Search Results

Tune Identifier:"^lawrence_schumann$"

Planning worship? Check out our sister site, ZeteoSearch.org, for 20+ additional resources related to your search.

Tunes

tune icon
Tune authorities
Page scans

[Come sing with holy gladness]

Appears in 2 hymnals Composer and/or Arranger: Schumann Incipit: 53322 31122 44353 Used With Text: Come sing with holy gladness

Texts

text icon
Text authorities
TextPage scansFlexScoreFlexPresent

Stand up, stand up, for Jesus

Author: Rev. G. Duffield Meter: 7.6 D Appears in 1,848 hymnals Lyrics: 1 Stand up, stand up, for Jesus, Ye soldiers of the cross! Lift high His royal banner! It must not suffer loss: From victory unto victory His army He shall lead; Till every foe is vanquished, 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, And watching unto 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. Amen. Topics: Lay Helpers; Confession of Christ; Work Used With Tune: [Stand up, stand up, for Jesus]
Page scans

Come sing with holy gladness

Author: Rev. J. J. Daniel Appears in 74 hymnals Used With Tune: [Come sing with holy gladness]

Instances

instance icon
Published text-tune combinations (hymns) from specific hymnals
Page scan

Come sing with holy gladness

Author: Rev. J. J. Daniel Hymnal: The New Children's Hymnal #338 (1892) Languages: English Tune Title: [Come sing with holy gladness]
TextPage scan

Stand up, stand up, for Jesus

Author: Rev. G. Duffield 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 #582a (1894) Meter: 7.6 D Lyrics: 1 Stand up, stand up, for Jesus, Ye soldiers of the cross! Lift high His royal banner! It must not suffer loss: From victory unto victory His army He shall lead; Till every foe is vanquished, 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, And watching unto 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. Amen. Topics: Lay Helpers; Confession of Christ; Work Languages: English Tune Title: [Stand up, stand up, for Jesus]

People

person icon
Authors, composers, editors, etc.

Robert Schumann

1810 - 1856 Person Name: Schumann Composer of "[Stand up, stand up, for Jesus]" in 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 Robert Alexander Schumann DM Germany 1810-1856. Born at Swickau, Saxony, Germany, the last child of a novelist, bookseller, and publisher, he began composing music at age seven. He received general music instruction at the local high school and worked to create his own compositions. Some of his works were considered admirable for his age. He even composed music congruent to the personalities of friends, who took note of the anomaly. He studied famous poets and philosophers and was impressed with the works of other famous composers of the time. After his father’s death in 1826, he went to Leipzig to study law (to meet the terms of his inheritance). In 1829 he continued law studies in Heidelberg, where he became a lifelong member of Corps Saxo-Borussia Heidelberg. In 1830 he left the study of law to return to music, intending to pursue a career as a virtuoso pianist. His teacher, Friedrich Wieck, assured him he could become the finest pianist in Europe, but an injury to his right hand (from a practicing method) ended that dream. He then focused his energies on composition, and studied under Heinrich Dorn, a German composer and conductor of the Leipzig opera. Schumann visited relatives in Zwickau and Schneeberg and performed at a concert given by Clara Wieck, age 13 at the time. In 1834 he published ‘A new journal for music’, praising some past composers and deriding others. He met Felix Mendelssohn at Wieck’s house in Leigzig and lauded the greatness of his compositions, along with those of Johannes Brahms. He also wrote a work, hoping to use proceeds from its sale towards a monument for Beethoven, whom he highly admired. He composed symphonies, operas, orchestral and chamber works, and also wrote biographies. Until 1840 he wrote strictly for piano, but then began composing for orchestra and voice. That year he composed 168 songs. He also receive a Doctorate degree from the University of Jena that year. An aesthete and influential music critic, he was one of the most regarded composers of the Romantic era. He published his works in the ‘New journal for music’, which he co-founded. In 1840, against the wishes of his father, he married Clara Wieck, daughter of his former teacher, and they had four children: Marie, Julie, Eugenie, and Felix. Clara also composed music and had a considerable concert career, the earnings from which formed a substantial part of her father’s fortune. In 1841 he wrote 2 of his 4 symphonies. In 1843 he was awarded a professorship in the Conservatory of Music, which Mendelssohn had founded in Leipzig that same year, When he and Clara went to Russia for her performances, he was questioned as to whether he also was a musician. He harbored resentment for her success as a pianist, which exceeded his ability as a pianist and reputation as a composer. From 1844-1853 he was engaged in setting Goethe’s Faust to music, but he began having persistent nervous prostration and developed neurasthenia (nervous fears of things, like metal objects and drugs). In 1846 he felt he had recovered and began traveling to Vienna, Prague, and Berlin, where he was received with enthusiasm. His only opera was written in 1848, and an orchestral work in 1849. In 1850 he succeeded Ferdinand Hiller as musical director at Dusseldorf, but was a poor conductor and soon aroused the opposition of the musicians, claiming he was impossible on the platform. From 1850-1854 he composed a wide variety of genres, but critics have considered his works during this period inferior to earlier works. In 1851 he visited Switzerland, Belgium, and returned to Leipzig. That year he finished his fourth symphony. He then went to Dusseldorf and began editing his complete works and making an anthology on the subject of music. He again was plagued with imaginary voices (angels, ghosts or demons) and in 1854 jumped off a bridge into the Rhine River, but was rescued by boatmen and taken home. For the last two years of his life, after the attempted suicide, Schumann was confined to a sanitarium in Endenich near Bonn, at his own request, and his wife was not allowed to see him. She finally saw him two days before he died, but he was unable to speak. He was diagnosed with psychotic melancholia, but died of pneumonia without recovering from the mental illness. Speculations as to the cause of his late term maladies was that he may have suffered from syphilis, contracted early in life, and treated with mercury, unknown as a neurological poison at the time. A report on his autopsy said he had a tumor at the base of the brain. It is also surmised he may have had bipolar disorder, accounting for mood swings and changes in his productivity. From the time of his death Clara devoted herself to the performance and interpretation of her husband’s works. John Perry

