty-two years. Concerning the origin of this hymn, Mrs. Cory has written:

Years before I was married (in 1902), the organist of the Brick
Presbyterian Church of New York City, knowing of my interest in
hymnology, came to me and told me that he had a very fine Netherlands
melody associated with most militaristic and unchristian words. He
lamented the fact, and requested me to write more suitable words,
which could be used for the Thanksgiving service at the Brick Church.
The hymn as you see it today, was the result.

_MUSIC._ KREMSER is named after Edward Kremser, 1838-1914, a Viennese musician who arranged the tune from a Netherlands melody dating to 1625. The composer is not known. It is a stirring piece of music, simple in style, and easy to sing. It is equally impressive, whether sung in measured, stately tones like a chorale, or in the gayer festive mood in which young people like to sing. Children and young people usually respond to this hymn with enthusiasm.

16. Praise the Lord: ye heavens adore Him _Foundling Hospital
Collection_
_Stanza 3 by Edward Osler_, 1798-1863

A free rendering of some lines of Psalm 148 in which all the hosts of heaven and earth join in a magnificent chorus of praise to God.

The first two stanzas are anonymous. They were first published in the _Foundling Hospital Collection_, a book of hymns and anthems compiled by Thomas Coram, an English seaman, merchant captain and philanthropist. In later life, Mr. Coram devoted his time and fortune to the support of a children’s hospital in which a chapel was also maintained and the children trained in singing.

Edward Osler, author of the third stanza, was an English surgeon and author of books on scientific as well as religious subjects. He was also a distinguished hymnologist and wrote a number of versions of the Psalms and hymns for use in the Church of England.

_MUSIC._ FABEN was composed by John Henry Wilcox, 1827-75, Boston organist and expert in organ construction. The tune should not be taken too fast; otherwise the short notes become choppy and the effect is spoiled. Singers should avoid slurring the intervals of the melody, especially the descending fourth at the end of the first, third and seventh lines.

17. Come, let us join our cheerful songs _Isaac Watts,_ 1674-1748

A paraphrase of Revelation 5:11-13. It is one of the most widely esteemed of Watts’ poems and one of the classics of English hymnody.

The basses and tenors would be less likely to sing the wrong words at the beginning of the third score if the lines of all four stanzas had been printed. Let the song leader remind them to look ahead for the proper lines of each stanza before singing their solo part, and so avoid some incongruities of thought!

For comments on Isaac Watts see Hymn 11.

_MUSIC._ CAMBRIDGE is an effective tune but with most congregations it needs some rehearsal before it is usable in a worship service. The composer, John Randall, 1715-99, was an organist and Professor of Music in Cambridge University. He was a friend of the poet Thomas Gray.

18. O come, loud anthems let us sing _Tate and Brady_

A metrical version of Psalm 95, by Tate and Brady, two Irishmen who collaborated in producing, in 1696, the _New Version_ of the Psalms. Their work partly supplanted the older version by Sternhold and Hopkins, then in use.

Nahum Tate, 1652-1715, was the son of an Irish clergyman, and, like Brady, received his education at Trinity College, Dublin. He was only a second-rate poet but managed to receive appointment as Poet Laureate of England in 1690.

Nicholas Brady, 1659-1726, was granted the honorary degree of Doctor of Divinity from Dublin University for services rendered to the Protestant cause. Among his many appointments were the chaplaincy to the king of England and incumbency of Stratford-on-Avon. Tate and Brady recast all of the Psalms into metrical verse in an attempt to improve on the old version then in use in the churches. Their work was done in a day when only the psalms were permitted to be sung in worship services in England. The writing of hymns was still in the future. Only a few of their renderings still find a place among our modern English hymns. The _Hymnary_ includes two besides this one, Nos. 583 and 586.

_MUSIC._ The tune was found in _St. Basil’s Hymn Book_ where it is credited to Haydn, but we are not told which Haydn. No further information concerning its origin has been traced. It is especially effective when sung by a large congregation.

