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Hark! the Herald Angels Sing
Author: Charles Wesley Meter: 7.7.7.7 D Appears in 1,338 hymnals Scripture: Hebrews 1:6 Lyrics: 1 Hark! the herald angels sing,
"Glory to the newborn King:
peace on earth, and mercy mild,
God and sinners reconciled!"
Joyful, all ye nations, rise,
join the triumph of the skies;
with th'angelic host proclaim,
"Christ is born in Bethlehem!"
Refrain:
Hark! the herald angels sing,
"Glory to the newborn King."
2 Christ, by highest heaven adored,
Christ, the everlasting Lord,
late in time behold him come,
offspring of the Virgin's womb:
veiled in flesh the Godhead see;
hail th'incarnate Deity,
pleased as man with us to dwell,
Jesus, our Emmanuel. [Refrain]
3 Hail the heaven-born Prince of Peace!
Hail the Sun of Righteousness!
Light and life to all he brings,
risen with healing in his wings.
Mild he lays his glory by,
born that we no more may die,
born to raise us from the earth,
born to give us second birth. [Refrain]
Topics: Christmas Season Used With Tune: MENDELSSOHN
Hark! the Herald Angels Sing
The Day Thou Gavest
Author: John Ellerton Meter: 9.8.9.8 Appears in 289 hymnals Scripture: Hebrews 1:8 First Line: The day thou gavest, Lord, is ended Lyrics: 1 The day thou gavest, Lord, is ended,
the darkness falls at thy behest;
to thee our morning hymns ascended,
thy praise shall sanctify our rest.
2 We thank thee that thy Church unsleeping
while earth rolls onward into light,
thro' all the world her watch is keeping,
and rests not now by day or night.
3 As o’er each continent and island
the dawn leads on another day,
the voice of prayer is never silent,
nor dies the strain of praise away.
4 The sun, that bids us rest, is waking
your children 'neath the western sky,
and hour by hour fresh lips are making
thy wondrous doings heard on high.
5 So be it, Lord! thy throne shall never,
like earth’s proud empires, pass away;
thy kingdom stands, and grows forever,
till all thy creatures own thy sway.
Used With Tune: ST. CLEMENT
The Day Thou Gavest
Of Eternal Love Begotten
Author: Aurelius Clemens Prudentius (348-413?); John Mason Neale (1818-1866) Meter: 8.7.8.7.8.7.7 Appears in 217 hymnals Scripture: Hebrews 1:1-12 Lyrics: 1 Of eternal love begotten,
ere the worlds began to be,
he is Alpha and Omega,
he the source, the ending he,
of the things that are, that have been,
and that future years shall see,
evermore and evermore.
2 At his Word the worlds were framed.
He commanded, it was done:
heaven and earth and depths of ocean,
in their threefold order one;
all that grows beneath the shining,
of the moon and burning sun,
evermore and evermore.
3 O that birth for ever blessed,
when the virgin, full of grace,
by the Holy Ghost conceiving,
bare the Saviour of our race,
and the babe, the world's redeemer,
first revealed his sacred face,
evermore and evermore.
4 This is he whom seers in old time
chanted of with one accord,
whom the voices of the prophets
promised in their faithful word;
now he shines, the long-expected;
let creation praise its Lord,
evermore and evermore.
5 O ye heights of heaven adore him;
angel hosts, his praises sing;
all dominions bow before him,
and extol our God and king;
let no tongue on earth be silent,
every voice in concert ring,
evermore and evermore.
6 Christ, to thee, with God the Father,
and, O Holy Ghost, to thee,
hymn and chant and high thanksgiving,
and unwearied praises be,
honour, glory, and dominion,
and eternal victory,
evermore and evermore. Topics: Christmas; Mary; Epiphany Used With Tune: DIVINUM MYSTERIUM
Of Eternal Love Begotten
SCHÖNSTER HERR JESU
Meter: 5.5.7.5.5.8 Appears in 522 hymnals Scripture: Hebrews 1:1-13 Tune Sources: Silesian, 19th cent.; Service Book and Hymnal, 1958 (Setting) Tune Key: E Flat Major Incipit: 11127 13333 42351 Used With Text: Beautiful Savior
SCHÖNSTER HERR JESU
MENDELSSOHN
Meter: 7.7.7.7 D Appears in 653 hymnals Composer and/or Arranger: Felix Mendelssohn; William H. Cummings Scripture: Hebrews 1:6 Tune Key: F Major Incipit: 51171 33255 54323 Used With Text: Hark! the Herald Angels Sing
MENDELSSOHN
DIVINUM MYSTERIUM
Meter: 8.7.8.7.8.7.7 Appears in 170 hymnals Composer and/or Arranger: Healey Willan (1880-1968) Scripture: Hebrews 1:1-12 Tune Sources: Plainsong, Mode 8 (12th cent.?); adapt. Piae Cantiones, 1582 Tune Key: e minor Incipit: 12343 23213 45653 Used With Text: Of Eternal Love Begotten
DIVINUM MYSTERIUM
All hail the power of Jesu's name
Author: Edward Perronet, 1726-1792 Hymnal: Common Praise #163 (2000) Meter: 8.6.8.6 Scripture: Hebrews 1:6 Lyrics: 1 All hail the power of Jesu's name;
let angels prostrate fall;
bring forth the royal diadem
to crown him Lord of all.
