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Author: John Fawcett Meter: 6.6.8.6 Appears in 2,273 hymnals Topics: The Church as Community Identity; Christian unity; Church; Fellowship of Believers First Line: Blest be the tie that binds Lyrics: 1 Blest be the tie that binds our hearts in Christian love; the fellowship of kindred minds is like to that above. 2 Before our Father's throne we pour our ardent prayers; our fears, our hopes, our aims are one, our comforts and our cares. 3 We share our mutual woes, our mutual burdens bear; and often for each other flows the sympathizing tear. 4 When we asunder part, it gives us inward pain; but we shall still be joined in heart, and hope to meet again. Used With Tune: DENNIS

Christian People, Sing Together

Author: Marjorie Dobson Meter: 8.7.8.7 D Appears in 1 hymnal Topics: The Church as Community Unity; Christian unity; Peace Used With Tune: JUBILEE

Lord, your word abiding

Author: Henry Williams Baker, 1821-77 Meter: 6.6.6.6 Appears in 203 hymnals Topics: Christian Community Lyrics: 1 Lord, your word abiding, and our footsteps guiding, gives us joy for ever, binds us all together. 2 Who can tell the pleasure, who recount the treasure, by your word imparted to the simple-hearted? 3 Word of mercy, giving nourishment for living; word of life, supplying comfort to the dying. 4 O that we, discerning its most holy learning, Lord, may love and fear you, evermore be near you. Scripture: 1 Peter 1:22-25 Used With Tune: RAVENSHAW

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Tunes

Tune authorities

LAND OF REST

Appears in 185 hymnals Composer and/or Arranger: Anabel Morris Buchanan, 1889-198e Topics: Community; Faith Journey; God's Presence; Jesus; Sacraments/Rites Christian Initiation of Adults; Unity Tune Sources: American folk melody Tune Key: F Major Incipit: 51123 51165 51123 Used With Text: I Come with Joy

AURELIA

Meter: 7.6.7.6 D Appears in 1,039 hymnals Composer and/or Arranger: Samuel Sebastian Wesley Topics: Church Anniversaries; The Nature of the Church United in Christ; Christian Year All Saints Day; Church Anniversaries; Church Community in Christ; Church Dedication of a Building; Funerals and Memorial Services; Jesus Christ Blood; Processionals Tune Key: E Flat Major Incipit: 33343 32116 54345 Used With Text: The Church's One Foundation

REGENT SQUARE

Meter: 8.7.8.7.8.7 Appears in 878 hymnals Composer and/or Arranger: Henry Smart, 1813-1879 Topics: Christian unity; Confirmation; Faith, Trust and Commitment; Grace and Providence; Pentecost; The Serving Community; The Wholeness of Creation; Year A Epiphany 2; Year A Proper 2; Year A Sunday Next Before Lent; Year B Proper 16; Year B Proper 4; Year C Proper 15 Tune Key: B Flat Major Incipit: 53153 21566 51432 Used With Text: God of grace and God of glory

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Instances

Published text-tune combinations (hymns) from specific hymnals

Diverse in Culture, Nation, Race

Author: Ruth Duck Hymnal: Chalice Hymnal #485 (1995) Meter: 8.8.8.8 Topics: God's Church Christian Community; God's Church Christian Community; Christian Community Languages: English Tune Title: TALLIS' CANON

Who Is My Mother, Who Is My Brother?

Author: Shirley Erena Murray Hymnal: Chalice Hymnal #486 (1995) Meter: 5.5.5.4 D Topics: God's Church Christian Community; God's Church Christian Community; Christian Community First Line: Who is my mother Lyrics: 1 Who is my mother, who is my brother? All those who gather round Jesus Christ: Spirit-blown people born from the gospel sit at the table, round Jesus Christ. 2 Differently abled, differently labeled widen the circle round Jesus Christ, crutches and stigmas, culture's enigmas, all come together round Jesus Christ. 3 Love will relate us -- color or status can't segregate us, round Jesus Christ: family failings, human derailings -- all are accepted, round Jesus Christ. 4 Bound by one vision, met for one mission we claim each other, round Jesus Christ: here is my mother, here is my brother, kindred in Spirit, through Jesus Christ. Scripture: Mark 3:31-35 Languages: English Tune Title: KINDRED