MORNING

19. When morning gilds the skies _19th century_
_Tr. E. Caswall_, 1814-78

A radiant morning hymn of adoration. It comes from the German song, “Bei frühem Morgenlicht,” of unknown authorship, which first appeared in print in the _Katholisches Gesangbuch_, 1828, bearing the title, “A Christian Greeting.”

Bei frühem Morgenlicht
Erwacht mein Herz und spricht.
Gelobt sei Jesus Christus!
So sing ich früh and spät,
Bei Arbeit und Gebet,
Gelobt sei Jesus Christus!

The translator, Edward Caswall, was an English scholar and clergyman, educated at Oxford. He left the Church of England to become a Roman Catholic priest. Caswall did much for the sick poor and the poor children in Birmingham, England, where he lived. He wrote excellent original hymns and made many translations from German and Latin sources. (See Nos. 88 and 155.)

_MUSIC._ O SEIGNEUR was composed or arranged by the Frenchman L. Bourgeois, _c._ 1500- _c._ 1561, who was an adherent of Calvin and followed him to Geneva in 1541. He was assigned by Calvin the task of providing music for the metrical psalter, but his work was attended with troubles and difficulties. Once he was thrown in prison for making unauthorized alterations in certain well-known tunes. He tried hard to introduce part-singing in a day when only unison singing was permitted by Calvin. Not succeeding in this, he left Geneva and returned to Paris, his birthplace. O SEIGNEUR is a superb tune. It gathers interest and force throughout its considerable length. The tune, which also may be used as a choir anthem, should be sung in fairly lively tempo to bring out its extraordinary power.

20. Lord, in the morning _Isaac Watts_, 1674-1748

Based on Psalm 5:3: “My voice shalt thou hear in the morning, O Lord; in the morning will I direct my prayer to thee, and will look up.” Watts did not hesitate to change the wording of the Psalms, when necessary, to “Christianize” them. In the preface to his book of _Psalms_, he states his method and purpose in these words:

It is necessary that I should inform my readers that they are not to
expect in this book an exact translation of the Psalms of David. My
design is to accommodate the Book of Psalms to Christian Worship.

For further comments on Watts see Hymn 11.

_MUSIC._ WARWICK, a psalm-tune of somewhat ornamental style, was composed by Samuel Stanley, 1767-1822, who for thirty-three years was the leader of singing in Carr’s Lane Meeting House, Birmingham, England, where he made its music famous. He was a noted violincellist and an authority on the music of Handel. His position in the church was not then considered inconsistent with his being, for a time, keeper of the town tavern.

21. When morning gilds the skies _19th century, Tr. E. Caswall_,
1814-78

For comments on the words see Hymn 19.

_MUSIC._ LAUDES DOMINI was composed by Joseph Barnby, 1838-96, an English organist and one of the most prolific hymn-tune writers of his time. He was conductor of the Royal Choral Society in London, which presented many splendid performances of the great oratorios. It is a reverent and vigorous tune, written especially for this hymn, and makes a good processional.

22. New every morning is the love _John Keble_, 1792-1866

Taken from John Keble’s _Christian Year_, a book of devotional poetry, one of the great religious classics in the English language. The original poem of sixteen stanzas is based on Lamentations 3:22b, 23a: “His compassions fail not. They are new every morning.” The hymn shows a deep appreciation of the beauties of the natural world, linking them with the worship of God.

John Keble was educated at Oxford where he was an outstandingly brilliant student. Later he taught at Oxford for nine years and then spent thirteen years as curate in his father’s church in Gloucestershire. Following that he became vicar of Hursley where he rebuilt the parish church with profits from his book, _The Christian Year_, which passed through 90 editions during the author’s lifetime. Keble was one of the influential leaders in the so-called Oxford or Tractarian Movement in England, an effort to emphasize worthier ideas of the church and a greater dignity and beauty in worship.

