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Jesus, United by Thy Grace
Author: Charles Wesley Meter: 8.6.8.6 Appears in 167 hymnals Topics: Love Feast; The Nature of the Church United in Christ; Church Community in Christ; Jesus Christ Example; Love; Love Feast Lyrics: 1. Jesus, united by thy grace
and each to each endeared,
with confidence we seek thy face
and know our prayer is heard.
2. Help us to help each other, Lord,
each other's cross to bear;
let all their friendly aid afford,
and feel each other's care.
3. Up unto thee, our living Head,
let us in all things grow;
till thou hast made us free indeed
and spotless here below.
4. Touched by the lodestone of thy love,
let all our hearts agree,
and ever toward each other move,
and ever move toward thee.
5. To thee, inseparably joined,
let all our spirits cleave;
O may we all the loving mind
that was in thee receive.
6. This is the bond of perfectness,
thy spotless charity;
O let us, still we pray, possess
the mind that was in thee.
Used With Tune: ST. AGNES
Jesus, United by Thy Grace
O Love, How Deep
Author: Benjamin Webb Meter: 8.8.8.8 Appears in 139 hymnals Topics: Jesus Christ Love of First Line: O love, how deep, how broad, how high Lyrics: 1. O love, how deep, how broad, how high,
it fills the heart with ecstasy,
that God, the Son of God, should take
our mortal form for mortals' sake!
2. For us baptized, for us he bore
his holy fast and hungered sore,
for us temptation sharp he knew;
for us the tempter overthrew.
3. For us he prayed; for us he taught;
for us his daily works he wrought;
by words and signs and actions thus
still seeking not himself, but us.
4. For us to evil power betrayed,
scourged, mocked, in purple robe arrayed,
he bore the shameful cross and death,
for us gave up his dying breath.
5. For us he rose from death again;
for us he went on high to reign;
for us he sent his Spirit here,
to guide, to strengthen, and to cheer.
6. All glory to our Lord and God
for love so deep, so high, so broad:
the Trinity whom we adore,
forever and forevermore.
Used With Tune: DEO GRACIAS Text Sources: 15th cent. Latin
O Love, How Deep
Come, Join the Dance of Trinity
Author: Richard Leach Meter: 8.6.8.6 D Appears in 4 hymnals Topics: Bethlehem; Creator; Dancing; Death; Fire and Flame; Freedom and Liberation; Holy Spirit; Holy Trinity; Jerusalem; Joy; Life; Love (Human); Movement; Music and Singing; Name of Jesus Christ; Praise and Thanksgiving; Providence; Service Music Doxology; Sin; Space; Storms; Times; Universe; Voices; Wind; Bethlehem; Christian Year and Observances Pentecost; Creator; Dancing; Death; Fire and Flame; Freedom and Liberation; Holy Spirit; Holy Trinity; Jerusalem; Joy; Life; Love (Human); Movement; Music and Singing; Name of Jesus Christ; Praise and Thanksgiving; Providence; Service Music Doxology; Sin; Space; Storms; Times; Universe; Voices; Wind Scripture: Psalm 150 Used With Tune: KINGSFOLD
Come, Join the Dance of Trinity
O HOW I LOVE JESUS
Meter: 8.6.8.6 D Appears in 34 hymnals Topics: Jesus Christ Love of Tune Sources: 19th cent. USA melody Tune Key: A Flat Major Incipit: 13332 31111 22212 Used With Text: O How I Love Jesus
O HOW I LOVE JESUS
CORONATION
Meter: 8.6.8.6 Appears in 1,258 hymnals Composer and/or Arranger: Oliver Holden Topics: The Grace of Jesus Christ In Praise of Christ; Christian Year Ascension; Funerals and Memorial Services; Jesus Christ; Jesus Christ Love For; Jesus Christ Name of; Opening Hymns; Processionals; Salvation; Zeal Tune Key: F Major Incipit: 51133 21232 13212 Used With Text: All Hail the Power of Jesus' Name
CORONATION
In Christ Alone
Author: Keith Getty, b. 1974; Stuart Townend, b. 1963 Hymnal: One Lord, One Faith, One Baptism #517 (2018) Meter: 8.8.8.8 with refrain Topics: Love of Jesus Christ First Line: In Christ alone my hope is found Languages: English Tune Title: IN CHRIST ALONE
In Christ Alone
Love Has Come
Author: Ken Bible Hymnal: Voices Together #258 (2020) Meter: 9.9.10.9.9.8 Topics: Jesus Christ Love of First Line: Love has come—a light in the darkness! Scripture: Matthew 1:18-25, 2:1-12 Tune Title: UN FLAMBEAU (BRING A TORCH)
Love Has Come
At the Name of Jesus
Author: Caroline Maria Noel Hymnal: Voices United #335 (1996) Meter: 11.11.11.11 Topics: Jesus Christ Love of First Line: At the name of Jesus every knee shall bow Lyrics: 1 At the Name of Jesus every knee shall bow,
every tongue confess him King of glory now;
'tis our God's great pleasure we should call him Lord,
who from the beginning was the mighty Word.
