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Jesus! and shall it ever be
Author: Joseph Grigg; Benjamin Francis Appears in 1,272 hymnals Topics: Ashamed of Jesus Lyrics: 1 Jesus! and shall it ever be
A mortal man ashamed of Thee?
Ashamed of Thee, whom angels praise,
Whose glories shine thro' endless days?
2 Ashamed of Jesus! sooner far
Let evening blush to own a star;
He sheds the beams of light divine
O'er this benighted soul of mine.
3 Ashamed of Jesus! just as soon
Let midnight be ashamed of noon:
'Tis midnight with my soul till He,
Bright Morning Star, bid darkness flee.
4 Ashamed of Jesus! that dear Friend
On whom my hopes of heaven depend!
No; when I blush--be this my shame,
That I no more revere His name.
5 Ashamed of Jesus! yes, I may
When I've no guilt to wash away,
No tear to wipe, no good to crave,
No fears to quell, no soul to save.
6 Till then--nor is my boasting vain--
Till then I boast a Saviour slain;
And, oh, may this my glory be,
That Christ is not ashamed of me!
Amen. Used With Tune: MEROE
Jesus! and shall it ever be
Clinging to Christ
Author: Charlotte Elliott Appears in 310 hymnals Topics: Ashamed of Jesus First Line: O Holy Saviour! Friend unseen Lyrics: 1 O Holy Saviour! Friend unseen,
Since on thine arm thou bid'st me lean,
Help me, throughout life's changing scene,
By faith to cling to thee!
2 Without a murmur I dismiss
My former dreams of earthly bliss;
My joy, my recompense be this,
Each hour to cling to thee!
3 What though the world deceitful prove,
And earthly friends and hopes remove;
With patient, uncomplaining love,
Still would I cling to thee.
4 Though oft I seem to tread alone
Life's dreary waste, with thorns o'ergrown,
Thy voice of love, in gentlest tone,
Still whispers, "Cling to me!"
5 Though faith and hope are often tried,
I ask not, need not, aught beside;
So safe, so calm, so satisfied,
The soul that clings to thee! Used With Tune: FLEMMING
Clinging to Christ
"I'm not ashamed"
Author: Isaac Watts Appears in 674 hymnals Topics: Ashamed of Jesus First Line: I'm not ashamed to own my Lord Lyrics: 1 I'm not ashamed to own my Lord,
Or to defend his cause;
Maintain the honor of his word,
The glory of his cross.
2 Jesus, my God!--I know his name--
His name is all my trust;
Nor will he put my soul to shame,
Nor let my hope be lost.
3 Firm as his throne his promise stands,
And he can well secure
What I've committed to his hands,
Till the decisive hour.
4 Then will he own my worthless name
Before his Father's face,
And in the new Jerusalem
Appoint my soul a place. Scripture: Ruth 1:16 Used With Tune: CHRISTMAS
"I'm not ashamed"
FEDERAL STREET
Appears in 638 hymnals Composer and/or Arranger: H. K. Oliver Topics: Ashamed of Jesus Tune Key: F Major or modal Incipit: 33343 55434 44334 Used With Text: "Ashamed of me"
FEDERAL STREET
Jesus! and shall it ever be
Author: Joseph Grigg; Benjamin Francis Hymnal: Book of Worship with Hymns and Tunes #169a (1899) Topics: Ashamed of Jesus Lyrics: 1 Jesus! and shall it ever be
A mortal man ashamed of Thee?
Ashamed of Thee, whom angels praise,
Whose glories shine thro' endless days?
2 Ashamed of Jesus! sooner far
Let evening blush to own a star;
He sheds the beams of light divine
O'er this benighted soul of mine.
3 Ashamed of Jesus! just as soon
Let midnight be ashamed of noon:
'Tis midnight with my soul till He,
Bright Morning Star, bid darkness flee.
4 Ashamed of Jesus! that dear Friend
On whom my hopes of heaven depend!
No; when I blush--be this my shame,
That I no more revere His name.
