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We Praise Thee, O God
Author: Julia C. Cory Meter: 12.11.12.11 Appears in 157 hymnals First Line: We praise Thee, O God, our Redeemer, Creator Lyrics: 1 We praise you, O God, our Redeemer, Creator;
in grateful devotion our tribute we bring;
we lay it before you; we kneel and adore you;
we bless your holy name: glad praises we sing.
2 We worship you, God of our fathers and mothers;
through life's storm and tempest our guide you have been;
when perils o'ertake us, you never forsake us,
and with your help, O Lord, our battles we win.
3 With voices united our praises we offer,
our songs of thanksgiving to you we now raise;
your strong arm will guide us, our God is beside us,
to you, our great Redeemer, forever be praise!
Worship and Rejoice Topics: Adoration; Faithfulness Of God; Worship
We Praise Thee, O God
We Gather Together
Author: Anonymous; Theodore Baker Meter: 12.11.12.11 Appears in 198 hymnals First Line: We gather together to ask the Lord's blessing (Baker) Topics: National Hymns; Thankfulness, Thanksgiving; Choir; Citizenship, Christian; Memorial Day; National Righteousness; Righteousness; Social Betterment Text Sources: Netherlands Folk Song; Adrianus Valerius' Nederlandtsch Gedenckclanck, 1626
We Gather Together
The Morning, the Bright and the Beautiful Morning
Author: Horatius Bonar Meter: 12.11.12.11 Appears in 17 hymnals Lyrics: 1. The morning, the bright and the beautiful morning,
Is up, and the sunshine is all on the wing;
With its fresh flush of gladness the landscape adorning,
A gladness which nothing but morning can bring.
2. The earth is awaking, the sky and the ocean,
The river and forest, the mountain and plain;
The city is stirring its living commotion,
The pulse of the world is reviving again.
3. And we too awake, for our heavenly Father,
Who soothed us so gently to sleep on His breast,
And made the soft stillness of evening to gather
Around us, now calls us again from our rest.
4. O now let us haste to our heavenly Father,
And ere the fair skies of life’s dawning be dim,
Let us come with glad hearts, let us come all together,
And the morn of our youth let us hallow to Him. Used With Tune: ETHELBERT Text Sources: Bible Hymn Book, 1845, number 118
The Morning, the Bright and the Beautiful Morning
ADESTE FIDELES
Meter: 12.11.12.11 Appears in 1,310 hymnals Tune Sources: Webbe's 'Antiphons,' 1792. Tune Key: A Major Incipit: 11512 55323 43211 Used With Text: Give ye to Jehovah, O sons of the mighty
ADESTE FIDELES
Beloved, God’s Chosen
Author: Suan Palo Cherwien Hymnal: Voices Together #164 (2020) Meter: 12.11.12.11 First Line: Beloved, God's chosen, put on as a garment Topics: Compassion; Compassion; Peace Inner; Thanksgiving; Wisdom Scripture: Colossians 3:11-15 Tune Title: ST CATHERINE’S COURT
Beloved, God’s Chosen
Now let us rejoice
Hymnal: A Collection of Sacred Hymns for the use of the Latter-Day Saints #5 (1844) Meter: 12.11.12.11 First Line: Now let us rejoice in the day of salvation Languages: English Tune Title: [Now let us rejoice in the day of salvation]
Now let us rejoice
Why Is This Night Different?
Author: Carolyn Winfrey Gillette Hymnal: Songs of Grace #6 (2009) Meter: 12.11.12.11 First Line: "Why is this night different from all of the others?" Lyrics: “Why is this night different from all of the others?”
This night we remember how God set us free.
This night we remember our fathers and mothers
Whom God reached out to save from harsh slavery.
We eat bitter herbs to recall how they suffered;
The salt water tells of their tears and their cries.
The lamb is the sacrifice each household offered;
The matzo is the bread with no time to rise.
Haroseth reminds how the people long labored
In making the mortar; what weary, worn slaves!
And yet in its sweetness is hope ever-savored,
And in each cup of wine, the promise: God saves!
Through symbols we share here, your story is spoken;
God, help us to know that it’s our story, too!
For as we are saved we are sent to the broken,
Till all know peace and joy, till all are made new.
Topics: Eucharist/Lord's Supper; Lent and Holy Week Scripture: Exodus 5:12-15 Languages: English Tune Title: KREMSER
Why Is This Night Different?
Anonymous
Person Name: Anon. Meter: 12.11.12.11 Author of "We gather together to ask the Lord's blessing" in The Hymnal 1982 In some hymnals, the editors noted that a hymn's author is unknown to them, and so this artificial "person" entry is used to reflect that fact. Obviously, the hymns attributed to "Author Unknown" "Unknown" or "Anonymous" could have been written by many people over a span of many centuries.
Anonymous
Charles Wesley
1707 - 1788 Person Name: Charles Wesley (1707-1788) Meter: 12.11.12.11 author of "Ó Deus, que bem sabes o que precisamos." in Mil Vozes para Celebrar 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.
Charles Wesley
Theodore Baker
1851 - 1934 Meter: 12.11.12.11 Translator of "We Gather Together" in The Presbyterian Hymnal Theodore Baker (b. New York, NY, 1851; d. Dresden, Germany, 1934). Baker is well known as the compiler of Baker's Biographical Dictionary of Musicians (first ed. 1900), the first major music reference work that included American composers. Baker studied music in Leipzig, Germany, and wrote a dissertation on the music of the Seneca people of New York State–one of the first studies of the music of American Indians. From 1892 until his retirement in 1926, Baker was a literary editor and translator for G. Schirmer, Inc., in New York City. In 1926, he returned to Germany.
Psalter Hymnal Handbook, 1987
Theodore Baker
Small Church Music
Meter: 12.11.12.11 Editors: Paul Gerhardt; M Barclay (b 1951) Description:
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. 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) (see http://scm-audacity.weebly.com for more information) to adjust the MP3 number of verses, tempo
and pitch to suit their local needs.
Copyright 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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Christian Classics Ethereal Hymnary
Publication Date: 2007 Publisher: Grand Rapids, MI: Christian Classics Ethereal Library Meter: 12.11.12.11
Christian Classics Ethereal Hymnary