_MUSIC._ MELCOMBE, a melody of fine balance and great dignity, was composed by Samuel Webbe, 1740-1816, son of an English government official in Minorca. He spent his early life as a cabinetmaker but later turned to music, becoming a noted organist and composer of a large quantity of secular and sacred music.

23. Still, still with Thee _Harriet Beecher Stowe_, 1811-96

Based on Psalm 139:18: “When I awake I am still with Thee.” It is a beautiful, personal, morning hymn, expressing the soul’s adoration upon waking to find itself in the glad consciousness of the divine presence.

Harriet Beecher Stowe belonged to a famous American family. Her father, Lyman Beecher, and her brother, Henry Ward Beecher, were eloquent and influential preachers in the Presbyterian and Congregational churches, respectively. Harriet’s girlhood was spent in Cincinnati, Ohio, where her father was president of Lane Theological Seminary. She married Calvin Ellis Stowe, of the Lane faculty. In 1852, she published _Uncle Tom’s Cabin_, a story which became immensely popular and made a notable contribution to the cause of freedom for the slaves.

_MUSIC._ CONSOLATION is No. 9 of the 48 pieces, all of distinctive lyric quality, composed by Felix Mendelssohn-Bartholdy, and known as _Songs without Words._ The tune appears here in slightly modified form. It is well adapted for the hymn but suffers frequently from dragging. It should be sung with a steady pace and clearly defined rhythm.

Felix Mendelssohn-Bartholdy was born in Hamburg, Germany, 1809, the son of a Jewish banker. His father, Abraham Mendelssohn, wished the children to be brought up as Protestant Christians and added the name “Bartholdy” to distinguish them from the Jewish members of the family. “Bartholdy” was the name of the proprietor of the garden belonging to the family. Mendelssohn composed extensively for the piano and wrote symphonies for the orchestra. Among his choral works are the great oratorios, _Elijah_ and _St. Paul_. A man of culture and wealth, he travelled extensively and was popular wherever he went, especially in England. He died in Leipzig in 1847.

24. Father, we praise Thee _Gregory the Great_, 540-604
_Tr. Percy Dearmer_, 1867-1936

The original of this morning hymn is attributed to Gregory the Great, Pope Gregory I, a sincere man, devoted to missions and reforms within the church, and one of the greatest of the line of Popes. The date of his election to the papacy, A.D. 590, is usually given by church historians as the end of the period of the Ancient Church and the beginning of the period of the Middle Ages—a witness to the importance of Gregory. A man of unblemished character and statesmanlike wisdom, he had a noble vision and ambition for Christianity and took a keen interest in the ritual and music of the church. Though not original or scholarly, he was a voluminous writer and had much influence in his time. He sent out missionaries, such as Augustine to England, and labored incessantly to purify and strengthen the church, care for its poor, and bring Christianity to the heathen. Gregory was particularly interested in the music of the church; and the “Gregorian Chants,” many of them composed by him, became the basis of cathedral music for a thousand years. He did away with certain embellishments which had crept in through the influence of Ambrose, and inaugurated the use of the solemn, stately chants which bear his name.

The translation of this hymn is by Percy Dearmer, an English hymnologist and clergyman who became Canon of Westminster, London, in 1931. He edited _Songs of Praise_, adopted widely in England for use in churches and public schools.

_MUSIC._ CHRISTI SANCTORUM is a tune of uncertain origin taken from a book by Francois de la Feillée, entitled _Methode du Plain Chant_, published in 1782. The melody, easily within range of all voices, is well adapted for unison singing. It is most effective when sung somewhat slowly. Though the tune appears in a book of plainsong, the melody has rhythm and is measured, and has none of the characteristics of a plainsong.

