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Hail the Day That Sees Him Rise
Author: Charles Wesley; Thomas Cotterill Meter: 7.7.7.7 with alleluias Appears in 551 hymnals Scripture: Acts 1:9 Lyrics:
1 Hail the day that sees him rise, Alleluia!
to his throne beyond the skies. Alleluia!
Christ, the Lamb for sinners given, Alleluia!
enters now the highest heaven. Alleluia!
2 There for him high triumph waits; Alleluia!
lift your heads, eternal gates. Alleluia!
He has conquered death and sin; Alleluia!
take the King of glory in. Alleluia!
3 Highest heaven its Lord receives; Alleluia!
yet he loves the earth he leaves. Alleluia!
Though returning to his throne, Alleluia!
still he calls us all his own. Alleluia!
4 Still for us he intercedes; Alleluia!
his atoning death he pleads, Alleluia!
near himself prepares our place, Alleluia!
he the firstfruits of our race. Alleluia!
5 There we shall with you remain, Alleluia!
partners of your endless reign, Alleluia!
see you with unclouded view, Alleluia!
find our heaven of heavens in you. Alleluia!
Topics: Intercession of Christ; Ascension & Reign of Christ; King, God/Christ as; Songs for Children Hymns; Alleluias; Ascension & Reign of Christ; Intercession of Christ; King, God/Christ as; Lamb of God; Opening of Worship Used With Tune: LLANFAIR
Hail the Day That Sees Him Rise
Alleluia! Sing to Jesus
Author: William C. Dix Meter: 8.7.8.7 D Appears in 214 hymnals Scripture: Acts 1:9 Lyrics: 1 Alleluia! sing to Jesus!
his the scepter, his the throne;
Alleluia! his the triumph,
his the victory alone.
Hark! the songs of peaceful Zion
thunder like a mighty flood.
Jesus, out of every nation,
has redeemed us by his blood.
2 Alleluia! not as orphans
are we left in sorrow now;
Alleluia! he is near us;
faith believes, nor questions how.
Though the cloud from sight received him
when the forty days were o'er,
shall our hearts forget his promise,
"I am with you evermore"?
3 Alleluia! heavenly High Priest,
here on earth our help, our stay;
Alleluia! hear the sinful
cry to you from day to day.
Intercessor, Friend of sinners,
earth's Redeemer, hear our plea,
where the songs of all the sinless
sweep across the crystal sea.
Topics: Doxologies; Intercession of Christ; Ascension & Reign of Christ; King, God/Christ as; Alleluias; Ascension & Reign of Christ; Assurance; Doxologies; Intercession of Christ; King, God/Christ as; Victory Used With Tune: LOWELL
Alleluia! Sing to Jesus
At the Name of Jesus
Author: Caroline M. Noel Meter: 6.5.6.5 D Appears in 252 hymnals Scripture: Acts 1:11 Lyrics: 1 At the name of Jesus every knee shall bow,
every tongue confess him King of glory now;
'tis the Father's pleasure we should call him Lord,
who from the beginning was the mighty Word.
2 At his voice creation sprang at once to sight:
all the angel faces, all the hosts of light,
thrones and dominations, stars upon their way,
all the heavenly orders in their great array.
3 Humbled for a season, to receive a name
from the lips of sinners, unto whom he came;
faithfully he bore it spotless to the last,
brought it back victorious when from death he passed;
4 bore it up triumphant with its human light,
through all ranks of creatures, to the central height,
to the throne of Godhead, to the Father's breast;
filled it with the glory of that perfect rest.
5 In your hearts enthrone him; there let him subdue
all that is not holy, all that is not true.
Look to him, your Savior, in temptation's hour;
let his will enfold you in its light and power.
6 Christians, this Lord Jesus shall return again,
with his Father's glory, o'er the earth to reign;
for all wreaths of empire meet upon his brow,
and our hearts confess him King of glory now.
Topics: Ascension & Reign of Christ; Epiphany & Ministry of Christ; Return of Christ; Suffering of Christ; Temptation & Trial; Redemption; Ascension & Reign of Christ; Creation; Epiphany & Ministry of Christ; Redemption; Return of Christ; Suffering of Christ; Temptation & Trial Used With Tune: KING'S WESTON
At the Name of Jesus
LASST UNS ERFREUEN
Meter: 8.8.8.8 with alleluias Appears in 472 hymnals Scripture: Acts 1:9-11 Tune Sources: Geistlich Kirchengesäng, Cologne, 1623 Tune Key: D Major Incipit: 11231 34511 23134 Used With Text: A Hymn of Glory Let Us Sing
LASST UNS ERFREUEN
Come, Thou Almighty King
Hymnal: The Worshiping Church #5 (1990) Meter: 6.6.4.6.6.6.4 Scripture: Acts 1:8 Lyrics: 1 Come, thou Almighty King,
help us thy name to sing,
help us to praise:
Father, all glorious,
o'er all victorious,
come and reign over us,
Ancient of Days.
2 Come, thou Incarnate Word,
gird on thy mighty sword,
our prayer attend:
come, and thy people bless,
and give thy word success:
Spirit of holiness,
on us descend.
3 Come, Holy Comforter,
thy sacred witness bear
in this glad hour:
thou who almighty art,
now rule in every heart,
and ne'er from us depart,
Spirit of power.
4 To Thee, great One in Three,
eternal praises be
hence, evermore!
Thy sovereign majesty
may we in glory see,
and to eternity
love and adore!
