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In Christ There Is No East Nor West

Author: John Oxenham Appears in 321 hymnals Topics: Christian Faith and Experience Used With Tune: [In Christ there is no East nor West]

What a Fellowship, What a Joy Divine

Author: Rev. E.A. Hoffman, 1839 - 1929 Appears in 594 hymnals Refrain First Line: Leaning, leaning Topics: Christian Faith and Experience Used With Tune: [What a fellowship, what a joy Divine]

A Place at the Table

Author: Shirley Erena Murray Meter: 11.10.11.10 with refrain Appears in 12 hymnals First Line: For everyone born, a place at the table Refrain First Line: And God will delight when we are creators of justice and joy Lyrics: 1 For everyone born, a place at the table, for everyone born, clean water and bread, a shelter, a space, a safe place for growing, for everyone born, a star overhead. Refrain: And God will delight when we are creators of justice and joy, yes, God will ... Topics: Hospitality; Hospitality Scripture: Matthew 14:13-21 Used With Tune: PLACE AT THE TABLE

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Tunes

Tune authorities

AUSTRIA

Meter: 8.7.8.7 D Appears in 650 hymnals Tune Person: Franz Joseph Haydn (1732-1809) Tune Key: E Flat Major Incipit: 12324 32716 54323 Used With Text: Praise the Lord! Ye heavens, adore him

[She offered hospitality]

Appears in 1 hymnal Tune Person: Peter Low Tune Key: C Major Incipit: 54334 32321 23454 Used With Text: Ballad of Margaret Fell

HYMN TO JOY

Meter: 8.7.8.7 D Appears in 436 hymnals Tune Person: Ludwig van Beethoven, 1770-1827; Edward Hodges, 1796-1867 Tune Key: G Major or modal Incipit: 33455 43211 23322 Used With Text: Praise the Lord, Ye Heavens

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Instances

Published text-tune combinations (hymns) from specific hymnals

Ballad of Margaret Fell

Author: Peter Low Hymnal: Worship in Song #270 (1996) First Line: She offered hospitality Refrain First Line: Margaret Fell had truth to tell Lyrics: 1 She offered hospitality at her house ... Topics: Children; Margaret Fell; Integrity; Kindness; Light; Quaker history; Quaker author; Quaker composer; Story; Trust; Truth Tune Title: [She offered hospitality]

Sing out a song

Author: Silvia Purdie Hymnal: Hope is our Song #119 (2009) First Line: Sing out a song of warm hospitality Refrain First Line: And the children will dance, the elders rejoice Tune Title: ST HELIERS

The Lord will happiness divine

Author: William Cowper (1731-1800) Hymnal: The Oxford Hymn Book #298 (1920) Languages: English Tune Title: CHRIST'S HOSPITAL

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People

Authors, composers, editors, etc.

Alexander Robert Reinagle

1799 - 1877 Person Name: Alexander R. Reinagle Composer of "[In Christ there is no East nor West]" in Sing Your Way Home Alexander Robert Reinagle United Kingdom 1799-1877. Born at Brighton, Sussex, England, gf Austrian descent, he came from a family of musicians, studying music with his father (a cellist), then with Raynor Taylor in Edinburgh, Scotland. Reinagle became a well-known organ teacher. He became organist at St Peter’s Church, Oxford (1823-1853). He was also a theatre musician. He wrote Teaching manuals for stringed instruments as well. He also compiled books of hymn tunes, one in 1830: “Psalm tunes for the voice and the pianoforte”, the other in 1840: “A collection of Psalm and hymn tunes”. He also composed waltzes. In 1846 he married Caroline Orger, a pianist, composer, and writer in her own right. No information found regarding children. In the 1860s he was active in Oxford music-making and worked with organist, John Stainer, then organist at Magdalen College. Reinagle also composed a piano sonata and some church music. At retirement he moved to Kidlington, Oxfordshire, England. He died at Kidlington. John Perry