25. Awake, my soul, and with the sun _Thomas Ken_, 1637-1711

Taken from a _Manual of Prayers_, which Bishop Ken wrote for Winchester College students in 1674. It appeared as the “Morning Hymn.” The preface of the book admonished the boys “to be sure to sing the Morning and Evening Hymn in your chamber devoutly.” Both the Morning and Evening Hymn (33) had for the closing stanza the famous doxology, “Praise God from whom all blessings flow,” now sung by the whole Christian church. The original poem had fourteen stanzas. According to Julian, this hymn is one of four at the head of all hymns in the English language.

Thomas Ken was an English poet and clergyman and had considerable musical talent. He was a man unafraid to declare his convictions. He once refused to read, at the king’s command, a certain document to his parishioners, and was imprisoned for his defiance. He finally lost his bishopric because he refused to swear allegiance to Mary and William of Orange when they became rulers of England. Ken was known for his saintly character, his great ability and eloquence as a preacher, and his pioneering in the art of hymn writing.

That all hymns must be written in the third person, as is sometimes asserted, is disproved by this great hymn in its use of “I” and “my.”

_MUSIC._ For comments on Francois H. Barthélémon, composer of the tune, MORNING HYMN, see Hymn 2.

26. Christ, whose glory fills the skies _Charles Wesley_, 1707-88

One of the greatest morning hymns in the English language, based on Mal. 4:2: “But unto you that fear my name shall the sun of righteousness arise with healing in his wings.” James Montgomery called it “one of Charles Wesley’s loveliest progeny.” It pictures Christ as the true Light and the Sun of Righteousness triumphing over the darkness of sin and grief.

Charles Wesley was the second youngest in a family of nineteen children and became the “sweet singer of Methodism.” He and Isaac Watts were the most important hymnists of the 18th century in England.

For further comments on Wesley see Hymn 6.

_MUSIC._ LUX PRIMA is by the French composer, Charles F. Gounod, 1818-93, a musician of a deeply religious nature. Gounod had taken two years of theology with the expectation of becoming ordained, but later decided that his greatest contribution to religion would be through music. His outstanding religious work is the oratorio, _The Redemption_. While composing it, he used to spend hours in Notre Dame Cathedral in prayer and meditation. LUX PRIMA is a stirring tune, building up to a climax at “Day-star,” and is widely used as a processional.

27. Come, my soul, thou must be waking _F. R. von Canitz_, 1654-99
_Tr. H. J. Buckoll_, 1803-71

From a book of German lyrics, translated by H. J. Buckoll. The original poem of 13 stanzas begins with the words, “_Seele, du muszt munter werden_.” The hymn, expressing the glories of a new day, is especially suitable for use in schools and colleges. It is a translation of stanzas 1, 6, 8, 10, and 11 of the original:

Seele, du musst munter werden!
Denn der Erden
Blickt hervor ein neuer Tag.
Komm, dem Schöpfer dieser Strahlen
Zu bezahlen,
Was dein schwacher Trieb vermag.

Bitte, dass er dir Gedeihen
Mag verleihen,
Wenn du auf was Gutes zielst;
Aber dass er dich mag stören
Und bekehren
Wenn du böse Regung fühlst.

Denk, dass er auf deinen Wegen
Ist zugegen,
Und erkennet, was du tust;
Dass er auch verborgne Flecken
Kann entdecken,
Und die tiefste Sündenlust.

Drum so seufze, dass dein Scheiden
Nicht ein Leiden,
Sondern sanftes Schlafen sei—
Dass ich seh’ mit ew’ger Wonne
Jene Sonne,
Wann des Todes Nacht vorbei.

Treib’ nur Gottes Gnadenblicke
Nicht zurücke
Fasse treulich ihren Schein;
Dann wird deiner Seele Frieden
Schon hienieden
Süsser als die Sonne sein.

