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There Is a Balm in Gilead
Meter: Irregular Appears in 107 hymnals Topics: African American spiritual First Line: Sometimes I feel discouraged Lyrics: Refrain:
There is a balm in Gilead
To make the wounded whole;
There is a balm in Gilead
To heal the sin-sick soul.
1 Sometimes I feel discouraged
And think my work’s in vain,
But then the Holy Spirit
Revives my soul again. [Refrain]
2 If you cannot preach like Peter,
If you cannot pray like Paul,
You can tell the love of Jesus
And say He died for all. [Refrain]
3 Don't ever feel discouraged,
For Jesus is your friend;
And if you lack for knowledge,
He'll ne'er refuse to lend. [Refrain] Scripture: Jeremiah 8:18-22 Used With Tune: BALM IN GILEAD Text Sources: African American spiritual
There Is a Balm in Gilead
Shine on Me
Meter: 8.6.8.6 D Appears in 1,226 hymnals Topics: Spirituals First Line: I heard the voice of Jesus say Refrain First Line: Shine on me, Shine on me Lyrics: 1 I heard the voice of Jesus say,
"Come unto me and rest.
Lay down thou weary one, lay down
Thy head upon my breast."
Refrain:
Shine on me, Shine on me.
Let the light from the lighthouse,
Shine on me. Shine on me.
Shine on me.
Let the light from the lighthouse
Shine on me.
2 With pitying eyes the Prince of Peace
Beheld our helpless grief;
He saw, and O amazing love!
He came to our relief. [Refrain]
Scripture: Psalm 31:17 Used With Tune: SHINE ON ME Text Sources: Negro Spiritual
Shine on Me
Down By the River-Side
Appears in 41 hymnals Topics: Spirituals First Line: Goin't' to lay down my sword an' shield Refrain First Line: Ain't goin't' study war no more Used With Tune: [Goin't' to lay down my sword an' shield]
Down By the River-Side
WHAT A MORNING
Meter: 7.8.7.7 with refrain Appears in 61 hymnals Composer and/or Arranger: Melva Costen Topics: Spirituals Tune Sources: Negro Spiritual Tune Key: F Major Incipit: 33231 15534 22653 Used With Text: My Lord, What a Morning
WHAT A MORNING
There Is a Balm in Gilead
Hymnal: Glory and Praise (3rd. ed.) #654 (2015) Meter: 7.6.7.6 with refrain Topics: Musical Style Spiritual; Musical Style Spiritual; Musical Style Spiritual; Musical Style Spiritual; Musical Style Spiritual; Musical Style Spiritual First Line: Sometimes I feel discouraged Lyrics: Refrain:
There is a balm in Gilead
to make the wounded whole,
there is a balm in Gilead
to heal the sin-sick soul.
1 Sometimes I feel discouraged,
And think my work’s in vain,
But then the Holy Spirit
Revives my soul again. [Refrain]
2 If you cannot preach like Peter,
If you cannot pray like Paul,
You can tell the love of Jesus,
And say, “He died for all.” [Refrain]
3 Don’t ever feel discouraged,
For Jesus is your friend;
And if you lack for knowledge
He’ll not refuse to lend. [Refrain] Scripture: Jeremiah 8:22 Languages: English Tune Title: BALM IN GILEAD
There Is a Balm in Gilead
Rise Up, Shepherd, and Follow
Hymnal: Glory and Praise (3rd. ed.) #249 (2015) Meter: 10.7.11.7 with refrain Topics: Musical Style Spiritual; Musical Style Spiritual; Musical Style Spiritual; Musical Style Spiritual; Musical Style Spiritual; Musical Style Spiritual First Line: There's a star in the East on Christmas morn Refrain First Line: Follow, follow Lyrics: 1 There’s a star in the East on Christmas morn;
Rise up, shepherd, and follow;
It will lead to the place where the Christ was born;
Rise up, shepherd and follow.