William H. Walter

1825 - 1893 Person Name: W. H. Walter, Mus. Doc. Arranger of "[Stand up, stand up, for Jesus]" in 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

George Duffield

1818 - 1888 Person Name: Rev. G. Duffield Author of "Stand up, stand up, for Jesus" in 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 Duffield, George, Jr., D.D., son of the Rev. Dr. Duffield, a Presbyterian Minister, was born at Carlisle, Pennsylvania, Sept. 12, 1818, and graduated at Yale College, and at the Union Theological Seminary, New York. From 1840 to 1847 he was a Presbyterian Pastor at Brooklyn; 1847 to 1852, at Bloomfield, New Jersey; 1852 to 1861, at Philadelphia; 1861 to 1865, at Adrian, Michigan; 1865 to 1869, at Galesburg, Illinois; 1869, at Saginaw City, Michigan; and from 1869 at Ann Arbor and Lansing, Michigan. His hymns include;— 1. Blessed Saviour, Thee I love. Jesus only. One of four hymns contributed by him to Darius E. Jones's Temple Melodies, 1851. It is in 6 stanzas of 6 lines. In Dr. Hatfield's Church Hymnbook it is given in 3 stanzas. The remaining three hymns of the same date are:— 2. Parted for some anxious days. Family Hymn. 3. Praise to our heavenly Father, God. Family Union. 4. Slowly in sadness and in tears. Burial. 5. Stand up, stand up for Jesus. Soldiers of the Cross. The origin of this hymn is given in Lyra Sac. Americana, 1868, p. 298, as follows:— "I caught its inspiration from the dying words of that noble young clergyman, Rev. Dudley Atkins Tyng, rector of the Epiphany Church, Philadelphia, who died about 1854. His last words were, ‘Tell them to stand up for Jesus: now let us sing a hymn.' As he had been much persecuted in those pro-slavery days for his persistent course in pleading the cause of the oppressed, it was thought that these words had a peculiar significance in his mind; as if he had said, ‘Stand up for Jesus in the person of the downtrodden slave.' (Luke v. 18.)" Dr. Duffield gave it, in 1858, in manuscript to his Sunday School Superintendent, who published it on a small handbill for the children. In 1858 it was included in The Psalmist, in 6 stanzas of 8 lines. It was repeated in several collections and in Lyra Sac. Amer., 1868, from whence it passed, sometimes in an abbreviated form, into many English collections. [Rev. F. M. Bird, M.A.] - John Julian, Dictionary of Hymnology (1907) See also in: Hymn Writers of the Church
It looks like you are using an ad-blocker. Ad revenue helps keep us running. Please consider white-listing Hymnary.org or getting Hymnary Pro to eliminate ads entirely and help support Hymnary.org.