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Meter: 8.7.8.7.8.7 Appears in 237 hymnals Matching Instances: 232 Composer and/or Arranger: William Henry Monk, 1823-1889 Tune Key: G Major Incipit: 12345 43211 14321 Used With Text: Lead us, heavenly Father, lead us

Texts

Text authorities

Lead us, heavenly Father, lead us

Author: J. Edmeston Meter: 8.7.8.7.8.7 Appears in 357 hymnals Matching Instances: 44 Topics: Guidance; Parochial Missions Used With Tune: DULCE CARMEN

Praise, my soul, the King of heaven

Author: Henry F. Lyte Appears in 539 hymnals Matching Instances: 34 Used With Tune: DULCE CARMEN

Alleluia, song of gladness

Author: Rev. J. M. Neale Meter: 8.7 Appears in 94 hymnals Matching Instances: 13 Lyrics: 1 Alleluia, song of gladness, Voice of joy that cannot die; Alleluia is the anthem Ever dear to choirs on high; In the house of God abiding Thus they sing eternally. 2 Alleluia thou resoundest, True Jerusalem and free; Alleluia joyful mother. All thy children sing with thee; But by Babylon's sad waters Mourning exiles now are we. 3 Alleluia cannot always Be our song while here below; Alleluia our transgressions Make us for awhile forego: For the solemn time is coming When our tears for sin must flow. 4 Therefore in our hymns we pray Thee, Grant us blessèd Trinity, At the last to keep Thine Easter In our home beyond the sky; There to Thee forever singing Alleluia joyfully. Amen. Topics: Septuagesima Used With Tune: [Alleluia, song of gladness] Text Sources: 11th Century

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Instances

Published text-tune combinations (hymns) from specific hymnals

Word Supreme, Before Creation

Author: John Keble Hymnal: The Cyber Hymnal #7616 Meter: 8.7.8.7.8.7 Lyrics: 1. Word supreme, before creation Born of God eternally, Who didst will for our salvation To be born on earth, and die; Well Thy saints have kept their station, Watching till Thine hour is nigh. 2. Now ’tis come and faith espies Thee; Like an eaglet in the morn, One in steadfast worship eyes Thee; Thy beloved, Thy latest born; In Thy glory he descries Thee Reigning from the tree of scorn. 3. He upon Thy bosom lying Thy true tokens learned by heart; And Thy dearest pledge in dying, Lord, Thou didst to him impart; Show’dst him how, all grace supplying, Blood and water from Thee start. 4. He first hoping and believing Did beside the grave adore; Latest he, the warfare leaving, Landed on the eternal shore; And his witness we receiving Own Thee Lord forevermore. 5. Much he asked in loving wonder, On Thy bosom leaning, Lord! In that secret place of thunder, Answer kind didst Thou accord, Wisdom for Thy church to ponder Till the day of dread award. 6. Lo! Heav’n’s doors lift up, revealing How Thy judgments earthward move; Scrolls unfolded, trumpets pealing, Wine cups from the wrath above, Yet o’er all a soft voice stealing— Little children, trust and love! 7. Thee, the almighty king eternal, Father of the eternal Word; Thee, the Father’s Word supernal, Thee, of both, the breath adored; Heaven, and earth, and realms infernal Own, one glorious God and Lord. Languages: English Tune Title: TANTUM ERGO

Of the Glorious Body Telling

Author: Thomas Aquinas, 1226-1274; John M. Neale ; Edward Caswall & others Hymnal: The Cyber Hymnal #4803 Meter: 8.7.8.7.8.7 Lyrics: 1. Of the glorious body telling, O my tongue, its mysteries sing. And the blood, all price excelling, Which the world’s eternal King, In a noble womb once dwelling, Shed for this world’s ransoming. 2. Given for us, for us descending, Of a virgin to proceed, Man with man in converse blending, Scattered He the Gospel seed, Till His sojourn drew to ending, Which He closed in glorious deed. 3. At the last great supper lying Circled by His brethren’s band, Meekly with the law complying, First he finished the command, Then, immortal food supplying, Gave Himself with His own hand. 4. Word made flesh, by word He maketh Very bread His flesh to be; Man in wine Christ’s blood partaketh: And if senses fail to see, Faith alone the true heart waketh To behold the mystery. 5. Therefore we, before Him bending, This great sacrament revere; Types and shadows have their ending, For the newer rite is here; Faith, our outward sense befriending, Makes the inward vision clear. 6. Glory let us give, and blessing To the Father, and the Son; Honor, might, and praise addressing, While eternal ages run; Ever too His love confessing, Who, from both, with both is one. Languages: English Tune Title: BENEDICTION (Haydn)

Thou who sentest thine apostles

Author: John Ellerton, 1826-1893 Hymnal: CPWI Hymnal #809 (2010) Meter: 8.7.8.7.8.7 Lyrics: 1 Thou who sentest thine apostles two and two before thy face, partners in the night of toiling, heirs together of thy grace, throned at length, their labours ended, each in his appointed place; 2 praise to thee for those thy champions whom our hymns today proclaim; one, whose zeal by thee enlightened burned anew with nobler flame; one, the kinsman of thy childhood, brought at last to know thy name. 3 Praise to thee! Thy fire within them spake in love, and wrought in power; seen in mighty signs and wonders in thy church’s morning hour; heard in tones of sternest warning when the storms began to lower. 4 God the Father, great and wondrous in thy works, to thee be praise; King of saints, to thee be glory, just and true in all thy ways; praise to thee, from both proceeding, Holy Ghost, through endless days. Topics: Saints' and Other Holy Days St. Simon and St. Jude Scripture: Luke 10:1 Languages: English Tune Title: ALLELUIA, DULCE CARMEN (ESSAY)

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People

Authors, composers, editors, etc.

