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[And must I be to judgment brought] (Hildebrand)

Appears in 2 hymnals Composer and/or Arranger: E. T. Hildebrand Incipit: 13553 21161 51231

The Judgment Day

Author: Chas. Wesley Appears in 279 hymnals First Line: And must I be to judgment brought Refrain First Line: We are passing away Used With Tune: [And must I be to judgment brought]

Instances

Published text-tune combinations (hymns) from specific hymnals

Author: Chas. Wesley Hymnal: New Onward and Upward #168 (1909) First Line: And must I be to judgment brought Refrain First Line: We are passing away Languages: English Tune Title: [And must I be to judgment brought]

Passing Away

Author: Chas. Wesley Hymnal: Onward and Upward No. 2 #168 (1900) First Line: And must I be to judgment brought Refrain First Line: We are passing away Languages: English Tune Title: [And must I be to judgment brought]

People

Authors, composers, editors, etc.

Charles Wesley

1707 - 1788 Person Name: Chas. Wesley Author of "The Judgment Day" in New Onward and Upward Charles Wesley, M.A. was the great hymn-writer of the Wesley family, perhaps, taking quantity and quality into consideration, the great hymn-writer of all ages. Charles Wesley was the youngest son and 18th child of Samuel and Susanna Wesley, and was born at Epworth Rectory, Dec. 18, 1707. In 1716 he went to Westminster School, being provided with a home and board by his elder brother Samuel, then usher at the school, until 1721, when he was elected King's Scholar, and as such received his board and education free. In 1726 Charles Wesley was elected to a Westminster studentship at Christ Church, Oxford, where he took his degree in 1729, and became a college tutor. In the early part of the same year his religious impressions were much deepened, and he became one of the first band of "Oxford Methodists." In 1735 he went with his brother John to Georgia, as secretary to General Oglethorpe, having before he set out received Deacon's and Priest's Orders on two successive Sundays. His stay in Georgia was very short; he returned to England in 1736, and in 1737 came under the influence of Count Zinzendorf and the Moravians, especially of that remarkable man who had so large a share in moulding John Wesley's career, Peter Bonier, and also of a Mr. Bray, a brazier in Little Britain. On Whitsunday, 1737, [sic. 1738] he "found rest to his soul," and in 1738 he became curate to his friend, Mr. Stonehouse, Vicar of Islington, but the opposition of the churchwardens was so great that the Vicar consented that he "should preach in his church no more." Henceforth his work was identified with that of his brother John, and he became an indefatigable itinerant and field preacher. On April 8, 1749, he married Miss Sarah Gwynne. His marriage, unlike that of his brother John, was a most happy one; his wife was accustomed to accompany him on his evangelistic journeys, which were as frequent as ever until the year 1756," when he ceased to itinerate, and mainly devoted himself to the care of the Societies in London and Bristol. Bristol was his headquarters until 1771, when he removed with his family to London, and, besides attending to the Societies, devoted himself much, as he had done in his youth, to the spiritual care of prisoners in Newgate. He had long been troubled about the relations of Methodism to the Church of England, and strongly disapproved of his brother John's "ordinations." Wesley-like, he expressed his disapproval in the most outspoken fashion, but, as in the case of Samuel at an earlier period, the differences between the brothers never led to a breach of friendship. He died in London, March 29, 1788, and was buried in Marylebone churchyard. His brother John was deeply grieved because he would not consent to be interred in the burial-ground of the City Road Chapel, where he had prepared a grave for himself, but Charles said, "I have lived, and I die, in the Communion of the Church of England, and I will be buried in the yard of my parish church." Eight clergymen of the Church of England bore his pall. He had a large family, four of whom survived him; three sons, who all became distinguished in the musical world, and one daughter, who inherited some of her father's poetical genius. The widow and orphans were treated with the greatest kindness and generosity by John Wesley. As a hymn-writer Charles Wesley was unique. He is said to have written no less than 6500 hymns, and though, of course, in so vast a number some are of unequal merit, it is perfectly marvellous how many there are which rise to the highest degree of excellence. His feelings on every occasion of importance, whether private or public, found their best expression in a hymn. His own conversion, his own marriage, the earthquake panic, the rumours of an invasion from France, the defeat of Prince Charles Edward at Culloden, the Gordon riots, every Festival of the Christian Church, every doctrine of the Christian Faith, striking scenes in Scripture history, striking scenes which came within his own view, the deaths of friends as they passed away, one by one, before him, all furnished occasions for the exercise of his divine gift. Nor must we forget his hymns for little children, a branch of sacred poetry in which the mantle of Dr. Watts seems to have fallen upon him. It would be simply impossible within our space to enumerate even those of the hymns which have become really classical. The saying that a really good hymn is as rare an appearance as that of a comet is falsified by the work of Charles Wesley; for hymns, which are really good in every respect, flowed from his pen in quick succession, and death alone stopped the course of the perennial stream. It has been the common practice, however for a hundred years or more to ascribe all translations from the German to John Wesley, as he only of the two brothers knew that language; and to assign to Charles Wesley all the original hymns except such as are traceable to John Wesley through his Journals and other works. The list of 482 original hymns by John and Charles Wesley listed in this Dictionary of Hymnology have formed an important part of Methodist hymnody and show the enormous influence of the Wesleys on the English hymnody of the nineteenth century. -- Excerpts from John Julian, Dictionary of Hymnology (1907) ================== Charles Wesley, the son of Samuel Wesley, was born at Epworth, Dec. 18, 1707. He was educated at Westminster School and afterwards at Christ Church, Oxford, where he graduated M.A. In 1735, he took Orders and immediately proceeded with his brother John to Georgia, both being employed as missionaries of the S.P.G. He returned to England in 1736. For many years he engaged with his brother in preaching the Gospel. He died March 29, 1788. To Charles Wesley has been justly assigned the appellation of the "Bard of Methodism." His prominence in hymn writing may be judged from the fact that in the "Wesleyan Hymn Book," 623 of the 770 hymns were written by him; and he published more than thirty poetical works, written either by himself alone, or in conjunction with his brother. The number of his separate hymns is at least five thousand. --Annotations of the Hymnal, Charles Hutchins, M.A., 1872.

