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Epiphany 1	Year A	Year B	Year C
Epiphany 2	Year A	Year B	Year C
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Texts

Text authorities

Christ, Whose Glory Fills the Skies

Author: Charles Wesley Meter: 7.7.7.7.7.7 Appears in 475 hymnals Topics: Christian Year Epiphany; Christian Year Epiphany Lyrics: 1. Christ, whose glory fills the skies, Christ, the true, the only light, Sun of Righteousness, arise, triumph o'er the shades of night; Dayspring from on high, be near; Daystar, in my heart appear. 2. Dark and cheerless is the morn unaccompanied by thee; joyless is the day's return, till thy mercy's beams I see; till they inward light impart, cheer my eyes and warm my heart. 3. Visit then this soul of mine; pierce the gloom of sin and grief; fill me, Radiancy divine, scatter all my unbelief; more and more thyself display, shining to the perfect day. Used With Tune: RATISBON

Come and worship

Author: James Montgomery (1771-1854) Meter: 8.7.8.7.4.7 Appears in 763 hymnals Topics: Church Year Epiphany First Line: Angels from the realms of glory Lyrics: 1 Angels from the realms of glory, wing your flight o'er all the earth; ye who sang creation's story now proclaim Messiah's birth: Refrain: Come and worship Christ the new-born King, come and worship, worship Christ the new-born King. 2 Shepherds in the field abiding, watching o'er your flocks by night, God with us is now residing; yonder shines the infant Light: [Refrain] 3 Sages, leave your contemplations; brighter visions beam afar; seek the great Desire of Nations; ye have seen his natal star: [Refrain] 4 Though an infant now we view him, he shall fill his Father's throne, gather all the nations to him; every knee shall then bow down: [Refrain] Scripture: Matthew 2:1-12 Used With Tune: IRIS Text Sources: From Iris, 1816 and The Christmas Box, 1825

Arise, Your Light Is Come!

Author: Ruth C. Duck Meter: 6.6.8.6 Appears in 21 hymnals

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Tunes

Tune authorities

GREENSLEEVES

Meter: 8.7.8.7 with refrain Appears in 167 hymnals Composer and/or Arranger: John Stainer, 1840-1901 Topics: Seasons and Feasts Epiphany Tune Sources: English melody, 16th C. Tune Key: e minor Incipit: 13456 54271 23117 Used With Text: What Child Is This

[Give thanks with a grateful heart]

Appears in 39 hymnals Composer and/or Arranger: Henry Smith (b. 1952) Topics: The Fourth Sunday of Epiphany Year B Tune Key: F Major Incipit: 33212 75217 67537 Used With Text: Give thanks with a grateful heart

[Angels from the realms of glory]

Appears in 216 hymnals Composer and/or Arranger: Martin Shaw, 1875-1958 Topics: Epiphany Tune Sources: French traditional melody Tune Key: F Major Incipit: 33355 43323 53213 Used With Text: Come and worship

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Instances

Published text-tune combinations (hymns) from specific hymnals

Songs of Thankfulness and Praise

Author: Christopher Wordsworth Hymnal: Voices United #101 (1996) Meter: 7.7.7.7 D Topics: Christian Year Epiphany; Epiphany 2 Year A; Epiphany 3 Year A; Epiphany Last/Transfig. Year A; Epiphany 7 Year B; Epiphany 9 Year B; Epiphany Last/Transfig. Year B; Epiphany 2 Year C; Epiphany 8 Year C; Epiphany 9 Year C Lyrics: 1 Songs of thankfulness and praise, Jesus Christ, to you we raise, manifested by the star, to the sages from afar; branch of royal David's stem in your birth at Bethlehem; anthems be to you addressed God in flesh made manifest. 2 Manifest at Jordan's stream, Prophet, Priest and King supreme; and at Cana wedding-guest in your Godhead manifest; manifest in power divine, changing water into wine: anthems be to you addressed God in flesh made manifest. 3 Manifest in making whole palsied limbs and fainting soul; manifest in valiant fight, quelling all the devil's might; manifest in gracious will, ever bringing good from ill: anthems be to you addressed God in flesh made manifest. 4 Grant us grace to see you, Lord, mirrored in your holy Word; with your grace our lives endow, grace to imitate you now, that we like to you may be at your great epiphany; anthems be to you addressed God in flesh made manifest. Languages: English Tune Title: SALZBURG (HINTZE)

