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The Cyber Hymnal
Editors: Dick Adams Description: The Cyber Hymnal™ (http://www.hymntime.com/tch) is a website established in 1996 by Dick Adams. It has over 10,000 Christian hymns from many denominations and languages. It provides lyrics, sheet music, audio, pictures, biographies, history and more. The worship and educational resource is provided as a public service and gets an average of 24,000 visitors per month. Mr. Adams has graciously allowed Hymnary.org to add his resources to our site.
(Note: the site that calls itself NetHymnal at cyberhymnal.org is not affiliated with The Cyber Hymnal™ in any way.)
The Cyber Hymnal
Again the Lord of Light and Life
Author: Anna L. Barbauld Meter: 8.6.8.6 Appears in 295 hymnals Lyrics: 1. Again the Lord of light and life
Awakes the kindling ray,
Unseals the eyelids of the morn,
And pours increasing day.
2. O what a night was that which wrapped
The heathen world in gloom!
O what a Sun which rose this day
Triumphant from the tomb!
3. This day be grateful homage paid,
And loud hosannas sung;
Let gladness dwell in every heart,
And praise on every tongue.
4. Ten thousand different lips shall join
To hail this welcome morn,
Which scatters blessings from its wings
To nations yet unborn. Used With Tune: ARLINGTON Text Sources: Hymns for Public Worship, by Dr. W. Enfield (Warrington, England: 1772)
Again the Lord of Light and Life
All Glory, Laud and Honor
Author: Theodulph of Orleans; John M. Neale Meter: 7.6.7.6 D Appears in 608 hymnals First Line: Thou art the King of Israel Refrain First Line: All glory laud and honor Lyrics: Refrain
All glory, laud and honor,
To Thee, Redeemer, King,
To whom the lips of children
Made sweet hosannas ring.
1. Thou art the king of Israel,
Thou David’s royal Son,
Who in the Lord’s name comest,
The King and Blessèd One. [Refrain]
2. The company of angels
Are praising Thee on High,
And mortal men and all things
Created make reply. [Refrain]
3. The people of the Hebrews
With palms before Thee went;
Our prayer and praise and anthems
Before Thee we present.[Refrain]
4. To Thee, before Thy passion,
They sang their hymns of praise;
To Thee, now high exalted,
Our melody we raise. [Refrain]
5. Thou didst accept their praises;
Accept the prayers we bring,
Who in all good delightest,
Thou good and gracious King. [Refrain]
Used With Tune: ST. THEODULPH
All Glory, Laud and Honor
Awake, Glad Soul
Author: John Monsell Meter: 8.6.8.6 Appears in 42 hymnals First Line: Awake, glad soul! awake! awake Lyrics: 1. Awake, glad soul! awake! awake!
Thy Lord has risen long;
Go to His grave, and with thee take
Both tuneful heart and song.
2. Where life is waking all around,
Where love’s sweet voices sing,
The first bright blossom may be found
Of an eternal spring.
3. The shade and gloom of life are fled
This resurrection day;
Henceforth in Christ are no more dead,
The grave hath no more prey.
4. In Christ we live, in Christ we sleep,
In Christ we wake and rise,
And the sad tears death makes us weep,
He wipes from all our eyes.
5. And every bird and every tree,
And every opening flower,
Proclaim His glorious victory,
His resurrection power.
6. The folds are glad, the fields rejoice,
With vernal verdure spread,
The little hills lift up their voice
And shout that death is dead.
7. Then wake, glad heart! awake! awake
And seek Thy risen Lord;
Joy in His resurrection take,
And comfort in His Word.
8. And let thy life, through all its ways,
One long thanksgiving be:
Its theme of joy, its song of praise—
Christ died, and rose for me. Used With Tune: ST. STEPHEN
Awake, Glad Soul
O QUANTA QUALIA
Appears in 162 hymnals Composer and/or Arranger: Anonymous; John B. Dykes Tune Sources: Paris Antiphoner, 1681 Incipit: 11231 14322 15314 Used With Text: Blessing and Honor and Glory and Power
O QUANTA QUALIA
ITALIAN HYMN
Meter: 6.6.4.6.6.6.4 Appears in 1,395 hymnals Composer and/or Arranger: Felice de Giardini Tune Sources: The Collection of Psalm and Hymn Tunes Sung at the Chapel of the Lock Hospital, 1769 Tune Key: G Major Incipit: 53121 71123 45432 Used With Text: Come, O Thou God of Grace
ITALIAN HYMN
And Am I Only Born to Die?
Author: Charles Wesley Hymnal: CYBER #1 Meter: 8.8.6.8.8.6 Lyrics: 1. And am I only born to die?
And must I suddenly comply
With nature’s stern decree?
