My Starred Hymns
My Hymnals
My Purchased Files
Planning worship?
Check out our sister site, ZeteoSearch.org,
for 20+ additional resources related to your search.
- |
User Links
Search Results
Stand Up, Stand Up for Jesus
Author: George Duffield Meter: 7.6.7.6 D Appears in 1,808 hymnals First Line: Stand up, stand up, for Jesus, Ye soldiers of the cross (Duffield) Refrain First Line: Stand up, ye soldiers Topics: Warfare, Christian
Stand Up, Stand Up for Jesus
Stand up, Stand up for Jesus
Author: George Duffield Hymnal: Uplifted Voices #18 (1901) Lyrics: 1 Stand up, stand up for Jesus,
Ye soldiers of the cross;
Lift high His royal banner,
It must not suffer loss:
From vict’ry unto vict’ry
His army shall He lead,
Till ev’ry foe is vanquished,
And Christ is Lord indeed.
Refrain:
Stand up for Jesus,
Ye soldiers of the cross,
Lift high His royal banner;
It must not, it must not suffer loss.
2 Stand up, stand up for Jesus,
The trumpet call obey;
Forth to the mighty conflict,
In this His glorious day:
“Ye that are men now serve Him”
Against unnumbered foes;
Let courage rise with danger,
And strength to strength oppose. [Refrain]
3 Stand up, stand up for Jesus,
Stand in His strength alone;
The arm of flesh will fail you,
Ye dare not trust your own:
Put on the Gospel armor,
Each piece put on with pray’r;
Where duty calls, or danger,
Be never wanting there. [Refrain]
4 Stand up, stand up for Jesus,
The strife will not be long;
This day the noise of battle,
The next, the victor's song:
To him that overcometh,
A crown of life shall be;
He with the King of Glory
Shall reign eternally. [Refrain] Tune Title: [Stand up, stand up for Jesus]
Stand up, Stand up for Jesus
Stand Up, Stand Up for Jesus
Author: George Duffield Hymnal: Yes, Lord! #29 (1982) Lyrics: 1 Stand up, stand up for Jesus,
Ye soldiers of the cross;
Lift high His royal banner,
It must not suffer loss.
From vict'ry unto vict'ry
His army shall He lead,
'Til ev'ry foe is conquered
And Christ is Lord indeed.
2 Stand up, stand up for Jesus,
The trumpet call obey;
Forth to the mighty conflict,
In this His glorious day.
Ye that are men now serve Him
Against unnumbered foes;
Let courage rise with danger
And strength to strength oppose.
3 Stand up, stand up for Jesus,
Stand in His strength alone;
The arm of flesh will fail you,
Ye dare not trust your own.
Put on the gospel armor,
Each piece put on with prayer;
Where duty calls, or danger
Be never wanting there.
4 Stand up, stand up for Jesus,
The strife will not be long;
This day the noise of battle,
The next the victor's song.
To him that overcometh
A crown of life shall be:
He with the King of glory
Shall reign eternally. Topics: Worship and Adoration Languages: English Tune Title: [Stand up, stand up for Jesus]
Stand Up, Stand Up for Jesus
Stand Up, Stand Up for Jesus
Author: George Duffield Hymnal: The Voice of Praise #36 (1904) Refrain First Line: Stand up for Jesus Lyrics: 1 Stand up, stand up for Jesus,
Ye soldiers of the cross;
Lift high his royal banner,
It must not suffer loss:
From vict'ry unto vict'ry
His army shall he lead,
Till ev'ry foe is vanquished,
And Christ is Lord indeed.
Chorus:
Stand up for Jesus,
Ye soldiers of the cross;
Lift high his royal banner,
It must not, it must not suffer loss.
