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Jesus Calls Us! O'er the Tumult
Author: Cecil Frances Alexander (1818-1895) Meter: 8.7.8.7 Appears in 924 hymnals Topics: Call and Vocation Lyrics: 1 Jesus calls us! O'er the tumult
of our life's wild, restless sea,
day by day his clear voice soundeth,
saying, "Christian, follow me!"
2 As of old Saint Andrew heard it
by the Galilean lake,
turned from home and toil and kindred,
leaving all for his dear sake.
3 Jesus calls us from the worship
of the vain world's golden store;
from each idol that would keep us,
saying, "Christian, love me more."
4 In our joys and in our sorrows,
days of toil and hours of ease,
still he calls, in cares and pleasures,
"Christian, love me more than these."
5 Jesus calls us! By thy mercies,
Saviour, may we hear thy call,
give our hearts to thine obedience,
serve and love thee best of all. Scripture: Matthew 4:12-23 Used With Tune: ST. OSWALD
Jesus Calls Us! O'er the Tumult
Stand Up, Stand Up for Jesus
Author: George Duffield, Jr. (1818-1888) Meter: 7.6.7.6 D Appears in 1,788 hymnals Topics: Call and Vocation Lyrics: 1 Stand up, stand up for Jesus,
you soldiers of the cross!
Lift high his royal banner,
it must not suffer loss.
From victory on to victory
his army he shall lead
till evil is defeated,
and Christ is Lord indeed.
2 Stand up, stand up for Jesus!
The trumpet call obey;
then join the mighty conflict
in this his glorious day.
Be strong in faith and serve him,
against unnumbered foes;
let courage rise with danger,
and strength to strength oppose.
3 Stand up, stand up for Jesus!
Stand in his power alone,
for human might will fail you --
you dare not trust your own.
Put on the gospel armour,
keep watch with constant prayer;
when duty calls or danger,
be never failing there.
4 Stand up, stand up for Jesus!
The fight will not be long:
this day the noise of battle,
the next the victor's song.
To everyone who conquers,
a crown of life shall be;
we, with the king of glory,
shall reign eternally. Scripture: Matthew 12:22-32 Used With Tune: MORNING LIGHT Text Sources: Rev. Hymns for Today's Church
Stand Up, Stand Up for Jesus
Blest Are the Pure in Heart
Author: John Keble (1792-1866) Meter: 6.6.8.6 Appears in 399 hymnals Topics: Call and Vocation Lyrics: 1 Blest are the pure in heart,
for they shall see our God;
the secret of the Lord is theirs,
their soul is Christ's abode.
2 The Lord, who left the heavens
our life and peace to bring,
to dwell in lowliness with us,
our pattern and our King,
3 still to the lowly soul
his presence doth impart
and for a dwelling and a throne
chooseth the pure in heart.
4 Lord, we thy presence seek;
may ours this blessing be:
give us a pure and lowly heart,
a temple fit for thee. Scripture: Exodus 40:16-38 Used With Tune: FRANCONIA Text Sources: st. 2-3, Mitre Hymn Book, 1836, alt.
Blest Are the Pure in Heart
PESCADOR DE HOMBRES
Meter: Irregular with refrain Appears in 54 hymnals Composer and/or Arranger: Cesareo Gabaraín; Skinner Chávez-Melo Topics: Church in the World Discipleship: Call; Calling and Response; Choruses and Refrains; Vocation Tune Key: D Major Incipit: 33234 32112 34444 Used With Text: Jesus, You Have Come to the Lakeshore
PESCADOR DE HOMBRES
How Clear Is Our Vocation, Lord
Author: Fred Pratt Green (1903-) Hymnal: Common Praise (1998) #466 (1998) Meter: 8.6.8.8.6.6 Topics: Call and Vocation Lyrics: 1 How clear is our vocation, Lord,
when once we heed your call:
to live according to your word,
and daily learn, refreshed, restored,
that you are Lord of all,
and will not let us fall.
