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Glory and Praise and Honor
Author: Theodulph, Bp. of Orleans; J. M. Neale Appears in 601 hymnals Topics: The Church Sunday School Used With Tune: VALENS
Glory and Praise and Honor
Round the Lord in glory seated
Author: Richard Mant Meter: 8.7.8.7 D Appears in 198 hymnals Topics: Sunday Schools Lyrics:
Round the Lord in glory seated
Cherubim and seraphim
Filled his temple, and repeated
Each to each th'alternate hymn:
"Lord, thy glory fills the heaven,
Earth is with thy fullness stored;
Unto thee be glory given,
Holy, Holy, Holy Lord."
Heaven is still with glory ringing,
Earth takes up the angels' cry,
"Holy, Holy, Holy," singing,
"Lord of hosts, the Lord Most High."
With his seraph train before him,
With his holy Church below,
Thus unite we to adore him,
Bid we thus our anthem flow:
"Lord, thy glory fills the heaven,
Earth is with thy fullness stored;
Unto thee be glory given,
Holy, Holy, Holy Lord."
Thus thy glorious Name confessing,
With thine angel hosts we cry,
"Holy, Holy, Holy," blessing
Thee, the Lord of hosts Most High.
Amen.
Used With Tune: SANCTUARY
Round the Lord in glory seated
Advent tells us Christ is near
Author: Katherine Hankey Meter: 7.7.7.7 Appears in 18 hymnals Topics: Sunday Schools Advent; Sunday Schools Trinity Sunday; Sunday Schools General Use Lyrics:
Advent tells us Christ is near;
Christmas tells us Christ is here!
In Epiphany we trace
All the glory of his grace.
Those three Sundays before Lent
Will prepare us to repent,
That in Lent we may begin
Earnestly to mourn for sin.
Holy Week and Easter, then,
Tell who died and rose again:
O that happy Easter Day!
"Christ is risen indeed," we say.
Yes, and Christ ascended, too,
To prepare a place for you;
So we give him special praise,
After those great forty days.
Then, he sent the Holy Ghost,
On the day of Pentecost,
With us ever to abide:
Well may we keep Whitsuntide!
Last of all, we humbly sing
Glory to our God and King,
Glory to the One in Three,
On the Feast of Trinity.
Amen.
Used With Tune: INNOCENTS
Advent tells us Christ is near
ST. GERTRUDE
Meter: 6.5.6.5.6.5.6.5.6.5.6.5 Appears in 1,007 hymnals Composer and/or Arranger: Arthur S. Sullivan Topics: Sunday Schools Processionals Tune Key: E Flat Major Incipit: 55555 65221 23 Used With Text: Onward, Christian soldiers
ST. GERTRUDE
My Sunday School, The Happy Place
Hymnal: Hymnal for Church and Home #355 (1927) Meter: 8.6.8.6 Topics: Sunday School Hymns Sunday School Lyrics: 1 My Sunday school, the happy place,
Where I most gladly go,
Gives to my heart the joy and grace
That shatter grief and woe.
2 I learn about the blessed Lord,
His death and love for me,
The saving power of His Word,
Which from all sin sets free.
3 We children lift to Him our song
And turn to Him our eyes;
We sing: Our God is great and strong,
And holy, just and wise.
4 O help us, Jesus dear, we pray,
To keep our faith in Thee,
And do what we shall learn to-day
Until we Thee shall see. Languages: English Tune Title: [My Sunday school, the happy place]
My Sunday School, The Happy Place
My Sunday School, The Happy Place
Hymnal: Hymnal for Church and Home (2nd ed.) #355 (1928) Meter: 8.6.8.6 Topics: Sunday School Hymns Sunday School Lyrics: 1 My Sunday school, the happy place,
Where I most gladly go,
Gives to my heart the joy and grace
That shatter grief and woe.
2 I learn about the blessed Lord,
His death and love for me,
The saving power of His Word,
Which from all sin sets free.
3 We children lift to Him our song
And turn to Him our eyes;
We sing: Our God is great and strong,
And holy, just and wise.
4 O help us, Jesus dear, we pray,
To keep our faith in Thee,
And do what we shall learn to-day
Until we Thee shall see. Languages: English Tune Title: [My Sunday school, the happy place]
My Sunday School, The Happy Place
Hail Him
Author: Fanny J. Crosby Hymnal: The Glad Refrain for the Sunday School #11 (1886) Topics: Sunday School First Line: O how bright, cheerfully bright, our Sunday School Refrain First Line: Hail Him, hail Him Lyrics: 1 O how bright, cheerfully bright, our Sunday School;
Faithful friends and teachers here we meet;
How our hearts cheerily think of Bethany,
While we sing at Jesus’ feet.
Refrain:
Hail Him, hail Him,
Sound the jubliee,
Our Lord has made us free;
Hail Him, hail Him,
Now ever more our song shall be;
Hail Him, hail Him,
Sound the jubliee,
Our Lord has made us free;
Hail Him, hail Him,
Now ever more our song shall be.
