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Author: Henry van Dyke, 1852-1933, alt. Meter: 8.7.8.7 D Appears in 266 hymnals Topics: Marriage Sacraments; Funeral Sacraments; Creation; Ecology; God the Father, Creator; Heaven; Hope; Joy; Life; Light; Love for Others; Love of God for Us; Mercy, Forgiveness; Morning; Music; Petition, Prayer; Praise; Reconciliation, Atonement, Forgiveness; Song; Trust, Confidence; Worship and Adoration Lyrics: 1 Joyful, joyful, we adore you, God of glory, Lord of love; Hearts unfold like flow'rs before you, Op'ning to the sun above. Melt the clouds of sin and sadness; Drive the dark of doubt away; Giver of immortal gladness, Fill us with the light of day! 2 All your works with joy surround you, Earth and heav'n reflect your rays, Stars and angels sing around you, Center of unbroken praise. Field and forest, vale and mountain, Flow'ry meadow, flashing sea, Chanting bird, and flowing fountain Sound their praise eternally! 3 You are giving and forgiving, Ever blessing, ever blest, Well-spring of the joy of living, Ocean-depth of happy rest! God our Father, Christ our brother, Let your light upon us shine; Teach us how to love each other, Lift us to the joy divine. 4 Mortals, join the mighty chorus, Which the morning stars began; God's own love is reigning o’er us, Joining people hand in hand. Ever singing, march we onward, Victors in the midst of strife; Joyful music leads us sunward In the triumph song of life. Scripture: Psalm 104 Used With Tune: HYMN TO JOY

When Morning Gilds the Sky

Author: Edward Caswall, 1814-1878 Meter: 6.6.6 D Appears in 700 hymnals Topics: Funeral Sacraments; Burdens; Comfort; Eternal Life; Heaven; Joy; Morning; Music; Petition, Prayer; Praise; Sickness; Song; Worship and Adoration Lyrics: 1 When morning gilds the sky, Let hearts awaking cry: May Jesus Christ be praised! In work and prayer rejoice To sing with grateful voice: May Jesus Christ be praised! 2 To God the Word, on high The hosts of angels cry: May Jesus Christ be praised! Let mortals, too, employ Their hymns of endless joy: May Jesus Christ be praised! 3 In heav'n's eternal bliss The loveliest strain is this: May Jesus Christ be praised! Let earth and sea and sky, From depth to height, reply: May Jesus Christ be praised! 4 Then let us join to sing To Christ, our loving King: May Jesus Christ be praised! Be this the eternal song Through all the ages long: May Jesus Christ be praised! Scripture: Psalm 19:2 Used With Tune: LAUDES DOMINI Text Sources: Wach ich früh Morgens auf; Katholisches Gesangbuch, Würzburg, 1828

All Creatures of Our God and King

Author: St. Francis of Assisi; William H. Draper Meter: 8.8.4.4.8.8 with refrain Appears in 264 hymnals Topics: Benediction; Creation; Evening; Joy; Morning; Nature; Praise; Singing (or Song) Refrain First Line: Sing God's praises, Alleluia Lyrics: 1 All creatures of our God and King, Lift up your voices with us sing Alleluia, Alleluia! O burning sun with golden beam, O silver moon with softer gleam, Refrain: Sing God's praises, Alleluia, O sing praises, Alleluia, Alleluia! 2 O rushing wind, you are so strong, You clouds that sail in heaven along, Sing God's praises, Alleluia! You rising morn, in praise rejoice, You lights of evening find a voice, [Refrain] 3 You flowing water, pure and clear, Make music for our God to hear, Alleluia, Alleluia! O fire so masterful and bright, That gives to us both warmth and light, [Refrain] 4 Dear mother earth, who day by day Unfolds such blessings on our way, Sing God's praises, Alleluia! The flowers and fruits that in thee grows, Let them God's glory also show, [Refrain] 5 And all you folk of tender heart, Forgiving others, take your part, O sing ye, Alleluia! You, who long pain and sorrow bear, With praises cast on God your care, [Refrain] Scripture: Psalm 148 Used With Tune: LASST UNS ERFREUEN Text Sources: Trans.: Hymns of the Spirit, 1926

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Tunes

Tune authorities

SIYAHAMBA

Appears in 55 hymnals Topics: Epiphany; Songs for Children; Freedom; Morning, Evening Tune Sources: South African Tune Key: G Major Incipit: 55332 31654 32221 Used With Text: We Are Marching in the Light of God

NICAEA

Meter: 11.12.12.10 Appears in 1,039 hymnals Composer and/or Arranger: John B. Dykes; David McKinley Williams, 1887-1978 Topics: Doxologies; Songs for Children Hymns; Opening of Worship; Angels; Doxologies; Majesty of God; Morning; Opening of Worship; Trinity Tune Key: D Major Incipit: 11335 56666 53555 Used With Text: Holy, Holy, Holy! Lord God Almighty