Friedrich Rudolph Ludwig, Freiherr von Canitz, was born in Berlin in 1654. He was a distinguished diplomat, a philanthropist, and a devout Christian. In the early morning of his last day on earth, August 11, 1699, ill with dropsy, he gazed at the rising sun and exclaimed, “Oh, if the sight of this created sun is so charming and beautiful, what will be the sight of the unspeakable glory of the Creator himself!” He was _Staatrath_ (State Counsellor) at the time of his death.

The translator, Rev. Henry J. Buckoll, was educated at Oxford and spent most of his life teaching. He edited several collections of songs for schools and in 1842 published _Hymns Translated from the German_.

_MUSIC._ HAYDN comes from a tune in one of the movements of a string quartet by Franz Joseph Haydn, 1732-1809, the great Austrian composer, and important figure in the history of music. He was affectionately named “Papa Haydn” by Mozart. He wrote church music, song, opera, and oratorio, over 100 symphonies and 83 string quartets. His _Creation_, a sacred oratorio, is widely known. He was devoutly religious and did not hesitate to ascribe his musical scores to God’s glory. He gave as one of his reasons for writing music: “that the weary and worn or the man burdened with affairs might enjoy something of solace and refreshment.” There is a cheerfulness and optimism about his music which appeals to amateur and professional alike. Haydn was a teacher as well as composer and numbered among his pupils Mozart and Beethoven.

EVENING

28. Now on land and sea descending _Samuel Longfellow_, 1819-92

Written for use in a series of vesper services the author was conducting in his church. It was published, with other hymns, in a small book called _Vespers_. This hymn and “Again as evening’s shadow falls” (No. 280), also by Longfellow, have become two of the most-loved evening hymns in the English language.

Samuel Longfellow, younger brother of the poet, Henry Wadsworth Longfellow, was born and died in Portland, Maine. He was educated at Harvard for the ministry and served congregations in Fall River, Mass.; Brooklyn; and Germantown, Pa., resigning the last charge to write his brother’s _Life_, 1886. Though a Unitarian, he speaks of Christ as Lord and Saviour and accepted the miracles of the New Testament. He edited several important hymn books and wrote a number of hymns of excellent quality. Thirteen of his compositions are included in the _Hymnary_.

_MUSIC._ VESPERS is by the Russian composer Dimitri Stephanovitch Bortniansky who was born at Gloukoff, in the Ukraine, 1752, and died at St. Petersburg, 1825. He studied music at Moscow, St. Petersburg, and Venice, Italy, the Empress Catherine of Russia supplying the necessary funds. (It was this Empress Catherine who extended an invitation in 1786 to Prussian Mennonites to settle in South Russia, promising religious toleration, military exemption, and other special privileges.) Bortniansky became Director of the Imperial Kapelle, the Empress’ Church Choir. He was a distinguished composer of sacred music and has had a great and lasting influence on Russian church music. From his pen came the well-known chorale tune, “_Ich bete an die Macht der Liebe_” (No. 517).

The word “Jubilate” means “to shout for joy.” It comes from the same Latin root as “jubilee” and “jubilant.” Its English pronunciation in singing is Jōo-bĭ-lä-tĭ. If you prefer the Latin, sing it Yōo-bā-lä-tĭ.

29. Now the day is over _Sabine Baring-Gould_, 1834-1924

Based on Proverbs 3:24:

“When thou liest down, thou shalt not be afraid;
Yea, thou shalt lie down, and thy sleep shall be sweet.”

The hymn was written for children, but is suitable for worshippers of all ages.

Sabine Baring-Gould was educated at Cambridge and became a clergyman of the Church of England. He was a man of great industry and versatility, and possessed a wide range of interests. He wrote books on travel, biography, history, and is the author of several novels. He also edited several collections of folk songs. Baring-Gould is the author of “Onward Christian soldiers,” another hymn written for children, which has received a much wider use than originally intended.

_MUSIC._ MERRIAL is a favorite tune for choir use in evening services. The average congregation can learn to sing it without difficulty, and when sung slowly and thoughtfully, it constitutes a deeply moving evening prayer.