Refrain:
Follow, follow;
Rise up, shepherd, and follow.
Follow the Star of Bethlehem;
Rise up, shepherd, and follow.
2 Leave your sheep, leave your sheep, and leave your lambs;
Rise up, shepherd, and follow;
Leave your ewes and your rams, leave your ewes and rams;
Rise up, shepherd and follow. [Refrain]
3 If you take good heed to the angel’s words;
Rise up, shepherd, and follow;
You’ll forget your flocks, you’ll forget your herds;
Rise up, shepherd and follow. [Refrain] Scripture: Luke 2:8-15 Languages: English Tune Title: RISE UP, SHEPHERD
Rise Up, Shepherd, and Follow
Somebody's Knockin' at Your Door
Hymnal: Glory and Praise (3rd. ed.) #278 (2015) Topics: Musical Style Spiritual; Musical Style Spiritual; Musical Style Spiritual; Musical Style Spiritual; Musical Style Spiritual; Musical Style Spiritual First Line: Knocks like Jesus Lyrics: 1 Somebody's knockin' at your door;
Somebody's knockin' at your door;
O sinner, why don't you answer?
Somebody's knockin' at your door.
2 Knocks like Jesus.
Somebody's knockin' at your door.
Knocks like Jesus.
Somebody's knockin' at your door.
O sinner, why don't you answer?
Somebody's knockin' at your door.
3 Can't you hear him?
Somebody's knockin' at your door.
Can't you hear him?
Somebody's knockin' at your door.
O sinner, why don't you answer?
Somebody's knockin' at your door.
4 Jesus calls you,
Somebody's knockin' at your door.
Jesus calls you,
Somebody's knockin' at your door.
O sinner, why don't you answer?
Somebody's knockin' at your door.
5 Can't you trust him?
Somebody's knockin' at your door.
Can't you trust him?
Somebody's knockin' at your door.
O sinner, why don't you answer?
Somebody's knockin' at your door.
6 Somebody's knockin' at your door;
Somebody's knockin' at your door;
O sinner, why don't you answer?
Somebody's knockin' at your door. Languages: English Tune Title: [Knocks like Jesus]
Somebody's Knockin' at Your Door
George Frideric Handel
1685 - 1759 Person Name: George Frederick Handel Topics: Warfare, Spiritual Composer of "[Thine is the glory]" in Sing Joyfully George Frideric Handel (b. Halle, Germany, 1685; d. London, England, 1759) became a musician and composer despite objections from his father, who wanted him to become a lawyer. Handel studied music with Zachau, organist at the Halle Cathedral, and became an accomplished violinist and keyboard performer. He traveled and studied in Italy for some time and then settled permanently in England in 1713. Although he wrote a large number of instrumental works, he is known mainly for his Italian operas, oratorios (including Messiah, 1741), various anthems for church and royal festivities, and organ concertos, which he interpolated into his oratorio performances. He composed only three hymn tunes, one of which (GOPSAL) still appears in some modern hymnals. A number of hymnal editors, including Lowell Mason, took themes from some of Handel's oratorios and turned them into hymn tunes; ANTIOCH is one example, long associated with “Joy to the World.”
Bert Polman
George Frideric Handel
Orlando Gibbons
1583 - 1625 Person Name: Orlando Gibbons, 1583-1625 Topics: Spiritual Fight and Victory Composer of "[Eternal Ruler of the ceaseless round]" in Songs of Light 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
Orlando Gibbons
Joseph Mohr
1792 - 1848 Topics: Carols and Spiritual Songs Christmas Author of "Silent Night! Holy Night" in American Lutheran Hymnal Joseph Mohr was born into a humble family–his mother was a seamstress and his father, an army musketeer. A choirboy in Salzburg Cathedral as a youth, Mohr studied at Salzburg University and was ordained in the Roman Catholic Church in 1815. Mohr was a priest in various churches near Salzburg, including St. Nicholas Church. He spent his later years in Hintersee and Wagrein.
