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Blessed assurance
Author: Frances Jane van Alstyne (Fanny J. Crosby), 1820-1915 Meter: Irregular Appears in 1,061 hymnals Scripture: Hebrews 11:1 First Line: Blessed assurance, Jesus is mine Lyrics: 1 Blessed assurance, Jesus is mine:
O what a foretaste of glory divine!
Heir of salvation, purchase of God;
born of his Spirit, washed in his blood:
Refrain:
This is my story, this is my song,
praising my Saviour all the day long.
This is my story, this is my song,
praising my Saviour all the day long.
2 Perfect submission, perfect delight,
visions of rapture burst on my sight;
angels descending, bring from above
echoes of mercy, whispers of love. [Refrain]
3 Perfect submission, all is at rest,
I in my Saviour am happy and blest;
watching and waiting, looking above,
filled with his goodness, lost in his love. [Refrain] Topics: Hope and Consolation; Joy, Praise and Thanksgiving; Redemption and Salvation; Year A All Saints' Day; Year A Proper 11; Year B Dedication Festival; Year B Easter 2; Year B Proper 23; Year C Easter 4; Year C Proper 2; Years A, B, and C Epiphany Used With Tune: BLESSED ASSURANCE
Blessed assurance
Blest be the everlasting God
Author: Isaac Watts, 1674-1748 Meter: 8.6.8.6 Appears in 189 hymnals Scripture: Hebrews 11:13 Lyrics: 1 Blest be the everlasting God,
the Father of our Lord!
Be his abounding mercy praised,
his majesty adored!
2 When from the dead he raised his Son,
and called him to the sky,
he gave our souls a lively hope
that they should never die.
3 There's an inheritance divine
reserved against that day;
'tis uncorrupted, undefiled,
and cannot fade away.
4 Saints by the power of God are kept,
till that salvation come:
we walk by faith as strangers here,
till Christ shall call us home. Topics: Easter; Easter III Year B; Easter V Year A; Easter V Year C Used With Tune: BURFORD
Blest be the everlasting God
Brightest and best of the sons of the morning
Author: Reginald Heber, 1783-1826 Meter: 11.10.11.10 Appears in 912 hymnals Scripture: Hebrews 11:10-16 Topics: The Revealed Christ: Epiphany, Presentation and Baptism Used With Tune: SPEAN
Brightest and best of the sons of the morning
BLESSED ASSURANCE
Meter: Irregular Appears in 680 hymnals Composer and/or Arranger: Phoebe Palmer Knapp, 1839-1908 Scripture: Hebrews 11:1 Tune Key: D Major Incipit: 32155 45655 35177 Used With Text: Blessed assurance
BLESSED ASSURANCE
Blessed Assurance
Author: Fanny J. Crosby Hymnal: Praise for the Lord (Expanded Edition) #71 (1997) Scripture: Hebrews 11:1 First Line: Blessed assurance, Jesus is mine! Lyrics: 1 Blessed assurance, Jesus is mine!
O what a foretaste of glory divine!
Heir of salvation, purchase of God,
Born of His Spirit, washed in His blood.
Chorus:
This is my story, this is my song,
Praising my Savior all the day long;
This is my story, this is my song,
Praising my Savior all the day long.
2 Perfect submission, perfect delight,
Visions of rapture now burst on my sight;
Angels descending bring from above
Echoes of mercy, whispers of love. [Chorus]
3 Perfect submission, all is at rest;
I in my Savior am happy and blest;
Watching and waiting, looking above,
Filled with His goodness, lost in His love. [Chorus] Topics: Christians Assurance Languages: English Tune Title: [Blessed assurance, Jesus is mine!]
Blessed Assurance
Blessed assurance
Author: Frances Jane van Alstyne (Fanny J. Crosby), 1820-1915 Hymnal: Complete Anglican Hymns Old and New #74 (2000) Meter: Irregular Scripture: Hebrews 11:1 First Line: Blessed assurance, Jesus is mine Lyrics: 1 Blessed assurance, Jesus is mine:
O what a foretaste of glory divine!
Heir of salvation, purchase of God;
born of his Spirit, washed in his blood:
Refrain:
This is my story, this is my song,
praising my Saviour all the day long.
This is my story, this is my song,
praising my Saviour all the day long.
