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Courage, brother! Do not stumble

Author: Norman MacLeod Meter: 8.7.8.7 D Appears in 181 hymnals Topics: Brotherhoods and Men's Guilds; Church Work; Duty, Voice of; Social Progress Used With Tune: COURAGE, BROTHER

Bright source of everlasting love!

Meter: 8.6.8.6 Appears in 71 hymnals Topics: Social Duties Lyrics: 1 Bright source of everlasting love! To thee our souls we raise; And to thy matchless bounty rear A monument of praise. 2 Thy mercy gilds the path of life With ev'ry cheering ray; Kindly restrains the rising tear, Or wipes that tear away. 3 When, sunk in guilt, our race approach'd The borders of despair; Thy grace through Jesus' blood proclaim'd A free salvation near. 4 What shall we render, bounteous Lord, For all the grace we see? Alas! the goodness worms can yield Extendeth not to thee. 5 To tents of woe, to beds of pain, Our cheerful feet repair; And, with the gifts thy hand bestows, Relieve the mourners there. 6 The widow's heart shall sing for joy; The orphan shall be glad; And hung'ring souls we'll gladly point To Christ the living bread. 7 Thus, passing through this vale of tears, Our useful light shall shine; And other learn to glorify Our Father's name divine.

Daughters of pity, tune the lay

Meter: 8.6.8.6 Appears in 15 hymnals Topics: Social Duties Lyrics: 1 Daughters of pity, tune the lay; To mourners joy belongs; While he, that wipes all tears away, Accepts our thankful songs. 2 No altars smoke, no off'rings bleed, No guiltless lives expire; To help a brother in his need, Is all our rites require. 3 Our off'ring is a willing mind To comfort the distrust; In others' good our own we find, In others' blessing blest. 4 Go to the pillow of disease, Where night gives no repose, And on the cheek, where sickness preys, Bid health to plant a rose. 5 Go where the friendless stranger lies; To perish is his doom: Snatch from the grave his closing eyes, And bring his blessing home. 6 Thus, what our heav'nly Father gave, Shall we as freely give; Thus copy him, who liv'd to save, And died that we might live.

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Tunes

Tune authorities

WESTMINSTER ABBEY

Meter: 8.7.8.7.8.7 Appears in 93 hymnals Composer and/or Arranger: Henry Purcell; Darryl Nixon Topics: The Church in the World Commitment: Peace and Justice; Brotherhood/Sisterhood; Challenge; Christian Experience; Christian Perfecction; Church Education; Commitment; Creation; Duty; Freedom; God Images; Healing; Hope; Humility; Justice; Love for Others; Ministry; Peace (World); Race Relations; Reconciliation; Service; Social Concerns; Stewardship; Unity; World; Zeal; Advent 1 Year A; Advent 2 Year A; Baptism of Jesus Year A; Proper 11 Year A; All Saints Year B; Epiphany 7 Year C; Epiphany 9 Year C; Epiphany Last/Transfig. Year C; Easter 5 Year C; Easter 6 Year C; Thanksgiving Year C; New Year Year ABC; New Year Year ABC Tune Key: G Major Incipit: 35314 27512 32176 Used With Text: For the Healing of the Nations

LAUDES DOMINI

Meter: 6.6.6.6.6.6 Appears in 446 hymnals Composer and/or Arranger: Joseph Barnby Topics: Brotherhoods and Men's Guilds; Church Work; City of God; Daily Duties; Jerusalem, The New; Kingdom of Christ Its Nature; Life Sacredness of; Social Progress Tune Key: C Major Incipit: 34561 76567 13217 Used With Text: O thou, not made with hands

COURAGE, BROTHER

Meter: 8.7.8.7 D Appears in 82 hymnals Composer and/or Arranger: Arthur Sullivan Topics: Brotherhoods and Men's Guilds; Church Work; Duty, Voice of; Social Progress Tune Key: G Major Incipit: 55111 76715 67123 Used With Text: Courage, brother! Do not stumble

