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Author: Dorothy Frances Gurney, 1858-1932 Meter: 11.10.11.10 Appears in 236 hymnals Topics: Sacraments and Ordinances Marriage First Line: O perfect Love, all human though transcending Lyrics: 1 O perfect Love, all human thought transcending, lowly we kneel in prayer before your throne, that theirs may be the love which knows no ending, whom you in holy love now join in one. 2 O perfect Life, be now their full assurance of tender charity and steadfast faith, of patient hope and quiet, brave endurance, with childlike trust that fears nor pain nor death. 3 Grant them the joy which brightens earthly sorrow; grant them the peace which calms all earthly strife, and to life's day the glorious morrow that dawns upon eternal love and life. Scripture: John 4:27 Used With Tune: O PERFECT LOVE

We know that Christ is raised and dies no more

Author: John Brownlow Geyer, 1932- Meter: 10.10.10.4 Appears in 29 hymnals Topics: Sacraments and Ordinances Baptism Scripture: Romans 6:1-11 Used With Tune: ENGELBERG

O Jesus, I have promised

Author: John Ernest Bode, 1816-1874 Meter: 7.6.7.6 D Appears in 621 hymnals Topics: Sacraments and Ordinances Profession of Faith Lyrics: 1 O Jesus, I have promised to serve thee to the end; be thou for ever near me, my Saviour and my friend: I shall not fear the struggle if thou art by my side, nor wander from the pathway if thou wilt be my guide. 2 Oh let me feel thee near me: the world is ever near; I see the sights that dazzle, the tempting sounds I hear. My foes are ever near me, around me and within, but, Jesus, draw thou nearer, and shield my soul from sin. 3 O let me hear thee speaking in accents clear and still, above the storms of passion, the murmurs of self-will; oh speak to reassure me, to hasten or control; oh speak, and make me listen, thou guardian of my soul. 4 O Jesus, thou hast promised to all who follow thee, that where thou art in glory there shall thy servant be, and, Jesus, I have promised to serve thee to the end; oh give me grace to follow my Saviour and my friend. Scripture: Matthew 8:19 Used With Tune: ANGEL'S STORY

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Tunes

Tune authorities

GIFT OF LOVE

Meter: 8.8.8.8 Appears in 205 hymnals Composer and/or Arranger: Hal Hopson Topics: The Sacraments and Rites of the Church Ordination; The Sacraments and Rites of the Church Ordination Tune Key: G Major Incipit: 51232 16551 71234 Used With Text: The Gift of Love

DEUS TUORUM MILITUM

Meter: 8.8.8.8 Appears in 124 hymnals Composer and/or Arranger: Ralph Vaughan Williams; Basil Harwood Topics: The Sacraments and Rites of the Church Ordination; The Sacraments and Rites of the Church Ordination Tune Sources: Grenoble Antiphoner, 1753 Tune Key: B Flat Major Incipit: 13515 43211 31671 Used With Text: Whom Shall I Send?

VENI CREATOR

Meter: 8.8.8.8 Appears in 145 hymnals Topics: The Sacraments and Rites of the Church Ordination; The Sacraments and Rites of the Church Ordination Tune Sources: Vesperale Romanum, Mechlin, 1848; adapt. from Hymns for Church and School, 1964 Tune Key: A Major Incipit: 56545 65122 11561 Used With Text: Come, Holy Ghost, Our Souls Inspire

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Instances

Published text-tune combinations (hymns) from specific hymnals

Thou, who at thy first eucharist didst pray

Author: William Henry Turton, 1856-1938 Hymnal: The Book of Praise #559 (1997) Meter: 10.10.10.10.10.10 Topics: Sacraments and Ordinances Communion Lyrics: 1 Lord, who at thy first eucharist didst pray that all thy church might be forever one, grant us at every eucharist to say with longing heart and soul, thy will be done. Oh may we all one bread, one body be, through this blest sacrament of unity. 2 For all thy church, O Lord, we intercede; make thou our sad divisions soon to cease; draw us the nearer each to each, we plead, by drawing all to thee, O Prince of Peace; thus may we all one bread, one body be, through this blest sacrament of unity. 3 So, Lord, at length when sacraments shall cease, may we be one with all thy church above, one with thy saints in one unbroken peace, one with thy saints in one unbounded love; more blessed still in peace and love to be one with the Trinity in unity. Scripture: John 17:11 Languages: English Tune Title: SONG I

I, the Lord of sea and sky

Author: Daniel L. Schutte, 1947- Hymnal: The Book of Praise #592 (1997) Topics: Sacraments and Ordinances Ordination / Commissioning First Line: I, the Lord of sea and sky, I have heard my people cry Refrain First Line: Here I am, Lord, Is it I, Lord? Scripture: Exodus 3:7-12 Languages: English Tune Title: HERE I AM, LORD

May God's love be fixed above you

Author: John A. Dalles, 1954- Hymnal: The Book of Praise #582 (1997) Meter: 8.7.8.7.8.7 Topics: Sacraments and Ordinances Ordination / Commissioning Scripture: John 14:27 Languages: English Tune Title: TANTUM ERGO

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People

Authors, composers, editors, etc.

