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Come, let us use the grace divine
Author: Charles Wesley Appears in 154 hymnals Used With Tune: DUNDEE
Come, let us use the grace divine
DUNDEE (FRENCH)
Meter: 8.6.8.6 Appears in 890 hymnals Tune Sources: Scottish Psalter, 1615; Arr.: Ravenscroft Psalmes, 1621 Tune Key: E Flat Major Incipit: 13451 23432 11715 Used With Text: Come, let us use the grace divine
DUNDEE (FRENCH)
Come, Let Us Use the Grace Divine
Author: Charles Wesley Hymnal: Our Great Redeemer's Praise #413 (2022) Lyrics: 1 Come, let us use the grace divine,
and all with one accord,
in a perpetual cov'nant join
ourselves to Christ the Lord;
give up ourselves, through Jesus' pow'r,
His name to glorify;
and promise, in this sacred hour,
for God to live and die.
2 The cov'nant we this moment make
be ever kept in mind;
we will no more our God forsake,
or cast these words behind.
We never will throw off the fear
of God who hears our vow;
and if Thou art well pleased to hear,
come down and meet us now.
3 Thee, Father, Son, and Holy Ghost,
let all our hearts receive;
present with Thy celestial host
the peaceful answer give;
to each covenant the blood apply
which takes our sins away,
and register our names on high
and keep us to that day! Topics: The Church, The Saints The Lord's Supper Scripture: 2 Kings 23:1-3 Languages: English Tune Title: KINGSFOLD
Come, Let Us Use the Grace Divine
Come, Let Us Use the Grace Divine
Author: Charles Wesley Hymnal: The United Methodist Hymnal #606 (1989) Meter: 8.6.8.6 D Lyrics: 1. Come, let us use the grace divine,
and all with one accord,
in a perpetual covenant
join ourselves to Christ the Lord;
Give up ourselves, thru Jesus' power,
his name to glorify;
and promise, in this sacred hour,
for God to live and die.
2. The covenant we this moment make
be ever kept in mind;
we will no more our God forsake,
or cast these words behind.
We never will throw off the fear
of God who hears our vow;
and if thou art well pleased to hear,
come down and meet us now.
3. Thee, Father, Son, and Holy Ghost,
let all our hearts receive,
present with thy celestial host
the peaceful answer give;
to each covenant the blood apply
which takes our sins away,
and register our names on high
and keep us to that day!
Topics: Christian Year New Year; The Sacraments and Rites of the Church Baptism, Confirmation, Reaffirmation; Particular Times of Worship Special Days; Christian Year New Year; Heritage; Weddings Scripture: Jeremiah 50:5 Languages: English Tune Title: KINGSFOLD
Come, Let Us Use the Grace Divine
Come, Let Us Use the Grace Divine
Author: Charles Wesley Hymnal: The Cyber Hymnal #1039 Meter: 8.6.8.6 D Lyrics: 1. Come, let us use the grace divine,
and all with one accord,
In a perpetual covenant join
ourselves to Christ the Lord;
Give up ourselves, through Jesus’ power,
His name to glorify;
And promise, in this sacred hour,
for God to live and die.
2. The covenant we this moment make
be ever kept in mind;
We will no more our God forsake,
or cast these words behind.
We never will throw off the fear
of God who hears our vow;
And if Thou art well pleased to hear,
come down and meet us now.
3. Thee, Father, Son, and Holy Ghost,
let all our hearts receive,
Present with Thy celestial host
the peaceful answer give;
To each covenant the blood apply
which takes our sins away,
And register our names on high
and keep us to that day! Languages: English Tune Title: KINGSFOLD
Come, Let Us Use the Grace Divine
Charles Wesley
1707 - 1788 Author of "Come, Let Us Use the Grace Divine" in The United Methodist Hymnal 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
Ralph Vaughan Williams
1872 - 1958 Arranger of "KINGSFOLD" in The United Methodist 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
Ralph Vaughan Williams
C. G. Gläser
1784 - 1829 Person Name: Carl Gotthelf Glaser Composer of "AZMON" in Hymn and Tune Book of the Methodist Episcopal Church, South (Round Note Ed.) Carl Gotthelf Gläser Germany 1781-1829. Born at Weissenfels, Burgenlandkreis, Sachsen-Anhalt, Germany, he received musical training from his father, after which he attended St. Thomas school in Leipzig. He became an author and composer. At Barmen he taught voice, piano, and violin. He also wrote and conducted chorale music. He died at Barmen.
John Perry
C. G. Gläser
