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Nothing But the Blood of Jesus
Author: Robert Lowry Meter: 7.8.7.8 with refrain Appears in 508 hymnals Topics: liturgical Communion Songs First Line: What can wash away my sin Refrain First Line: O precious is the flow Lyrics: 1 What can wash away my sin?
Nothing but the blood of Jesus.
What can make me whole again?
Nothing but the blood of Jesus.
Refrain:
O precious is the flow
that makes me white as snow;
no other fount I know;
nothing but the blood of Jesus.
2 For my pardon this I see:
nothing but the blood of Jesus.
For my cleansing this my plea:
nothing but the blood of Jesus. [Refrain]
3 Nothing can for sin atone:
nothing but the blood of Jesus.
Naught of good that I have done:
nothing but the blood of Jesus. [Refrain]
4 This is all my hope and peace:
nothing but the blood of Jesus.
This is all my righteousness:
nothing but the blood of Jesus. [Refrain]
United Methodist Hymnal, 1989
Nothing But the Blood of Jesus
Come, Share the Lord
Author: Bryan Jeffery Leech Meter: Irregular Appears in 18 hymnals Topics: liturgical Communion Songs First Line: We gather here in Jesus' name
Come, Share the Lord
Just as I Am, Without One Plea
Author: Charlotte Elliott Meter: 8.8.8.8 Appears in 2,132 hymnals Topics: liturgical Communion Songs Lyrics: 1 Just as I am, without one plea,
but that thy blood was shed for me,
and that thou bidd'st me come to thee,
O Lamb of God, I come, I come.
2 Just as I am, and waiting not
to rid my soul of one dark blot,
to thee, whose blood can cleanse each spot,
O Lamb of God, I come, I come.
3 Just as I am, though tossed about
with many a conflict, many a doubt,
fightings and fears within, without,
O Lamb of God, I come, I come.
4 Just as I am, thou wilt receive,
wilt welcome, pardon, cleanse, relieve;
because thy promise I believe,
O Lamb of God, I come, I come.
Psalter Hymnal, (Gray)
Just as I Am, Without One Plea
LOVE UNKNOWN
Meter: 6.6.12.4.4.8 Appears in 83 hymnals Composer and/or Arranger: John Ireland Topics: liturgical Communion Songs Tune Key: D Major Incipit: 35632 12345 36676 Used With Text: Now to Your Table Spread
LOVE UNKNOWN
RENDEZ À DIEU
Meter: 9.8.9.8 D Appears in 173 hymnals Composer and/or Arranger: Ralph Vaughan Williams (1872-1958) Topics: liturgical Communion Songs Tune Sources: Strasbourg, 1545; Geneva, 1551 Tune Key: G Major Incipit: 16511 24325 33143 Used With Text: Bread of the World, in Mercy Broken
RENDEZ À DIEU
Here, O My Lord, I See You Face to Face
Author: Horatius Bonar Hymnal: Voices United #459 (1996) Meter: 10.10.10.10 Topics: liturgical Communion Songs Lyrics: 1 Here, O my Lord, I see you face to face,
here would I touch and handle things unseen,
here grasp with firmer hand eternal grace,
and all my weariness upon you lean.
2 Here I will feed upon the bread of God,
here drink with you the royal wine of heaven;
here I will lay aside each earthly load,
here taste afresh the calm of sin forgiven.
3 This is the hour of banquet and of song;
this is the heavenly table for me spread;
here let me feast, and feasting, still prolong
the fellowship of living wine and bread.
4 Too soon we rise, the symbols disappear.
The feast, though not the love, is past and gone:
the bread and wine remove, but you are here,
nearer than ever, still my shield and sun.
