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Text Identifier:"^christians_lift_your_hearts_and_voices$"

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Christians, lift your hearts and voices

Author: John E. Bowers Meter: 8.7.8.7.8.7 Appears in 7 hymnals Topics: liturgical Communion Songs

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WEBBE'S ST THOMAS

Meter: 8.7.8.7.8.7 Appears in 194 hymnals Composer and/or Arranger: Samuel Webbe, the elder (1740-1816) Tune Sources: From A Collection of Motetts or Antiphons, 1792 Tune Key: D Major Incipit: 12312 34365 43221 Used With Text: Christians, lift your hearts and voices
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TRIUMPH

Meter: 8.7.8.7.8.7 Appears in 85 hymnals Composer and/or Arranger: Henry John Gauntlett, 1805-76 Tune Key: B Flat Major Incipit: 13555 65355 17665 Used With Text: Christians, lift your hearts and voices
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SALVE FESTA DIES

Meter: 7.9.7.7 with refrain Appears in 73 hymnals Composer and/or Arranger: Ralph Vaughan Williams, 1872-1958 Tune Key: F Major Incipit: 15432 13217 12765 Used With Text: Christians, lift up your hearts

Instances

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Published text-tune combinations (hymns) from specific hymnals

Christians, lift your hearts and voices

Author: John E. Bowers, 1923- Hymnal: The Book of Praise #536 (1997) Meter: 8.7.8.7.8.7 Topics: Jesus Christ Intercessor / High Priest; Joy; Maundy Thursday; Repentance; Sacraments and Ordinances Communion; Welcome / Acceptance Scripture: Psalm 34:8 Languages: English Tune Title: PANIS VITAE
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Christians, lift your hearts and voices

Author: John E. Bowers, b. 1923 Hymnal: Common Praise #290 (2000) Meter: 8.7.8.7.8.7 Topics: Holy Communion Scripture: 1 Corinthians 10:21 Languages: English Tune Title: WEBBE'S ST THOMAS

Christians, lift your hearts and voices

Author: John Edward Bowers (b. 1923) Hymnal: Ancient and Modern #436 (2013) Meter: 8.7.8.7.8.7 Topics: Church nature of; Church Worship; Church Year Maundy Thursday; Holy Communion; Jesus priesthood; Penitence; Praise; Self-offering; Welcome; Work Scripture: 1 Corinthians 11:23-29 Languages: English Tune Title: WEBBE'S ST THOMAS

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Henry J. Gauntlett

1805 - 1876 Person Name: Henry John Gauntlett, 1805-76 Composer of "TRIUMPH" in Together in Song Henry J. Gauntlett (b. Wellington, Shropshire, July 9, 1805; d. London, England, February 21, 1876) When he was nine years old, Henry John Gauntlett (b. Wellington, Shropshire, England, 1805; d. Kensington, London, England, 1876) became organist at his father's church in Olney, Buckinghamshire. At his father's insistence he studied law, practicing it until 1844, after which he chose to devote the rest of his life to music. He was an organist in various churches in the London area and became an important figure in the history of British pipe organs. A designer of organs for William Hill's company, Gauntlett extend­ed the organ pedal range and in 1851 took out a patent on electric action for organs. Felix Mendelssohn chose him to play the organ part at the first performance of Elijah in Birmingham, England, in 1846. Gauntlett is said to have composed some ten thousand hymn tunes, most of which have been forgotten. Also a supporter of the use of plainchant in the church, Gauntlett published the Gregorian Hymnal of Matins and Evensong (1844). Bert Polman

Ralph Vaughan Williams

1872 - 1958 Person Name: Ralph Vaughan Williams, 1872-1958 Composer of "SALVE FESTA DIES" in CPWI Hymnal 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

Samuel Webbe

1740 - 1816 Person Name: Samuel Webbe the elder, 1740-1816 Composer of "WEBBE'S ST THOMAS" in Common Praise 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