For comments on the composer, Joseph Barnby, see Hymn 21.

30. Sun of my soul, Thou Savior dear _John Keble_, 1792-1866

Another evening hymn, widely used, and destined to live as long as English hymns are sung. It is taken from the author’s _Christian Year_, a book of devotional poetry which sold 305,500 copies in forty-six years. The original poem of fourteen stanzas, composed November 25, 1820, appeared with the title, “’Tis Gone, that Bright and Orbèd Blaze,” and was headed with the text, “Abide with us” (Luke 24:29). The hymn represents a lone traveller pressing on his way after the sun has set, but trusting in Christ, the “Sun of the soul,” for guidance and protection, and lifting a prayer for the sick and poor and the helpless. Tennyson, too, likened Christ to the sun. Asked what Christ meant to him he paused beside a flower in the garden and answered: “What the sun is to that flower, Jesus Christ is to my soul. He is the Sun of my soul.”

For further comments on John Keble see Hymn 22.

_MUSIC._ HURSLEY is a good tune but not as good as the original, “_Grosser Gott, wir loben Dich_” (No. 519), from which some unknown person adapted it. The melody and harmonization have been changed, not for the better, to suit the English words. “Hursley” was the name of the parish of which Keble was vicar, and the tune was doubtless given this name when it came to be associated with Keble’s hymn.

31. Day is dying in the west _Mary Lathbury_, 1841-1913

An evening hymn of high rank which has been used widely in American churches during the past half century.

Mary A. Lathbury, daughter of a Methodist minister, was a successful art teacher but is remembered chiefly for her work with the Methodist Sunday School Union and her literary contributions to periodicals for young people. The “Look Up” Legion which she founded had for its motto, Edward Everett Hale’s four rules of good conduct:

Look up, not down;
Look forward, not back;
Look out, not in,
And lend a hand.

Miss Lathbury wrote this hymn for use at the vesper services at Lake Chautauqua, in western New York, where hundreds of young people, eager to deepen their spiritual life, have met every year since 1873 for Bible study and prayer. This hymn and “Break Thou the Bread of Life” give the author a permanent place in American hymnody.

_MUSIC._ CHAUTAUQUA was written especially for Miss Lathbury’s hymn. William F. Sherwin, 1826-88, studied music under Lowell Mason and later became a teacher of vocal music. He was unusually successful in leading choral groups and was appointed music director at Lake Chautauqua. The tune is dignified and stately, yet simple. The refrain should be sung softly at the beginning and rise gradually to a climax.

32. Darkening night the land doth cover _Anon. Greek_
_Tr. Robert Bridges_, 1844-1930

From an anonymous 8th-century or earlier Greek hymn. Some authorities believe it to be an expansion of the Greek candle lighting hymn (No. 34), also translated by Robert Bridges. The editors of the _Hymnary_, in search of a poem to fit the well-known UNTER LILIEN JENER FREUDEN tune in the _Gesangbuch mit Noten_, found for it this beautiful evening hymn published in the _American Oxford Hymnal_.

The translator, Robert Bridges, was one of England’s great literary scholars who gave serious attention to hymnology. After graduating from Eton and Oxford, he turned his attention to medicine and became a distinguished surgeon. At the early age of 38, however, he retired from medicine to give himself to literature and music. In 1913, he was made Poet Laureate of England. His most significant work in hymnology was the famous _Yattendon Hymnal_, which he published in 1899 while living in the village of Yattendon. It consisted of 100 hymns, 44 of which were from his own pen, either as author or translator. The hymns were set to music derived largely from the _Genevan Psalter_. The hymnal represented an extraordinarily high standard, both as to words and music, but it never became popular, and copies of it are nearly impossible to find.

_MUSIC._ The tune, UNTER LILIEN JENER FREUDEN, is found at No. 546 of the _Gesangbuch mit Noten_ where it is set to a poem by J. Allendorf. No information has been traced concerning the composer, J. Voigtländer.