BREAK BREAD TOGETHER

Meter: 10.10 with refrain Appears in 112 hymnals Topics: Human Family; Morning; Holy Communion; Songs for Children; Holy Communion; Human Family; Morning Tune Sources: African American spiritual Tune Key: E Flat Major Incipit: 56111 11322 11355 Used With Text: Let Us Break Bread Together

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Instances

Published text-tune combinations (hymns) from specific hymnals

Once more, my Soul, the rising Day

Hymnal: The Psalms of David #II.VI (1766) Topics: Morning Song Lyrics: 1 Once more my Soul, the rising Day Salutes thy waking Eyes; Once more, my Voice, thy Tribute pay To him that Rules the Skies. 2 Night unto Night his Name repeats, The Day renews the Sound, Wide as the Heav'n on which he sits To turn the Seasons round. 3 'Tis he supports my mortal Frame, My Tongue shall speak his Praise; My Sins would rouze his Wrath to Flame, And yet his Wrath delays. [4 On a poor Worm thy Pow'r might tread, And I could ne'er withstand; Thy Justice might have crush'd me dead, But Mercy held thine Hand. 5 A Thousand wretched Souls are fled Since the last setting Sun, And yet thou length'nest out my Thread, And yet my Moments run.] 6 Dear God, let all my Hours be thine, Whilst I enjoy thy Light, Then shall my Sun in Smiles decline, And bring a pleasing Night. Languages: English

Surge la aurora

Author: Eleanor Farjeon (inglesa, 1881-1965); Gaylord E. Smith, (estadounidense, n. 1939 Hymnal: Las Voces del Camino #10 (2009) Meter: 5.5.5.4 D Topics: Morning Songs First Line: Surge la aurora Languages: Spanish Tune Title: BUNESSAN

Wie schön leucht't uns der Morgenstern

Author: Dr. Josua Stegmann Hymnal: Evangelisch-Lutherisches Gesang-Buch #355 (1848) Topics: Morning Songs Lyrics: 1 Wie schön leucht't uns der Morgenstern vom Firmament des Himmels fern, die Nacht ist nun vergangen; all' Creatur macht sich herfür, des edlen Lichtes Pracht und Zier mit Freuden zu empfangen. Was lebt, was schwebt hoch in Lüften, tief in Klüften, läßt zu Ehren seinem Gott ein Danklied hören. 2 Du, o mein Herz, dich auch aufricht', erheb' dein Stimm und säume nicht, dem Herrn dein Lob zu bringen; denn Herr, Du bist's dem Lob gebührt, und dem man billig musicirt, dem man läßt innig klingen, mit Fleiß, Dank, Preis, Freuden-Saiten, daß von weitem Man kan hören Dich, o meinen Heiland, ehren. 3 Ich lag in stolzer Sicherheit, sah' nicht mit was Gefährlichkeit ich diese Nacht umgeben, des Teufels List und Büderei, die Höll' des Todes Tyrannei, stund mir nach Leib und Leben, daß ich schwerlich wär entkommen und entnommen diesen Banden, wenn Du mir nicht beigestanden. 4 Allein, o Jesu! meine Freud' in aller Angst und Traurigkeit, Du hast mich heut befreiet; Du hast der Feinde Macht gewehrt, mir Schutz und sanfte Ruh' beschert, Des sei gebenedeiet. Mein muth, mein Blut soll nun singen, soll nun springen, all mein Leben soll Dir Dankes-Lieder geben. 5 Ei, mein Herr, süßer Lebens-hHrt, laß ferner Deine Gnaden-Pfort mir heut noch offen bleiben; sei meine Burg und festes Schloß, und laß kein feindliches Geschoß daraus mich nimmer treiben; Stell Dich für mich hin zu kämpfen, und zu dämpfen Pfeil und Eisen, wenn der Feind will Macht beweisen. 6 Geuß Deiner Gnaden reichen Strahl, auf mich vom hohen Himmels-Saal, mein Herz in mir verneue! Dein guter Geist mich leit' und führ', daß ich nach meiner Amtsgebühr zu thun mich innig freue. Gieb Rath, und That, laß meine Sinnen und Beginnen stets sich wenden, seinen Lauf in Dir zu enden. 7 Wend' Unfall ab, kann's anders sein; wo nicht, so geb' ich mich darein, ich will nicht widerstreben; doch komm, o süßer Morgenthau, mein Herz erfrisch, daß ich Dir trau: und bleib im Kreuz ergeben, bis ich endlich nach dem Leiden zu der Freuden werd' erhoben, da ich Dich kann ewig loben. 8 Indeß, mein Herze sing und spring, in allem Kreuz sei guter Ding'; der Himmel steht Dir offen,– Laß Schwermuth dich nicht nehmen ein, denk, daß die liebsten Kinderlein all'zeit das Unglück troffen. Drum so sei froh, glaube feste, daß das Beste, so bringt Frommen, wir in jener Welt bekommen. Languages: German

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Authors, composers, editors, etc.