Samuel Webbe

1740 - 1816 Person Name: Samuel Webbe, the elder, 1740-1816 Topics: Sacraments and Ordinances Ordination / Commissioning Composer of "MELCOMBE" in The Book of Praise Samuel Webbe (the elder; b. London, England, 1740; d. London, 1816) Webbe's father died soon after Samuel was born without providing financial security for the family. Thus Webbe received little education and was apprenticed to a cabinetmaker at the age of eleven. However, he was determined to study and taught himself Latin, Greek, Hebrew, French, German, and Italian while working on his apprenticeship. He also worked as a music copyist and received musical training from Carl Barbant, organist at the Bavarian Embassy. Restricted at this time in England, Roman Catholic worship was freely permitted in the foreign embassies. Because Webbe was Roman Catholic, he became organist at the Portuguese Chapel and later at the Sardinian and Spanish chapels in their respective embassies. He wrote much music for Roman Catholic services and composed hymn tunes, motets, and madrigals. Webbe is considered an outstanding composer of glees and catches, as is evident in his nine published collections of these smaller choral works. He also published A Collection of Sacred Music (c. 1790), A Collection of Masses for Small Choirs (1792), and, with his son Samuel (the younger), Antiphons in Six Books of Anthems (1818). Bert Polman

Orlando Gibbons

1583 - 1625 Person Name: Orlando Gibbons, 1583-1625 Topics: Sacraments and Ordinances Communion Composer of "SONG I" in The Book of Praise Orlando Gibbons (baptised 25 December 1583 – 5 June 1625) was an English composer, virginalist and organist of the late Tudor and early Jacobean periods. He was a leading composer in the England of his day. Gibbons was born in Cambridge and christened at Oxford the same year – thus appearing in Oxford church records. Between 1596 and 1598 he sang in the Choir of King's College, Cambridge, where his brother Edward Gibbons (1568–1650), eldest of the four sons of William Gibbons, was master of the choristers. The second brother Ellis Gibbons (1573–1603) was also a promising composer, but died young. Orlando entered the university in 1598 and achieved the degree of Bachelor of Music in 1606. James I appointed him a Gentleman of the Chapel Royal, where he served as an organist from at least 1615 until his death. In 1623 he became senior organist at the Chapel Royal, with Thomas Tomkins as junior organist. He also held positions as keyboard player in the privy chamber of the court of Prince Charles (later King Charles I), and organist at Westminster Abbey. He died at age 41 in Canterbury of apoplexy, and a monument to him was built in Canterbury Cathedral. A suspicion immediately arose that Gibbons had died of the plague, which was rife in England that year. Two physicians who had been present at his death were ordered to make a report, and performed an autopsy, the account of which survives in The National Archives: We whose names are here underwritten: having been called to give our counsels to Mr. Orlando Gibbons; in the time of his late and sudden sickness, which we found in the beginning lethargical, or a profound sleep; out of which, we could never recover him, neither by inward nor outward medicines, & then instantly he fell in most strong, & sharp convulsions; which did wring his mouth up to his ears, & his eyes were distorted, as though they would have been thrust out of his head & then suddenly he lost both speech, sight and hearing, & so grew apoplectical & lost the whole motion of every part of his body, & so died. Then here upon (his death being so sudden) rumours were cast out that he did die of the plague, whereupon we . . . caused his body to be searched by certain women that were sworn to deliver the