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Instances

Published text-tune combinations (hymns) from specific hymnals

If high or low our station be

Hymnal: A Collection of Hymns and A Liturgy #337 (1814) Meter: 8.8.8.8 Topics: Social Duties Lyrics: 1 If high or low our station be, Of noble or ignoble name; By uncorrupted honesty, Thy blessing, Lord, we'll humbly claim. 2 Enrich'd with that, no want we'll fear, Thy providence shall be our trust. Thou wilt supply our portion here, Thou friend and guardian of the just! 3 Oh! may we, with sincere delight, To all the task of duty pay; Tender of ev'ry social right, Obedient to thy lawful sway! 4 Such virtue thou wilt not forget In that blest world, where virtue shares A fit reward; though not of debt, But what thy boundless grace prepares. Languages: English

Parent of all, Omnipotent

Hymnal: A Collection of Hymns and A Liturgy #353 (1814) Meter: 8.6.8.6 Topics: Social Duties Lyrics: 1 Parent of all, Omnipotent I heav'n, and earth below! Through all creation's vast extent, Whose streams of goodness flow: 2 Teach me to know, from whence I rose, And unto what design'd; Nor selfish aims may I propose, Since link'd with human kind. 3 But chief to hear my country's voice May my best thoughts incline: 'Tis reason's law, 'tis virtue's choice, 'Tis nature's call, and thine. 4 Me from fair freedom's sacred cause May nothing e'er divide; Nor grandeur, gold nor vain applause, Nor friendship false misguide. 5 To duty, honour, virtue true, In all my country's weal, Let me my public walk pursue: So, God, thy favour deal! Languages: English

Father of men! thy care we bless

Hymnal: A Collection of Hymns and A Liturgy #355 (1814) Meter: 8.8.8.8 Topics: Social Duties Lyrics: 1 Father of all! thy care we bless, Which crowns our families with peace. From thee they spring, and by thy hand They have been and are still sustain'd. 2 To God, most worthy to be prais'd, Be our domestic altars rais'd; Who, Lord of heav'n, scorns not to dwell With saints in their obscurest cell. 3 To thee may each united house, Morning and night, present its vows; Our servants there, and rising race, Be taught thy precepts, and thy grace. 4 O may each future age proclaim The honours of thy glorious name; While pleas'd and thankful, we remove To join the family above. Languages: English

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People

Authors, composers, editors, etc.

Joseph Barnby

1838 - 1896 Topics: Brotherhoods and Men's Guilds; Church Work; City of God; Daily Duties; Jerusalem, The New; Kingdom of Christ Its Nature; Life Sacredness of; Social Progress Composer of "LAUDES DOMINI" in The Hymnal Joseph Barnby (b. York, England, 1838; d. London, England, 1896) An accomplished and popular choral director in England, Barby showed his musical genius early: he was an organist and choirmaster at the age of twelve. He became organist at St. Andrews, Wells Street, London, where he developed an outstanding choral program (at times nicknamed "the Sunday Opera"). Barnby introduced annual performances of J. S. Bach's St. John Passion in St. Anne's, Soho, and directed the first performance in an English church of the St. Matthew Passion. He was also active in regional music festivals, conducted the Royal Choral Society, and composed and edited music (mainly for Novello and Company). In 1892 he was knighted by Queen Victoria. His compositions include many anthems and service music for the Anglican liturgy, as well as 246 hymn tunes (published posthumously in 1897). He edited four hymnals, including The Hymnary (1872) and The Congregational Sunday School Hymnal (1891), and coedited The Cathedral Psalter (1873). Bert Polman