Wolfgang Amadeus Mozart

1756 - 1791 Person Name: Mozart Topics: Adoration; Aspirations For Church Priveleges; Blessedness Of Those Obeying Christ; Christians Growth of; Enemies Destruction of; God Faithfulness of; God Holiness of; God Love and Mercy; God Righteousness of; God Works of; Grace Abounding; Grace Growth in; Grace Quickening; Grace Restoring; Grace Sustaining; Joy Reasons for; Morning Psalms; Nature An Emblem of Grace; Old Age; Praise Fitness of; Praise For God's Goodness; The Christian's Reward; The Righteous Honor and Safety of; Royalty of Christ Judgment the Prerogative of; Temperance Songs; Thanksgiving Declared; The Wicked Fate of; Worship Delightful to Saints; Worship Family Composer of "ELLESDIE" in The Psalter 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

Christian H. Bateman

1813 - 1889 Person Name: Christian H. Bateman, 1813-1889 Topics: Gathering; Joy; Praise; Service Music for Mass Entrance Song (Gathering of Processional); Morning Prayer Hymn; The Liturgical Year The Ascension of the Lord; The Liturgical Year Our Lord Jesus Christ, King of the Universe Author of "Come, Christians, Join to Sing" in Glory and Praise (3rd. ed.) Bateman, Christian Henry, son of John Bateman, was born Aug. 9, 1813, at Wyke, near Halifax. After studying in the Moravian Church and exercising his ministry there for a time, he became, in 1843, minister of Richmond Place Congregational Church, Edinburgh. After 1846 he was successively Congregational minister at Hopton, in Yorkshire, and Beading, in Berkshire. On taking Holy Orders in the Church of England he became, 1869-71, curate of St. Luke's, Jersey, and Chaplain to the Forces; 1871-75, Vicar of All Saints, Childshill, Middlesex; 1877-84, curate of St. John's, Penymynydd, Hawarden. His hymns appeared mainly in:— The Sacred Song Book (Edin., Gall & Inglis, subsequently published as Sacred Melodies for Children; and as 200 Sacred Melodies for Sunday Schools and Families, was edited by himself, with the Rev. James Gall, and latterly with Mr. Robert Inglis, the publisher. First pub. 1843 as 25; enlarged by a second part, 1846, to 60; revised and enlarged, 1854, to 80; 1862, to 130; and 1872, to 200; it reached a circulation of a million and a half before 1862, four millions before 1872, and above six millions before 1881. It was for many years the hymnbook for Sabbath School use in Scotland. (2) The Children's Hymnal and Christian Year (London., J. Hodges, 1872), including 11 original hymns, with others from many sources. His best known hymn is: “Come, children, join to sing" (q. v.). [Rev. James Mearns, M.A.] -- John Julian, Dictionary of Hymnology (1907) ======================= Bateman, C. H., p. 116, i. He finally resided at Carlisle without a charge, and died there in July, 1889. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

Eleanor Farjeon

1881 - 1965 Person Name: Eleanor Farjeon, 1881-1965 Topics: The Godhead God the Creator; Morning and Evening; Songs Suitable for Children Author of "Morning has broken" in Complete Mission Praise Eleanor Farjeon, (born Feb. 13, 1881, London--died June 5, 1965, Hampstead, London), English writer for children whose magical but unsentimental tales, which often mock the behaviour of adults, earned her a revered place in many British nurseries. The daughter of a British novelist and granddaughter of a U.S. actor, Eleanor Farjeon grew up in the bohemian literary and dramatic circles of London. Attending opera and theatre at 4 and writing on her father’s typewriter at 7, Farjeon came to public attention at 16 as the librettist of an opera, with music by her brother Harry, which was produced by the Royal Academy of Music. Her success with Nursery Rhymes of London Town (1916), simple tunes originally for adults but adapted and sung in junior schools throughout England, spurred her writing. In addition to such favourites as Martin Pippin in the Apple Orchard (1921) and The Little Bookroom (1955), which won the Carnegie Medal and the first Hans Christian Anderson Award, Farjeon’s prolific writings include children’s educational books, among them Kings and Queens (1932; with Herbert Farjeon); adult books; and memoirs, notably A Nursery in the Nineties (1935; rev. ed. 1960). --www.britannica.com/EBchecked/topic/201881/Eleanor-Farjeon

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