2 Perfect submission, perfect delight,
visions of rapture burst on my sight;
angels descending, bring from above
echoes of mercy, whispers of love. [Refrain]
3 Perfect submission, all is at rest,
I in my Saviour am happy and blest;
watching and waiting, looking above,
filled with his goodness, lost in his love. [Refrain] Topics: Hope and Consolation; Joy, Praise and Thanksgiving; Redemption and Salvation; Year A All Saints' Day; Year A Proper 11; Year B Dedication Festival; Year B Easter 2; Year B Proper 23; Year C Easter 4; Year C Proper 2; Years A, B, and C Epiphany Languages: English Tune Title: BLESSED ASSURANCE
Blessed assurance
Brightest and best of the sons of the morning
Author: Reginald Heber, 1783-1826 Hymnal: Singing the Faith #227 (2011) Meter: 11.10.11.10 Scripture: Hebrews 11:10-16 Topics: The Revealed Christ: Epiphany, Presentation and Baptism Languages: English Tune Title: SPEAN
Brightest and best of the sons of the morning
Bernard, of Cluny
1100 - 1199 Person Name: Bernard of Cluny, 12th cent Scripture: Hebrews 11:13-16 Author of "Jerusalem the Golden" in Christian Worship Bernard of Morlaix, or of Cluny, for he is equally well known by both titles, was an Englishman by extraction, both his parents being natives of this country. He was b., however, in France very early in the 12th cent, at Morlaix, Bretagne. Little or nothing is known of his life, beyond the fact that he entered the Abbey of Cluny, of which at that time Peter the Venerable, who filled the post from 1122 to 1156, was the head. There, so far as we know, he spent his whole after-life, and there he probably died, though the exact date of his death, as well as of his birth is unrecorded. The Abbey of Cluny was at that period at the zenith of its wealth and fame. Its buildings, especially its church (which was unequalled by any in France); the services therein, renowned for the elaborate order of their ritual; and its community, the most numerous of any like institution, gave it a position and an influence, such as no other monastery, perhaps, ever reached. Everything about it was splendid, almost luxurious. It was amid such surroundings that Bernard of Cluny spent his leisure hours in composing that wondrous satire against the vices and follies of his age, which has supplied—and it is the only satire that ever did so—some of the most widely known and admired hymns to the Church of today. His poem De Contemptu Mundi remains as an imperishable monument of an author of whom we know little besides except his name, and that a name overshadowed in his own day and in ours by his more illustrious contemporary and namesake, the saintly Abbot of Clairvaux.
The poem itself consists of about 3000 lines in a meter which is technically known as Leonini Cristati Trilices Dactylici, or more familiarly—to use Dr. Neale's description in his Mediaeval Hymns, p. 69—" it is a dactylic hexameter, divided into three parts, between which a caesura is inadmissible. The hexameter has a tailed rhyme, and feminine leonine rhyme between the two first clauses, thus :—
" Tune nova gloria, pectora sobria, clarificabit: Solvit enigmata, veraque sabbata, continuabit, Patria luminis, inscia turbinis, inscia litis, Cive replebitur, amplificabitur Israelitis."
The difficulty of writing at all, much more of writing a poem of such length in a metre of this description, will be as apparent to all readers of it, as it was to the writer himself, who attributes his successful accomplishment of his task entirely to the direct inspiration of the Spirit of God. "Non ego arroganter," he says in his preface, "sed omnino humiliter, et ob id audenter affirmaverim, quia nisi spiritus sapicntiae et intellectus mihi affuisset et afftuxisset, tarn difficili metro tarn longum opus con-texere non sustinuissem."
As to the character of the metre, on the other hand, opinions have widely differed, for while Dr. Neale, in his Mediaeval Hymns, speaks of its "majestic sweetness," and in his preface to the Rhythm of Bernard de Morlaix on the Celestial Country, says that it seems to him "one of the loveliest of mediaeval measures;" Archbishop Trench in his Sac. Lat. Poetry, 1873. p. 311, says "it must be confessed that" these dactylic hexameters "present as unattractive a garb for poetry to wear as can well be imagined;" and, a few lines further on, notes "the awkwardness and repulsiveness of the metre." The truth perhaps lies between these two very opposite criticisms. Without seeking to claim for the metre all that Dr. Neale is willing to attribute to it, it may be fairly said to be admirably adapted for the purpose to which it has been applied by Bernard, whose awe-stricken self-abasement as he contemplates in the spirit of the publican, “who would not so much as lift up his eyes unto heaven," the joys and the glory of the celestial country, or sorrowfully reviews the vices of his age, or solemnly denounces God's judgments on the reprobate, it eloquently pourtrays. So much is this the case, that the prevailing sentiment of the poem, that, viz., of an awful apprehension of the joys of heaven, the enormity of sin, and the terrors of hell, seems almost wholly lost in such translations as that of Dr. Neale. Beautiful as they are as hymns, "Brief life is here our portion," "Jerusalem the Golden," and their companion extracts from this great work, are far too jubilant to give any idea of the prevailing tone of the original. (See Hora Novissima.)