How Brightly Beams the Morning Star

Author: Catherine Winkworth; Johann Adolf Schlegel Hymnal: Voices United #98 (1996) Topics: The Christian Year Epiphany; Christian Year Epiphany; Epiphany Year A; Epiphany 5 Year A; Epiphany 6 Year A; Epiphany Last/Transfig. Year A; Epiphany Year B; Epiphany Year C First Line: How brightly beams the Morning Star! Lyrics: 1 How brightly beams the Morning Star! What sudden radiance from afar! It cheers us with its shining. Brightness of God, that breaks our night and fills the darkened souls with light, who long for truth were pining! Newly, truly God's word feeds us, rightly leads us, life bestowing. Praise, O praise such love o'erflowing! 2 All praise to him who came to save, who conquered death and scorned the grave; each day new praise resoundeth to him, the life who once was slain, the friend whom none shall trust in vain, whose grace for aye aboundeth; sing then, ring then, tell the story of his glory, till his praises flood with light earth's darkest mazes! Languages: English Tune Title: WIE SCHÖN LEUCHTET

Songs of thankfulness and praise

Author: Christopher Wordsworth (1807-1885) Hymnal: Ancient and Modern #104 (2013) Meter: 7.7.7.7 D Topics: Church Year Epiphany; Epiphany; The Fourth Sunday of Epiphany Year A; The Second Sunday of Epiphany Year A; The Second Sunday of Epiphany Year C; The Second Sunday of Epiphany Year C; The Third Sunday of Epiphany Year B Lyrics: 1 Songs of thankfulness and praise, Jesu, Lord, to thee we raise, manifested by the star to the sages from afar; branch of royal David's stem in thy birth at Bethlehem: anthems be to thee addrest, God in man made manifest. 2 Manifest at Jordan's stream, Prophet, Priest, and King supreme; and at Cana wedding-guest in thy Godhead manifest; manifest in power divine, changing water into wine: anthems be to thee addrest, God in man made manifest. 3 Manifest in making whole palsied limbs and fainting soul; manifest in valiant fight, quelling all the devil's might; manifest in gracious will, ever bringing good from ill: anthems be to thee addrest, God in man made manifest. 4 Sun and moon shall darkened be, stars shall fall, the heavens shall flee; Christ will then like lightning shine, all will see his glorious sign; all will then the trumpet hear, all will see the Judge appear: thou by all wilt be confest, God in man made manifest. 5 Grant us grace to see thee, Lord, mirrored in thy holy word; may we imitate thee now, and be pure, as pure art thou; that we like to thee may be at thy great Epiphany; and may praise thee, ever blest, God in man made manifest. Scripture: Matthew 24:27-31 Languages: English Tune Title: ST EDMUND

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People

Authors, composers, editors, etc.

George C. Stebbins

1846 - 1945 Topics: Epiphany 8 Year A; Epiphany Last/Transfig. Year C Composer of "HOLINESS" in Voices United Stebbins studied music in Buffalo and Rochester, New York, then became a singing teacher. Around 1869, he moved to Chicago, Illinois, to join the Lyon and Healy Music Company. He also became the music director at the First Baptist Church in Chicago. It was in Chicago that he met the leaders in the Gospel music field, such as George Root, Philip Bliss, & Ira Sankey. At age 28, Stebbins moved to Boston, Massachusetts, where he became music director at the Claredon Street Baptist Church; the pastor there was Adoniram Gordon. Two years later, Stebbins became music director at Tremont Temple in Boston. Shortly thereafter, he became involved in evangelism campaigns with Moody and others. Around 1900, Stebbins spent a year as an evangelist in India, Egypt, Italy, Palestine, France and England. (www.hymntime.com/tch)