James McGranahan

1840 - 1907 Person Name: James McGranahan, 1840 - 1907 Composer of "[I know not why God's wondrous grace]" in Sing Your Way Home James McGranahan USA 1840-1907. Born at West Fallowfield, PA, uncle of Hugh McGranahan, and son of a farmer, he farmed during boyhood. Due to his love of music his father let him attend singing school, where he learned to play the bass viol. At age 19 he organized his first singing class and soon became a popular teacher in his area of the state. He became a noted musician and hymns composer. His father was reluctant to let him pursue this career, but he soon made enough money doing it that he was able to hire a replacement farmhand to help his father while he studied music. His father, a wise man, soon realized how his son was being used by God to win souls through his music. He entered the Normal Music School at Genesco, NY, under William B Bradbury in 1861-62. He met Miss Addie Vickery there. They married in 1863, and were very close to each other their whole marriage, but had no children. She was also a musician and hymnwriter in her own right. For a time he held a postmaster’s job in Rome, PA. In 1875 he worked for three years as a teacher and director at Dr. Root’s Normal Music Institute. He because well-known and successful as a result, and his work attracted much attention. He had a rare tenor voice, and was told he should train for the operatic stage. It was a dazzling prospect, but his friend, Philip Bliss, who had given his wondrous voice to the service of song for Christ for more than a decade, urged him to do the same. Preparing to go on a Christmas vacation with his wife, Bliss wrote McGranahan a letter about it, which McGranahan discussed with his friend Major Whittle. Those two met in person for the first time at Ashtubula, OH, both trying to retrieve the bodies of the Bliss’s, who died in a bridge-failed train wreck. Whittle thought upon meeting McGranahan, that here is the man Bliss has chosen to replace him in evangelism. The men returned to Chicago together and prayed about the matter. McGranahan gave up his post office job and the world gained a sweet gospel singer/composer as a result. McGranahan and his wife, and Major Whittle worked together for 11 years evangelizing in the U.S., Great Britain, and Ireland. They made two visits to the United Kingdom, in 1880 and 1883, the latter associated with Dwight Moody and Ira Sankey evangelistic work. McGranahan pioneered use of the male choir in gospel song. While holding meetings in Worcester, MA, he found himself with a choir of only male voices. Resourcefully, he quickly adapted the music to those voices and continued with the meetings. The music was powerful and started what is known as male choir and quartet music. Music he published included: “The choice”, “Harvest of song”, “Gospel Choir”,, “Gospel hymns #3,#4, #5, #6” (with Sankey and Stebbins), “Songs of the gospel”, and “Male chorus book”. The latter three were issued in England. In 1887 McGranahan’s health compelled him to give up active work in evangelism. He then built a beautiful home, Maplehurst, among friends at Kinsman, OH, and settled down to the composition of music, which would become an extension of his evangelistic work. Though his health limited his hours, of productivity, some of his best hymns were written during these days. McGranahan was a most lovable, gentle, modest, unassuming, gentleman, and a refined and cultured Christian. He loved good fellowship, and often treated guests to the most delightful social feast. He died of diabetes at Kinsman, OH, and went home to be with his Savior. John Perry

John Bacchus Dykes

1823 - 1876 Person Name: Rev. John B. Dykes, 1823-1876 Composer of "[Jesus, the very thought of Thee]" in Sing Your Way Home As a young child John Bacchus Dykes (b. Kingston-upon-Hull' England, 1823; d. Ticehurst, Sussex, England, 1876) took violin and piano lessons. At the age of ten he became the organist of St. John's in Hull, where his grandfather was vicar. After receiving a classics degree from St. Catherine College, Cambridge, England, he was ordained in the Church of England in 1847. In 1849 he became the precentor and choir director at Durham Cathedral, where he introduced reforms in the choir by insisting on consistent attendance, increasing rehearsals, and initiating music festivals. He served the parish of St. Oswald in Durham from 1862 until the year of his death. To the chagrin of his bishop, Dykes favored the high church practices associated with the Oxford Movement (choir robes, incense, and the like). A number of his three hundred hymn tunes are still respected as durable examples of Victorian hymnody. Most of his tunes were first published in Chope's Congregational Hymn and Tune Book (1857) and in early editions of the famous British hymnal, Hymns Ancient and Modern. Bert Polman

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