Bert Polman
=================
Mohr, Joseph, was born at Salzburg, Austria, on Dec. 11, 1792. After being ordained priest on Aug. 21, 1815, by the Roman Catholic Bishop of Salzburg, he was successively assistant at Ramsau and at Laufen; then coadjutor at Kuchl, at Golling, at Vigaun, at Adnet, and at Authering; then Vicar-Substitute at Hof and at Hintersee--all in the diocese of Salzburg. In 1828 he was appointed Vicar at Hintersee, and in 1837 at Wagrein, near St. Johann. He died at Wagrein, Dec. 4, 1848. The only hymn by him translated into English is:—
Stille Nacht! heilige Nacht! Christmas. This pretty little carol was written for Christmas, 1818, while Mohr was assistant clergyman at Laufen, on the Salza, near Salzburg, and was set to music (as in the Garland of Songs) by Franz Gruber, then schoolmaster at the neighbouring village of Arnsdorf (b. Nov. 25, 1787, at Hochburg near Linz, died June 7, 1863, as organist at Hallein, near Salzburg). What is apparently the original form is given by 0. Kraus, 1879, p. 608, in 3 stanzas of 6 lines, and in Dr. Wichern's Unsere Lieder, Hamburg, 1844, No. 111. Another form, also in 3 stanzas of 6 lines, is in T. Fliedner's Lieder-Buch für Kleinkinder-Schulen, Kaiserswerth, 1842, No. 115, and the Evangelical Kinder Gesang-Buch, Basel, 1867. The translations are from the text of 1844.
1. Holy night! peaceful night! All is dark. By Miss J. M. Campbell in C. S. Bere's Garland of Songs, 1863, and thence in Hymns & Carols, London, 1871.
2. Silent night! hallowed night. Land and deep. This is No. 131 in the Christian Hymn Book, Cincinnati, 1865. It is suggested by, rather than a translation of the German.
3. Holy night! peaceful night! Through the darkness. This is No. 8 in J. Barnby's Original Tunes to Popular Hymns, Novello, N. D., 1869; repeated in Laudes Domini, N.Y., 1884, No. 340.
4. Silent night! holy night! All is calm. This is in C. L. Hutchins's Sunday School Hymnal, 1871 (1878, p. 198), and the Sunday School Hymn Book of the Gen. Council of the Evangelical Lutheran Church in America, 1873, No. 65.
5. Peaceful night, all things sleep. This is No. 17, in Carols for St Stephen's Church, Kirkstall, Leeds, 1872.
6. Silent night, holiest night. All asleep. By Dr. A. Edersheim, in the Sunday at Home, Dec. 18, 1875, repeated in the Church Sunday School Hymn Book, 1879, No. 35.
7. Silent night! holy night! Slumber reigns. By W. T. Matson, as No. 132, in Dr. Allon's Children's Worship, 1878.
8. Still the night, holy the night! Sleeps the world. By Stopford A. Brooke, in his Christian Hymns, 1881, No. 55.
Translations not in common use:--
(1) "Stilly night, Holy night, Silent stars," by Miss E. E. S. Elliott, privately printed for the choir of St. Mark's, Brighton, about 1858, but first published in the Church Missionary Juvenile Instructor, 1871, p. 198. Also in her Tune Book for Under the Pillow, 1880. (2) "Holy night! calmly bright," by Mary D. Moultrie in Hymns & Lyrics by Gerard Moultrie, 1867, p. 42. (3) "Silent night, holiest night! Moonbeams," by C. T. Brooks, In his Poems, Boston, U. S., 1885, p. 218. [Rev. James Mearns, M.A.]
--John Julian, Dictionary of Hymnology (1907)
================
Mohr, Joseph, p. 760, ii. The translation "Stilly night, starry and bright," in Farmer's Glees & Songs for High Schools, 1881, p. 36, is by Archdeacon Farrar.
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
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Hymn Writers of the Church
Joseph Mohr
