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ST. MATTHIAS
Meter: 8.8.8.8.8.8 Appears in 138 hymnals Composer and/or Arranger: William H. Monk Tune Key: F Major Incipit: 32143 23132 12534 Used With Text: Sweet Saviour, bless us ere we go
ST. MATTHIAS
O Saviour, bless us ere we go
Author: Frederick William Faber , 1814-1863 Meter: 8.8.8.8 with refrain Appears in 349 hymnals Refrain First Line: Through life's long day and death's dark night Topics: The Church of God The House of Worship; Farewell Hymns Used With Tune: ST. MATTHIAS
O Saviour, bless us ere we go
O Love, Who formedst me to wear
Author: Johann Scheffler; Catherine Winkworth Appears in 57 hymnals Lyrics: 1 O Love, Who formedst me to wear
The image of Thy Godhead here;
Who soughtest me with tender care
Through all my wanderings wild and drear;
O Love, I give myself to Thee,
Thine ever, only Thine to be.
2 O Love, Who ere life’s earliest morn
On me Thy choice hast gently cast;
O Love, Who here as man wast born,
And wholly like to us wast made;
O Love, I give myself to Thee,
Thine ever, only Thine to be.
3 O Love, Who once in time wast slain,
Pierced through and through with bitter woe;
O Love, Who wrestling thus didst gain
That we eternal joy might know;
O Love, I give myself to Thee,
Thine ever, only Thine to be.
4 O Love, Who once shalt bid me rise
From out this dying life of ours;
O Love, Who once o’er yonder skies
Shalt set me in the fadeless bowers;
O Love, I give myself to Thee,
Thine ever, only Thine to be.
Amen. Topics: The Christian Life Communion with Christ Used With Tune: ST. MATTHIAS
O Love, Who formedst me to wear
O Lamb of God, Redeemer blest
Author: Richard Frederick Littledale, 1833-1890 Meter: 8.8.8.8 with refrain Appears in 10 hymnals First Line: O Lord, to whom the spirits live Lyrics: 1 O Lord, to whom the spirits live
of all the faithful passed away,
unto their path that brightness give
which shineth to the perfect day.
Refrain:
O Lamb of God, Redeemer blest,
Grant them eternal light and rest.
2 Bless thou the dead which die in thee;
as thou hast given them release,
so quicken them thy face to see,
and give them everlasting peace. [Refrain]
3 In thy green, pleasant pastures feed
the sheep which thou hast summoned hence;
and by the still, cool waters lead
thy flock in loving providence. [Refrain]
4 How long, O Holy Lord, how long
must we and they expectant wait
to hear the gladsome bridal song,
to see thee in thy royal state? [Refrain]
5 O hearken, Saviour, to their cry,
O rend the heavens and come down,
make up the jewels speedily,
and set them in thy golden crown. [Refrain]
6 Direct us with thine arm of might,
and bring us, perfected with them,
to dwell within thy city bright,
the heavenly Jerusalem. [Refrain] Topics: Sacraments and Other Occasions Funerals/Commemorations Used With Tune: ST MATTHIAS
O Lamb of God, Redeemer blest
Still near me, O my Saviour, stand
Author: C. Wesley (1707-1788); P. Gerhardt (1607-1676); J. Wesley (1703-1791) Hymnal: Hymns for Today's Church (2nd ed.) #464 (1987) Meter: 8.8.8.8.8.8 Topics: God's Church Hope and Confidence; Lent 1, The King and the Kingdom Temptation; Pentecost 13 The Suffering Community; Pentecost 21 The Christian Hope Languages: English Tune Title: ST. MATTHIAS
Still near me, O my Saviour, stand
Sweet Saviour, bless us ere we go
Author: Frederick William Faber, 1814-1863 Hymnal: CPWI Hymnal #24 (2010) Meter: 8.8.8.8.8.8 Lyrics: 1 O Saviour, bless us ere we go;
thy word into our minds instil,
and make our lukewarm hearts to glow
with lowly love and fervent will.
Through life's long day and death's dark night,
O gentle Jesus, be our Light.
2 The day is done, its hours have run,
and thou hast taken count of all,
the scanty triumphs grace hath won,
the broken vow, the frequent fall.
Through life's long day and death's dark night,
O gentle Jesus, be our Light.
3 Grant us, dear Lord, from evil ways
true absolution and release;
and bless us, more than in past days,
with purity and inward peace.