Isaac Watts

1674 - 1748 Person Name: Dr. Isaac Watts, 1674-1748 Topics: Perseverance; Perseverance; Courage, Christian; Duty; The Church and the Kingdom of God Social Service; Toil, daily Christian ; Soldiers of Christ; Temptation; Saints Triumphant Author of "Am I a soldier of the cross" in Methodist Hymn and Tune Book Isaac Watts was the son of a schoolmaster, and was born in Southampton, July 17, 1674. He is said to have shown remarkable precocity in childhood, beginning the study of Latin, in his fourth year, and writing respectable verses at the age of seven. At the age of sixteen, he went to London to study in the Academy of the Rev. Thomas Rowe, an Independent minister. In 1698, he became assistant minister of the Independent Church, Berry St., London. In 1702, he became pastor. In 1712, he accepted an invitation to visit Sir Thomas Abney, at his residence of Abney Park, and at Sir Thomas' pressing request, made it his home for the remainder of his life. It was a residence most favourable for his health, and for the prosecution of his literary labours. He did not retire from ministerial duties, but preached as often as his delicate health would permit. The number of Watts' publications is very large. His collected works, first published in 1720, embrace sermons, treatises, poems and hymns. His "Horae Lyricae" was published in December, 1705. His "Hymns" appeared in July, 1707. The first hymn he is said to have composed for religious worship, is "Behold the glories of the Lamb," written at the age of twenty. It is as a writer of psalms and hymns that he is everywhere known. Some of his hymns were written to be sung after his sermons, giving expression to the meaning of the text upon which he had preached. Montgomery calls Watts "the greatest name among hymn-writers," and the honour can hardly be disputed. His published hymns number more than eight hundred. Watts died November 25, 1748, and was buried at Bunhill Fields. A monumental statue was erected in Southampton, his native place, and there is also a monument to his memory in the South Choir of Westminster Abbey. "Happy," says the great contemporary champion of Anglican orthodoxy, "will be that reader whose mind is disposed, by his verses or his prose, to imitate him in all but his non-conformity, to copy his benevolence to men, and his reverence to God." ("Memorials of Westminster Abbey," p. 325.) --Annotations of the Hymnal, Charles Hutchins, M.A., 1872. ================================= Watts, Isaac, D.D. The father of Dr. Watts was a respected Nonconformist, and at the birth of the child, and during its infancy, twice suffered imprisonment for his religious convictions. In his later years he kept a flourishing boarding school at Southampton. Isaac, the eldest of his nine children, was born in that town July 17, 1674. His taste for verse showed itself in early childhood. He was taught Greek, Latin, and Hebrew by Mr. Pinhorn, rector of All Saints, and headmaster of the Grammar School, in Southampton. The splendid promise of the boy induced a physician of the town and other friends to offer him an education at one of the Universities for eventual ordination in the Church of England: but this he refused; and entered a Nonconformist Academy at Stoke Newington in 1690, under the care of Mr. Thomas Rowe, the pastor of the Independent congregation at Girdlers' Hall. Of this congregation he became a member in 1693. Leaving the Academy at the age of twenty, he spent two years at home; and it was then that the bulk of the Hymns and Spiritual Songs (published 1707-9) were written, and sung from manuscripts in the Southampton Chapel. The hymn "Behold the glories of the Lamb" is said to have been the first he composed, and written as an attempt to raise the standard of praise. In answer to requests, others succeeded. The hymn "There is a land of pure delight" is said to have been suggested by the view across Southampton Water. The next six years of Watts's life were again spent at Stoke Newington, in the post of tutor to the son of an eminent Puritan, Sir John Hartopp; and to the intense study of these years must be traced the accumulation of the theological and philosophical materials which he published subsequently, and also the life-long enfeeblement of his constitution. Watts preached his first sermon when he was twenty-four years old. In the next three years he preached frequently; and in 1702 was ordained pastor of the eminent Independent congregation in Mark Lane, over which Caryl and Dr. John Owen had presided, and which numbered Mrs. Bendish, Cromwell's granddaughter, Charles Fleetwood, Charles Desborough, Sir John Hartopp, Lady Haversham, and other distinguished Independents among its members. In this year he removed to the house of Mr. Hollis in the Minories. His health began to fail in the following year, and Mr. Samuel Price was appointed as his assistant in the ministry. In 1712 a fever shattered his constitution, and Mr. Price was then appointed co-pastor of the congregation which had in the meantime removed to a new chapel in Bury Street. It was at this period that he became the guest of Sir Thomas Abney, under whose roof, and after his death (1722) that of his widow, he remained for the rest of his suffering life; residing for the longer portion of these thirty-six years principally at the beautiful country seat of Theobalds in Herts, and for the last thirteen years at Stoke Newington. His degree of D.D. was bestowed on him in 1728, unsolicited, by the University of Edinburgh. His infirmities increased on him up to the peaceful close of his sufferings, Nov. 25, 1748. He was buried in the Puritan restingplace at Bunhill