5 Ashamed of Jesus! yes, I may
When I've no guilt to wash away,
No tear to wipe, no good to crave,
No fears to quell, no soul to save.
6 Till then--nor is my boasting vain--
Till then I boast a Saviour slain;
And, oh, may this my glory be,
That Christ is not ashamed of me!
Amen. Languages: English Tune Title: MEROE
Jesus! and shall it ever be
"Ashamed of me"
Author: Joseph Grigg Hymnal: Laudes Domini #401 (1890) Topics: Ashamed of Jesus First Line: Jesus! and shall it ever be Lyrics: 1 Jesus! and shall it ever be,
A mortal man ashamed of thee?
Ashamed of thee, whom angels praise,
Whose glories shine through endless days?
2 Ashamed of Jesus! sooner far
Let evening blush to own a star;
He sheds the beams of light divine
O'er this benighted soul of mine.
3 Ashamed of Jesus! that dear Friend
On whom my hopes of heaven depend!
No; when I blush, be this my shame,
That I no more revere his name.
4 Ashamed of Jesus! yes, I may,
When I've no guilt to wash away;
No tear to wipe, no good to crave,
No fears to quell, no soul to save.
5 Till then nor is my boasting vain
Till then, I boast a Saviour slain!
And, oh, may this my glory be
That Christ is not ashamed of me!
Languages: English Tune Title: FEDERAL STREET
"Ashamed of me"
"Ashamed of me"
Author: Joseph Grigg Hymnal: Laudes Domini #409 (1888) Topics: Ashamed of Jesus First Line: Jesus, and shall it ever be Lyrics: 1 Jesus! and shall it ever be,
A mortal man ashamed of thee?
Ashamed of thee, whom angels praise,
Whose glories shine through endless days?
2 Ashamed of Jesus! sooner far
Let evening blush to own a star;
He sheds the beams of light divine
O'er this benighted soul of mine.
3 Ashamed of Jesus! that dear Friend
On whom my hopes of heaven depend!
No; when I blush, be this my shame,
That I no more revere his name.
4 Ashamed of Jesus! yes, I may,
When I've no guilt to wash away;
No tear to wipe, no good to crave,
No fears to quell, no soul to save.
5 Till then--nor is my boasting vain--
Till then, I boast a Saviour slain!
And, oh, may this my glory be
That Christ is not ashamed of me! Scripture: Mark 8:38 Languages: English Tune Title: FEDERAL STREET
"Ashamed of me"
Charlotte Elliott
1789 - 1871 Topics: Ashamed of Jesus Author of "Clinging to Christ" in Laudes Domini Elliott, Charlotte, daughter of Charles Elliott, of Clapham and Brighton, and granddaughter of the Rev. H. Venn, of Huddersfield, was born March 18, 1789. The first 32 years of her life were spent mostly at Clapham. In 1823 she removed to Brighton, and died there Sept. 22, 1871. To her acquaintance with Dr. C. Malan, of Geneva, is attributed much of the deep spiritual-mindedness which is so prominent in her hymns. Though weak and feeble in body, she possessed a strong imagination, and a well-cultured and intellectual mind. Her love of poetry and music was great, and is reflected in her verse. Her hymns number about 150, a large percentage of which are in common use. The finest and most widely known of these are, "Just as I am” and "My God, my Father, while I stray." Her verse is characterized by tenderness of feeling, plaintive simplicity, deep devotion, and perfect rhythm. For those in sickness and sorrow she has sung as few others have done. Her hymns appeared in her brother's Psalms & Hymns and elsewhere as follows:—
(1) Psalms and Hymns for Public, Private, and Social Worship; selected by the Rev. H. V. Elliott, &c., 1835-48. In this Selection her signature is "C. E." (2) The Christian Remembrancer Pocket Book. This was originally edited by Miss Kiernan, of Dublin. Miss Elliott undertook the editorship in 1834. (3) The Invalid's Hymn Book. This was originally compiled by Miss Kiernan, but before publication was re-arranged by Miss Elliott, who also added 23 hymns in the first edition., 1834. These were increased in the following edition to the sixth in 1854, when her contributions amounted to 112. From that date no change was made in the work. (4) Hours of Sorrow Cheered and Comforted; or, Thoughts in Verse, 1836. (5) Morning and Evening Hymns for a Week, printed privately in 1839 for sale for a benevolent institution in Brighton, and published in 1842. (6) Thoughts in Verse on Sacred Subjects, 1869.