2 O how bright, cheerfully bright, our Sunday School;
Heart and voice to Jesus while we raise;
Angels’ wings, joyfully bending over us
Bear to Him our youthful praise. [Refrain]
3 O how bright, cheerfully bright, our Sunday School;
Here we learn redeeming grace to sing;
May our hearts never forget our Bethany,
Till in heav’n we hail our King. [Refrain] Languages: English Tune Title: [O how bright, cheerfully bright, our Sunday School]
Hail Him
Martin Madan
1726 - 1790 Topics: Sunday Schools Ascension; Sunday Schools Eastertide; Sunday Schools Author of "Hail, Thou once despised Jesus!" in The Hymnal Madan, Martin, son of Colonel Martin Madan, and brother of Dr. Spencer Madan, sometime Bishop of Peterborough, was born in 1726. He was to have qualified for the Bar, but through a sermon by J. Wesley on the words "Prepare to meet thy God," the whole current of his life was changed. After some difficulty he received Holy Orders, and subsequently founded and became chaplain of the Lock Hospital, Hyde Park Corner. He was popular as a preacher, and had no inconsiderable reputation as a musical composer. He ceased preaching on the publication of his work Thelyphthora, in which he advocated the practice of polygamy. He died in 1790. He published A Commentary on the Articles of the Church of England; A Treatise on the Christian Faith, &c, and:- A Collection of Psalms and Hymns Extracted from Various Authors, and published by the Reverend Mr. Madan. London, 1760.
This Collection contained 170 hymns thrown together without order or system of any kind. In 1763 he added an Appendix of 24 hymns. This Collection, referred to as Madam’s Psalms & Hymns, had for many years a most powerful influence on the hymnody of the Church of England. Nearly the whole of its contents, together with its extensively altered texts, were reprinted in numerous hymnbooks for nearly one hundred years. At the present time many of the great hymns of the last century are in use as altered by him in 1760 and 1763. Although several hymns have been attributed to him, we have no evidence that he ever wrote one. His hymnological labours were employed in altering, piecing, and expanding the work of others. And in this he was most successful.
-- John Julian, Dictionary of Hymnology (1907)
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Martin Madan
Orlando Gibbons
1583 - 1625 Topics: Sunday Schools General Use Composer of "ANGEL'S SONG" in The Hymnal 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
Thomas Haweis
1734 - 1820 Topics: Sunday Schools Epiphanytide Composer of "CHESTERFIELD" in The Hymnal Thomas Haweis (b. Redruth, Cornwall, England, 1734; d. Bath, England, 1820) Initially apprenticed to a surgeon and pharmacist, Haweis decided to study for the ministry at Oxford and was ordained in the Church of England in 1757. He served as curate of St. Mary Magdalen Church, Oxford, but was removed by the bishop from that position because of his Methodist leanings. He also was an assistant to Martin Madan at Locke Hospital, London. In 1764 he became rector of All Saints Church in Aldwinkle, Northamptonshire, and later served as administrator at Trevecca College, Wales, a school founded by the Countess of Huntingdon, whom Haweis served as chaplain. After completing advanced studies at Cambridge, he published a Bible commentary and a volume on church history. Haweis was strongly interested in missions and helped to found the London Mission Society. His hymn texts and tunes were published in Carmino Christo, or Hymns to the Savior (1792, expanded 1808).
Bert Polman
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Haweis, Thomas, LL.B., M.D., born at Truro, Cornwall, 1732. After practising for a time as a Physician, he entered Christ's College, Cambridge, where he graduated. Taking Holy Orders, he became Assistant Preacher to M. Madan at the Lock Hospital, London, and subsequently Rector of All Saints, Aldwincle, Northamptonshire. He was also Chaplain to Lady Huntingdon, and for several years officiated at her Chapel in Bath. He died at Bath, Feb. 11, 1820. He published several prose works, including A History of the Church, A Translation of the New Testament, and A Commentary on the Holy Bible. His hymns, a few of which are of more than ordinary merit, were published in his
Carmina Christo; or, Hymns to the Saviour. Designed for the Use and Comfort of Those who worship the Lamb that was slain. Bath, S. Hayward, 1792 (139 hymns), enlarged. London, 1808 (256 hymns). In 1794, or sometime after, but before the enlarged edition was published, two hymns "For the Fast-day, Feb. 28, 1794," were added to the first edition. These were, "Big with events, another year," and "Still o'er the deep the cannon's roar."
The most popular and widely used of his hymns are, "Behold the Lamb of God, Who bore," &c.; "Enthroned on high, Almighty Lord"; and “O Thou from Whom all goodness flows." The rest, all being from Carmina Christo, first edition 1792, are:—
1. Dark was the night and cold the ground. Gethsemane.
2. From the cross uplifted high. Christ in Glory.
3. Great Spirit, by Whose mighty power. Whitsuntide.
4. Submissive to Thy will, my God. Resignation.
5. The happy morn is come. Easter.
6. Thou Lamb of God, that on the tree. Good Friday. The hymn, "Thy Head, the crown of thorns that wears," in Stryker & Main's Church Praise Book, N. Y., 1882, begins with st. ii. of this hymn.
7. To Thee, my God and Saviour, My heart, &c. Praise for Redemption.
--John Julian, Dictionary of Hymnology (1907)
Thomas Haweis