2 Stand up, stand up for Jesus,
The trumpet call obey,
Forth to the mighty conflict,
In this his glorious day;
"Ye that are men now serve him"
Against unnumbered foes;
Let courage rise with danger,
And strength to strength oppose. [Chorus]
3 Stand up, stand up for Jesus,
Stand in his strength alone;
The arm of flesh will fail you,
Ye dare not trust your own;
Put on the gospel armor,
Each piece put on with prayer;
Where duty calls, or danger,
Be never wanting there. [Chorus]
4 Stand up, stand up for Jesus,
The strife will not be long;
This day the noise of battle,
The next, the victor's song:
To him that overcometh,
A crown of life shall be;
He with the King of glory
Shall reign eternally. [Chorus]
Tune Title: [Stand up, stand up for Jesus]
Stand Up, Stand Up for Jesus
Henry Thomas Smart
1813 - 1879 Person Name: H. Smart Composer of "LANCASHIRE" in Worship Song 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
Henry Thomas Smart
Lowell Mason
1792 - 1872 Arranger of "MENDEBRAS" in The Seventh-Day Adventist Hymn and Tune Book Dr. Lowell Mason (the degree was conferred by the University of New York) is justly called the father of American church music; and by his labors were founded the germinating principles of national musical intelligence and knowledge, which afforded a soil upon which all higher musical culture has been founded. To him we owe some of our best ideas in religious church music, elementary musical education, music in the schools, the popularization of classical chorus singing, and the art of teaching music upon the Inductive or Pestalozzian plan. More than that, we owe him no small share of the respect which the profession of music enjoys at the present time as contrasted with the contempt in which it was held a century or more ago. In fact, the entire art of music, as now understood and practiced in America, has derived advantage from the work of this great man.
Lowell Mason was born in Medfield, Mass., January 8, 1792. From childhood he had manifested an intense love for music, and had devoted all his spare time and effort to improving himself according to such opportunities as were available to him. At the age of twenty he found himself filling a clerkship in a banking house in Savannah, Ga. Here he lost no opportunity of gratifying his passion for musical advancement, and was fortunate to meet for the first time a thoroughly qualified instructor, in the person of F. L. Abel. Applying his spare hours assiduously to the cultivation of the pursuit to which his passion inclined him, he soon acquired a proficiency that enabled him to enter the field of original composition, and his first work of this kind was embodied in the compilation of a collection of church music, which contained many of his own compositions. The manuscript was offered unavailingly to publishers in Philadelphia and in Boston. Fortunately for our musical advancement it finally secured the attention of the Boston Handel and Haydn Society, and by its committee was submitted to Dr. G. K. Jackson, the severest critic in Boston. Dr. Jackson approved most heartily of the work, and added a few of his own compositions to it. Thus enlarged, it was finally published in 1822 as The Handel and Haydn Society Collection of Church Music. Mason's name was omitted from the publication at his own request, which he thus explains, "I was then a bank officer in Savannah, and did not wish to be known as a musical man, as I had not the least thought of ever making music a profession." President Winchester, of the Handel and Haydn Society, sold the copyright for the young man. Mr. Mason went back to Savannah with probably $500 in his pocket as the preliminary result of his Boston visit.
The book soon sprang into universal popularity, being at once adopted by the singing schools of New England, and through this means entering into the church choirs, to whom it opened up a higher field of harmonic beauty. Its career of success ran through some seventeen editions. On realizing this success, Mason determined to accept an invitation to come to Boston and enter upon a musical career. This was in 1826. He was made an honorary member of the Handel and Haydn Society, but declined to accept this, and entered the ranks as an active member. He had been invited to come to Boston by President Winchester and other musical friends and was guaranteed an income of $2,000 a year. He was also appointed, by the influence of these friends, director of music at the Hanover, Green, and Park Street churches, to alternate six months with each congregation. Finally he made a permanent arrangement with the Bowdoin Street Church, and gave up the guarantee, but again friendly influence stepped in and procured for him the position of teller at the American Bank.