Fields, but a monument was erected to him in Westminster Abbey. His learning and piety, gentleness and largeness of heart have earned him the title of the Melanchthon of his day. Among his friends, churchmen like Bishop Gibson are ranked with Nonconformists such as Doddridge. His theological as well as philosophical fame was considerable. His Speculations on the Human Nature of the Logos, as a contribution to the great controversy on the Holy Trinity, brought on him a charge of Arian opinions. His work on The Improvement of the Mind, published in 1741, is eulogised by Johnson. His Logic was still a valued textbook at Oxford within living memory. The World to Come, published in 1745, was once a favourite devotional work, parts of it being translated into several languages. His Catechisms, Scripture History (1732), as well as The Divine and Moral Songs (1715), were the most popular text-books for religious education fifty years ago. The Hymns and Spiritual Songs were published in 1707-9, though written earlier. The Horae Lyricae, which contains hymns interspersed among the poems, appeared in 1706-9. Some hymns were also appended at the close of the several Sermons preached in London, published in 1721-24. The Psalms were published in 1719. The earliest life of Watts is that by his friend Dr. Gibbons. Johnson has included him in his Lives of the Poets; and Southey has echoed Johnson's warm eulogy. The most interesting modern life is Isaac Watts: his Life and Writings, by E. Paxton Hood. [Rev. H. Leigh Bennett, M.A.] A large mass of Dr. Watts's hymns and paraphrases of the Psalms have no personal history beyond the date of their publication. These we have grouped together here and shall preface the list with the books from which they are taken. (l) Horae Lyricae. Poems chiefly of the Lyric kind. In Three Books Sacred: i.To Devotion and Piety; ii. To Virtue, Honour, and Friendship; iii. To the Memory of the Dead. By I. Watts, 1706. Second edition, 1709. (2) Hymns and Spiritual Songs. In Three Books: i. Collected from the Scriptures; ii. Composed on Divine Subjects; iii. Prepared for the Lord's Supper. By I. Watts, 1707. This contained in Bk i. 78 hymns; Bk. ii. 110; Bk. iii. 22, and 12 doxologies. In the 2nd edition published in 1709, Bk. i. was increased to 150; Bk. ii. to 170; Bk. iii. to 25 and 15 doxologies. (3) Divine and Moral Songs for the Use of Children. By I. Watts, London, 1715. (4) The Psalms of David Imitated in the Language of the New Testament, And apply'd to the Christian State and Worship. By I. Watts. London: Printed by J. Clark, at the Bible and Crown in the Poultry, &c, 1719. (5) Sermons with hymns appended thereto, vol. i., 1721; ii., 1723; iii. 1727. In the 5th ed. of the Sermons the three volumes, in duodecimo, were reduced to two, in octavo. (6) Reliquiae Juveniles: Miscellaneous Thoughts in Prose and Verse, on Natural, Moral, and Divine Subjects; Written chiefly in Younger Years. By I. Watts, D.D., London, 1734. (7) Remnants of Time. London, 1736. 454 Hymns and Versions of the Psalms, in addition to the centos are all in common use at the present time. --Excerpts from John Julian, Dictionary of Hymnology (1907) ================================== Watts, I. , p. 1241, ii. Nearly 100 hymns, additional to those already annotated, are given in some minor hymn-books. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) ================= Watts, I. , p. 1236, i. At the time of the publication of this Dictionary in 1892, every copy of the 1707 edition of Watts's Hymns and Spiritual Songs was supposed to have perished, and all notes thereon were based upon references which were found in magazines and old collections of hymns and versions of the Psalms. Recently three copies have been recovered, and by a careful examination of one of these we have been able to give some of the results in the revision of pp. 1-1597, and the rest we now subjoin. i. Hymns in the 1709 ed. of Hymns and Spiritual Songs which previously appeared in the 1707 edition of the same book, but are not so noted in the 1st ed. of this Dictionary:— On pp. 1237, L-1239, ii., Nos. 18, 33, 42, 43, 47, 48, 60, 56, 58, 59, 63, 75, 82, 83, 84, 85, 93, 96, 99, 102, 104, 105, 113, 115, 116, 123, 124, 134, 137, 139, 146, 147, 148, 149, 162, 166, 174, 180, 181, 182, 188, 190, 192, 193, 194, 195, 197, 200, 202. ii. Versions of the Psalms in his Psalms of David, 1719, which previously appeared in his Hymns and Spiritual Songs, 1707:— On pp. 1239, U.-1241, i., Nos. 241, 288, 304, 313, 314, 317, 410, 441. iii. Additional not noted in the revision:— 1. My soul, how lovely is the place; p. 1240, ii. 332. This version of Ps. lxiv. first appeared in the 1707 edition of Hymns & Spiritual Songs, as "Ye saints, how lovely is the place." 2. Shine, mighty God, on Britain shine; p. 1055, ii. In the 1707 edition of Hymns & Spiritual Songs, Bk. i., No. 35, and again in his Psalms of David, 1719. 3. Sing to the Lord with [cheerful] joyful voice, p. 1059, ii. This version of Ps. c. is No. 43 in the Hymns & Spiritual Songs, 1707, Bk. i., from which it passed into the Ps. of David, 1719. A careful collation of the earliest editions of Watts's Horae Lyricae shows that Nos. 1, 7, 9, 10, 11, 12, 14, 16, p. 1237, i., are in the 1706 ed., and that the rest were added in 1709. Of the remaining hymns, Nos. 91 appeared in his Sermons, vol. ii., 1723, and No. 196 in Sermons, vol. i., 1721. No. 199 was added after Watts's death. It must be noted also that the original title of what is usually known as Divine and Moral Songs was Divine Songs only. --John Julian, Dictionary of Hymnology, New Supplement (1907) =========== See also in: Hymn Writers of the Church

