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For All the Saints
Author: William Walsham How Meter: 10.10.10.4.4 Appears in 605 hymnals Topics: Resurrection and Glorification First Line: For all the saints who from their labors rest Lyrics: 1 For all the saints who from their labors rest,
who thee by faith before the world confessed,
thy name, O Jesus, be forever blest.
Alleluia! Alleluia!
2 Thou wast their rock, their fortress, and their might;
thou, Lord, their captain in the well-fought fight;
thou, in the darkness drear, their one true light.
Alleluia! Alleluia!
3 O may thy soldiers, faithful, true, and bold,
fight as the saints who nobly fought of old,
and win with them the victor's crown of gold.
Alleluia! Alleluia!
4 O blest communion, fellowship divine,
we feebly struggle, they in glory shine;
yet all are one in thee, for all are thine.
Alleluia! Alleluia!
5 And when the fight is fierce, the warfare long,
steals on the ear the distant triumph song,
and hearts are brave again, and arms are strong.
Alleluia! Alleluia!
6 The golden evening brightens in the west;
soon, soon to faithful warriors cometh rest;
sweet is the calm of paradise the blest.
Alleluia! Alleluia!
7 But lo! there breaks a yet more glorious day;
the saints triumphant rise in bright array;
the King of glory passes on his way.
Alleluia! Alleluia!
8 From earth's wide bounds, from ocean's farthest coast,
through gates of pearl streams in the countless host,
singing to Father, Son, and Holy Ghost,
Alleluia! Alleluia! Scripture: Revelation 2:10 Used With Tune: SINE NOMINE
For All the Saints
The Sands of Time Are Sinking
Author: Anne R. Cousin; Samuel Rutherford, 1600-1661 Meter: 7.6.7.6.7.6.7.5 Appears in 332 hymnals Topics: Resurrection and Glorification Lyrics: 1 The sands of time are sinking,
the dawn of heaven breaks,
the summer morn I've sighed for,
the fair sweet morn awakes;
dark, dark hath been the midnight,
but dayspring is at hand,
and glory, glory dwelleth
in Emmanuel's land.
2 The King there in his beauty
without a veil is seen;
it were a well-spent journey,
though sev'n deaths lay between:
the Lamb with his fair army
doth on Mount Zion stand,
and glory, glory dwelleth
in Emmanuel's land.
3 O Christ, he is the fountain,
the deep sweet well of love!
The streams on earth I've tasted,
more deep I'll drink above:
there to an ocean fullness
his mercy doth expand,
and glory, glory dwelleth
in Emmanuel's land.
4 The bride eyes not her garment,
but her dear bridegroom's face;
I will not gaze at glory,
but on my King of grace;
not at the crown he gifteth,
but on his piercèd hand:
the Lamb is all the glory
of Emmanuel's land. Scripture: Isaiah 8:8 Used With Tune: RUTHERFORD Text Sources: Based upon Samuel Rutherford, 1600-1661
The Sands of Time Are Sinking
Nu lader os da grave ned
Author: M. Weiße; Landstad Appears in 4 hymnals Topics: Glorification Lyrics: 1 Nu lader os da grave ned
Hans Legem, som i Gud afled,
Og intet Tvilsmaal have paa,
Han skal for Dommedag opstaa.
2 Af Jord han skabt og kommen er,
Til Jord igjen han vorder her,
Af Jorden op han atter staar
Den Dag, da Guds Basune gaar.
3 Hans Sjæl skal leve evig Tid
Hos Gud, som den har frelst og fri't
Fra Satan, Synd og Helveds Nød
Ved sin Søns Jesu Kristi Død.
4 Den Ynk og Jammer, han udstod,
Er kommen til en Ende god,
Han haver baaret Kristi Aag,
Nu er han død, men lever dog.
5 Hans Sjæl den glædes i Guds Borg,
Hans Legem sover uden Sorg
Til Dommedag, da Jesu Ord
Ham reiser uskadt op af Jord.
6 Her var han ned i Jammer lagt,
Der staar han frisk og vel ved Magt
I salig Glæde for Guds Stol,
Og skinner som den klare Sol.
7 Nu lade vi ham sov' i Fred,
Og gange hjem hver til sit Sted,
Og rede os dertil hver en,
Thi Døden kommer, er ei seen.
8 O Herre Jesu Krist, vor Trøst,
Som med dit Blod har os forløst,
Den Miskund du os alle te,
Dig Lov og Pris og Ære ske!