What after death for me remains?
Celestial joys, or hellish pains,
To all eternity?
2. How then ought I on earth to live,
While God prolongs the kind reprieve
And props the house of clay?
My sole concern, my single care,
To watch, and tremble, and prepare
Against the fatal day.
3. No room for mirth or trifling here,
For worldly hope, or worldly fear,
If life so soon is gone:
If now the Judge is at the door,
And all mankind must stand before
The inexorable throne!
4. No matter which my thoughts employ,
A moment’s misery, or joy;
But O! when both shall end,
Where shall I find my destined place?
Shall I my everlasting days
With fiends, or angels spend?
5. Nothing is worth a thought beneath
But how I may escape the death
That never, never dies;
How make mine own election sure,
And, when I fail on earth, secure
A mansion in the skies.
6. Jesus, vouchsafe a pitying ray,
Be Thou my guide, be Thou my way
To glorious happiness;
Ah, write the pardon on my heart,
And whensoe’er I hence depart,
Let me depart in peace. Languages: English Tune Title: VENETIA
And Am I Only Born to Die?
At All Times Praise the Lord
Author: Johann S. Howson Hymnal: CYBER #2 Meter: 6.6.8.6 D Lyrics: 1. At all times praise the Lord;
His promises are sure;
What if thou doubt? His steadfast Word
Unchanging shall endure.
Praise Him when skies are bright,
And gladness fills thy days;
Heav’n shames thee with its glorious light,
And calls thee to His praise.
2. Praise Him when clouds are dark;
True faith waits not to prove;
Tho’ hope no bright’ning gleam may mark,
His meaning still is love.
Praise Him when drear and lone
The shadows ’round thee fall,
No eye upon Thy sins but One—
Fear not, He pardons all.
3. Praise Him when home is sweet,
As tho’ we ne’er should part;
But pray—while kindred spirits meet—
Pray for a thoughtful heart.
Praise Him when far away
On mountain or on sea;
Each place is home to them who pray;
The Father guardeth thee.
4. Praise Him when joyful songs
The saints on earth unite,
In sacred chorus, with the throngs
Of angels in the height.
At all times praise the Lord;
His promises are sure;
Fear not, doubt not; His steadfast Word
Unchanging shall endure. Languages: English Tune Title: PASTOR BONUS
At All Times Praise the Lord
Abba, Father! We Approach Thee
Author: James Deck Hymnal: CYBER #3 Meter: 8.7.8.7 D Lyrics: 1. Abba, Father! We approach Thee
In our Savior’s precious name;
We, Thy children, here assembled,
Now Thy promised blessing claim;
From our sins His blood hath washed us,
’Tis through Him our souls draw nigh,
And Thy Spirit, too, hath taught us,
Abba, Father, thus to cry.
2. Once as prodigals we wandered
In our folly far from Thee,
But Thy grace, o’er sin abounding,
Rescued us from misery;
Thou Thy prodigals hast pardoned,
Kissed us with a Father’s love,
Spread the festive board, and called us,
E’er to dwell with Thee above.
3. Clothed in garments of salvation,
At Thy table is our place,
We rejoice, and Thou rejoicest,
In the riches of Thy grace;
It is meet, we hear Thee saying,
We should merry and be glad,
I have found My once lost children,
Now they live who once were dead.
4. Abba, Father! all adore Thee,
All rejoice in Heav’n above,
While in us they learn the wonders
Of Thy wisdom, grace, and love;
Soon before Thy throne assembled,
All Thy children shall proclaim,
Glory, everlasting glory,
Be to God and to the Lamb! Languages: English Tune Title: CALON LÂN
Abba, Father! We Approach Thee
John Cennick
1718 - 1755 Hymnal Number: 611 Author of "Be Present at Our Table, Lord" in The Cyber Hymnal John Cennick was born at Reading, Berkshire, in the year 1717. He became acquainted with Wesley and Whitefield, and preached in the Methodist connection. On the separation of Wesley and Whitefield he joined the latter. In 1745, he attached himself to the Moravians, and made a tour in Germany to fully acquaint himself with the Moravian doctrines. He afterwards ministered in Dublin, and in the north of Ireland. He died in London, in 1755, and was buried in the Moravian Cemetery, Chelsea. He was the author of many hymns, some of which are to be found in every collection.
--Annotations of the Hymnal, Charles Hutchins, M.A. 1872.