truth, who did affirm that they never saw a fairer corpse. Yet notwithstanding we to give full satisfaction to all did cause the skull to be opened in our presence & we carefully viewed the body, which we found also to be very clean without any show or spot of any contagious matter. In the brain we found the whole & sole cause of his sickness namely a great admirable blackness & syderation in the outside of the brain. Within the brain (being opened) there did issue out abundance of water intermixed with blood & this we affirm to be the only cause of his sudden death. His death was a shock to peers and the suddenness of his passing drew comment more for the haste of his burial – and of its location at Canterbury rather than the body being returned to London. His wife, Elizabeth, died a little over a year later, aged in her mid-30s, leaving Orlando's eldest brother, Edward, to care for the children left orphans by this event. Of these children only the eldest son, Christopher Gibbons, went on to become a musician. One of the most versatile English composers of his time, Gibbons wrote a quantity of keyboard works, around thirty fantasias for viols, a number of madrigals (the best-known being "The Silver Swan"), and many popular verse anthems. His choral music is distinguished by his complete mastery of counterpoint, combined with his wonderful gift for melody. Perhaps his most well known verse anthem is This is the record of John, which sets an Advent text for solo countertenor or tenor, alternating with full chorus. The soloist is required to demonstrate considerable technical facility at points, and the work at once expresses the rhetorical force of the text, whilst never being demonstrative or bombastic. He also produced two major settings of Evensong, the Short Service and the Second Service. The former includes a beautifully expressive Nunc dimittis, while the latter is an extended composition, combining verse and full sections. Gibbons's full anthems include the expressive O Lord, in thy wrath, and the Ascension Day anthem O clap your hands together for eight voices. He contributed six pieces to the first printed collection of keyboard music in England, Parthenia (to which he was by far the youngest of the three contributors), published in about 1611. Gibbons's surviving keyboard output comprises some 45 pieces. The polyphonic fantasia and dance forms are the best represented genres. Gibbons's writing exhibits full mastery of three- and four-part counterpoint. Most of the fantasias are complex, multisectional pieces, treating multiple subjects imitatively. Gibbons's approach to melody in both fantasias and dances features a capability for almost limitless development of simple musical ideas, on display in works such as Pavane in D minor and Lord Salisbury's Pavan and Galliard. In the 20th century, the Canadian pianist Glenn Gould championed Gibbons's music, and named him as his favorite composer. Gould wrote of Gibbons's hymns and anthems: "ever since my teen-age years this music ... has moved me more deeply than any other sound experience I can think of." In one interview, Gould compared Gibbons to Beethoven and Webern: ...despite the requisite quota of scales and shakes in such half-hearted virtuoso vehicles as the Salisbury Galliard, one is never quite able to counter the impression of music of supreme beauty that lacks its ideal means of reproduction. Like Beethoven in his last quartets, or Webern at almost any time, Gibbons is an artist of such intractable commitment that, in the keyboard field, at least, his works work better in one's memory, or on paper, than they ever can through the intercession of a sounding-board. To this day, Gibbons's obit service is commemorated every year in King's College Chapel, Cambridge. --wikipedia.org