*2 Crown him, ye morning stars of light,
who fixed this floating ball;
now hail the Strength of Israel's might,
and crown him Lord of all.
3 Crown him, ye martyrs of your God,
who from his altar call;
praise him whose way of pain ye trod,
and crown him Lord of all.
4 Ye seed of Israel's chosen race,
ye ransomed of the fall,
hail him who saves you by his grace,
and crown him Lord of all.
5 Sinners, whose love can ne'er forget
the wormwood and the gall,
go spread your trophies at his feet,
and crown him Lord of all.
6 Let every tribe and every tongue
to him their hearts enthral,
lift high the universal song
and crown him Lord of all. Topics: Ascension; Lent IV Year B; Easter VII Year A; Proper 21 Year A Languages: English Tune Title: MILES LANE
All hail the power of Jesu's name
All Hail the Power of Jesus' Name
Author: Edward Perronet, 1726-1792 Hymnal: Glory and Praise (3rd. ed.) #364 (2015) Meter: 8.6.8.6.8.6 Scripture: Hebrews 1:6 First Line: All hail the pow'r of Jesus' name! Lyrics: 1 All hail the pow'r of Jesus' name!
Let angels prostrate fall;
Bring forth the royal diadem
And crown him Lord of all;
Bring forth the royal diadem
And crown him Lord of all.
2 Crown him, you martyrs of our God,
Who from his altar call;
Extol him in whose path you trod,
And crown him Lord of all;
Extol him in whose path you trod,
And crown him Lord of all.
3 Hail him, you heirs of David's line
Whom David Lord did call,
The God incarnate, Man divine,
And crown him Lord of all;
The God incarnate, Man divine,
And crown him Lord of all.
4 O that with every tribe and tongue
We at His feet may fall,
Lift high the universal song
And crown him Lord of all;
Lift high the universal song
And crown him Lord of all.
and crown Him Lord of all! Topics: Holy Name; Kingdom/Reign of God; Praise; The Liturgical Year The Ascension of the Lord; The Liturgical Year Our Lord Jesus Christ, King of the Universe Languages: English Tune Title: CORONATION
All Hail the Power of Jesus' Name
All Hail the Power of Jesus' Name
Author: Edward Perronet, 1726-1792 Hymnal: Journeysongs (3rd ed.) #462 (2012) Meter: 8.6.8.6.8.6 Scripture: Hebrews 1:6 First Line: All hail the pow'r of Jesus' name! Lyrics: 1 All hail the pow'r of Jesus' name!
Let angels prostrate fall;
Bring forth the royal diadem
And crown him Lord of all;
Bring forth the royal diadem
And crown him Lord of all.
2 Crown him, you martyrs of our God,
Who from his altar call;
Extol him in whose path you trod,
And crown him Lord of all;
Extol him in whose path you trod,
And crown him Lord of all.
3 Hail him, you heirs of David's line
Whom David Lord did call,
The God incarnate, Man divine,
And crown him Lord of all;
The God incarnate, Man divine,
And crown him Lord of all.
4 O that with ev'ry tribe and tongue
We at his feet may fall,
Lift high the universal song
And crown him Lord of all;
Lift high the universal song
And crown him Lord of all. Topics: Holy Name; Kingdom/Reign of God; Praise Languages: English Tune Title: CORONATION
All Hail the Power of Jesus' Name
Charles Wesley
1707 - 1788 Scripture: Hebrews 1 Author of "Rejoice, the Lord Is King" in Psalter Hymnal (Gray) 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.