Through life's long day and death's dark night,
O gentle Jesus, be our Light.
4 Do more than pardon; give us joy,
sweet fear and sober liberty,
and simple hearts without alloy
that only long to be like thee.
Through life's long day and death's dark night,
O gentle Jesus, be our Light.
5 For all we love, the poor, the sad,
the sinful, unto thee we call;
O let thy mercy make us glad:
thou art our Jesus, and our All.
Through life's long day and death's dark night,
O gentle Jesus, be our Light. Topics: Hymns for the Church Year Evening Scripture: Psalm 27:1 Languages: English Tune Title: ST MATTHIAS
Sweet Saviour, bless us ere we go
O Lamb of God, Redeemer blest
Author: Richard Frederick Littledale, 1833-1890 Hymnal: CPWI Hymnal #694 (2010) Meter: 8.8.8.8 with refrain First Line: O Lord, to whom the spirits live Lyrics: 1 O Lord, to whom the spirits live
of all the faithful passed away,
unto their path that brightness give
which shineth to the perfect day.
Refrain:
O Lamb of God, Redeemer blest,
Grant them eternal light and rest.
2 Bless thou the dead which die in thee;
as thou hast given them release,
so quicken them thy face to see,
and give them everlasting peace. [Refrain]
3 In thy green, pleasant pastures feed
the sheep which thou hast summoned hence;
and by the still, cool waters lead
thy flock in loving providence. [Refrain]
4 How long, O Holy Lord, how long
must we and they expectant wait
to hear the gladsome bridal song,
to see thee in thy royal state? [Refrain]
5 O hearken, Saviour, to their cry,
O rend the heavens and come down,
make up the jewels speedily,
and set them in thy golden crown. [Refrain]
6 Direct us with thine arm of might,
and bring us, perfected with them,
to dwell within thy city bright,
the heavenly Jerusalem. [Refrain] Topics: Sacraments and Other Occasions Funerals/Commemorations Languages: English Tune Title: ST MATTHIAS
O Lamb of God, Redeemer blest
John Dryden
1631 - 1700 Person Name: John Dryden, 1631-1700 Translator of "Creator Spirit! by Whose aid" in The Book of Praise Dryden, John. The name of this great English poet has recently assumed a new importance to the students of hymns, from a claim made on his behalf in regard to a considerable body of translations from the Latin published after his death (1701), in a Primer of 1706. The discussion of this point will preclude us from giving more than an outline of his life.
i. Biography.—John Dryden was the son of Erasmus, the third son of Sir Erasmus Dryden, and was born at Aid winkle, All Saints, Northants, Aug. 9, 1631. He was educated under Dr. Busby at Westminster, and entered Trip. College, Cambridge, in 1650. He took his B.A. in 1654, and resided nearly 7 years, though without a fellowship. He was of Puritan blood on both his father's and mother's side, and his training found expression in his first great poem, Heroic Stanzas on the death of Oliver Cromwell, 1658. In 1660, however, he turned, like the bulk of England, Royalist, and in his Astraea Redux, and in A Panegyric on the Coronation (1661), celebrated the Restoration. In 1663 he married Lady Elizabeth Howard. The marriage was apparently not a happy one; and there seems to be plain proof of Dryden's unfaithfulness. In 1670 he was made Poet Laureate and Historiographer Royal, and he retained these posts until the accession of William (1688). He had joined the Roman Church in 1685, and remained steadfast to it at the fall of James II. This change is of special significance, as will appear below, in regard to his translations from the Latin. It greatly straitened his means, and compelled him to great literary exertion in his closing years. He died May 18, 1701, and was buried in Westminster Abbey.
The poems of Dryden show high excellence in fields widely different from another. He was for years the leader of the English stage, as a writer of tragedy, comedy, and tragi-comedy. The specialities of his plays were a large substitution of the heroic couplet for blank verse, in imitation of Corneille, plots full of exaggerated passion, intrigue, and rant, and a catchword dialogue. These features were caricatured by Buckingham and others in the Rehearsal (acted 1671). The gross immorality of his dramas has long made them unreadable; but his influence on poetry has been enduring. No metre so long dominated style as his heroic couplet, which, though inferior to Pope's in polish and precision, excels it in resonance, freedom and audacity, "The long resounding march and energy divine." He was the first to make poetry a lucid vehicle for political and religious discussion, in the Religio Laid (1682), and The Hind and Panther (1687). The finest satires in English are Absalom and Acnitophel (Part i., 1681; Part ii., 1682, to which he contributed only a portion, the rest being by Nahura Tate), The Medal, and Mac Flecknoe (1682). He gave a new energy and fulness of meaning to the work of translation through his classical reproductions, of which his Virgil is the finest specimen (published in 1697). Alexander's Feast remains one of the most brilliant English odes. His prefaces and dedications had a large influence on our prose style, and are the first material efforts in the province of poetical criticism. The salient points of his genius are a transcendent literary force continually exerting itself in fresh forms; and that narrowing of the work of poetry to matters of political, social, human interest, which ruled supreme in Pope and his followers. (See Dryden by Mr. G. Saintsbury, Men of Letters Series.)