W. H. Havergal

1793 - 1870 Person Name: William Henry Havergal, 1793-1870 Topics: Sacraments and Ordinances Baptism Harmonizer of "STUTTGART" in The Book of Praise Havergal, William Henry, M.A, son of William Havergal, was born at High Wycombe, Buckinghamshire, 1793, and was educated at St. Edmund's Hall, Oxford (B.A. 1815, M.A. 1819). On taking Holy Orders he became in 1829 Rector of Astley, Worcestershire; in 1842, Rector of St. Nicholas, Worcester; and in 1860, Rector of Shareshill, near Wolverhampton. He was also Hon. Canon in Worcester Cathedral from 1845. He died April 18, 1870. His hymns, about 100 in all, were in many instances written for special services in his own church, and printed as leaflets. Several were included in W. Carus Wilson's Book of General Psalmody, 1840 (2nd ed., 1842); and in Metrical Psalms & Hymns for Singing in Churches, Worcester, Deighton, 1849, commonly known as the Worcester Diocesan Hymn Book, and of which he was the Editor. In Life Echoes, 1883, his hymns are given with those of Miss Havergal. Of those in common use the greater part are in Mercer, and Snepp's Songs of Grace & Glory. Although his hymns are all good, and two or three are excellent, it is not as a hymnwriter but as a musician that Canon Havergal is best known. His musical works and compositions included, in addition to numerous individual hymn tunes and chants, the Gresham Prize Service, 1836; the Gresham Prize Anthem, 1845; Old Church Psalmody, 1849; History of the Old 100th Psalm tune, 1854, &c. He also reprinted Ravenscroft’s Psalter of 1611. His hymns in common use include:— 1. Blessed Jesus, lord and Brother. School Festivals, 1833. Published in Life Echoes, 1883. 2. Brighter than meridian splendour. Christ the glory of His Church. 1830. Published in W. C. Wilson's Book of General Psalms, 1840; the Worcester Psalms & Hymns, 1849, &c. 3. Christians, awake to joy and praise. Christmas Carol, c. 1860. Printed on broadsheet, with music by the author, and sold on behalf of the Lancashire Cotton Distress Fund. 4. Come, Shepherds, come, 'tis just a year. Christmas Carol. 1860. Published in Snepp's Songs of Grace & Glory, 5. For ever and for ever, Lord. Missions, 1866, for the Church Mission Society. Published in Snepp's Songs of Grace & Glory, 1872, and the Life Echoes, 1883. 6. Hallelujah, Lord, our voices. Sunday. 1828. Published in W. C. Wilson's Book of General Psalms, 1840; the Worcester Psalms & Hymns, 1849; Life Echoes, 1883, &c. 7. Heralds of the Lord of glory. Missions. First sung in Astley Church, Sep. 23, 1827. Published in Miss Havergal's Starlight through the Shadows, 1880; Snepp's Songs of Grace & Glory, 1872, &c. 8. Hosanna, raise the pealing hymn. Praise to Christ, 1833, and first sung in Astley Church, June 9, 1833. Published in W. C. Wilson's Book of General Psalmody, 1840; the Worcester Psalms & Hymns, 1849; Life Echoes 1883, &c. 9. How vast the field of souls. Missions. 1858. Printed for Shareshill Church Miss. Anniversary, 1863, and published in Snepp's Songs of Grace & Glory, 1872, and the Life Echoes, 1883. 10. In doubt and dread dismay. Missions. Written in 1837, and published in W. C. Wilson's Book of General Psalmody, 1840; the Worcester Psalms & Hymns, 1849, &c. 11. Jerusalem the golden, The home of saints shall be. Heaven. Published in Life Echoes, 1883. 12. My times are in Thy hand, Their best, &c. 1860. Published in Snepp's Songs of Grace & Glory, 1872, the Records of the author's life and work, and Life Echoes, 1883. The editor of the Records says (p. 159) "this hymn has been much appreciated, and well illustrates the devotional and cheerful spirit of the writer." 13. No dawn of holy light. Sunday. 1825. Printed in 1831 on a leaflet, and published in W. C. Wilson's Book of General Psalmody, 1840; the Worcester Psalms & Hymns, 1849; Life Echoes, 1883, &c. 14. Our faithful God hath sent us. Harvest. Written at Shareshill in 1863, for a Harvest Festival. Published in Snepp's Songs of Grace & Glory 1872, and Life Echoes, 1883. 15. Shout, 0 earth! from silence waking. Praise to Jesus for Redemption. 1841. Published in the Worcester Psalms & Hymns, 1849; Snepp's Songs of Grace & Glory, 1872, &c. 16. So happy all the day. Christmas Carol, c. 1834. Published in Snepp's Songs of Grace & Glory, 1872. 17. Soon the trumpet of salvation. Missions. 1826. Published in Snepp's Songs of Grace & Glory, 1872. 18. To praise our Shepherd's [Saviour's] care. The Good Shepherd. Written after witnessing the death of Elizabeth Edwards, aged 12, of St. Nicholas, Worcester, and printed as a leaflet. Published in W. C. Wilson's Book of General Psalmody, 1840; the Worcester Psalms & Hymns, 1849; Life Echoes, &c, 1883. The author also published a Memoir of the child. 19. Widely 'midst the slumbering nations. Missions. 1828. Published in the Worcester Psalms & Hymns, 1849; Snepp's Songs of Grace & Glory, 1872, &c. In addition to these hymns, his carols, "How grand, and how bright," "Our festal morn is come," and others are annotated under their respective first lines. Most of these carols and hymns were reprinted in Christmas Carols & Sacred Songs, Chiefly by the Rev. W. H. Havergal, London, Nisbet, 1869. --John Julian, Dictionary of Hymnology (1907) ===================== Havergal, W. H., p. 498, i. Other hymns are: — 1. Lord, if judgments now are waking. Second Advent. Published in W. Carus Wilson's Book of General Psalmody, 1840; in Kennedy, 1863, &c. 2. Remember, Lord, Thy word of old displayed. Missions. "Composed for a special prayer-meeting for missionary labourers, held in the author's schoolroom, in the parish of St. Nicholas's, Worcester." (W. F. Stevenson's Hymns for Church and Home, 1873, where the original text is also given.) It must be noted that No. 17, at p. 498, ii., "Soon the trumpet of salvation," was first published in A Collection of Original Airs adapted to Hymns, &c, 1826. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

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