Charles Wesley
Felix Mendelssohn-Bartholdy
1809 - 1847 Person Name: Felix Mendelssohn Scripture: Hebrews 1:6 Composer of "MENDELSSOHN" in The Worshiping Church Felix Mendelssohn-Bartholdy (b. Hamburg, Germany, 1809; d. Leipzig, Germany, 1847) was the son of banker Abraham Mendelssohn and the grandson of philosopher Moses Mendelssohn. His Jewish family became Christian and took the Bartholdy name (name of the estate of Mendelssohn's uncle) when baptized into the Lutheran church. The children all received an excellent musical education. Mendelssohn had his first public performance at the age of nine and by the age of sixteen had written several symphonies. Profoundly influenced by J. S. Bach's music, he conducted a performance of the St. Matthew Passion in 1829 (at age 20!) – the first performance since Bach's death, thus reintroducing Bach to the world. Mendelssohn organized the Domchor in Berlin and founded the Leipzig Conservatory of Music in 1843. Traveling widely, he not only became familiar with various styles of music but also became well known himself in countries other than Germany, especially in England. He left a rich treasury of music: organ and piano works, overtures and incidental music, oratorios (including St. Paul or Elijah and choral works, and symphonies. He harmonized a number of hymn tunes himself, but hymnbook editors also arranged some of his other tunes into hymn tunes.
Bert Polman
Felix Mendelssohn-Bartholdy
Aurelius Clemens Prudentius
348 - 410 Person Name: Aurelius Clemens Prudentius (348-413?) Scripture: Hebrews 1:1-12 Author of "Of Eternal Love Begotten" in Common Praise (1998) Marcus Aurelius Clemens Prudentius, "The Christian Pindar" was born in northern Spain, a magistrate whose religious convictions came late in life. His subsequent sacred poems were literary and personal, not, like those of St. Ambrose, designed for singing. Selections from them soon entered the Mozarabic rite, however, and have since remained exquisite treasures of the Western churches. His Cathemerinon liber, Peristephanon, and Psychomachia were among the most widely read books of the Middle Ages. A concordance to his works was published by the Medieval Academy of America in 1932. There is a considerable literature on his works.
--The Hymnal 1940 Companion
=============
Prudentius, Aurelius Clemens , with the occasional prefix of Marcus (cf. Migne, vol. lix. p. 593, and Dressel, p. ii. n), is the name of the most prominent and most prolific author of sacred Latin poetry in its earliest days. Of the writer himself we know nothing, or next to nothing, beyond what he has himself told us in a short introduction in verse to his works. From that source we learn that he was a Spaniard, of good family evidently, and that he was born A.D. 348 somewhere in the north of Spain, either at Saragossa, Tarragona, or Calahorra, but at which is left uncertain, by his applying the same expression to all, which if applied only to one would have fixed his place of birth. After receiving a good education befitting his social status he applied himself for some years to practising as a pleader in the local courts of law, until he received promotion to a judgeship in two cities successively:—
"Bis legum moderanrine
Frenos nobilium reximus urbium
Jus civile bonis reddidimus, terruimus reos;"
and afterwards to a post of still higher authority:
"Tandem militiae gradu
Evectum pietas principis extulit."
Archbishop Trench considers this last to have been "a high military appointment at court," and such the poet's own words would seem to describe; but it may well be doubted whether a civilian and a lawyer would be eligible for such employment; in which case we may adopt the solution of the difficulty offered in the Prolegomena to our author's works (Migne, vol. lix. p. 601):—
"Evectus indeest ad superiorem rnilitia? gradum, nimirum militia? civil is, palatinae, aut praesidialis, non bellicae, castrensis, aut cohortalis; nam ii qui officiis jure consultorum praesidum, rectorum et similium funguntur, vulgo in cod. Theod. militare et ad superiores militias ascendere dicuntur."
It was after this lengthened experience at a comparatively early age of positions of trust and power that Prudentius, conscience-smitten on account of the follies and worldliness that had marked his youth and earlier manhood, determined to throw up all his secular employments, and devote the remainder of his life to advancing the interests of Christ's Church by the power of his pen rather than that of his purse and personal position. Accordingly we find that he retired in his 57th year into poverty and private life, and began that remarkable succession of sacred poems upon which his fame now entirely rests. We have no reason however to regard him as another St. Augustine, rescued from the "wretchedness of most unclean living" by this flight from the temptations and engrossing cares of official life into the calm seclusion of a wholly devotional leisure. He had probably rather learnt from sad experience the emptiness and vanity for an immortal soul of the surroundings of even the high places of this world. As he himself expresses it:—
"Numquid talia proderunt
Carnis post obitum vel bona, vel mala,
Cum jam, quicquid id est, quod fueram, mors aboleverit?"
and sought, at the cost of all that the world holds dear, those good things which God hath prepared for them that love Him. Beyond the fact of his retirement from the world in this way, and the fruits which it produced in the shape of his voluminous contributions to sacred poetry, we have no further information about our author. To judge from the amount he wrote, his life must have been extended many years after he began his new career, but how long his life was or where he died we are not told. Probably he died circa 413. His works are:—
(1) Liber Cathemerinon. "Christian Day, as we may call it" W. S. Lilly, "Chapters in European History," vol. i. p. 208).