Help Us Accept Each Other

Author: Fred Kaan Hymnal: Chalice Hymnal #487 (1995) Meter: 7.6.7.6 D Topics: God's Church Christian Community; God's Church Christian Community; Christian Community Lyrics: 1 Help us accept each other as Christ accepted us; teach us as sister, brother, each person to embrace. Be present, Lord, among us and bring us to believe we are ourselves accepted and meant to love and live. 2 Teach us, O Lord, your lessons, as in our daily life we struggle to be human and search for hope and faith. Teach us to care for people, for all, not just for some, to love them as we find them or as they may become. 3 Let your acceptance change us, so that we may be moved in living situations to do the truth in love, to practice your acceptance until we know by heart the table of forgiveness and laughter's healing art. 4 Lord, for today's encounters with all who are in need, who hunger for acceptance, for righteousness and bread, we need new eyes for seeing, new hands for holding on; renew us with your Spirit; Lord, free us, make us one! Languages: English Tune Title: ACCEPTANCE

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People

Authors, composers, editors, etc.

W. H. Havergal

1793 - 1870 Person Name: William Henry Havergal, 1793-1870 Topics: Christian Community; Christian Community Adapter of "NARENZA" in Together in Song 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)

William Henry Monk

1823 - 1889 Person Name: William Henry Monk, 1823-89 Topics: Christian Community Composer of "RAVENSHAW" in Together in Song William H. Monk (b. Brompton, London, England, 1823; d. London, 1889) is best known for his music editing of Hymns Ancient and Modern (1861, 1868; 1875, and 1889 editions). He also adapted music from plainsong and added accompaniments for Introits for Use Throughout the Year, a book issued with that famous hymnal. Beginning in his teenage years, Monk held a number of musical positions. He became choirmaster at King's College in London in 1847 and was organist and choirmaster at St. Matthias, Stoke Newington, from 1852 to 1889, where he was influenced by the Oxford Movement. At St. Matthias, Monk also began daily choral services with the choir leading the congregation in music chosen according to the church year, including psalms chanted to plainsong. He composed over fifty hymn tunes and edited The Scottish Hymnal (1872 edition) and Wordsworth's Hymns for the Holy Year (1862) as well as the periodical Parish Choir (1840-1851). Bert Polman