Nu lader os da grave ned
REDHEAD 76 (AJALON)
Meter: 7.7.7.7.7.7 Appears in 506 hymnals Composer and/or Arranger: Richard Redhead Topics: Resurrection and Glorification Tune Key: E Flat Major Incipit: 11234 43112 32211 Used With Text: When This Passing World Is Done
REDHEAD 76 (AJALON)
SINE NOMINE
Meter: 10.10.10.4.4 Appears in 259 hymnals Composer and/or Arranger: Ralph Vaughan Williams Topics: Resurrection and Glorification Tune Key: G Major or modal Incipit: 53215 61253 32177 Used With Text: For All the Saints
SINE NOMINE
Christ's condescension and glorification; or, God made man
Hymnal: Doctor Watts's imitation of the Psalms of David, to which is added a collection of hymns; the whole applied to the state of the Christian Church in general (3rd ed.) #16 (1786) Topics: Christ his condescension and glorification; Christ his condescension and glorification First Line: O Lord, our Lord, how wondrous great Lyrics: 1 O Lord, our Lord, how wondrous great
Is thine exalted name!
The glories of thy heavenly state
Let men and babes proclaim.
2 When I behold your works on high,
The moon that rules the night,
The shining stars that grace the sky,
Those moving worlds of light.
3 Lord, what is man, or all his race,
Who dwells so far below,
That thou should'st visit him with grace,
And love my nature so?
4 That thine eternal Son should bear
To take a mortal form,
Made lower than the angels are,
To save a dying worm?
[5 Yet while he liv'd on earth unknown,
And men would not adore,
Behold obedient nature own,
His Godhead and his power.
6 The waves lay spread beneath his feet;
And fish at his command,
Bring their large shoals to Peter's net,
Bring tribute to his hand.
7 These smaller glories of the Son,
Shone through the fleshy cloud;
Now we behold him on his throne,
And men confess him God.
8 Let him with majesty be crown'd,
Who bow'd his head to death;
And his eternal honours sound,
From all things that have breath.
9 Jesus, our Lord, how wondrous great
Is thine exalted name!
The glories of thy heavenly state
Let the whole earth proclaim. Scripture: Psalm 8 Languages: English
Christ's condescension and glorification; or, God made man
Christ's condescension and glorification; or, God made man
Hymnal: Doctor Watts's Imitation of the Psalms of David #16 (1790) Topics: Christ his condescension and glorification; Christ his condescension and glorification First Line: O Lord, our Lord, how wondrous great Lyrics: 1 O Lord, our Lord, how wondrous great
Is thine exalted name!
The glories of thy heavenly state
Let men and babes proclaim.
2 When I behold your works on high,
The moon that rules the night,
The shining stars that grace the sky,
Those moving worlds of light.
3 Lord, what is man, or all his race,
Who dwells so far below,
That thou should'st visit him with grace,
And love my nature so?
4 That thine eternal Son should bear
To take a mortal form,
Made lower than the angels are,
To save a dying worm?
[5 Yet while he liv'd on earth unknown,
And men would not adore,
Behold obedient nature own,
His Godhead and his power.
6 The waves lay spread beneath his feet;
And fish at his command,
Bring their large shoals to Peter's net,
Bring tribute to his hand.
7 These smaller glories of the Son,
Shone through the fleshy cloud;
Now we behold him on his throne,
And men confess him God.
8 Let him with majesty be crown'd,
Who bow'd his head to death;
And his eternal honours sound,
From all things that have breath.
9 Jesus, our Lord, how wondrous great
Is thine exalted name!
The glories of thy heavenly state
Let the whole earth proclaim. Scripture: Psalm 8 Languages: English
Christ's condescension and glorification; or, God made man
Christ's condescension and glorification; or, God made man
Hymnal: Doctor Watts's Imitation of the Psalms of David, corrected and enlarged, to which is added a collection of hymns; the whole applied to the state of the Christian Church in general (2nd ed.) #19 (1786) Topics: Christ his condescension and glorification; Christ his condescension and glorification First Line: O Lord, our Lord, how wondrous great Lyrics: 1 O Lord, our Lord, how wondrous great
Is thine exalted name!
The glories of thy heavenly state
Let men and babes proclaim.
2 When I behold your works on high,
The moon that rules the night,
The shining stars that grace the sky,
Those moving worlds of light.
3 Lord, what is man, or all his race,
Who dwells so far below,
That thou should'st visit him with grace,
And love my nature so?
4 That thine eternal Son should bear
To take a mortal form,
Made lower than the angels are,
To save a dying worm?
