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Christ the Lord Is Risen Again

Author: M. Weisse; Catherine Winkworth Meter: 7.7.7.7 with alleluia Appears in 258 hymnals Scripture: 1 Peter 3:19 First Line: Christ the Lord is ris'n again Refrain First Line: Alleluia! Lyrics: Alleluia! Alleluia! Alleluia! 1 Christ the Lord is ris'n again; Christ hath broken ev'ry chain; hark, the angels shout for joy, singing evermore on high, "Alleluia!" 2 He who gave for us his life, who for us endured the strife, is our Paschal Lamb today; we too sing for joy and say, "Alleluia!" 3 He who bore all pain and loss comfortless upon the cross, lives in glory now on high, pleads for us and hears our cry: "Alleluia!" 4 He who slumbered in the grave is exalted now to save; now thro' Christendom it rings that the Lamb is King of kings, Alleluia! Used With Tune: CHRISTUS IST ERSTANDEN Text Sources: Christus ist erstanden

What a Friend We Have in Jesus

Author: Joseph M. Scriven, 1819-1866 Meter: 8.7.8.7 D Appears in 1,695 hymnals Scripture: 1 Peter 3:12 Lyrics: 1 What a Friend we have in Jesus, All our sins and griefs to bear! What a privilege to carry Ev'rything to God in prayer! Oh what peace we often forfeit, Oh what needless pain we bear, All because we do not carry Ev'rything to God in prayer! 2 Have we trials and temptations? Is there trouble anywhere? We should never be discouraged - Take it to the Lord in prayer! Can we find a friend so faithful, Who will all our sorrows share? Jesus knows our ev'ry weakness - Take it to the Lord in prayer! 3 Are we weak and heavy-laden, Cumbered with a load of care? Precious Savior, still our refuge - Take it to the Lord in prayer! Do thy friends despise, forsake thee? Take it to the Lord in prayer! In His arms He'll take and shield thee - Thou wilt find a solace there. Topics: Conflict; Devotional; God His Faithfulness; God Love and Mercy; Jesus Christ His Love and Mercy Used With Tune: CONVERSE

O Sacred Head! sore wounded

Author: James Waddell Alexander (1804-1859); Paul Gerhardt (1607-1676) Meter: 7.6.7.6.7.6.7.6 Appears in 727 hymnals Scripture: 1 Peter 3:18 Lyrics: 1 O Sacred Head! sore wounded, with grief and shame weighed down! O Kingly Head, surrounded with thorns, thine only crown! How pale art thou with anguish, with sore abuse and scorn! How does that face now languish, which once was bright as morn! 2 O Lord of life and glory, what bliss till now was thine! I read the wondrous story; I joy to call thee mine. Thy grief and bitter Passion were all for sinners' gain; mine, mine was the transgression, but thine the deadly pain. 3 What language shall I borrow to praise thee, heavenly Friend, for this, thy dying sorrow, thy pity without end? O make me thine for ever, and, should I fainting be, Lord, let me never, never outlive my love for thee. 4 Be near me, Lord, when dying; O show thy cross to me; and, my last need supplying, come, Lord, and set me free; these eyes, new faith receiving, from thee shall never move; for they who die believing die safely through thy love. Topics: Life in Christ Christ Incarnante - Passion and Death; Christian Year Good Friday; Death and Bereavement; Devotion Used With Tune: PASSION CHORALE

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Tunes

Tune authorities

PASSION CHORALE

Meter: 7.6.7.6.7.6.7.6 Appears in 518 hymnals Composer and/or Arranger: Johann Sebastian Bach (1685-1750) Scripture: 1 Peter 3:18 Tune Sources: Traditional secular melody in Hans Leo Hassler's Lustgarten neuer teutscher Gesäng, 1601 Tune Key: C Major Incipit: 51765 45233 2121 Used With Text: O Sacred Head! sore wounded

DOWN AMPNEY

Meter: 6.6.11 D Appears in 86 hymnals Composer and/or Arranger: Ralph Vaughan Williams (1872-1958) Scripture: 1 Peter 3:4 Tune Key: D Major Incipit: 12356 55657 16556 Used With Text: Come Down, O Love Divine

CONVERSE

Meter: 8.7.8.7 D Appears in 888 hymnals Composer and/or Arranger: Charles C. Converse, 1832-1918 Scripture: 1 Peter 3:12 Tune Key: F Major Incipit: 55653 11651 31532 Used With Text: What a Friend We Have in Jesus