Miss Elliott's Poems were published, with a Memoir by her sister, Mrs. Babington, in 1873, and an additional volume of Leaves from her unpublished Journals and Poems, also appeared in 1870.
In addition to her more important hymns, which are annotated under their respective first lines, there are in common use:—
i. From The Invalid's Hymn-book, 1834-1841:—
1. Clouds and darkness round about thee. (1841.) Resignation.
2. Not willingly dost Thou afflict [reject]. (1841.) Divine Chastisement.
3. O God, may I look up to Thee. (1841.) Teach us to Pray.
4. This is enough; although 'twere sweet. (1834.) On being debarred from Divine Worship.
5. With tearful eyes I look around. (1841.) The Invitation "Come Unto Me."
ii. From H. V. Elliott's Psalms & Hymns, 1835-1839:—
6. Glorious was that primal light. Christmas.
7. Hail, holy day, most blest, most dear. Easter.
8. My only Saviour, when I feel. Jesus His people's Rest.
9. Now let our heavenly plants and flowers. Monday Morning.
10. The Sabbath-day has reached its close. Sunday Evening.
iii. From Miss Elliott's Hours of Sorrow, 1836:—
11. Father, when Thy child is dying. Prayer for a Departing Spirit.
12. Leaning on Thee, my Guide, my Friend. Death Anticipated.
13. My God, is any hour so sweet? The Hour of Prayer.
14. O faint and feeble-hearted. Resignation enforced.
15. There is a holy sacrifice. The Contrite Heart.
iv. From her Hymns for a Week, 1839:—
16. Guard well thy lips; none, none can know. Thursday Morning.
17. There is a spot of consecrated ground. Pt. i.
18. This is the mount where Christ's disciples see. Pt. ii. Monday Evening.
19. This is the day to tune with care. Saturday Morning.
v. From Thoughts in Verse on Sacred Subjects, 1869:—
20. As the new moons of old were given. On a Birthday.
21. I need no other plea. Pt. i.
22. I need no prayers to saints. Pt. ii. Christ, All in All.
23. Jesus, my Saviour, look on me. Christ, All in All.
Several of the earlier of these hymns were repeated in the later works, and are thus sometimes attributed to the wrong work. [Rev. James Davidson, B.A.]
-- John Julian, Dictionary of Hymnology (1907)
================
Elliott, Charlotte, p. 328, i. Other hymns are:—
1. O how I long to reach my home. Heaven desired. From the Invalid's Hymn Book, 1834.
2. The dawn approaches, golden streaks. Second Advent. From Thoughts in Verse, &c, 1869.
Of her hymns noted on p. 328, Nos. 6, 7, 8, 9, 10,11, and 13, all appeared in the 1st edition of Elliott's Psalms & Hymns, 1835.
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
========================
Elliott, Charlotte, pp. 328, i.; 1561, ii. Further research enables us to give amended dates to some of her hymns as follows:—