Robert Lowry

1826 - 1899 Person Name: Robert Lowry, (1826-1899). Topics: Epiphany, Second Sunday Composer of "SOMETHING FOR THEE" in The Hymnal and Order of Service Robert Lowry was born in Philadelphia, March 12, 1826. His fondness for music was exhibited in his earliest years. As a child he amused himself with the various musical instruments that came into his hands. At the age of seventeen he joined the First Baptist Church of Philadelphia, and soon became an active worker in the Sunday-school as teacher and chorister. At the age of twenty-two he gave himself to the work of the ministry, and entered upon a course of study at the University of Lewisburg, Pa. At the age of twenty-eight he was graduated with the highest honors of his class. In the same year of his graduation, he entered upon the work of the ministry. He served as pastor at West Chester, Pa., 1851-1858; in New York City, 1859-1861; in Brooklyn, 1861-1869; in Lewisburg, Pa., 1869-1875. While pastor at Lewisburg, he was also professor of belles lettres in the University, and received the honorary degree of D. D. in 1875. He then went to Plainfield, N. J., where he became pastor of Park Avenue Church. In each of these fields his work was crowned with marked success. Dr. Lowry was a man of rare administrative ability, a most excellent preacher, a thorough Bible student, and whether in the pulpit or upon the platform, always a brilliant and interesting speaker. He was of a genial and pleasing disposition, and a high sense of humor was one of his most striking characteristics. Very few men had greater ability in painting pictures from the imagination. He could thrill an audience with his vivid descriptions, inspiring others with the same thoughts that inspired him. His melodies are sung in every civilized land, and many of his hymns have been translated into foreign tongues. While preaching the Gospel, in which he found great joy, was his life-work, music and hymnology were favorite studies, but were always a side issue, a recreation. In the year 1880, he took a rest of four years, visiting Europe. In 1885 he felt that he needed more rest, and resigned his pastorate at Plainfield, and visited in the South and West, also spending some time in Mexico. He returned, much improved in health, and again took up his work in Plainfield. On the death of Wm. B. Bradbury, Messrs. Biglow & Main, successors to Mr. Bradbury in the publishing business, selected Dr. Lowry for editor of their Sunday-school book, Bright Jewels, which was a great success. Subsequently Dr. W. Doane was associated with him in the issue of the Sunday-school song book, Pure Gold, the sales of which exceeded a million copies. Then came Royal Diadem, Welcome Tidings, Brightest and Best, Glad Refrain, Good as Gold, Joyful Lays, Fountain of Song, Bright Array, Temple Anthems, and numerous other volumes. The good quality of their books did much to stimulate the cause of sacred song in this country. When he saw that the obligations of musical editorship were laid upon him, he began the study of music in earnest, and sought the best musical text-books and works on the highest forms of musical composition. He possessed one of the finest musical libraries in the country. It abounded in works on the philosophy and science of musical sounds. He also had some musical works in his possession that were over one hundred and fifty years old. One of his labors of love some years ago was an attempt to reduce music to a mathematical basis. On the established fact that Middle C has two hundred and fifty-six vibrations per second, he prepared a scale and went to work on the rule of three. After infinite calculation and repeated experiments, he carried it far enough to discover that it would not work. A reporter once asked him what was his method of composition — "Do you write the words to fit the music, or the music to fit the words?" His reply was, "I have no method. Sometimes the music comes and the words follow, fitted insensibly to the melody. I watch my moods, and when anything good strikes me, whether words or music, and no matter where I am, at home or on the street, I jot it down. Often the margin of a newspaper or the back of an envelope serves as a notebook. My brain is a sort of spinning machine, I think, for there is music running through it all the time. I do not pick out my music on the keys of an instrument. The tunes of nearly all the hymns I have written have been completed on paper before I tried them on the organ. Frequently the words of the hymn and the music have been written at the same time." The Doctor frequently said that he regarded "Weeping Will Not Save Me" as the best and most evangelistic hymn he ever wrote. The following are some of his most popular and sweetest gospel melodies: "Shall We Gather at the River?," "One More Day's Work for Jesus," "Where is My Wandering Boy To-night?," "I Need Thee Every Hour," "The Mistakes of My Life," "How Can I Keep from Singing?," "All the Way My Saviour Leads Me," "Saviour, Thy Dying Love," "We're Marching to Zion," etc. "Shall We Gather at the River?" is perhaps, without question, the most widely popular of all his songs. Of this Mr. Lowry said: "It is brass band music, has a march movement, and for that reason has become popular, though for myself I do not think much of it." Yet he tells us how, on several occasions, he had been deeply moved by the singing of that hymn, "Going from Harrisburg to Lewisburg once I got into a car filled with half-drunken lumbermen. Suddenly one