=======================
Cennick, John, a prolific and successful hymnwriter, was descended from a family of Quakers, but brought up in the Church of England. He assisted J. Wesley and then G. Whitefield in their labours for a time, and then passed over to, and died as a minister of, the Moravian Church. Born at Reading, Dec. 12, 1718, he was for some time a land surveyor at Reading, but becoming acquainted with the Wesleys in 1739, he was appointed by J. Wesley as a teacher of a school for colliers' children at Kingswood in the following year. This was followed by his becoming a lay preacher, but in 1740 he parted from the Wesleys on doctrinal grounds. He assisted Whitefield until 1745, when he joined the Mora¬vians, and was ordained deacon, in London, in 1749. His duties led him twice to Germany and also to the North of Ireland. He died in London, July 4, 1755. In addition to a few prose works, and some sermons, he published:— (1) Sacred Hymns, for the Children of God in the Days of their Pilgrimage, Lond., J. Lewis, n.d. (2nd ed. Lond., B. Milles, 1741), Pts. ii., iii., 1742; (2) Sacred Hymns for the Use of Religious Societies, &c, Bristol, F. Farley, 1743; (3) A Collection of Sacred Hymns, &c, Dublin, S. Powell, 3rd ed., 1749; (4) Hymns to the honour of Jesus Christ, composed for such Little Children as desire to be saved. Dublin, S. Powell, 1754. Additional hymns from his manuscripts were published by his son-in-law, the Rev. J. Swertner, in the Moravian Hymn Book, 1789, of which he was the editor. There are also 16 of his hymns in his Sermons, 2 vols., 1753-4, some being old hymns rewritten, and others new.
Many of Cennick's hymns are widely known, as, "Lo, He cometh, countless trumpets;" “Brethren, let us join to bless;" "Jesus, my all, to heaven is gone;" "Children of the heavenly King;" "Ere I sleep, for every favour;" "We sing to Thee, Thou Son of God;" and the Graces: " Be present at our table, Lord;" and "We thank Thee, Lord;" &c. Some of the stanzas of his hymns are very fine, but the hymns taken as a whole are most unequal. Some excellent centos might be compiled from his various works. His religious experiences were given as a preface to his Sacred Hymns, 1741. In addition to the hymns named, and others annotated under their first lines, the following are in common use:—
1. Be with me [us] Lord, where'er I [we] go. Divine Protection. [1741.]
2. Cast thy burden on the Lord. Submission. [1743.]
3. Not unto us, but Thee alone. Praise to Jesus. [1743.]
4. Thou dear Redeemer, dying Lamb. Priesthood of Christ. [1743.]
5. We sing to Thee, Thou Son of God. Praise to Jesus. [1743.]
6. When, 0 dear Jesus, when shall I? Sunday Evening. [1743.]
--John Julian, Dictionary of Hymnology (1907)
John Cennick
Elizabeth Cecilia Clephane
1830 - 1869 Person Name: Elizabeth Cecelia Clephane Hymnal Number: 664 Author of "Beneath the Cross of Jesus" in The Cyber Hymnal Clephane, Elizabeth Cecilia, third daughter of Andrew Clephane, Sheriff of Fife, was born at Edinburgh, June 18, 1830, and died at Bridgend House, near Melrose, Feb. 19, 1869. Her hymns appeared, almost all for the first time, in the Family Treasury, under the general title of Breathings on the Border. In publishing the first of these in the Treasury, the late Rev. W. Arnot, of Edinburgh, then editor, thus introduced them:—
"These lines express the experiences, the hopes, and the longings of a young Christian lately released. Written on the very edge of this life, with the better land fully, in the view of faith, they seem to us footsteps printed on the sands of Time, where these sands touch the ocean of Eternity. These footprints of one whom the Good Shepherd led through the wilderness into rest, may, with God's blessing, contribute to comfort and direct succeeding pilgrims."
The hymns, together with their dates,are:—
1. Beneath the cross of Jesus. Family Treasury, 1872, p. 398,
2. Mine eyes for ever closed. Family Treasury, 1872, p. 398.
3. Who climbeth up too nigh. Family Treasury, 1872, p. 552.
4. Into His summer garden. Family Treasury, 1873, p. 245.
5. From my dwelling midst the dead. Family Treasury, 1873, p. 365.
6. The day is drawing nearly done. Family Treasury, 1873, p. 389.
7. Life-light waneth to an end. Family Treasury, 1874, p. 595.
8. There were ninety and nine that safely lay. Family Treasury, 1874, p. 595.
Of these Nos. 1 and 8 are in common use. [Rev. James Mearns, M.A.]
--John Julian, Dictionary of Hymnology (1907)
Elizabeth Cecilia Clephane
Wolfgang Amadeus Mozart
1756 - 1791 Person Name: Wolfgang Mozart, 1756-1791 Hymnal Number: 3100 Composer (attributed to) of "ELLESDIE" in The Cyber Hymnal 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
Wolfgang Amadeus Mozart