In 1827 Lowell Mason became president and conductor of the Handel and Haydn Society. It was the beginning of a career that was to win for him as has been already stated the title of "The Father of American Church Music." Although this may seem rather a bold claim it is not too much under the circumstances. Mr. Mason might have been in the average ranks of musicianship had he lived in Europe; in America he was well in advance of his surroundings. It was not too high praise (in spite of Mason's very simple style) when Dr. Jackson wrote of his song collection: "It is much the best book I have seen published in this country, and I do not hesitate to give it my most decided approbation," or that the great contrapuntist, Hauptmann, should say the harmonies of the tunes were dignified and churchlike and that the counterpoint was good, plain, singable and melodious.
Charles C. Perkins gives a few of the reasons why Lowell Mason was the very man to lead American music as it then existed. He says, "First and foremost, he was not so very much superior to the members as to be unreasonably impatient at their shortcomings. Second, he was a born teacher, who, by hard work, had fitted himself to give instruction in singing. Third, he was one of themselves, a plain, self-made man, who could understand them and be understood of them."
The personality of Dr. Mason was of great use to the art and appreciation of music in this country. He was of strong mind, dignified manners, sensitive, yet sweet and engaging.
Prof. Horace Mann, one of the great educators of that day, said he would walk fifty miles to see and hear Mr. Mason teach if he could not otherwise have that advantage.
Dr. Mason visited a number of the music schools in Europe, studied their methods, and incorporated the best things in his own work. He founded the Boston Academy of Music. The aim of this institution was to reach the masses and introduce music into the public schools. Dr. Mason resided in Boston from 1826 to 1851, when he removed to New York. Not only Boston benefited directly by this enthusiastic teacher's instruction, but he was constantly traveling to other societies in distant cities and helping their work. He had a notable class at North Reading, Mass., and he went in his later years as far as Rochester, where he trained a chorus of five hundred voices, many of them teachers, and some of them coming long distances to study under him. Before 1810 he had developed his idea of "Teachers' Conventions," and, as in these he had representatives from different states, he made musical missionaries for almost the entire country. He left behind him no less than fifty volumes of musical collections, instruction books, and manuals.
As a composer of solid, enduring church music. Dr. Mason was one of the most successful this country has introduced. He was a deeply pious man, and was a communicant of the Presbyterian Church. Dr. Mason in 1817 married Miss Abigail Gregory, of Leesborough, Mass. The family consisted of four sons, Daniel Gregory, Lowell, William and Henry. The two former founded the publishing house of Mason Bros., dissolved by the death of the former in 1869. Lowell and Henry were the founders of the great organ manufacturer of Mason & Hamlin. Dr. William Mason was one of the most eminent musicians that America has yet produced.
Dr. Lowell Mason died at "Silverspring," a beautiful residence on the side of Orange Mountain, New Jersey, August 11, 1872, bequeathing his great musical library, much of which had been collected abroad, to Yale College.
--Hall, J. H. (c1914). Biography of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company.
Lowell Mason
Joseph Barnby
1838 - 1896 Person Name: J. Barnby Composer of "STAND UP" in The Church Hymnal Joseph Barnby (b. York, England, 1838; d. London, England, 1896) An accomplished and popular choral director in England, Barby showed his musical genius early: he was an organist and choirmaster at the age of twelve. He became organist at St. Andrews, Wells Street, London, where he developed an outstanding choral program (at times nicknamed "the Sunday Opera"). Barnby introduced annual performances of J. S. Bach's St. John Passion in St. Anne's, Soho, and directed the first performance in an English church of the St. Matthew Passion. He was also active in regional music festivals, conducted the Royal Choral Society, and composed and edited music (mainly for Novello and Company). In 1892 he was knighted by Queen Victoria. His compositions include many anthems and service music for the Anglican liturgy, as well as 246 hymn tunes (published posthumously in 1897). He edited four hymnals, including The Hymnary (1872) and The Congregational Sunday School Hymnal (1891), and coedited The Cathedral Psalter (1873).
Bert Polman
Joseph Barnby