ii. Hymn Translations. — Until recently, Dryden's known contributions to hymnody consisted of only three pieces. The best known of these is the translation of “Veni Creator," published in vol. iii. of his Miscellanies, in 1693. Sir Walter Scott, in his Life of Dryden, 1808, published a translation of the "Te Deum " ("Thee Sovereign God our grateful accents praise"), and a translation of "Ut queant laxis," the hymn at Evensong for St. John the Baptist's Day (Scott calls it "St. John's Eve") ("O sylvan Prophet ").
Mr. W. T. Brooke has pointed out one or two facts that slightly shake Scott's attribution of these two pieces to Dryden. He has discovered the translation of the "Te Deum” in Dodd's Christian's Magazine, 1760, contributed by J. Duncombe, and attributed to Pope. And Scott's account of the two pieces is confused. He received them from a Mrs. Jackson, who told him that they were mentioned in Butler's “Tour through Italy," and that after Butler's death they passed into the hands of the celebrated Dr. Alban, and so came to hers. They are not however mentioned in the published edition of Butler's Tour; and "Butler" and "Dr. Alban" are the same person—-Dr. Alban Butler, author of The Lives of the Saints. Alban Butler's Tour was edited and published by Charles Butler, his nephew, who also wrote a Life of Alban Butler. The confusion cannot now be unravelled: but is not enough to discredit Scott's decision, which may have rested on the handwriting. The translation of the "Te Deum" is not like Pope, and has a Drydenesque Alexandrine in it, and other marks of Dryden's manner. One great Roman Catholic poet was perhaps confused with the other.
These three pieces, however, with slight variation of text, have been discovered independently by Mr. Orby Shipley and Mr. W. T. Brooke, in The Primer, or Office of the B. V. Mary, in English, 1706; and the discovery has led them to a strong conviction that the bulk of the 120 translations of Latin hymns in this book are also Dryden's. It is shown under Primers, that there are remarkable evidences of unity of hand in these translations. Is this hand Dryden's? The case for Dryden is a constructive one, and may be thus summarised:—
The translation in Scott, "0 sylvan Prophet," is in a metre unknown to previous editions of the Primer; and there are altogether 11 translations generally representing Latin Sapphics, in the book in this metre. Five of these translations have a further internal link in having the same gloria, three in having another common gloria. The presumption is irresistible that they are all by the author of "0 sylvan Prophet." Again, the translation of the "Te Deum " (also in Scott) is one of 8 pieces in Dryden's great metre, which is also new to the Primers' heroic couplets. Though not linked by common glorias, the tone of all these is Drydenesque, especially the translation of "Sacris Solemniis," which has these characteristic lines, "They eat the Lamb with legal rites and gave Their mother synagogue a decent grave," and closes with an Alexandrine. The translation "Creator Spirit, by Whose aid" is followed by two others in the same metre, which have a variation (in a single word) of its gloria. The three known hymns of Dryden are thus heads of groups presumptively of the same parentage. Proceeding further in the book, the large group of 8-syllable hymns exhibits 35, which are curiously marked as by a single band through their glorias (see Primers). They have several Drydenesque phrases (e.g. "noon of night,” “gleamy white," a technical use of "yielding," “liquid," "equal"), turns of expression and cadences, and a significant link with the translation of the "Te Deum" in the term “vocal blood" (cf. "vocal tears" in 2 other translations) found in the translation of "Deus tuorum militum." This technical method of inquiry when applied still further to other groups linked by a single gloria certainly points in the same direction; Drydenisms, links with groups already named, an occasional appearance of layman freedom of expression, and in one case (“Audit tyrannus" tr.), an echo of the heroic plays, emerge. The least characteristic group is that containing translations of "Ave maris stella" and "Jesu dulcis memoria," in C.M.; and the latter translation ("Jesu, the only thought of Thee"), beautiful as it is, is in the main only the translation from the Primer of 1685 recast in C.M. But the adoption of C.M.—-a new metre in these Primers—-would be natural in one previously long familiar with the metrical Psalms; the translation of “Ave maris stella" has the recurrent use of "equal," which is a mannerism of Dryden: and the word "way " in the translation of "Jesu dulcis memoria" is used similarly in that of "Immense coeli conditor."