2 Humbled for a season to receive a name
from the lips of sinners unto whom he came,
faithfully he bore it, spotless to the last,
brought it back victorious when from death he passed.
3 Name him, Christians, name him, with love strong as death,
but with awe and wonder, and with bated breath;
he is God the Saviour, he is Christ the Lord,
ever to be worshipped, trusted, and adored.
4 In your hearts enthrone him; there let him subdue
all that is not holy, all that is not true;
crown him as your Captain in temptation's hour;
let his will enfold you in its light and power.
5 Christians, this Lord Jesus shall return again,
with his Father's glory, with his angel train;
for all wreaths of empire meet upon his brow,
and our hearts confess him King of Glory now.
Languages: English Tune Title: KING'S WESTON
At the Name of Jesus
Samuel Crossman
1623 - 1684 Topics: Jesus Christ Love of Author of "My Song Is Love Unknown" in Voices United Crossman, Samuel , B.D. From A. Wood's Athenae Oxonienses (1720, vol. ii. p. 730) we gather all that is known of this hymnwriter. Wood says concerning him:—
"Samuel Crossman, Bachelor of Divinity of Cambridge, and Prebendary of Bristol, son of Samuel Crossman, of Bradfield Monachorum, in Suffolk. He hath written and published several things, as The Young Man's Monitor, &c, London, 1664, 8vo., and several sermons, among which are two sermons preached in the Cathedral of Bristol, 30th Jan., 1679, and 30th Jan., 1680, being the days of public humiliation for the execrable murder of King Charles I, printed at London, 1681, &c.; also a sermon preached 23rd April, 1680, in the Cathedral Church of Bristol, before the Gentlemen of the Artillery Company newly raised in that City, printed at London, 1680, &c; and, "An Humble Plea for the quiet rest of God's Ark," preached before Sir Joh. Moore, Lord Mayor of London, at St. Mildred's Church in the Poultrey, 5th February, 1681, London, 1682, 4to, &c. He died 4th February, 1683, aged 69 years, and was buried in the South Aisle of the Cathedral Church in Bristol" [of which he had been appointed Dean a few weeks before].
Crossman's contributions to hymnody were given in a small pamphlet entitled:—
The Young Man's Meditation, or some few Sacred Poems upon Select Subjects, and Scriptures. By Samuel Crossman, B.D. London, Printed by J. H., &c, 1664.
This pamphlet, which was reprinted by D. Sedgwick, London, 1863, contains 9 sacred poems. Of these the following are in common use:—
1. My life's a shade, my days. Resurrection. This is in 6 stanzas of 4 lines, together with a chorus to each stanza of 4 Lines. It is sometimes given as "Life is a shade, my days," as in Kennedy, 1863.
2. Sweet place, sweet place alone, Pt. i. Jerusalem on high, Pt. ii. These two parts form one poem on Heaven. The most popular portion is Pt. ii. This is given in numerous collections in Great Britain and America. Part i. is not so extensively used. From the two parts the cento "Earth's but a sorry tent," in the Dutch Reformed Hymns of the Church, N. Y. 1869, is also taken.
3. Farewell, poor world, I must be gone. Death anticipated. This is given in the Comprehensive Rippon, 1844, and in a few of the older American hymnbooks.
4. My song is love unknown. In the Anglican Hymnbook, 1863
-- John Julian, Dictionary of Hymnology (1907)
Samuel Crossman
William Henry Monk
1823 - 1889 Person Name: W. H. Monk Topics: Jesus Christ Love of Adapter and Harmonizer of "ELLACOMBE" in The United Methodist Hymnal 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
William Henry Monk
Johann Crüger
1598 - 1662 Topics: Jesus Christ Love of Composer of "CRÜGER" in Voices United Johann Crüger (b. Grossbriesen, near Guben, Prussia, Germany, 1598; d. Berlin, Germany, 1662) Crüger attended the Jesuit College at Olmutz and the Poets' School in Regensburg, and later studied theology at the University of Wittenberg. He moved to Berlin in 1615, where he published music for the rest of his life. In 1622 he became the Lutheran cantor at the St. Nicholas Church and a teacher for the Gray Cloister. He wrote music instruction manuals, the best known of which is Synopsis musica (1630), and tirelessly promoted congregational singing. With his tunes he often included elaborate accompaniment for various instruments. Crüger's hymn collection, Neues vollkomliches Gesangbuch (1640), was one of the first hymnals to include figured bass accompaniment (musical shorthand) with the chorale melody rather than full harmonization written out. It included eighteen of Crüger's tunes. His next publication, Praxis Pietatis Melica (1644), is considered one of the most important collections of German hymnody in the seventeenth century. It was reprinted forty-four times in the following hundred years. Another of his publications, Geistliche Kirchen Melodien (1649), is a collection arranged for four voices, two descanting instruments, and keyboard and bass accompaniment. Crüger also published a complete psalter, Psalmodia sacra (1657), which included the Lobwasser translation set to all the Genevan tunes.