E. T. Hildebrand

1866 - 1931 Composer of "[And must I be to judgment brought]" in New Onward and Upward Born: January 18, 1866, Rockingham County, Virginia. Died: March 23, 1931. Buried: Weaver Mennonite Church Cemetery, Dayton, Virginia. Hildebrand attended the public schools and Shenandoah Seminary. His mother taught him to sing as soon as he could talk, but his first regular teacher was D. M. Click. He later studied with James Ruebush, Benjamin Unseld, P. J. Merges, George and Frederick Root, C. B. Shaw, F. H. Tubbs and others. He began teaching singing schools during the summer months while pursuing his college course. He was elected principal of the Dayton Music School in 1894, resigning in 1899 to become Director of Music at Bridgewater College, Virginia. He owned the Hildebrand-Burnette music publishing company in Waynesboro, Virginia, and helped edit several music books. Hildebrand married Zona T. Wise in 1902. His parents and other members of his family were Mennonites, but his membership was with the United Brethren Church. --www.hymntime.com/tch/ ================= Ephraim Timothy Hildebrand (1866-1932) was raised in a Mennonite family near Bridgewater and Dayton, Virginia. He attended Shenandoah College, associated with the United Brethren Church, and was a member of that body during his adult life.(Gospel Herald) He studied music education at Shenandoah, which at that time was located in Dayton, VA, where he also joined the influential circle of the Ruebush-Kieffer gospel music enterprise. From 1895-99 Hildebrand actually directed the music program at Shenandoah, rather remarkable for such a recent graduate; then beginning in 1899 he did the same at Bridgewater College. In the early 20th century he also pursued a more classical career in New York City, studying under the popular composer George F. Root and singing with the New York Oratorio Society.(Bridgewater) A search of Worldcat.org shows that Hildebrand continued to publish primarily in the gospel song genre, however, collaborating with the Fillmore Brothers and even decidedly "Southern gospel" publishers such as James D. Vaughan and Virgil O. Stamps. For someone who was so active and apparently well-known in his time, it is surprising how few of his works have survived to the present day. --drhamrick.blogspot.com