of them struck up, "Shall We Gather at the River?" and they sang it over and over again, repeating the chorus in a wild, boisterous way. I did not think so much of the music then as I listened to those singers, but I did think that perhaps the spirit of the hymn, the words so flippantly uttered, might somehow survive and be carried forward into the lives of those careless men, and ultimately lift them upward to the realization of the hope expressed in my hymn." "A different appreciation of it was evinced during the Robert Raikes' Centennial. I was in London, and had gone to meeting in the Old Bailey to see some of the most famous Sunday-school workers in the world. They were present from Europe, Asia, and America. I sat in a rear seat alone. After there had been a number of addresses delivered in various languages, I was preparing to leave, when the chairman of the meeting announced that the author of "Shall We Gather at the River?" was present, and I was requested by name to come forward. Men applauded and women waved their handkerchiefs as I went to the platform. It was a tribute to the hymn; but I felt, when it was over, that, after all, I had perhaps done some little good in the world, and I felt more than ever content to die when God called." On Children's Day in Brooklyn, in 1865, this song was sung by over forty thousand voices. While Dr. Lowry said, "I would rather preach a gospel sermon to an appreciative, receptive congregation than write a hymn," yet in spite of his preferences, his hymns have gone on and on, translated into many languages, preaching and comforting thousands upon thousands of souls, furnishing them expression for their deepest feelings of praise and gratitude to God for His goodness to the children of men. What he had thought in his inmost soul has become a part of the emotions of the whole Christian world. We are all his debtors. Rev. Robert Lowry, D. D., died at his residence in Plainfield, K J., November 25, 1899. Dead, yet he lives and his sermons in gospel song are still heard and are doing good. Dr. Lowry was a great and good man, and his life, well spent, is highly worthy of a place among the world's greatest gospel song and hymn writers. -- Biography of Gospel Song and Hymn Writers ------- Lowry, Robert, D.D., son of Crozier Lowry, was born at Philadelphia, Pennsylvania, March 12, 1826, and educated at Lewisburg University. Having received ordination as a Baptist Minister, his first charge was at West Chester, Pennsylvania. From thence he passed to New York City, and then to Brooklyn, N. Y. In 1876 he was appointed Professor of Rhetoric in his University. On resigning his Professorship he undertook the charge of the 2nd Baptist Church, New Jersey. Dr. Lowry has been associated with some of the most popular Sunday School hymn-books published in the States, including Happy Voices, 1865; Chapel Melodies, 1868; Bright Jewels, 1869; Pure Gold, 1871; Royal Diadem, 1873; Tidal Wave, 1874; Fountain of Song1877; Welcome Tidings, 1877, &c. Of Dr. Lowry's hymns those which have attained the widest circulation are:— 1. Jerusalem, for ever bright. Heaven. Appeared in the American Tract Society's Happy Voices, 1865, with music by the author. 2. Low in the grave He lay. Resurrection of Christ. Written in 1874 and published in Brightest and Best, 1875. 3. Marching on, marching on. Sunday School Battle Song. Appeared, with music by the author, in Happy Voices, 1865. 4. My home is in heaven, my rest is not here. In Happy Voices, 1865, with music by the author. 5. My life flows on in endless song. Joy in God. In Bright Jewels, 1869; the Royal Diadem, 1873, and others in America and Great Britain, with music by the author. 6. One more day's work for Jesus. Work for Christ. Published, with music by the author, in Bright Jewels, 1869. 7. Shall we gather at the river? Mutual recognition in the Hereafter. The origin of this hymn is thus set forth in E. W. Long's Illustrated History of Hymns and their Authors, Philadelphia, 1876, p. 64:— ”On a very hot summer day, in 1864, a pastor was seated in his parlour in Brooklyn, N. Y. It was a time when an epidemic was sweeping through the city, and draping many persons and dwellings in mourning. All around friends and acquaintances were passing away to the spirit land in large numbers. The question began to arise in the heart, with unusual emphasis, ‘Shall we meet again? We are parting at the river of death, shall we meet at the river of life?' ‘Seating myself at the organ,’ says he, ‘simply to give vent to the pent up emotions of the heart, the words and music of the hymn began to flow out, as if by inspiration:— ‘Shall we gather at the river, Where bright angel feet have trod?’" In 1865 the hymn and music were given in Happy Voices, No. 220, in 5 stanzas of 4 lines and a chorus. The hymn has since passed into a great number of hymnals in Great Britain and America. 8. Take the wings of the morning; speed quickly thy flight. Exhortation to Repentance. Written for, and published with music by the author in, the Royal Diadem, 1873. 9. Weeping will not save me. Salvation through Faith. Published in the Chapel Melodies, 1868. 10. What can wash away my stain? Precious Blood of Jesus. Given in the Welcome Tidings, 1877, with music by the author. 11. Where is my wandering boy tonight! The absent Child. In the Fountain of Song, 1877, together with music by the author. Most of these hymns are given in Mr. I. D. Sankey's Sacred Songs & Solos, Pts. i., ii. --John Julian, Dictionary of Hymnology (1907)