1. With tearful eyes I look around (No. 5). This is in the 1835 Appendix to The Invalid's Hymn Book.
2. My only Saviour, when I feel (No. 8). Also in the 1835 Appendix.
3. Father, when Thy child is dying (No. 11). In the 1833 Appendix.
4. I want that adorning divine, p. 559, i. In the Christian Remembrancer 1848, p. 22.
--John Julian, Dictionary of Hymnology, New Supplement (1907)
Charlotte Elliott
Wolfgang Amadeus Mozart
1756 - 1791 Person Name: fr. Mozart Topics: Ashamed of Jesus Arranger of "ELLESDIE" in Laudes Domini Wolfgang Amadeus Mozart Austria 1756-1791. Born at Salzburg, Austria, the son of Leopold Mozart, a minor composer and violinist, and youngest of seven children, he showed amazing ability on violin and keyboard from earliest childhood, even starting to compose music at age four when his father would play a piece and Mozart would play it exactly as did his father. At five, he composed some of his own music, which he played to his father, who wrote it down. When Mozart was eight, he wrote his first symphony, probably transcribed by his father. In his early years his father was his only teacher, teaching his children languages and academic subjects, as well as fundamentals of their strict Catholic faith. Some of his early compositions came as a surprise to his father, who eventually gave up composing himself when he realized how talented his son was. His family made several European journeys and he and his sister, Nanneri, performed as child prodigies, at the court of Prince-elector Maximillian II of Bavaria in Munich, and at the Imperial Courts in Vienna and Prague. A long concert tour followed, for 3.5 years, taking the family to courts in Munich, Mannheim, Paris, London, Dover, The Hague, Amsterdam, Utrecht, Mechelen, and again to Paris, and back home via Zurich, Donaueschingen, and Munich. During these trips Mozart met many musicians, acquainting himself with the works of other composers. He met Johann Christian Bach in London in 1764. Family trips were challenging, and travel conditions were primitive. They had to wait for invitations and reimbursements from nobility, and they endured long, near-fatal illnesses far from home. First Leopold (1764) got sick, then both children (1765). They traveled again to Vienna in 1767 and stayed there over a year. After a year back in Salzburg, Leopold and Wolfgang went to Italy (1769-1771), Leopold wished to display his son’s abilities as a performer and maturing composer. In Bologna, Italy, Wolfgang was accepted as a member of the famous Academia Filamonica. In Rome he heard Gregorio Allegri’s Miserere twice in performance. Back in the Sistine Chapel, Mozart wrote the whole performance out from memory, thus producing the first unauthorized copy of this closely guarded property of the Vatican. In the next few years Mozart wrote several operas performed with success in Italy, but his father’s hopes of securing a professional appointment for his son were not realized. At age 17 he was engaged as a musician at the Salzburg court, but grew restless and traveled in search of a better position. After returning to Salzburg, Mozart was employed as a court musician by the ruler of Salzburg, Prince Archbishop Hieronymus Colloredo. This gave Mozart ample opportunity to develop relationships with other musicians and his admirers, resulting in his development of new symphonies, sonatas, string quartets, masses, serenades, and some minor operas. In 1775 he wrote his only violin concertos, five in all. Again, he was discontent with work in Salzburg and traveled to find more opportunity to write operas. He and his father again visited Munich and Vienna, but neither visit was successful with the exception of his opera ‘La finta giardiniera’ in Munich. In 1777 he resigned his Salzburg position and went to Augsburg, Mannheim, Paris, and Munich again. In Mannheim he met and fell in love with Aloysia Weber, one of four daughters of a musical family. He could find no real employment there and left for Paris in 1778. He might have had a position as organist at Versailles, but he was not interested in that. He fell into debt and started pawning valuables. During these events his mother died. Meanwhile his father was still trying to find him a position in Salzburg. After checking out several other European cities and Munich, he again encountered Aloysia, but she was no longer interested in him, so he returned to Salzburg, having written another symphony, concerto, and piano sonata, and took the new appointment his father had found. However, he was still in discontent. Visiting Vienna in 1781, he was dismissed from his Salzburg position. He wrote another opera, ‘Idomeneo’, in 1781, that was successful in Munich. Two months later he was summoned to Vienna, where his employer, Archbishop Colloredo, wanted him around due to his notoriety. Mozart wished to meet the emperor and perform for him, and finally got that opportunity. It resulted in a part-time position and substantial commissions. Colloredo became