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Search Results

Text Identifier:"^in_token_that_thou_shalt_not_fear$"

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In token that thou shalt not fear

Author: Henry Alford, 1810-1871 Meter: 8.6.8.6 Appears in 64 hymnals Lyrics: 1 In token that thou shalt not fear Christ crucified to own, we print the cross upon thee here, and stamp thee his alone. 2 In token that thou shalt not blush to glory in his name, we blazon here upon thy front his glory and his shame. 3 In token that thou shalt not flinch Christ's quarrel to maintain, but 'neath His banner manfully firm at thy post remain; 4 in token that thou too shalt tread the path he travelled by, endure the cross, despise the shame, and sit thee down on high; 5 thus outwardly and visibly we seal thee for his own: and may the brow that wears his cross hereafter share his crown. Topics: Sacraments and Other Occasions Holy Baptism Used With Tune: ST STEPHEN

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[In token that thou shalt not fear]

Meter: 8.6.8.6 Appears in 234 hymnals Tune Key: F Major Incipit: 13331 55553 14321 Used With Text: In token that thou shalt not fear
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OLD WINCHESTER

Meter: 8.6.8.6 Appears in 351 hymnals Incipit: 13321 44323 55453 Used With Text: In token that thou shalt not fear
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DEDHAM

Meter: 8.6.8.6 Appears in 174 hymnals Tune Key: A Major Incipit: 12235 43223 21765 Used With Text: In token that thou shalt not fear

Instances

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Published text-tune combinations (hymns) from specific hymnals
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In token that thou shalt not fear

Author: Dean Alford Hymnal: The Hymnal, Revised and Enlarged, as adopted by the General Convention of the Protestant Episcopal Church in the United States of America in the year of our Lord 1892 #209 (1894) Meter: 8.6.8.6 Lyrics: 1 In token that thou shalt not fear Christ crucified to own, We print the cross upon thee here, And stamp thee His alone. 2 In token that thou shalt not blush To glory in His Name, We blazon here upon thy front His glory and His shame. 3 In token that thou too shalt tread The path He traveled by, Endure the cross, despise the shame, And sit thee down on high; 4 Thus outwardly and visibly We seal thee for His own: And may the brow that wears His cross Hereafter share His crown. Amen. Languages: English Tune Title: [In token that thou shalt not fear]
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In Token That Shou Shalt Not Fear

Author: Henry Alford Hymnal: The Cyber Hymnal #3127 Meter: 8.6.8.6 First Line: In token that thou shalt not fear Lyrics: 1. In token that thou shalt not fear Christ crucified to own, We print the cross upon thee here, And stamp thee His alone. 2. In token that thou shalt not blush To glory in His name, We blazon here upon thy front His glory and His shame. 3. In token that thou shalt not flinch Christ’s quarrel to maintain, But ’neath His banner manfully Firm at thy post remain. 4. In token that thou too shalt tread The path He traveled by, Endure the cross, despise the shame, And sit thee down on high. 5. Thus outwardly and visibly We seal thee for His own; And may the brow that wears His cross Hereafter share His crown. Languages: English Tune Title: ST. STEPHEN
Text

In token that thou shalt not fear

Hymnal: Hymnal #214 (1871) Meter: 8.6.8.6 Lyrics: 1 In token that thou shalt not fear Christ crucified to own, We print the cross upon thee here, And stamp thee His alone. 2 In token that thou shalt not blush To glory in His Name, We blazon here upon thy front His glory and His shame. 3 In token that thou shalt not flinch Christ's quarrel to maintain, But 'neath His banner manfully Firm at thy post remain. 4 In token that thou too shalt tread The path He travell'd by, Endure the cross, despise the shame, And sit thee down on high; 5 Thus outwardly and visibly We seal thee for His own: And may the brow that wears His cross Hereafter share His crown. Topics: The Sacraments Baptism of Infants Languages: English

People

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Authors, composers, editors, etc.

Felix Mendelssohn-Bartholdy

1809 - 1847 Person Name: Mendelssohn Composer of "FELIX" in Hymns for the Children of the 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

Thomas Tallis

1505 - 1585 Composer of "TALLIS' ORDINAL" in The Hymnal Thomas Tallis (b. Leicestershire [?], England, c. 1505; d. Greenwich, Kent, England 1585) was one of the few Tudor musicians who served during the reigns of Henry VIII: Edward VI, Mary, and Elizabeth I and managed to remain in the good favor of both Catholic and Protestant monarchs. He was court organist and composer from 1543 until his death, composing music for Roman Catholic masses and Anglican liturgies (depending on the monarch). With William Byrd, Tallis also enjoyed a long-term monopoly on music printing. Prior to his court connections Tallis had served at Waltham Abbey and Canterbury Cathedral. He composed mostly church music, including Latin motets, English anthems, settings of the liturgy, magnificats, and two sets of lamentations. His most extensive contrapuntal work was the choral composition, "Spem in alium," a work in forty parts for eight five-voice choirs. He also provided nine modal psalm tunes for Matthew Parker's Psalter (c. 1561). Bert Polman