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Instances

Published text-tune combinations (hymns) from specific hymnals

And crown Him Lord of all

Author: Rev. Edward Perronet ( —1792) Hymnal: Many Voices; or, Carmina Sanctorum, Evangelistic Edition with Tunes #134a (1891) Scripture: 1 Peter 3:22 First Line: All hail the power of Jesus' name Topics: Angels At coronation of Christ; Christ Coronation of; Christ Exalter; Christ Name of ; Praise To Christ; Sinners Song of Praise Languages: English Tune Title: CORONATION

All hail the power of Jesus' name

Author: Rev. Edward Perronet ( -1792) Hymnal: Carmina Sanctorum, a selection of hymns and songs of praise with tunes #241a (1886) Scripture: 1 Peter 3:22 Topics: The Lord Jesus Christ Languages: English Tune Title: CORONATION

Rock of Ages

Author: Augustus M. Toplady Hymnal: Praise for the Lord (Expanded Edition) #557 (1997) Meter: 7.7.7.7.7.7 Scripture: 1 Peter 3:18 First Line: Rock of Ages, cleft for me Topics: Atonement; Invitation; Jesus Rock; Refuge & Rest Languages: English Tune Title: TOPLADY

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People

Authors, composers, editors, etc.

Ralph Vaughan Williams

1872 - 1958 Person Name: Ralph Vaughan Williams, 1872-1958 Scripture: 1 Peter 3:15 Composer of "KING'S WESTON" in Worship and Rejoice Through his composing, conducting, collecting, editing, and teaching, Ralph Vaughan Williams (b. Down Ampney, Gloucestershire, England, October 12, 1872; d. Westminster, London, England, August 26, 1958) became the chief figure in the realm of English music and church music in the first half of the twentieth century. His education included instruction at the Royal College of Music in London and Trinity College, Cambridge, as well as additional studies in Berlin and Paris. During World War I he served in the army medical corps in France. Vaughan Williams taught music at the Royal College of Music (1920-1940), conducted the Bach Choir in London (1920-1927), and directed the Leith Hill Music Festival in Dorking (1905-1953). A major influence in his life was the English folk song. A knowledgeable collector of folk songs, he was also a member of the Folksong Society and a supporter of the English Folk Dance Society. Vaughan Williams wrote various articles and books, including National Music (1935), and composed numerous arrangements of folk songs; many of his compositions show the impact of folk rhythms and melodic modes. His original compositions cover nearly all musical genres, from orchestral symphonies and concertos to choral works, from songs to operas, and from chamber music to music for films. Vaughan Williams's church music includes anthems; choral-orchestral works, such as Magnificat (1932), Dona Nobis Pacem (1936), and Hodie (1953); and hymn tune settings for organ. But most important to the history of hymnody, he was music editor of the most influential British hymnal at the beginning of the twentieth century, The English Hymnal (1906), and coeditor (with Martin Shaw) of Songs of Praise (1925, 1931) and the Oxford Book of Carols (1928). Bert Polman