The result of a minute investigation, purposely conducted on somewhat mechanical lines, is a presumption almost amounting to proof, that the bulk of these 120 translations are not only by the same hand, but by the hand of Dryden. A measure of doubt must however attach to the least characteristic pieces, from the following considerations:—
(1) The translations of "Stabat Mater " and "Dies Irae" are reprinted from the Primer of 1687. This fact is of course not decisive against their parentage by Dryden, as it may be argued, that the Primer of 1687 also contains Dryden translations. But (2) the translation of the "Dies Irae "seems to be, notwithstanding some Drydenesque phrases, by Lord Roscommon. It is found in a text considerably varied from that of 1706 in Tate's Miscellanea Sacra 1696 and 1698); and is there attributed to Lord Roscommon. It appears also, but in a text identical with that of 1706, in Tonson's Poems by The Earl of Roscommon, 1717, which professes to give only the "truly genuine" poems of the Earl. If this translation is not Dryden's, others also may not be his. And (3) the Primer of B. V. M. in which these translations are found did not appear till five years after Dryden's death; and may have been edited by some one else. Mr. W. T. Brooke has drawn attention to variations in the text of Scott from that of the Primer; which may be accounted for by editorial revision; and the editor may have had blanks to fill in which Dryden had left.
It would be most natural to suppose that the Primer would be edited by a priest; but the fact that it is difficult to say whether the text in Scott or in the Primer is the more characteristic of Dryden either points to the existence of two authentic texts of the poet, or a revision by someone thoroughly intimate with Dryden's manner, e.g. (as Mr. Brooke acutely conjectures), Charles Dryden, who may have taken his father's manuscripts with him to Rome.
The argument in favour of Dryden is presented with great force and skill by Mr. Orby Shipley in the Dublin Review, October, 1884, and in the preface to his Annus Sanctus.
In corroboration of the evidence given above, Mr. Shipley has collected some Roman Catholic traditions, which ascribe to Dryden "a considerable number" of Latin translations “Jesu dulcis memoria" and "Dies Irae" are said to have been translated as penances. These traditions are however very indefinite; in some cases they do not date earlier than the present century; and in some (see Preface to Annus Sanctus) they are mistaken. He seeks a further corroboration of the theory from the appearance of several of these translations in editions of The Manual of Prayers, 1750, and The Garden of the Soul, 1737. But it is shown under Primers that these books afford no real evidence on this subject. [Rev. H. Leigh Bennett, M.A.]
- John Julian, Dictionary of Hymnology (1907)
John Dryden
Henry Wadsworth Longfellow
1807 - 1882 Person Name: Henry W. Longfellow Author of "Sail on, O Ship of State" in For God and Country Longfellow, Henry Wadsworth , D.C.L. was born at Portland, Maine, Feb. 27, 1807, and graduated at Bowdoin College, 1825. After residing in Europe for four years to qualify for the Chair of Modern Languages in that College, he entered upon the duties of the same. In 1835 he removed to Harvard, on his election as Professor of Modern Languages and Belles-Lettres. He retained that Professorship to 1854. His literary reputation is great, and his writings are numerous and well known. His poems, many of which are as household words in all English-speaking countries, display much learning and great poetic power. A few of these poems and portions of others have come into common use as hymns, but a hymn-writer in the strict sense of that term he was not and never claimed to be. His pieces in common use as hymns include:—
1. Alas, how poor and little worth. Life a Race. Translated from the Spanish of Don Jorge Manrique (d. 1479), in Longfellow's Poetry of Spain, 1833.
2. All is of God; if He but wave His hand. God All and in All. From his poem "The Two Angels," published in his Birds of Passage, 1858. It is in the Boston Hymns of the Spirit, 1864, &c.
3. Blind Bartimeus at the gate. Bartimeus. From his Miscellaneous Poems, 1841, into G. W. Conder's 1874 Appendix to the Leeds Hymn Book.