Raphael Courteville

? - 1772 Person Name: R. Courteville, 1676?-1772 Composer of "ST. JAMES" in Church Hymns Courteville, Raphael or Ralph (d. 1772), organist and political writer, was the son or grandson of one of the gentlemen of the Chapel Royal who bore the same name, and who died on 28 Dec. 1675. The organ from the Chapel Royal was presented by Queen Mary in 1691 to the church of St. James's, Westminster, and on 7 Sept. in the same year a Ralph Courtaville, who had been strongly recommended by the Earl of Burlington, and who had previously been a chorister in the Chapel Royal, was appointed the first organist, with a salary of 20l. per annum for himself and 4l. for a blower. This Courteville, Courtaville, or Courtivill, was no doubt the composer of six ‘Sonatas composed and purposley (sic) contriv'd for two flutes,’ published by Walsh about 1690; of a song introduced in Wright's ‘Female Virtuosoes,’ and supposed to have been written by Ann, countess of Winchilsea; of a very graceful song, ‘To Convent Streams,’ in ‘Duke and no Duke,’ and of songs in ‘Oroonoko.’ He was one of the composers who furnished the music for part iii. of D'Urfey's ‘Don Quixote’ in 1695. The well-known hymn tune, ‘St. James's,’ is also by him. It has been supposed that this Courteville died about 1735, and was succeeded by his son of the same name; but as the vestry minutes of the parish, in which all appointments, &c. are carefully recorded, contain no mention of such a change of organists, while no record of the father's death can be found, we are compelled to believe that the existence of the son is a mere assumption, made in order to account for the long tenure of the post by a person or persons of the name of Courteville. This conclusion is strengthened by various entries in the vestry minutes; in January 1752–3, and again in June 1754, letters are written to him warning him that unless he attends personally to the duties of the post he will be dismissed. Whether he endeavoured to perform the duties himself after this we do not know, but he was certainly not dismissed, and shortly afterwards an assistant, ‘Mr. Richardson,’ was appointed. On 12 June 1771 it was reported to the vestry that Courteville gave this assistant only one quarter of his salary for doing the whole work, and he was thereupon ordered to share the payment equally with Richardson. Seven years before this, in 1764, the assistant, with two others, was consulted as to the state of the organ and the undertaking of repairs to its structure. Neither at this time, nor when the improved instrument, repaired by Byfield, was tried, was Courteville's advice asked in the matter, from which we may conclude that he was long past all work, although he was allowed to keep the post. This Raphael Courteville, whether or not he be identical with the first organist of the church, took a somewhat active part in politics towards the end of Sir Robert Walpole's administration. He is stated to have married, on 14 Sept. 1735, a lady named Miss Lucy Green, with a fortune of 25,000l. In 1738 he published ‘Memoirs of the Life and Administration of William Cecil, Baron Burleigh, &c., including a parallel between the State of Government then and now,’ with preface and appendix of original papers, dedicated to the Right Hon. Edward Walpole, secretary to the Duke of Devonshire. It is signed only ‘R. C.,’ and was printed for the author in London. He was the reputed author of ‘The Gazetteer,’ a paper written in defence of the government, and it was probably in consequence of this production that he acquired the nickname of ‘Court-evil.’ He also wrote a pamphlet published in 1761, entitled ‘Arguments respecting Insolvency.’ On 4 Dec. 1742 a letter appeared in No. 50 of the ‘Westminster Journal’ bearing his signature, to which were appended the words, ‘Organ-blower, Essayist, and Historiographer.’ The letter was undoubtedly written as a joke, probably upon his own genuine productions; it is of course not by himself, and the point of the joke is impossible now to discover, but the appearance of his name in this connection proves that he was more or less a well-known character. He died early in June 1772, as on the 10th of the month he was buried, and his place was declared vacant at the vestry meeting of that date. [Grove's Dict. of Music; Hawkins's Hist. of Music; Notes and Queries, 2nd ser. x. 496; Registers and Vestry Minutes of St. James's, Westminster; Cheque-books of the Chapel Royal; Westminster Journal, quoted above; Brit. Mus. Cat.] --en.wikisource.org/wiki/
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