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Search Results

Text Identifier:"^hark_the_voice_of_love_and_mercy$"

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Texts

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Hark! the voice of love and mercy

Author: Rev. Jonathan Evans Appears in 548 hymnals Topics: Christ's death; Crucifixion Used With Tune: CONSUMMATUM EST

Tunes

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ALMA

Appears in 453 hymnals Composer and/or Arranger: S. Webbe Tune Key: D Major Incipit: 53165 54567 15533 Used With Text: Hark! the voice of love and mercy (Clywch leferydd grâs a chariad)
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CONSUMMATUM EST

Appears in 34 hymnals Composer and/or Arranger: John Stanley Tune Key: B Flat Major Incipit: 12321 76551 12345 Used With Text: Hark! the voice of love and mercy
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IT IS FINISHED (REDHEAD NO. 1)

Meter: 8.7.8.7.4.7 Appears in 13 hymnals Composer and/or Arranger: Richard Redhead, 1820-1901 Incipit: 13556 66535 43211 Used With Text: Hark, the voice of love and mercy

Instances

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Published text-tune combinations (hymns) from specific hymnals
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Hark! The Voice of Love and Mercy

Author: Jonathan Evans, c. 1748-1809 Hymnal: African Methodist Episcopal Church Hymnal #134 (2011) Meter: 8.7.8.7.8.7 Lyrics: 1 Hark! the voice of love and mercy Sounds aloud from Calvary; See! it rends the rocks asunder, Shakes the earth, and veils the sky! "It is finished, it is finished," Hear the dying Savior cry. 2 "It is finished!" O what pleasure Do these precious words afford! Heavenly blessings without measure, Flow to us from Christ the Lord. "It is finished, it is finished." Saints, the dying words record. 3 Tune your harps anew, ye seraphs, Join to sing the pleasing theme; All on earth and all in heaven Join to praise Immanuel's name! Hallelujah! Hallelujah! Glory to the bleeding Lamb! Amen. Topics: Jesus Christ Suffering and Death; Cross; Jesus Passion Scripture: Mark 15:25 Languages: English Tune Title: SEGUR
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Hark! the Voice

Author: J. Evans Hymnal: Crown of Beauty #137 (1902) First Line: Hark, the voice of love and mercy Languages: English Tune Title: [Hark, the voice of love and mercy]
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Hark! The Voice of Love and Mercy

Author: Jonathan Evans Hymnal: Hymns to the Living God #166 (2017) Meter: 8.7.8.7.4.7 Lyrics: 1 Hark! the voice of love and mercy sounds aloud from Calvary; see, it rends the rocks asunder, shakes the earth, and veils the sky: "It is finished! It is finished! It is finished!" Hear the dying Savior cry; hear the dying Savior cry. 2 "It is finished!" O what pleasure do these precious words afford; heav'nly blessings, without measure, flow to us from Christ the Lord: "It is finished! It is finished! It is finished!" Saints, the dying words record; saints, the dying words record. 3 Finished all the types and shadows of the ceremonial law; finished all that God had promised; death and hell no more shall awe: "It is finished! It is finished! It is finished!" Saints, from hence your comfort draw; saints, from hence your comfort draw. 4 Tune your harps anew, ye seraphs, join to sing the glorious theme; all in earth, and all in heaven, join to praise Emmanuel's Name: Alleluia! Alleluia! Alleluia! Glory to the bleeding Lamb! Glory to the bleeding Lamb! Topics: Jesus Christ Resurrection and Exaltation Languages: English Tune Title: BRYN CALFARIA

People

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Authors, composers, editors, etc.

Henry Thomas Smart

1813 - 1879 Person Name: H. T. Smart (1813-1879) Composer of "REGENT SQUARE" in Hymns for Today's Church (2nd ed.) Henry Smart (b. Marylebone, London, England, 1813; d. Hampstead, London, 1879), a capable composer of church music who wrote some very fine hymn tunes (REGENT SQUARE, 354, is the best-known). Smart gave up a career in the legal profession for one in music. Although largely self taught, he became proficient in organ playing and composition, and he was a music teacher and critic. Organist in a number of London churches, including St. Luke's, Old Street (1844-1864), and St. Pancras (1864-1869), Smart was famous for his extemporiza­tions and for his accompaniment of congregational singing. He became completely blind at the age of fifty-two, but his remarkable memory enabled him to continue playing the organ. Fascinated by organs as a youth, Smart designed organs for impor­tant places such as St. Andrew Hall in Glasgow and the Town Hall in Leeds. He composed an opera, oratorios, part-songs, some instrumental music, and many hymn tunes, as well as a large number of works for organ and choir. He edited the Choralebook (1858), the English Presbyterian Psalms and Hymns for Divine Worship (1867), and the Scottish Presbyterian Hymnal (1875). Some of his hymn tunes were first published in Hymns Ancient and Modern (1861). Bert Polman

Samuel Webbe

1740 - 1816 Person Name: S. Webbe Composer of "ALMA" in Old and New Welsh and English Hymns 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

Henry Purcell

1659 - 1695 Composer of "WESTMINSTER ABBEY" in The Worshiping Church Henry Purcell (b. Westminster, London, England, 1659; d. Westminster, 1695), was perhaps the greatest English composer who ever lived, though he only lived to the age of thirty-six. Purcell's first piece was published at age eight when he was also a chorister in the Chapel Royal. When his voice changed in 1673, he was appointed assistant to John Hingston, who built chamber organs and maintained the king's instruments. In 1674 Purcell began tuning the Westminster Abbey organ and was paid to copy organ music. Given the position of composer for the violins in 1677, he also became organist at Westminster Abbey in 1679 (at age twenty) and succeeded Hingston as maintainer of the king's instruments (1683). Purcell composed music for the theater (Dido and Aeneas, c. 1689) and for keyboards, provided music for royal coronations and other ceremonies, and wrote a substantial body of church music, including eighteen full anthems and fifty-six verse anthems. Bert Polman