Charles Wesley

1707 - 1788 Person Name: Charles Wesley, 1707-88 Topics: Christian Community Author of "Christ, from whom all blessings flow" in Together in Song Charles Wesley, M.A. was the great hymn-writer of the Wesley family, perhaps, taking quantity and quality into consideration, the great hymn-writer of all ages. Charles Wesley was the youngest son and 18th child of Samuel and Susanna Wesley, and was born at Epworth Rectory, Dec. 18, 1707. In 1716 he went to Westminster School, being provided with a home and board by his elder brother Samuel, then usher at the school, until 1721, when he was elected King's Scholar, and as such received his board and education free. In 1726 Charles Wesley was elected to a Westminster studentship at Christ Church, Oxford, where he took his degree in 1729, and became a college tutor. In the early part of the same year his religious impressions were much deepened, and he became one of the first band of "Oxford Methodists." In 1735 he went with his brother John to Georgia, as secretary to General Oglethorpe, having before he set out received Deacon's and Priest's Orders on two successive Sundays. His stay in Georgia was very short; he returned to England in 1736, and in 1737 came under the influence of Count Zinzendorf and the Moravians, especially of that remarkable man who had so large a share in moulding John Wesley's career, Peter Bonier, and also of a Mr. Bray, a brazier in Little Britain. On Whitsunday, 1737, [sic. 1738] he "found rest to his soul," and in 1738 he became curate to his friend, Mr. Stonehouse, Vicar of Islington, but the opposition of the churchwardens was so great that the Vicar consented that he "should preach in his church no more." Henceforth his work was identified with that of his brother John, and he became an indefatigable itinerant and field preacher. On April 8, 1749, he married Miss Sarah Gwynne. His marriage, unlike that of his brother John, was a most happy one; his wife was accustomed to accompany him on his evangelistic journeys, which were as frequent as ever until the year 1756," when he ceased to itinerate, and mainly devoted himself to the care of the Societies in London and Bristol. Bristol was his headquarters until 1771, when he removed with his family to London, and, besides attending to the Societies, devoted himself much, as he had done in his youth, to the spiritual care of prisoners in Newgate. He had long been troubled about the relations of Methodism to the Church of England, and strongly disapproved of his brother John's "ordinations." Wesley-like, he expressed his disapproval in the most outspoken fashion, but, as in the case of Samuel at an earlier period, the differences between the brothers never led to a breach of friendship. He died in London, March 29, 1788, and was buried in Marylebone churchyard. His brother John was deeply grieved because he would not consent to be interred in the burial-ground of the City Road Chapel, where he had prepared a grave for himself, but Charles said, "I have lived, and I die, in the Communion of the Church of England, and I will be buried in the yard of my parish church." Eight clergymen of the Church of England bore his pall. He had a large family, four of whom survived him; three sons, who all became distinguished in the musical world, and one daughter, who inherited some of her father's poetical genius. The widow and orphans were treated with the greatest kindness and generosity by John Wesley. As a hymn-writer Charles Wesley was unique. He is said to have written no less than 6500 hymns, and though, of course, in so vast a number some are of unequal merit, it is perfectly marvellous how many there are which rise to the highest degree of excellence. His feelings on every occasion of importance, whether private or public, found their best expression in a hymn. His own conversion, his own marriage, the earthquake panic, the rumours of an invasion from France, the defeat of Prince Charles Edward at Culloden, the Gordon riots, every Festival of the Christian Church, every doctrine of the Christian Faith, striking scenes in Scripture history, striking scenes which came within his own view, the deaths of friends as they passed away, one by one, before him, all furnished occasions for the exercise of his divine gift. Nor must we forget his hymns for little children, a branch of sacred poetry in which the mantle of Dr. Watts seems to have fallen upon him. It would be simply impossible within our space to enumerate even those of the hymns which have become really classical. The saying that a really good hymn is as rare an appearance as that of a comet is falsified by the work of Charles Wesley; for hymns, which are really good in every respect, flowed from his pen in quick succession, and death alone stopped the course of the perennial stream. It has been the common practice, however for a hundred years or more to ascribe all translations from the German to John Wesley, as he only of the two brothers knew that language; and to assign to Charles Wesley all the original hymns except such as are traceable to John Wesley through his Journals and other works. The list of 482 original hymns by John and Charles Wesley listed in this Dictionary of Hymnology have formed an important part of Methodist hymnody and show the enormous influence of the Wesleys on the English hymnody of the nineteenth century. -- Excerpts from John Julian, Dictionary of Hymnology (1907) ================== Charles Wesley, the son of Samuel Wesley, was born at Epworth, Dec. 18, 1707. He was educated at Westminster School and afterwards at Christ Church, Oxford, where he graduated M.A. In 1735, he took Orders and immediately proceeded with his brother John to Georgia, both being employed as missionaries of the S.P.G. He returned to England in 1736. For many years he engaged with his brother in preaching the Gospel. He died March 29, 1788. To Charles Wesley has been justly assigned the appellation of the "Bard of Methodism." His prominence in hymn writing may be judged from the fact that in the "Wesleyan Hymn Book," 623 of the 770 hymns were written by him; and he published more than thirty poetical works, written either by himself alone, or in conjunction with his brother. The number of his separate hymns is at least five thousand. --Annotations of the Hymnal, Charles Hutchins, M.A., 1872.

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