(2) Liber Peristephanon. "Martyrs' Garlands" (id.).
(3) Apotheosis. A work on the Divine Nature, or the Deification of Human Nature in Christ.
(4) Hamartigenia. A treatise on the Origin of Sin, directed against the Marcionites.
(5) Psychomachia or "The Spiritual Combat"-—an allegorical work.
(6) Libri contra Symmachum. A controversial work against the restoration in the Senate House at Rome of the altar of Victory which Gratian had removed. Symmachus had petitioned Valentinian II. for its restoration in 384, but the influence of St. Ambrose had prevailed against him at that time. In 392 the altar was restored, but removed again by Theodosius in 394. After the death of the latter the attempt to restore it was renewed by Arcadius and Honorius, and it was at that time that Prudentius wrote his first book. The second (for there are two) was written in 405. Fague considers that the first may date in 395.
(7) The Dittochseon = the double food or double Testament, is a wordy collection of 49 sets of four verses each, on Old and New Testament scenes.
Of these different works the most important are the first two, and it is from them that the Liturgical hymns enumerated below have been chiefly compiled. The general character of Prudentius's writings it is not easy fairly to estimate, and to judge by the wholesale laudation he obtains from some of his critics, and the equally unsparing censure of others, his judges have so found it. In venturing upon any opinion upon such a subject, the reader must bear in mind the peculiar position in which the period at which he was writing found the poet. The poetry of classical Rome in all its exact beauty of form had long passed its meridian, and was being replaced by a style which was yet in its infancy, but which burst forth into new life and beauty in the hands of the Mediaeval hymnologists.
Prudentius wrote before rhyming Latin verse was thought of, but after attention had ceased to be given to quantities. Under such circumstances it were vain to look for very finished work from him, and such certainly we do not find. But amidst a good deal of what one must confess is tasteless verbiage or clumsy rhetorical ornament-—however varied the metres he employs, numbering some 17—-there are also passages to be found, not unfrequently, of dramatic vigour and noble expression, which may well hold their own with the more musical utterances of a later date. He writes as a man intensely in earnest, and we may gather much from his writings concerning the points of conduct which were deemed the most important in Christian living at a time when a great portion of mankind were still the victims or slaves of a morality which, heathen at the best, was lowered and corrupted the more as the universality of its influence was more and more successfully challenged by the spread of the Gospel of Christ. If, there¬fore, we can scarcely go as far in our author's praise as Barth—-much given to lavish commendation—-who describes him as "Poeta eximius eruditissimus et sanctissimus scriptor; nemo divinius de rebus Christianis unquam scripsit"; or as Bentley—-not given to praise--who calls him the "Horace and Virgil of the Christians," we shall be as loath, considering under what circumstances he wrote, to carp at his style as not being formed on the best ancient models but as confessedly impure; feeling with Archbishop Trench that it is his merit that "whether consciously or unconsciously, he acted on the principle that the new life claimed new forms in which to manifest itself; that he did not shrink from helping forward that great transformation of the Latin language, which it needed to undergo, now
that it should be the vehicle of truths which, were all together novel to it." (Sacred Latin Poetry, 1874, p. 121.)
The reader will find so exhaustive an account of the various writings of Prudentius in the account given of him and them in Smith and Wace's Dictionary of Christian Biography, and Smith's Dictionary of Greek and Roman Biography, that it is only necessary in this work to refer very briefly to them as above. The poems have been constantly reprinted and re-edited, till the editor who produced the best edition we have of them, Albert Dressel (Leipsic, 1860), is able to say that his is the sixty-third.
The use made of Prudentius's poems in the ancient Breviaries and Hymnaries was very extensive. In the form of centos stanzas and lines wore compiled and used as hymns; and it is mainly from these centos, and not from the original poems, that the translations into English were made. Daniel, i., Nos. 103-115, gives 13 genuine hymns as having been in use for "Morning," "Christmas," "Epiphany," "Lent," "Easter," "Transfiguration," "Burial," &c, in the older Breviaries. ….Many more which were used in like manner have been translated into English. When to these are added the hymns and those which have not been translated into English, we realise the position and power of Prudentius in the hymnody of the Church. [Rev. Digby S. Wrangham, M.A.]
--John Julian, Dictionary of Hymnology (1907)
==============
Prudentius, A. C, p. 915, ii. Two somewhat full versions of Prudentius are: (1) The Cathemerinon and other Poems of Aurelius Prudentius Clemens in English Verse, Lond., Rivington, 1845; and (2) Translations from Prudentius. By Francis St. John Thackeray, M.A.. F.S.A. Lond., Bell & Sons, 1890.
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
Aurelius Clemens Prudentius