2 But if, forgetful, we should find
your yoke is hard to bear;
if worldly pressures fray the mind
and love itself cannot unwind
its tangled skein of care:
our inward life repair.
3 We mark your saints, how they became
in hindrances more sure,
whose joyful virtues put to shame
the casual way we wear your name,
and by our faults obscure
your power to cleanse and cure.
4 In what you give us, Lord, to do,
together or alone,
in old routines or ventures new,
may we not cease to look to you,
the cross you hung upon,
all you endeavoured done. Scripture: Matthew 10:24-39 Languages: English Tune Title: REPTON
How Clear Is Our Vocation, Lord
Living Lord of Love's Dominion
Author: David A. Robb (1932-) Hymnal: Common Praise (1998) #453 (1998) Meter: 8.7.8.7 D Topics: Call and Vocation Lyrics: 1 Living Lord of Love's dominion,
sovereign Saviour, bless your church ;
call us still as your disciples --
loving, serving, while we search.
Gathered: feed our deepest being
prophet's truth and godly nerve;
scattered: let our lives' fruition
nourish others while we serve.
2 Visit towns and inner cities;
penetrate our steel and stone
with a love that melt our coldness,
making mission here our own.
We will seek you, love transfigured,
in our neighbour's need
until deep within our daily service
love draws forth our utmost skill.
3 With your bread, your wine, your Spirit,
nurture us for your intent;
let your will be our vocation
lived as song and sacrament.
May compassion lead to service
till we join the saints above;
grant us hope for each tomorrow;
fill our faith with vibrant love! Scripture: Ezekiel 36:24-28 Languages: English Tune Title: PLEADING SAVIOUR
Living Lord of Love's Dominion
Jesus Is Calling
Author: Charles H. Gabriel, 1856-1932 Hymnal: Community of Christ Sings #578 (2013) Meter: 10.8.10.7 with refrain Topics: Calling and Vocation First Line: Jesus is calling, oh, hear him today Refrain First Line: Calling for you, calling for you Scripture: Mark 1:16-20 Languages: English Tune Title: JESUS IS CALLING TODAY
Jesus Is Calling
Anonymous
Person Name: Unknown Topics: Call and Vocation Composer of "MOZART" in Common Praise (1998) In some hymnals, the editors noted that a hymn's author is unknown to them, and so this artificial "person" entry is used to reflect that fact. Obviously, the hymns attributed to "Author Unknown" "Unknown" or "Anonymous" could have been written by many people over a span of many centuries.
Anonymous
Felix Mendelssohn-Bartholdy
1809 - 1847 Person Name: Felix Mendelssohn-Bartholdy (1809-1847) Topics: Call and Vocation Harmonizer of "BRESLAU" in Common Praise (1998) Felix Mendelssohn-Bartholdy (b. Hamburg, Germany, 1809; d. Leipzig, Germany, 1847) was the son of banker Abraham Mendelssohn and the grandson of philosopher Moses Mendelssohn. His Jewish family became Christian and took the Bartholdy name (name of the estate of Mendelssohn's uncle) when baptized into the Lutheran church. The children all received an excellent musical education. Mendelssohn had his first public performance at the age of nine and by the age of sixteen had written several symphonies. Profoundly influenced by J. S. Bach's music, he conducted a performance of the St. Matthew Passion in 1829 (at age 20!) – the first performance since Bach's death, thus reintroducing Bach to the world. Mendelssohn organized the Domchor in Berlin and founded the Leipzig Conservatory of Music in 1843. Traveling widely, he not only became familiar with various styles of music but also became well known himself in countries other than Germany, especially in England. He left a rich treasury of music: organ and piano works, overtures and incidental music, oratorios (including St. Paul or Elijah and choral works, and symphonies. He harmonized a number of hymn tunes himself, but hymnbook editors also arranged some of his other tunes into hymn tunes.
Bert Polman
Felix Mendelssohn-Bartholdy
Orlando Gibbons
1583 - 1625 Person Name: Orlando Gibbons (1583-1625) Topics: Call and Vocation Composer (melody and bass) of "SONG 34" in Common Praise (1998) 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