[5 Yet while he liv'd on earth unknown,
And men would not adore,
Behold obedient nature own,
His Godhead and his power.
6 The waves lay spread beneath his feet;
And fish at his command,
Bring their large shoals to Peter's net,
Bring tribute to his hand.
7 These smaller glories of the Son,
Shone through the fleshy cloud;
Now we behold him on his throne,
And men confess him God.
8 Let him with majesty be crown'd,
Who bow'd his head to death;
And his eternal honours sound,
From all things that have breath.
9 Jesus, our Lord, how wondrous great
Is thine exalted name!
The glories of thy heavenly state
Let the whole earth proclaim. Scripture: Psalm 8 Languages: English
Christ's condescension and glorification; or, God made man
Johann Crüger
1598 - 1662 Topics: Resurrection and Glorification Composer of "JESUS, MEINE ZUVERSICHT" in Trinity Psalter Hymnal Johann Crüger (b. Grossbriesen, near Guben, Prussia, Germany, 1598; d. Berlin, Germany, 1662) Crüger attended the Jesuit College at Olmutz and the Poets' School in Regensburg, and later studied theology at the University of Wittenberg. He moved to Berlin in 1615, where he published music for the rest of his life. In 1622 he became the Lutheran cantor at the St. Nicholas Church and a teacher for the Gray Cloister. He wrote music instruction manuals, the best known of which is Synopsis musica (1630), and tirelessly promoted congregational singing. With his tunes he often included elaborate accompaniment for various instruments. Crüger's hymn collection, Neues vollkomliches Gesangbuch (1640), was one of the first hymnals to include figured bass accompaniment (musical shorthand) with the chorale melody rather than full harmonization written out. It included eighteen of Crüger's tunes. His next publication, Praxis Pietatis Melica (1644), is considered one of the most important collections of German hymnody in the seventeenth century. It was reprinted forty-four times in the following hundred years. Another of his publications, Geistliche Kirchen Melodien (1649), is a collection arranged for four voices, two descanting instruments, and keyboard and bass accompaniment. Crüger also published a complete psalter, Psalmodia sacra (1657), which included the Lobwasser translation set to all the Genevan tunes.
Bert Polman
===============================
Crüger, Johann, was born April 9, 1598, at Gross-Breese, near Guben, Brandenburg. After passing through the schools at Guben, Sorau and Breslau, the Jesuit College at Olmütz, and the Poets' school at Regensburg, he made a tour in Austria, and, in 1615, settled at Berlin. There, save for a short residence at the University of Wittenberg, in 1620, he employed himself as a private tutor till 1622. In 1622 he was appointed Cantor of St. Nicholas's Church at Berlin, and also one of the masters of the Greyfriars Gymnasium. He died at Berlin Feb. 23, 1662. Crüger wrote no hymns, although in some American hymnals he appears as "Johann Krüger, 1610,” as the author of the supposed original of C. Wesley's "Hearts of stone relent, relent" (q.v.). He was one of the most distinguished musicians of his time. Of his hymn tunes, which are generally noble and simple in style, some 20 are still in use, the best known probably being that to "Nun danket alle Gott" (q.v.), which is set to No. 379 in Hymns Ancient & Modern, ed. 1875. His claim to notice in this work is as editor and contributor to several of the most important German hymnological works of the 16th century, and these are most conveniently treated of under his name. (The principal authorities on his works are Dr. J. F. Bachmann's Zur Geschichte der Berliner Gesangbücher 1857; his Vortrag on P. Gerhard, 1863; and his edition of Gerhardt's Geistliche Lieder, 1866. Besides these there are the notices in Bode, and in R. Eitner's Monatshefte für Musik-Geschichte, 1873 and 1880). These works are:—
1. Newes vollkömmliches Gesangbuch, Augspur-gischer Confession, &c, Berlin, 1640 [Library of St. Nicholas's Church, Berlin], with 248 hymns, very few being published for the first time.
2. Praxis pietatis melica. Das ist: Ubung der Gottseligkeit in Christlichen und trostreichen Gesängen. The history of this, the most important work of the century, is still obscure. The 1st edition has been variously dated 1640 and 1644, while Crüger, in the preface to No. 3, says that the 3rd edition appeared in 1648. A considerable correspondence with German collectors and librarians has failed to bring to light any of the editions which Koch, iv. 102, 103, quotes as 1644, 1647, 1649, 1650, 1651, 1652, 1653. The imperfect edition noted below as probably that of 1648 is the earliest Berlin edition we have been able to find. The imperfect edition, probably ix. of 1659, formerly in the hands of Dr. Schneider of Schleswig [see Mützell, 1858, No. 264] was inaccessible. The earliest perfect Berlin edition we have found is 1653.