Michael Haydn

1737 - 1806 Person Name: Haydn Composer (attributed to) of "DULCE CARMEN" in The Church 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

James Edmeston

1791 - 1867 Author of "Lead us, heavenly Father, lead us" in The Hymnal Edmeston, James, born Sept. 10, 1791. His maternal grandfather was the Rev. Samuel Brewer, who for 50 years was the pastor of an Independent congregation at Stepney. Educated as an architect and surveyor, in 1816 he entered upon his profession on his own account, and continued to practice it until his death on Jan. 7, 1867. The late Sir G. Gilbert Scott was his pupil. Although an Independent by descent he joined the Established Church at a comparatively early age, and subsequently held various offices, including that of churchwarden, in the Church of St. Barnabas, Homerton. His hymns number nearly 2000. The best known are “Lead us, Heavenly Father, lead us” and "Saviour, breathe an evening blessing." Many of his hymns were written for children, and from their simplicity are admirably adapted to the purpose. For many years he contributed hymns of various degrees of merit to the Evangelical Magazine, His published works are:— (1) The Search, and other Poems, 1817. (2) Sacred Lyrics, 1820, a volume of 31 hymns and one poem. This was followed by a second Series, 1821, with 35; and a third Series, 1822, with 27 pieces respectively. (3) The Cottage Minstrel; or, Hymns for the Assistance of Cottagers in their Domestic Worship, 1821. This was published at the suggestion of a member of the Home Missionary Society, and contains fifty hymns. (4) One Hundred Hymns for Sunday Schools, and for Particular Occasions, 1821. (5) Missionary Hymns, 1822. (6) Patmos, a Fragment, and Other Poems, 1824. (7) The Woman of Shunam, and Other Poems, 1829. (8) Fifty Original Hymns, 1833. (9) Hymns for the Chamber of Sickness, 1844. (10) Closet Hymns and Poems, 1844. (11) Infant Breathings, being Hymns for the Young, 1846. (12) Sacred Poetry, 1847. In addition to those of his hymns which have attained to an extensive circulation, as those named above, and are annotated in this work under their respective first lines, there are also the following in common use in Great Britain and America:— 1. Along my earthly way. Anxiety. In his Sacred Lyrics, third set, 1822, in 8 stanzas of 4 lines. It is given in several collections, but usually in an abbreviated form, and generally somewhat altered. 2. Dark river of death that is [art] flowing. Death Anticipated. Given in his Sacred Lyrics, 3rd set, 1822, p. 39, in 9 stanzas of 4 lines. It is usually given in an abbreviated form, and sometimes as, "Dark river of death that art flowing." 3. Come, sacred peace, delightful guest. Peace. Appeared in his Closet Hymns, &c, 1844, in 4 stanzas of 4 lines. 4. Eternal God, before thy throne, Three nations. National Fast. 5. For Thee we pray and wait. Second Advent. 6. God intrusts to all. Parable of the Talents. This is No. 13 of his Infant Breathings, 1846, in 5 stanzas of 4 lines. It is a simple application of the parable to the life of a child. It is widely used. 7. God is here; how sweet the sound. Omnipresence. Given as No. 9 in his Sacred Lyrics, 1st set, 1820, in 6 stanzas of 4 lines. In the Baptist Hymnal, 1879, No. 45. St. i.-iii. are from this text, and iv. and v. are from another source. 8. How sweet the light of Sabbath eve. Sunday Evening. No. 10 in theCottage Minstrel, 1821, slightly altered. 9. Is there a time when moments flow. Sunday Evening. No. 5 of his Sacred Lyrics, 1st set, 1820, in 7 stanzas of 4 lines. 10. Little travellers Zionward. Burial of Children. No. 25 of his Infant Breathings, &c, 1846, in 3 stanzas of 8 lines. In the Leeds Hymn Book, 1853, it begins with stanza ii., "Who are they whose little feet?" 11. May we, Lord, rejoicing say. National Thanksgiving. Dated 1849 by the author in Spurgeon's Our Own Hymnbook, No. 1008. 12. Music, bring thy sweetest treasures. Holy Trinity. Dated 1837 by the author in Spurgeon's Our Own Hymnbook, No. 167. It is in his Sacred Poetry, 1847. 13. Roll on, thou mighty ocean. Departure of Missionaries. In his Missionary Hymns, 1822, in 4 stanzas of 4 lines. It is in common use in America. 14. Sweet is the light of Sabbath eve. Sunday Evening. In 5 stanzas of 41., from the Cottage Minstrel, 1821, where it is given as No. 10, and entitled "The Cottager's Reflections upon the Sabbath Evening." 15. The light of Sabbath eve. Sunday Evening. In 5 stanzas of 4 lines, as No. 11 in the Cottage Minstrel, 1821, p. 14, and headed, "Solemn Questions for the Sabbath Evening." 16. Wake, harp of Zion, wake again. Missions to the Jews. Dated 1846 by the author in Spurgeon's Our Own Hymnbook. It is in his Sacred Poetry, 1847. 17. When shall the voice of singing? In his Missionary Hymns, 1822. It is in a few American collections. 18. When the worn spirit wants repose. Sunday. No. 18, of his Sacred Lyrics, 1st set, 1820, in 4 stanzas of 4 lines. It is somewhat popular, and is given in several collections in Great Britain and America, as the Baptist Psalms & Hymns, 1858-80; the Church Praise Book, N. Y., 1881, &c. 19. Why should I, in vain repining? Consolation. No. 14 in the 1st set of his Sacred Lyrics, 1820, in 4 stanzas of 4 lines. -- John Julian, Dictionary of Hymnology (1907) ========================= Edmeston, James, p. 321, ii. Other hymns are:— 1. O Thou Whose mercy guides my way. Resignation. In his Sacred Lyrics, 1st set, 1820, p. 24, in 3 stanzas of 4 lines, and again in his Hymns for the Chamber of Sickness, 1844. 2. Parting soul, the flood awaits thee. Death anticipated. In his Sacred Lyrics, 1st set, 1820, p. 18, in 3 stanza of 8 lines, and based upon the passage in the Pilgrim's Progress:—"Now I further saw that betwixt them and the gate was a river, but there was no bridge to go over, and the river was very deep." 3. 'Tis sweet upon our pilgrimage. Praise. In hi3 Closet Hymns and Poems, 1846, in 3 stanzas of 4 lines, and headed "An Ebenezer Raided." 4. Welcome, brethren, enter in. Reception of Church Officers. Miller says, in his Singers and Songs, 1869, p. 420:—"This is No. 1 of five hymns supplied by Mr. Edmeston, at the request of a friend, for insertion in a provincial hymn-book, on the subject of admitting members," but he does not give the name of the book, neither have we identified It. The hymn, as given in the New Congregational Hymn Book, 1859, No. 840, is in 5 stanzas of 4 lines, of which Millet says stanza iii. is by another hand. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