5 Feast after feast thus comes and passes by,
yet, passing, points to that glad feast above,
giving sweet foretaste of the festal joy,
the Lamb’s great bridal feast of bliss and love. Languages: English Tune Title: ST AGNES
Here, O My Lord, I See You Face to Face
All Who Hunger
Author: Sylvia G. Dunstan Hymnal: Voices United #460 (1996) Meter: 8.7.8.7 D Topics: liturgical Communion Songs First Line: All who hunger, gather gladly Languages: English Tune Title: HOLY MANNA
All Who Hunger
Christ, Be Our Host
Author: Herman G. Stuempfle, Jr. Hymnal: Voices United #465 (1996) Meter: 4.5.7 D with refrain Topics: liturgical Communion Songs Tune Title: EARTH AND ALL STARS
Christ, Be Our Host
W. H. Turton
1856 - 1938 Person Name: William Harry Turton (1856-1938) Topics: liturgical Communion Songs Author of "Thou, Who at Thy First Eucharist" in Common Praise (1998) Turton, W. H., a Lieut. in the Royal Engineers, has published A Few Hymns written by A Layman between the Festivals of All Saints, 1880 and 1881. This contains 12 hymns. The Second Series, "written between the Festivals of All Saints, 1881 and 1882," also contains 12 hymns, and the Third Series, 1882-1883, another 12. These hymns are worthy of attention. Those which have passed into common use include;—
1. And now our Eucharist is o'er (1881-1882). Holy Communion.
2. 0 Thou who at Thy Eucharist didst pray. For Unity. "This hymn was used at S. Mary Magdalene's, Munster Square, N. W., in the Anniversary Service of the English Church Union, June 22,1881. It is intended to be sung after the ‘Agnus Dei,' at a choral celebration." In the 1889 Supplemental Hymns to Hymns Ancient & Modern it reads "Thou, Who at Thy first Eucharist didst pray."
"This hymn was used at S. Mary Magdalene's, Munster Square, N. W., in the Anniversary Service of the English Church Union, June 22,1881. It is intended to be sung after the ‘Agnus Dei,' at a choral celebration." In the 1889 Supplemental Hymns to Hymns Ancient & Modern it reads "Thou, Who at Thy first Eucharist didst pray."
These hymns are in the Altar Hymnal, 1884, together with a third, "Behold! the star is shining." (Epiphany.) Lieut. Turton's signature on A Few Hymns is "R. E." and his publishers, The Church Printing Co., London.
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
W. H. Turton
Iona Community
Person Name: The Iona Community Topics: liturgical Communion Songs Author of "Shout for Joy" in Voices United Iona Community, an ecumenical Christian group of men and women based on the small island of Iona off the coast of Scotland. The community began in 1938 when the Rev. George MacLeod of the Church of Scotland began a ministry among the unemployed poor who had been neglected by the church. He took a handful of men to the island to rebuild the ruins of a thousand-year-old abbey church. That rebuilding became a metaphor for the rebuilding of the common life, a return to the belief that daily activity is the stuff of godly service – work, and worship. The Community has since grown to include a group of members, associates, and friends all over the United Kingdom and many other countries. In addition to many conferences that attract people to Iona from around the world, the Community is known for its publishing of new songs and prayers for worship, both developed in community and gathered from around the world. For more information on the Iona Community, check their website: www.iona.org.uk. John Bell is probably the community’s most well-known member, having composed and arranged much of the community’s music.
Sing! A New Creation
Iona Community
Orlando Gibbons
1583 - 1625 Person Name: Orlando Gibbons (1583-1625) Topics: liturgical Communion Songs Composer of "SONG 1" in Common Praise (1998) Orlando Gibbons (baptised 25 December 1583 – 5 June 1625) was an English composer, virginalist and organist of the late Tudor and early Jacobean periods. He was a leading composer in the England of his day.
Gibbons was born in Cambridge and christened at Oxford the same year – thus appearing in Oxford church records.