a nemesis to Mozart’s career, finally releasing Mozart from his employ with a literal kick in the pants, much against his father’s wishes. However, he was now independent. Mozart then decided to settle in Vienna as a free lance performer and composer. He lived with the Fridolin Weber family, who had moved from Mannheim to Vienna. Fridolin, the father, had died, and they were taking in lodgers to make ends meet. His career there went well, and he performed as a pianist before the Emperor, establishing himself as the finest keyboard player in Vienna. He wrote another opera in 1782, again achieving success. Mozart had now become a prolific and influential composer of the Classical period and was known throughout Europe. Aloysia was now married to actor, Joseph Lange, and Mozart’s interest shifted to her sister, Constanze. In 1782 he married Constanze Weber Mozart Nissen. The marriage started out with a brief separation, and there was a problem getting Mozart’s father’s permission, which finally came. They had six children, but only two survived infancy: Carl and Franz. He lived in Vienna and achieved some notoriety, composing many of his best-known symphonies, concertos, and operas. In 1782-83 he became intimately acquainted with Johann Sebastian Bach and George Friederic Handel, as his friend, Gottfried van Swieten, owned many manuscripts of the Baroque masters, which Mozart studied intently. He altered his style of composition as a result. That year Mozart and his wife visited his father and sister, and he composed a liturgical piece, a Mass, with a singing part for his wife. He also met Joseph Hadyn in Vienna in 1784 and they became friends. They even played together in a string quartet from time to time. Mozart wrote six quartets dedicated to Hadyn. In 1785 Hadyn told Leopold Mozart, “Your son is the greatest composer known to me by person and repute, he has taste, and what is more, the greatest skill in composition”. Over the next several years Mozart booked several piano concertos in various places as a sole performer to delighted audiences, making substantial remuneration for his work. He and his wife then adopted a more luxurious lifestyle. They moved to an expensive apartment and he bought a fine fortepiano and billiard table. They sent their son, Karl, to an expensive boarding school and also kept servants. In 1784 Mozart became a Freemason and even composed Masonic music. Over the next several years he did little operatic writing and focused on his career as a piano soloist and writer of concertos. He again began operatic collaboration in 1785, creating ‘The marriage of Figaro’, then ‘Don Giovanni’ in 1787. That year his father died. Also that year he obtained a steady post under Emperor Joseph II as his chamber composer. This was part-time employment that was important when hard times arrived. However, Joseph aimed at keeping Mozart from leaving Vienna for better work. The Austrio-Turkish War made life difficult for musicians, and his aristocracy support had declined. He moved to save on expenses, but that did not help much, and he was reduced to borrowing funds from his friends, and pleading for loans. During this period he produced his last three symphonies. In 1789 he then set up on a journey to Leipzig, Dresden, and Berlin hoping to improve his fortunes. In 1790 he was highly productive, producing concertos, an opera, ‘The magic flute’, a series of string quintets, a motet, and an (unfinished) Requiem. Finances began to improve and he begin paying back his debts. Public reaction to his works also brought him great satisfaction. In 1791, while in Prague for the premiere of his opera, ‘La clemenza di Tito’, he fell ill. He continued professional functions for a short time, but had to go home and be nursed by his wife over the next couple of months. He died at Vienna, Austria, at the age of 35, a small thin man with undistinguishing characteristics. He was buried in a modest grave, having had a small funeral. Beethoven composed his early works in the shadow of Mozart, and Joseph Hadyn wrote “posterity will not see such a talent (as Mozart) again in 100 years”. 600+ works. Side note: Mozart enjoyed billiards, dancing, and had a pet canary, a starling, a dog, and a horse for recreational riding. He liked off-color humor. He wore elegant clothing when performing and had a modest tenor voice.
John Perry
Wolfgang Amadeus Mozart
F. F. Flemming
1778 - 1813 Person Name: fr. Flemming Topics: Ashamed of Jesus Arranger of "FLEMMING" in Laudes Domini Friedrich Ferdinand Flemming Germany 1778-1813. Born in Neuhausen, Erzgebirge, Germany, he studied medicine at Wittenberg, 1796-1800, Jena, Vienna, and Trieste. He practiced as a physician in Berlin until his death, but, musically, is remembered for his setting of Horace's ode beginning “Integer Vitae”, from which the tune “Flemming” is adapted. He was active in musical circles and composed many songs for a male vocal ensemble, “Liedertafel”. He died in Berlin.
John Perry
F. F. Flemming