The edition printed at Frankfurt in 1656 by Caspar Röteln was probably a reprint of a Berlin edition, c. 1656. The editions printed at Frankfurt-am-Main by B. C. Wust (of which the 1666 is in the preface described as the 3rd) are in considerable measure independent works.
In the forty-five Berlin and over a dozen Frankfurt editions of this work many of the hymns of P. Gerhardt, J. Franck, P. J. Spener, and others, appear for the first time, and therein also appear many of the best melodies of the period.
3. Geistliche Kirchen-Melodien, &c, Leipzig, 1649 [Library of St. Katherine's Church, Brandenburg]. This contains the first stanzas only of 161 hymns, with music in four vocal and two instrumental parts. It is the earliest source of the first stanzas of various hymns by Gerhardt, Franck, &c.
4. D. M. Luther's und anderer vornehmen geisU reichen und gelehrten Manner Geistliche Lieder und Psalmen, &c, Berlin, 1653 [Hamburg Town Library], with 375 hymns. This was edited by C. Runge, the publisher, and to it Crüger contributed some 37 melodies. It was prepared at the request of Luise Henriette (q.v.), as a book for the joint use of the Lutherans and the Re¬formed, and is the earliest source of the hymns ascribed to her, and of the complete versions of many hymns by Gerhardt and Franck.
5. Psalmodia Sacra, &c, Berlin, 1658 [Royal Library, Berlin]. The first section of this work is in an ed. of A. Lobwasser's German Psalter; the second, with a similar title to No. 4, and the date 1657, is practically a recast of No. 4,146 of those in 1653 being omitted, and the rest of the 319 hymns principally taken from the Praxis of 1656 and the hymn-books of the Bohemian Brethren. New eds. appeared in 1676, 1700, 1704, 1711, and 1736.
[Rev. James Mearns, M.A.]
-- Excerpt from John Julian, Dictionary of Hymnology (1907)
=======================
Crüger, Johann, p. 271, ii. Dr. J. Zahn, now of Neuendettelsau, in Bavaria, has recently acquired a copy of the 5th ed., Berlin, 1653, of the Praxis.
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
Johann Crüger
Arthur Sullivan
1842 - 1900 Person Name: Arthur S. Sullivan Topics: Resurrection and Glorification Composer of "ST. KEVIN" in Trinity Psalter Hymnal Arthur Seymour Sullivan (b Lambeth, London. England. 1842; d. Westminster, London, 1900) was born of an Italian mother and an Irish father who was an army bandmaster and a professor of music. Sullivan entered the Chapel Royal as a chorister in 1854. He was elected as the first Mendelssohn scholar in 1856, when he began his studies at the Royal Academy of Music in London. He also studied at the Leipzig Conservatory (1858-1861) and in 1866 was appointed professor of composition at the Royal Academy of Music. Early in his career Sullivan composed oratorios and music for some Shakespeare plays. However, he is best known for writing the music for lyrics by William S. Gilbert, which produced popular operettas such as H.M.S. Pinafore (1878), The Pirates of Penzance (1879), The Mikado (1884), and Yeomen of the Guard (1888). These operettas satirized the court and everyday life in Victorian times. Although he composed some anthems, in the area of church music Sullivan is best remembered for his hymn tunes, written between 1867 and 1874 and published in The Hymnary (1872) and Church Hymns (1874), both of which he edited. He contributed hymns to A Hymnal Chiefly from The Book of Praise (1867) and to the Presbyterian collection Psalms and Hymns for Divine Worship (1867). A complete collection of his hymns and arrangements was published posthumously as Hymn Tunes by Arthur Sullivan (1902). Sullivan steadfastly refused to grant permission to those who wished to make hymn tunes from the popular melodies in his operettas.
Bert Polman
Arthur Sullivan
Thomas Augustine Arne
1710 - 1778 Person Name: Thomas A. Arne Topics: Resurrection and Glorification Composer of "ARLINGTON" in Trinity Psalter Hymnal Dr. Thomas Augustine Arne was born March 12, 1710, in London; became early celebrated as a composer, and established his reputation by settling Milton's "Comus" to music - light, airy, and original; he composed many songs, and nearly all his attempts were successful; died March 5, 1778, aged 68.
A Dictionary of Musical Information by John W. Moore, Boston: Oliver, Ditson & Company, 1876
Thomas Augustine Arne