Charles Wesley

1707 - 1788 Scripture: 1 Peter 3:22 Author of "Rejoice, the Lord Is King" in Songs for Life Charles Wesley, M.A. was the great hymn-writer of the Wesley family, perhaps, taking quantity and quality into consideration, the great hymn-writer of all ages. Charles Wesley was the youngest son and 18th child of Samuel and Susanna Wesley, and was born at Epworth Rectory, Dec. 18, 1707. In 1716 he went to Westminster School, being provided with a home and board by his elder brother Samuel, then usher at the school, until 1721, when he was elected King's Scholar, and as such received his board and education free. In 1726 Charles Wesley was elected to a Westminster studentship at Christ Church, Oxford, where he took his degree in 1729, and became a college tutor. In the early part of the same year his religious impressions were much deepened, and he became one of the first band of "Oxford Methodists." In 1735 he went with his brother John to Georgia, as secretary to General Oglethorpe, having before he set out received Deacon's and Priest's Orders on two successive Sundays. His stay in Georgia was very short; he returned to England in 1736, and in 1737 came under the influence of Count Zinzendorf and the Moravians, especially of that remarkable man who had so large a share in moulding John Wesley's career, Peter Bonier, and also of a Mr. Bray, a brazier in Little Britain. On Whitsunday, 1737, [sic. 1738] he "found rest to his soul," and in 1738 he became curate to his friend, Mr. Stonehouse, Vicar of Islington, but the opposition of the churchwardens was so great that the Vicar consented that he "should preach in his church no more." Henceforth his work was identified with that of his brother John, and he became an indefatigable itinerant and field preacher. On April 8, 1749, he married Miss Sarah Gwynne. His marriage, unlike that of his brother John, was a most happy one; his wife was accustomed to accompany him on his evangelistic journeys, which were as frequent as ever until the year 1756," when he ceased to itinerate, and mainly devoted himself to the care of the Societies in London and Bristol. Bristol was his headquarters until 1771, when he removed with his family to London, and, besides attending to the Societies, devoted himself much, as he had done in his youth, to the spiritual care of prisoners in Newgate. He had long been troubled about the relations of Methodism to the Church of England, and strongly disapproved of his brother John's "ordinations." Wesley-like, he expressed his disapproval in the most outspoken fashion, but, as in the case of Samuel at an earlier period, the differences between the brothers never led to a breach of friendship. He died in London, March 29, 1788, and was buried in Marylebone churchyard. His brother John was deeply grieved because he would not consent to be interred in the burial-ground of the City Road Chapel, where he had prepared a grave for himself, but Charles said, "I have lived, and I die, in the Communion of the Church of England, and I will be buried in the yard of my parish church." Eight clergymen of the Church of England bore his pall. He had a large family, four of whom survived him; three sons, who all became distinguished in the musical world, and one daughter, who inherited some of her father's poetical genius. The widow and orphans were treated with the greatest kindness and generosity by John Wesley. As a hymn-writer Charles Wesley was unique. He is said to have written no less than 6500 hymns, and though, of course, in so vast a number some are of unequal merit, it is perfectly marvellous how many there are which rise to the highest degree of excellence. His feelings on every occasion of importance, whether private or public, found their best expression in a hymn. His own conversion, his own marriage, the earthquake panic, the rumours of an invasion from France, the defeat of Prince Charles Edward at Culloden, the Gordon riots, every Festival of the Christian Church, every doctrine of the Christian Faith, striking scenes in Scripture history, striking scenes which came within his own view, the deaths of friends as they passed away, one by one, before him, all furnished occasions for the exercise of his divine gift. Nor must we forget his hymns for little children, a branch of sacred poetry in which the mantle of Dr. Watts seems to have fallen upon him. It would be simply impossible within our space to enumerate even those of the hymns which have become really classical. The saying that a really good hymn is as rare an appearance as that of a comet is falsified by the work of Charles Wesley; for hymns, which are really good in every respect, flowed from his pen in quick succession, and death alone stopped the course of the perennial stream. It has been the common practice, however for a hundred years or more to ascribe all translations from the German to John Wesley, as he only of the two brothers knew that language; and to assign to Charles Wesley all the original hymns except such as are traceable to John Wesley through his Journals and other works. The list of 482 original hymns by John and Charles Wesley listed in this Dictionary of Hymnology have formed an important part of Methodist hymnody and show the enormous influence of the Wesleys on the English hymnody of the nineteenth century. -- Excerpts from John Julian, Dictionary of Hymnology (1907) ================== Charles Wesley, the son of Samuel Wesley, was born at Epworth, Dec. 18, 1707. He was educated at Westminster School and afterwards at Christ Church, Oxford, where he graduated M.A. In 1735, he took Orders and immediately proceeded with his brother John to Georgia, both being employed as missionaries of the S.P.G. He returned to England in 1736. For many years he engaged with his brother in preaching the Gospel. He died March 29, 1788. To Charles Wesley has been justly assigned the appellation of the "Bard of Methodism." His prominence in hymn writing may be judged from the fact that in the "Wesleyan Hymn Book," 623 of the 770 hymns were written by him; and he published more than thirty poetical works, written either by himself alone, or in conjunction with his brother. The number of his separate hymns is at least five thousand. --Annotations of the Hymnal, Charles Hutchins, M.A., 1872.