Ernest Warburton Shurtleff

1862 - 1917 Person Name: Ernest W. Shurtleff Topics: Year A Epiphany 5 Author of "Lead On Eternal Sovereign" in The New Century Hymnal Before studying at Andover, Ernest W. Shurtleff (Boston, MA, 1862; d. Paris, France, 1917) attended Harvard University. He served Congregational churches in Ventura, California; Old Plymouth, Massachusetts; and Minneapolis, Minnesota, before moving to Europe. In 1905 he established the American Church in Frankfurt, and in 1906 he moved to Paris, where he was involved in student ministry at the Academy Vitti. During World War I he and his wife were active in refugee relief work in Paris. Shurtleff wrote a number of books, including Poems (1883), Easter Gleams (1885), Song of Hope (1886), and Song on the Waters (1913). Bert Polman =============== Shurtleff, Ernest Warburton, b. at Boston, Mass., April 4, 1862, and educated at Boston Latin School, Harvard University, and Andover Theo. Seminary (1887). Entering the Congregational Ministry, he was Pastor at Palmer and Plymouth, Mass., and is now (1905) Minister of First Church, Minneapolis, Minn. His works include Poems, 1883, Easter Gleams, 1883, and others. His hymn, "Lead on, O King Eternal" (Christian Warfare), was written as a parting hymn to his class of fellow students at Andover, and was included in Hymns of the Faith, Boston, 1887. It has since appeared in several collections. [M. C. Hazard, Ph.D]. --John Julian, Dictionary of Hymnology, New Supplement (1907)

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