Samuel Webbe

1740 - 1816 Person Name: Samuel Webbe, 1740-1816 Arranger of "DULCE CARMEN" in Christian Worship Samuel Webbe (the elder; b. London, England, 1740; d. London, 1816) Webbe's father died soon after Samuel was born without providing financial security for the family. Thus Webbe received little education and was apprenticed to a cabinetmaker at the age of eleven. However, he was determined to study and taught himself Latin, Greek, Hebrew, French, German, and Italian while working on his apprenticeship. He also worked as a music copyist and received musical training from Carl Barbant, organist at the Bavarian Embassy. Restricted at this time in England, Roman Catholic worship was freely permitted in the foreign embassies. Because Webbe was Roman Catholic, he became organist at the Portuguese Chapel and later at the Sardinian and Spanish chapels in their respective embassies. He wrote much music for Roman Catholic services and composed hymn tunes, motets, and madrigals. Webbe is considered an outstanding composer of glees and catches, as is evident in his nine published collections of these smaller choral works. He also published A Collection of Sacred Music (c. 1790), A Collection of Masses for Small Choirs (1792), and, with his son Samuel (the younger), Antiphons in Six Books of Anthems (1818). Bert Polman

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Hymnals

Published hymn books and other collections

Christian Classics Ethereal Hymnary

Publication Date: 2007 Publisher: Grand Rapids, MI: Christian Classics Ethereal Library

Small Church Music

Editors: James Edmeston Description: The SmallChurchMusic site was launched in 2006, growing out of the requests from those struggling to provide suitable music for their services and meetings. Rev. Clyde McLennan was ordained in mid 1960’s and was a pastor in many small Australian country areas, and therefore was acutely aware of this music problem. Having also been trained as a Pipe Organist, recordings on site (which are a subset of the smallchurchmusic.com site) are all actually played by Clyde, and also include piano and piano with organ versions. All recordings are in MP3 format. Churches all around the world use the recordings, with downloads averaging over 60,000 per month. The recordings normally have an introduction, several verses and a slowdown on the last verse. Users are encouraged to use software: Audacity (http://www.audacityteam.org) or Song Surgeon (http://songsurgeon.com) (see http://scm-audacity.weebly.com for more information) to adjust the MP3 number of verses, tempo and pitch to suit their local needs. Copyright notice: Rev. Clyde McLennan, performer in this collection, has assigned his performer rights in this collection to Hymnary.org. Non-commercial use of these recordings is permitted. For permission to use them for any other purposes, please contact manager@hymnary.org. Home/Music(smallchurchmusic.com) List SongsAlphabetically List Songsby Meter List Songs byTune Name About

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