Lowell Mason

1792 - 1872 Scripture: 1 Peter 3:15 Harmonizer of "HENDON" in Baptist Hymnal 1991 Dr. Lowell Mason (the degree was conferred by the University of New York) is justly called the father of American church music; and by his labors were founded the germinating principles of national musical intelligence and knowledge, which afforded a soil upon which all higher musical culture has been founded. To him we owe some of our best ideas in religious church music, elementary musical education, music in the schools, the popularization of classical chorus singing, and the art of teaching music upon the Inductive or Pestalozzian plan. More than that, we owe him no small share of the respect which the profession of music enjoys at the present time as contrasted with the contempt in which it was held a century or more ago. In fact, the entire art of music, as now understood and practiced in America, has derived advantage from the work of this great man. Lowell Mason was born in Medfield, Mass., January 8, 1792. From childhood he had manifested an intense love for music, and had devoted all his spare time and effort to improving himself according to such opportunities as were available to him. At the age of twenty he found himself filling a clerkship in a banking house in Savannah, Ga. Here he lost no opportunity of gratifying his passion for musical advancement, and was fortunate to meet for the first time a thoroughly qualified instructor, in the person of F. L. Abel. Applying his spare hours assiduously to the cultivation of the pursuit to which his passion inclined him, he soon acquired a proficiency that enabled him to enter the field of original composition, and his first work of this kind was embodied in the compilation of a collection of church music, which contained many of his own compositions. The manuscript was offered unavailingly to publishers in Philadelphia and in Boston. Fortunately for our musical advancement it finally secured the attention of the Boston Handel and Haydn Society, and by its committee was submitted to Dr. G. K. Jackson, the severest critic in Boston. Dr. Jackson approved most heartily of the work, and added a few of his own compositions to it. Thus enlarged, it was finally published in 1822 as The Handel and Haydn Society Collection of Church Music. Mason's name was omitted from the publication at his own request, which he thus explains, "I was then a bank officer in Savannah, and did not wish to be known as a musical man, as I had not the least thought of ever making music a profession." President Winchester, of the Handel and Haydn Society, sold the copyright for the young man. Mr. Mason went back to Savannah with probably $500 in his pocket as the preliminary result of his Boston visit. The book soon sprang into universal popularity, being at once adopted by the singing schools of New England, and through this means entering into the church choirs, to whom it opened up a higher field of harmonic beauty. Its career of success ran through some seventeen editions. On realizing this success, Mason determined to accept an invitation to come to Boston and enter upon a musical career. This was in 1826. He was made an honorary member of the Handel and Haydn Society, but declined to accept this, and entered the ranks as an active member. He had been invited to come to Boston by President Winchester and other musical friends and was guaranteed an income of $2,000 a year. He was also appointed, by the influence of these friends, director of music at the Hanover, Green, and Park Street churches, to alternate six months with each congregation. Finally he made a permanent arrangement with the Bowdoin Street Church, and gave up the guarantee, but again friendly influence stepped in and procured for him the position of teller at the American Bank. In 1827 Lowell Mason became president and conductor of the Handel and Haydn Society. It was the beginning of a career that was to win for him as has been already stated the title of "The Father of American Church Music." Although this may seem rather a bold claim it is not too much under the circumstances. Mr. Mason might have been in the average ranks of musicianship had he lived in Europe; in America he was well in advance of his surroundings. It was not too high praise (in spite of Mason's very simple style) when Dr. Jackson wrote of his song collection: "It is much the best book I have seen published in this country, and I do not hesitate to give it my most decided approbation," or that the great contrapuntist, Hauptmann, should say the harmonies of the tunes were dignified and churchlike and that the counterpoint was good, plain, singable and melodious. Charles C. Perkins gives a few of the reasons why Lowell Mason was the very man to lead American music as it then existed. He says, "First and foremost, he was not so very much superior to the members as to be unreasonably impatient at their shortcomings. Second, he was a born teacher, who, by hard work, had fitted himself to give instruction in singing. Third, he was one of themselves, a plain, self-made man, who could understand them and be understood of them." The personality of Dr. Mason was of great use to the art and appreciation of music in this country. He was of strong mind, dignified manners, sensitive, yet sweet and engaging. Prof. Horace Mann, one of the great educators of that day, said he would walk fifty miles to see and hear Mr. Mason teach if he could not otherwise have that advantage. Dr. Mason visited a number of the music schools in Europe, studied their methods, and incorporated the best things in his own work. He founded the Boston Academy of Music. The aim of this institution was to reach the masses and introduce music into the public schools. Dr. Mason resided in Boston from 1826 to 1851, when he removed to New York. Not only Boston benefited directly by this enthusiastic teacher's instruction, but he was constantly traveling to other societies in distant cities and helping their work. He had a notable class at North Reading, Mass., and he went in his later years as far as Rochester, where he trained a chorus of five hundred voices, many of them teachers, and some of them coming long distances to study under him. Before 1810 he had developed his idea of "Teachers' Conventions," and, as in these he had representatives from different states, he made musical missionaries for almost the entire country. He left behind him no less than fifty volumes of musical collections, instruction books, and manuals. As a composer of solid, enduring church music. Dr. Mason was one of the most successful this country has introduced. He was a deeply pious man, and was a communicant of the Presbyterian Church. Dr. Mason in 1817 married Miss Abigail Gregory, of Leesborough, Mass. The family consisted of four sons, Daniel Gregory, Lowell, William and Henry. The two former founded the publishing house of Mason Bros., dissolved by the death of the former in 1869. Lowell and Henry were the founders of the great organ manufacturer of Mason & Hamlin. Dr. William Mason was one of the most eminent musicians that America has yet produced. Dr. Lowell Mason died at "Silverspring," a beautiful residence on the side of Orange Mountain, New Jersey, August 11, 1872, bequeathing his great musical library, much of which had been collected abroad, to Yale College. --Hall, J. H. (c1914). Biography of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company.

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