Bert Polman
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Crüger, Johann, was born April 9, 1598, at Gross-Breese, near Guben, Brandenburg. After passing through the schools at Guben, Sorau and Breslau, the Jesuit College at Olmütz, and the Poets' school at Regensburg, he made a tour in Austria, and, in 1615, settled at Berlin. There, save for a short residence at the University of Wittenberg, in 1620, he employed himself as a private tutor till 1622. In 1622 he was appointed Cantor of St. Nicholas's Church at Berlin, and also one of the masters of the Greyfriars Gymnasium. He died at Berlin Feb. 23, 1662. Crüger wrote no hymns, although in some American hymnals he appears as "Johann Krüger, 1610,” as the author of the supposed original of C. Wesley's "Hearts of stone relent, relent" (q.v.). He was one of the most distinguished musicians of his time. Of his hymn tunes, which are generally noble and simple in style, some 20 are still in use, the best known probably being that to "Nun danket alle Gott" (q.v.), which is set to No. 379 in Hymns Ancient & Modern, ed. 1875. His claim to notice in this work is as editor and contributor to several of the most important German hymnological works of the 16th century, and these are most conveniently treated of under his name. (The principal authorities on his works are Dr. J. F. Bachmann's Zur Geschichte der Berliner Gesangbücher 1857; his Vortrag on P. Gerhard, 1863; and his edition of Gerhardt's Geistliche Lieder, 1866. Besides these there are the notices in Bode, and in R. Eitner's Monatshefte für Musik-Geschichte, 1873 and 1880). These works are:—
1. Newes vollkömmliches Gesangbuch, Augspur-gischer Confession, &c, Berlin, 1640 [Library of St. Nicholas's Church, Berlin], with 248 hymns, very few being published for the first time.
2. Praxis pietatis melica. Das ist: Ubung der Gottseligkeit in Christlichen und trostreichen Gesängen. The history of this, the most important work of the century, is still obscure. The 1st edition has been variously dated 1640 and 1644, while Crüger, in the preface to No. 3, says that the 3rd edition appeared in 1648. A considerable correspondence with German collectors and librarians has failed to bring to light any of the editions which Koch, iv. 102, 103, quotes as 1644, 1647, 1649, 1650, 1651, 1652, 1653. The imperfect edition noted below as probably that of 1648 is the earliest Berlin edition we have been able to find. The imperfect edition, probably ix. of 1659, formerly in the hands of Dr. Schneider of Schleswig [see Mützell, 1858, No. 264] was inaccessible. The earliest perfect Berlin edition we have found is 1653.
The edition printed at Frankfurt in 1656 by Caspar Röteln was probably a reprint of a Berlin edition, c. 1656. The editions printed at Frankfurt-am-Main by B. C. Wust (of which the 1666 is in the preface described as the 3rd) are in considerable measure independent works.
In the forty-five Berlin and over a dozen Frankfurt editions of this work many of the hymns of P. Gerhardt, J. Franck, P. J. Spener, and others, appear for the first time, and therein also appear many of the best melodies of the period.
3. Geistliche Kirchen-Melodien, &c, Leipzig, 1649 [Library of St. Katherine's Church, Brandenburg]. This contains the first stanzas only of 161 hymns, with music in four vocal and two instrumental parts. It is the earliest source of the first stanzas of various hymns by Gerhardt, Franck, &c.
4. D. M. Luther's und anderer vornehmen geisU reichen und gelehrten Manner Geistliche Lieder und Psalmen, &c, Berlin, 1653 [Hamburg Town Library], with 375 hymns. This was edited by C. Runge, the publisher, and to it Crüger contributed some 37 melodies. It was prepared at the request of Luise Henriette (q.v.), as a book for the joint use of the Lutherans and the Re¬formed, and is the earliest source of the hymns ascribed to her, and of the complete versions of many hymns by Gerhardt and Franck.
5. Psalmodia Sacra, &c, Berlin, 1658 [Royal Library, Berlin]. The first section of this work is in an ed. of A. Lobwasser's German Psalter; the second, with a similar title to No. 4, and the date 1657, is practically a recast of No. 4,146 of those in 1653 being omitted, and the rest of the 319 hymns principally taken from the Praxis of 1656 and the hymn-books of the Bohemian Brethren. New eds. appeared in 1676, 1700, 1704, 1711, and 1736.
[Rev. James Mearns, M.A.]
-- Excerpt from John Julian, Dictionary of Hymnology (1907)
=======================
Crüger, Johann, p. 271, ii. Dr. J. Zahn, now of Neuendettelsau, in Bavaria, has recently acquired a copy of the 5th ed., Berlin, 1653, of the Praxis.
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
Johann Crüger