33. All praise to Thee, my God this night _Thomas Ken_, 1637-1711

Based on Psalm 91:4: “He shall cover thee with his feathers; and under his wings shalt thou trust.”

This is the “Evening Hymn,” whereas No. 25 is the “Morning Hymn” which Bishop Ken wrote for the devotional use of students at Winchester College. His endeavor was to express in simple, fitting words the thoughts that ought to be in the minds of the boys of the school “and all other devout Christians” in the evening. The two hymns were published in 1695 and have been growing in fame and power these two and one-half centuries. Both concluded with the doxology, “Praise God from whom all blessings flow,” now known and sung throughout Christendom.

_MUSIC._ The tune, EVENING HYMN, was originally in canon form, i.e., a form in which one voice begins the melody which is then imitated note for note by some other voice, as in a “round.” Tallis, as was customary at the time, started the melody in the tenor, imitated by the soprano. The tune used here is a later and altered form which, in the judgment of this writer, is less interesting than the canonic form used in many hymnbooks. Its choice was an editorial inadvertence.

Thomas Tallis, composer of the tune, died in 1585. The exact date of his birth, probably before 1520, remains uncertain. Styled the “Father of English Cathedral Music,” he was chorister at St. Paul’s Cathedral, London, and later held important posts as organist. He was indisputably the greatest English musician of his age, and EVENING HYMN is his most famous tune.

34. O Gladsome Light, O Grace _Greek 1st or 2d Century_
_Tr. Robert Bridges,_ 1844-1930

This is the oldest Christian hymn in common use, belonging to the first or second century. It was sung by the early Christians as a hymn of thanksgiving at the lighting of the candles at the vesper services in the church and probably also in the home. It is still so used in the Eastern churches. St. Basil wrote c. 370 regarding this hymn: “We cannot say who is the father of this expression at the Thanksgiving of the Lighting of the Lamps; but it is an _ancient_ formula which the people repeat.” So in A.D. 370 the hymn was already ancient!

For comments on the translator, Robert Bridges, see Hymn 32.

_MUSIC._ The tune NUNC DIMITTIS is by the French musician, Louis Bourgeois, c. 1510-61, the best melodist of his day, and composer of most of the music for the _Genevan Psalter_, a French metrical version of the Psalms published in 1549. Many of his melodies have been altered, as for example, “Old Hundredth,” but this one has come to us unchanged. It is a glorious melody which needs to be listened to repeatedly to be appreciated. The harmonization is by Claude Goudimel, c. 1505/10-72, another eminent Protestant musician, who provided harmonies for many of the Genevan psalm tunes. Goudimel’s life came to an end in the massacre of St. Bartholomew in 1572, one of those tragedies during the counter-reformation in which the Protestants suffered at the hands of the Jesuits.

35. God that madest earth and heaven _Stanza 1, Reginald Heber_,
1783-1826
_Stanza 2, William Mercer_, 1811-73
_Stanza 3, Richard Whateley_, 1787-1863

The original hymn consisted of the first stanza only which was written by Reginald Heber after hearing the tune used here played by a Welch harpist in a home where Heber was visiting. Retiring to a quiet place, he promptly wrote the stanza to suit the melody.

For comments on Reginald Heber see Hymn 1.

William Mercer, author of the second stanza, was a clergyman in the Church of England in Sheffield. In 1857, he issued _The Church Psalter and Hymn Book_, the most important Church of England book of its time. His aim was to promote greater participation by the congregation in the hymn singing.

Richard Whately was archbishop of Dublin. He was a man of great brilliance of mind, though, it is said, he had no ear for music and no eye for natural beauty.

_MUSIC._ The tune AR HYD Y NOS is a Welsh traditional melody commonly associated with the words “All through the night.” It appears in many modern hymnals. A growing number of folk tunes are being used for hymn tunes.

36. Softly now the light of day _George Washington Doane_, 1799-1859