Between 1596 and 1598 he sang in the Choir of King's College, Cambridge, where his brother Edward Gibbons (1568–1650), eldest of the four sons of William Gibbons, was master of the choristers. The second brother Ellis Gibbons (1573–1603) was also a promising composer, but died young. Orlando entered the university in 1598 and achieved the degree of Bachelor of Music in 1606. James I appointed him a Gentleman of the Chapel Royal, where he served as an organist from at least 1615 until his death. In 1623 he became senior organist at the Chapel Royal, with Thomas Tomkins as junior organist. He also held positions as keyboard player in the privy chamber of the court of Prince Charles (later King Charles I), and organist at Westminster Abbey. He died at age 41 in Canterbury of apoplexy, and a monument to him was built in Canterbury Cathedral. A suspicion immediately arose that Gibbons had died of the plague, which was rife in England that year. Two physicians who had been present at his death were ordered to make a report, and performed an autopsy, the account of which survives in The National Archives:
We whose names are here underwritten: having been called to give our counsels to Mr. Orlando Gibbons; in the time of his late and sudden sickness, which we found in the beginning lethargical, or a profound sleep; out of which, we could never recover him, neither by inward nor outward medicines, & then instantly he fell in most strong, & sharp convulsions; which did wring his mouth up to his ears, & his eyes were distorted, as though they would have been thrust out of his head & then suddenly he lost both speech, sight and hearing, & so grew apoplectical & lost the whole motion of every part of his body, & so died. Then here upon (his death being so sudden) rumours were cast out that he did die of the plague, whereupon we . . . caused his body to be searched by certain women that were sworn to deliver the truth, who did affirm that they never saw a fairer corpse. Yet notwithstanding we to give full satisfaction to all did cause the skull to be opened in our presence & we carefully viewed the body, which we found also to be very clean without any show or spot of any contagious matter. In the brain we found the whole & sole cause of his sickness namely a great admirable blackness & syderation in the outside of the brain. Within the brain (being opened) there did issue out abundance of water intermixed with blood & this we affirm to be the only cause of his sudden death.
His death was a shock to peers and the suddenness of his passing drew comment more for the haste of his burial – and of its location at Canterbury rather than the body being returned to London. His wife, Elizabeth, died a little over a year later, aged in her mid-30s, leaving Orlando's eldest brother, Edward, to care for the children left orphans by this event. Of these children only the eldest son, Christopher Gibbons, went on to become a musician.
One of the most versatile English composers of his time, Gibbons wrote a quantity of keyboard works, around thirty fantasias for viols, a number of madrigals (the best-known being "The Silver Swan"), and many popular verse anthems. His choral music is distinguished by his complete mastery of counterpoint, combined with his wonderful gift for melody. Perhaps his most well known verse anthem is This is the record of John, which sets an Advent text for solo countertenor or tenor, alternating with full chorus. The soloist is required to demonstrate considerable technical facility at points, and the work at once expresses the rhetorical force of the text, whilst never being demonstrative or bombastic. He also produced two major settings of Evensong, the Short Service and the Second Service. The former includes a beautifully expressive Nunc dimittis, while the latter is an extended composition, combining verse and full sections. Gibbons's full anthems include the expressive O Lord, in thy wrath, and the Ascension Day anthem O clap your hands together for eight voices.
He contributed six pieces to the first printed collection of keyboard music in England, Parthenia (to which he was by far the youngest of the three contributors), published in about 1611. Gibbons's surviving keyboard output comprises some 45 pieces. The polyphonic fantasia and dance forms are the best represented genres. Gibbons's writing exhibits full mastery of three- and four-part counterpoint. Most of the fantasias are complex, multisectional pieces, treating multiple subjects imitatively. Gibbons's approach to melody in both fantasias and dances features a capability for almost limitless development of simple musical ideas, on display in works such as Pavane in D minor and Lord Salisbury's Pavan and Galliard.
In the 20th century, the Canadian pianist Glenn Gould championed Gibbons's music, and named him as his favorite composer. Gould wrote of Gibbons's hymns and anthems: "ever since my teen-age years this music ... has moved me more deeply than any other sound experience I can think of." In one interview, Gould compared Gibbons to Beethoven and Webern:
...despite the requisite quota of scales and shakes in such half-hearted virtuoso vehicles as the Salisbury Galliard, one is never quite able to counter the impression of music of supreme beauty that lacks its ideal means of reproduction. Like Beethoven in his last quartets, or Webern at almost any time, Gibbons is an artist of such intractable commitment that, in the keyboard field, at least, his works work better in one's memory, or on paper, than they ever can through the intercession of a sounding-board.
To this day, Gibbons's obit service is commemorated every year in King's College Chapel, Cambridge.
--wikipedia.org
Orlando Gibbons