Michael Haydn

1737 - 1806 Person Name: J. Michael Haydn Topics: Brotherhoods and Men's Guilds; Church Work; City, The; Daily Duties; Kingdom of Christ Its Nature; Life Sacredness of; Schools and Colleges Chapel Services; Social Progress Composer (arr. from) of "GREENLAND" in The Hymnal Johann Michael Haydn Austria 1737-1806. Born at Rohrau, Austria, the son of a wheelwright and town mayor (a very religious man who also played the harp and was a great influence on his sons' religious thinking), and the younger brother of Franz Joseph Haydn, he became a choirboy in his youth at the Cathedral of St. Stephen in Vienna, as did his brother, Joseph, an exceptional singer. For that reason boys both were taken into the church choir. Michael was a brighter student than Joseph, but was expelled from music school when his voice broke at age 17. The brothers remained close all their lives, and Joseph regarded Michael's religious works superior to his own. Michael played harpsichord, violin, and organ, earning a precarious living as a freelance musician in his early years. In 1757 he became kapellmeister to Archbishop, Sigismund of Grosswardein, in Hungary, and in 1762 concertmaster to Archbishop, Hieronymous of Salzburg, where he remained the rest of his life (over 40 years), also assuming the duties of organist at the Church of St. Peter in Salzburg, presided over by the Benedictines. He also taught violin at the court. He married the court singer, Maria Magdalena Lipp in 1768, daughter of the cathedral choir-master, who was a very pious women, and had such an affect on her husband, trending his inertia and slothfulness into wonderful activity. They had one daughter, Aloysia Josepha, in 1770, but she died within a year. He succeeded Wolfgang Amadeus Mozart, an intimate friend, as cathedral organist in 1781. He also taught music to Carl Maria von Weber. His musical reputation was not recognized fully until after World War II. He was a prolific composer of music, considered better than his well-known brother at composing religious works. He produced some 43 symphonies,12 concertos, 21 serenades, 6 quintets, 19 quartets, 10 trio sonatas, 4 due sonatas, 2 solo sonatas, 19 keyboard compositions, 3 ballets, 15 collections of minuets (English and German dances), 15 marches and miscellaneous secular music. He is best known for his religious works (well over 400 pieces), which include 47 antiphons, 5 cantatas, 65 canticles, 130 graduals, 16 hymns, 47 masses, 7 motets, 65 offertories, 7 oratorios, 19 Psalms settings, 2 requiems, and 42 other compositions. He also composed 253 secular vocals of various types. He did not like seeing his works in print, and kept most in manuscript form. He never compiled or cataloged his works, but others did it later, after his death. Lothar Perger catalogued his orchestral works in 1807 and Nikolaus Lang did a biographical sketch in 1808. In 1815 Anton Maria Klafsky cataloged his sacred music. More complete cataloging has been done in the 1980s and 1990s by Charles H Sherman and T Donley Thomas. Several of Michael Haydn's works influenced Mozart. Haydn died at Salzburg, Austria. John Perry

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