In the original poem of Bernard it should be noted that the same fault has been remarked by Archbishop Trench, Dean Stanley, and Dr. Neale, which may be given in the Archbishop's words as excusing at the same time both the want, which still exists, of a very close translation of any part, and of a complete and continuous rendering of the whole poem. "The poet," observes Archbishop Trench, "instead of advancing, eddies round and round his object, recurring again and again to that which he seemed thoroughly to have discussed and dismissed." Sac. Lat. Poetry, 1873, p. 311. On other grounds also, more especially the character of the vices which the author lashes, it is alike impossible to expect, and undesirable to obtain, a literal translation of the whole. We may well be content with what we already owe to it as additions to our stores of church-hymns.
-John Julian, Dictionary of Hymnology (1907)
==================
Bernard of Cluny, p. 137, i., is best described thus: his place of origin is quite uncertain. See the Catalogue of the Additional MSS. of the B. M. under No. 35091, where it is said that he was perhaps of Morlas in the Basses-Pyrenees, or of Morval in the Jura, but that there is nothing to connect him with Morlaix in Brittany. [Rev. James Mearns, M.A.]
--John Julian, Dictionary of Hymnology, New Supplement (1907)
Bernard, of Cluny
John L. Bell
b. 1949 Person Name: John L. Bell (b. 1949) Scripture: Hebrews 11:39-40, 12:1 Arranger of "LOBE DEN HERREN" in Church Hymnary (4th ed.) John Bell (b. 1949) was born in the Scottish town of Kilmarnock in Ayrshire, intending to be a music teacher when he felt the call to the ministry. But in frustration with his classes, he did volunteer work in a deprived neighborhood in London for a time and also served for two years as an associate pastor at the English Reformed Church in Amsterdam. After graduating he worked for five years as a youth pastor for the Church of Scotland, serving a large region that included about 500 churches. He then took a similar position with the Iona Community, and with his colleague Graham Maule, began to broaden the youth ministry to focus on renewal of the church’s worship. His approach soon turned to composing songs within the identifiable traditions of hymnody that began to address concerns missing from the current Scottish hymnal:
"I discovered that seldom did our hymns represent the plight of poor people to God. There was nothing that dealt with unemployment, nothing that dealt with living in a multicultural society and feeling disenfranchised. There was nothing about child abuse…,that reflected concern for the developing world, nothing that helped see ourselves as brothers and sisters to those who are suffering from poverty or persecution." [from an interview in Reformed Worship (March 1993)]
That concern not only led to writing many songs, but increasingly to introducing them internationally in many conferences, while also gathering songs from around the world. He was convener for the fourth edition of the Church of Scotland’s Church Hymnary (2005), a very different collection from the previous 1973 edition. His books, The Singing Thing and The Singing Thing Too, as well as the many collections of songs and worship resources produced by John Bell—some together with other members of the Iona Community’s “Wild Goose Resource Group,” —are available in North America from GIA Publications.
Emily Brink
John L. Bell
William B. Bradbury
1816 - 1868 Person Name: Wm. B. Bradbury Scripture: Hebrews 11:16 Composer of "[We are on the ocean sailing]" in The Bright Array William Bachelder Bradbury USA 1816-1868. Born at York, ME, he was raised on his father's farm, with rainy days spent in a shoe-shop, the custom in those days. He loved music and spent spare hours practicing any music he could find. In 1830 the family moved to Boston, where he first saw and heard an organ and piano, and other instruments. He became an organist at 15. He attended Dr. Lowell Mason's singing classes, and later sang in the Bowdoin Street church choir. Dr. Mason became a good friend. He made $100/yr playing the organ, and was still in Dr. Mason's choir. Dr. Mason gave him a chance to teach singing in Machias, ME, which he accepted. He returned to Boston the following year to marry Adra Esther Fessenden in 1838, then relocated to Saint John, New Brunswick. Where his efforts were not much appreciated, so he returned to Boston. He was offered charge of music and organ at the First Baptist Church of Brooklyn. That led to similar work at the Baptist Tabernacle, New York City, where he also started a singing class. That started singing schools in various parts of the city, and eventually resulted in music festivals, held at the Broadway Tabernacle, a prominent city event. He conducted a 1000 children choir there, which resulted in music being taught as regular study in public schools of the city. He began writing music and publishing it. In 1847 he went with his wife to Europe to study with some of the music masters in London and also Germany. He attended Mendelssohn funeral while there. He went to Switzerland before returning to the states, and upon returning, commenced teaching, conducting conventions, composing, and editing music books. In 1851, with his brother, Edward, he began manufacturring Bradbury pianos, which became popular. Also, he had a small office in one of his warehouses in New York and often went there to spend time in private devotions. As a professor, he edited 59 books of sacred and secular music, much of which he wrote. He attended the Presbyterian church in Bloomfield, NJ, for many years later in life. He contracted tuberculosis the last two years of his life.
John Perry
William B. Bradbury