4. Christ to the young man said, "Yet one thing more." Ordination. Written for his brother's (S. Longfellow) ordination in 1848, and published in Seaside and Fireside, 1851. It was given in an altered form as "The Saviour said, yet one thing more," in H. W. Beecher's Plymouth Collection, 1855.
5. Sown the dark future through long generations. Peace. This, the closing part of his poem on "The Arsenal at Springfield," published in his Belfrey of Bruges, &c, 1845, was given in A Book of Hymns, 1848, and repeated in several collections.
6. Into the silent land. The Hereafter. A translation from the German.
7. Tell me not in mournful numbers. Psalm of Life. Published in his Voices of the Night, 1839, as "A Psalm of Life: What the heart of the Young Man said to the Psalmist." It is given in several hymnals in Great Britain and America. In some collections it begins with st. ii., "Life is real! Life is earnest."
The universal esteem in which Longfellow was held as a poet and a man was marked in a special manner by his bust being placed in that temple of honour, Westminster Abbey. [Rev. F. M. Bird, M.A.]
--John Julian, Dictionary of Hymnology (1907), p. 685
=======================
http://en.wikipedia.org/wiki/Henry_Wadsworth_Longfellow
Henry Wadsworth Longfellow
Johann Andreas Rothe
1688 - 1758 Person Name: John Andrew Rothe Author of "Jesus, I know, hath died for me" in Church Book Rothe, Johann Andreas, son of Aegidius Rother, pastor at Lissa, near Görlitz, in Silesia, was born at Lissa, May 12, 1688. He entered the University of Leipzig in 1708, as a student of Theology, graduated M.A., and was then, in 1712, licensed at Gorlitz as a general preacher. In 1718 he became tutor in the family of Herr von Schweinitz at Leube, a few miles south of Gorlitz, and while there frequently preached in neighbouring churches. During 1722 Count N. L. von Zinzendorf, happening to hear him preach at Gross-Hennersdorf, was greatly pleased with him, and when the pastorate at Berthelsdorf became vacant shortly thereafter, gave him the presentation. He entered on his duties at Berthelsdorf Aug. 30, 1722. There he took a great interest in the Moravian community at Herrnhut, which formed part of his parish. But when, in 1737, he had to report to the higher ecclesiastical authorities regarding the doctrinal views of the Moravians, Zinzendorf showed his resentment in various ways, so that Kothe was glad to accept a call to Hermsdorf, near Gorlitz. Finally, in 1739, Count von Promnitz appointed him assistant pastor at Thommendorf, near Bunzlau, where he became chief pastor in 1742, and died there July 6, 1758. (Koch, v. 240; Wetzel’s Analecta Hymnica, ii. 756, &c.)
Rothe was a man of considerable gifts and of unbending integrity, a good theologian, and an earnest, fearless, and impressive preacher. His hymns, about 40 in number, though they can hardly be said to rank high as poetry, are yet often characterised by glow and tenderness of feeling, and by depth of Christian experience. They are somewhat akin to Zinzendorf s better productions, but this resemblance may arise from the alterations which Zinzendorf seems to have made in them. The be6t known of them first appeared in Zinzendorf's hymn-books, and were for a time looked upon with suspicion, because as Zinzendorf did not affix authors' names, the new hymns were at first all ascribed to himself.
Those of Rothe's hymns which have passed into English are:—
i. Ich habe nun den Grand gefunde. Joy in Believing. …At first the Lutherans suspected it, thinking that it was by Zinzendorf, but on discovering that it was by Rothe, soon adopted it. It is a powerful and beautiful hymn, is found in many recent German collections (e.g. the Berlin Geistliche Lieder, ed. 1863, No. 78), and in its English forms has found a very wide acceptance, and proved a comfort and blessing to many. It was doubtless suggested by Heb. vi. 19.
Rothe's hymn under consideration ("Ich habe nun ") has been translated as:—
1. Now I have found the ground wherein. A fine but somewhat free translation of st. i., ii., iv., v., vi., x., by J. Wesley.
It has also appeared in full, or abridged, under the following first lines:—
(1) Now I have found the blessed ground (st. i ). Lady Huntingdon's Selections, 1780.
(2) Now have I found the ground wherein (st. i.). W. F. Stevenson's Hymns for Church & Home, 1873.
(3) 0 Lord I Thy everlasting grace (st. ii.). Horder's Congregational Hymns, 1884.
(4) Father, Thine everlasting grace (st. ii.). J. Bickersteth's Psalms & Hymns1832.
(5) 0 Love, thou bottomless abyss (st. iii.). Evangelical Union Hymnal, 1878.
(6) Jesus, I know hath died for me (st. iv.). Pennsylvanian Lutheran Church Book, 1868.
(7) Though waves and storms go o'er my head (st. v.). Andover Sabbath Hymn Book, 1858.
2. I now have found, for hope of heaven. In full, by Dr. H. Mills, in theEvang. Review, Gettys¬burg, Jan. 1850, and in his Horae Germanica, 1850, p. 68.
3. My soul hath now the ground attained. A good tr. of st. i., iii., v., x., by A. T. Russell, as No. 167 in his Psalms & Hymns, 1851.
4. My soul hath found the steadfast ground. A good tr, (omitting st. v.-ix., and with a st. iv. not by Rothe), by Mrs. Bevan, in her Songs of Eternal Life, 1858, p. 55.
5. Now I have found the firm foundation. By G. F. Krotel, as No. 251 in the OhioLutheran Hymnal, 1880, omitting st. vi.-viii.
6. Now I have found the ground to hold. By J. Sheppard, in his Foreign Sacred Lyre, 1857, p. 91.
ii. Vor wahrer Herzensanderung. The Forgiveness of Sin. first pub. as No. 448 in the 3rd ed., 1731, of Zinzendorf's Sammlung as above, and in 7 stanzas of 4 lines. In the Brüder Gesang-Buch , 1778, it is No. 392. The translations are:—
(1) "Thanks be to Thee, Thou slaughtered Lamb!" (st. vii.). This is No. 345 in pt. ii., 1746, of the Moravian Hymn Book, (2) "Before conversion of the heart." A tr. of st. i., iv., by B. Latrobe, as No. 255 in the Moravian Hymn Book,1789, with the above tr. of st. vii. added. In the 1801 and later eds. (1886, No. 426) the tr. of st. vii. was alone retained.
iii. Wenn kleine Himmelserben. Death of a Child. Written on the death of one of his daughters. The trs. are:—
(1) "When children, bless'd by Jesus." This is No. 1196 in the Supplement of 1808 to the Moravian Hymn Book, 1801 (1886, No. 1258). (2) "When summons hence by Death is given." By E. Massie, 1867, p. 105. [Rev. James Mearns, M.A.]
--excerpts from John Julian, Dictionary of Hymnology (1907)
Johann Andreas Rothe
Small Church Music
Editors: David Mowbray Description:
History
The SmallChurchMusic site was launched in 2006, growing out of the requests from those struggling
to provide suitable music for their services and meetings. Rev. Clyde McLennan was ordained in mid
1960’s and was a pastor in many small Australian country areas, and therefore was acutely aware of
this music problem. Having also been trained as a Pipe Organist, recordings on site (which are a subset
of the smallchurchmusic.com site) are all actually played by Clyde, and also include piano and piano
with organ versions.
About the Recordings All recordings are in MP3 format.
Churches all around the world use the recordings, with downloads averaging over 60,000 per
month.
The recordings normally have an introduction, several verses and a slowdown on the last verse.
Users are encouraged to use software: Audacity (http://www.audacityteam.org) or Song Surgeon (http://songsurgeon.com) to adjust the MP3 number of verses, tempo and pitch to suit their local needs.
Mobile App
We have partnered with the developer of the popular NetTracks mobile app to offer the Small Church Music collection as a convenient mobile app. Experience the beloved Small Church Music collection through this iOS app featuring nearly 10,000 high-quality hymn recordings that can be organized into custom setlists and downloaded for offline use—ideal for worship services without musicians, congregational practice, and personal devotion. The app requires a small fee to cover maintenance costs. Please note: While Hymnary.org hosts this music collection, technical support for the app is provided exclusively by the app developer, not by Hymnary.org staff.
LicensingCopyright notice: Rev. Clyde McLennan, performer in this collection, has assigned his performer rights in this collection to Hymnary.org. Non-commercial use of these recordings is permitted. For permission to use them for any other purposes, please contact manager@hymnary.org.
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Small Church Music
Christian Classics Ethereal Hymnary
Publication Date: 2007 Publisher: Grand Rapids, MI: Christian Classics Ethereal Library
Christian Classics Ethereal Hymnary