Topics: God The Trinity; God Eternal; Holy Spirit Witness of; God Eternal; God Names of; Holy Spirit Witness of; Trinity; Trinity Sunday Languages: English Tune Title: ITALIAN HYMN
Come, Thou Almighty King
Come, Thou Almighty King
Author: Anonymous Hymnal: Worship and Rejoice #148 (2003) Meter: 6.6.4.6.6.6.4 Scripture: Acts 1:8 Lyrics: 1 Come, thou Almighty King,
help us thy name to sing,
help us to praise:
Father, all glorious,
o'er all victorious,
come and reign over us,
Ancient of Days.
2 Come, thou Incarnate Word,
gird on thy mighty sword,
our prayer attend:
come, and thy people bless,
and give thy word success:
Spirit of holiness,
on us descend.
3 Come, Holy Comforter,
thy sacred witness bear
in this glad hour:
thou who almighty art,
now rule in every heart,
and ne'er from us depart,
Spirit of power.
4 To thee, great One in Three,
eternal praises be
hence, evermore!
Thy sovereign majesty
may we in glory see,
and to eternity
love and adore! Topics: Adoration Languages: English Tune Title: ITALIAN HYMN
Come, Thou Almighty King
Come, Thou Almighty King (Oh Padre, eterno Dios)
Author: Anonymous; Vicente Mendoza, 1875-1955; Anonymous Hymnal: Santo, Santo, Santo #388 (2019) Meter: 6.6.4.6.6.6.4 Scripture: Acts 1:8 First Line: Come, thou almighty King (¡Oh Padre eterno Dios!) Topics: Alabanza; Praise; Call to Worship; Llamado a la Adoración; Dios Gloria de; God Glory of; Oracion; Prayer; Trinidad; Trinity Languages: English; Spanish Tune Title: ITALIAN HYMN
Come, Thou Almighty King (Oh Padre, eterno Dios)
Charles Wesley
1707 - 1788 Scripture: Acts 1:9 Author of "Hail the Day That Sees Him Rise" in Psalter Hymnal (Gray) 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
Ralph Vaughan Williams
1872 - 1958 Scripture: Acts 1:11 Composer of "KING'S WESTON" in Psalter Hymnal (Gray) Through his composing, conducting, collecting, editing, and teaching, Ralph Vaughan Williams (b. Down Ampney, Gloucestershire, England, October 12, 1872; d. Westminster, London, England, August 26, 1958) became the chief figure in the realm of English music and church music in the first half of the twentieth century. His education included instruction at the Royal College of Music in London and Trinity College, Cambridge, as well as additional studies in Berlin and Paris. During World War I he served in the army medical corps in France. Vaughan Williams taught music at the Royal College of Music (1920-1940), conducted the Bach Choir in London (1920-1927), and directed the Leith Hill Music Festival in Dorking (1905-1953). A major influence in his life was the English folk song. A knowledgeable collector of folk songs, he was also a member of the Folksong Society and a supporter of the English Folk Dance Society. Vaughan Williams wrote various articles and books, including National Music (1935), and composed numerous arrangements of folk songs; many of his compositions show the impact of folk rhythms and melodic modes. His original compositions cover nearly all musical genres, from orchestral symphonies and concertos to choral works, from songs to operas, and from chamber music to music for films. Vaughan Williams's church music includes anthems; choral-orchestral works, such as Magnificat (1932), Dona Nobis Pacem (1936), and Hodie (1953); and hymn tune settings for organ. But most important to the history of hymnody, he was music editor of the most influential British hymnal at the beginning of the twentieth century, The English Hymnal (1906), and coeditor (with Martin Shaw) of Songs of Praise (1925, 1931) and the Oxford Book of Carols (1928).
Bert Polman
Ralph Vaughan Williams
W. Chatterton Dix
1837 - 1898 Person Name: William C. Dix Scripture: Acts 1:9 Author of "Alleluia! Sing to Jesus" in Psalter Hymnal (Gray) Most British hymn writers in the nineteenth century were clergymen, but William C. Dix (b. Bristol, England, 1837; d. Cheddar, Somerset, England, 1898) was a notable exception. Trained in the business world, he became the manager of a marine insurance company in Glasgow, Scotland. Dix published various volumes of his hymns, such as Hymns of Love and Joy (1861) and Altar Songs: Verses on the Holy Eucharist (1867). A number of his texts were first published in Hymns Ancient and Modern (1861).
Bert Polman
========================
Dix, William Chatterton, son of John Dix, surgeon, of Bristol, author of the Life of Chatterton; Local Legends, &c, born at Bristol, June 14, 1837, and educated at the Grammar School of that city. Mr. Chatterton Dix's contributions to modern hymnody are numerous and of value. His fine Epiphany hymn, "As with gladness men of old,” and his plaintive ”Come unto Me, ye weary," are examples of his compositions, many of which rank high amongst modern hymns. In his Hymns of Love and Joy, 1861, Altar Songs, Verses on the Holy Eucharist, 1867; Vision of All Saints, &c, 1871; and Seekers of a City, 1878, some of his compositions were first published. The greater part, however, were contributed to Hymns Ancient & Modern; St. Raphaels Hymnbook, 1861; Lyra Eucharidica, 1863; Lyra Messianica, 1864; Lyra Mystica, 1865; The People's Hymns, 1867; The Hymnary, 1872; Church Hymns, 1871, and others. Many of his contributions are renderings in metrical form of Dr. Littledale's translation from the Greek in his Offices . . . of the Holy Eastern Church, 1863; and of the Rev. J. M. Rodwell's translation of hymns of the Abyssinian Church. These renderings of the "songs of other Churches" have not received the attention they deserve, and the sources from whence they come are practically unknown to most hymnal compilers. Mr. Dix has also written many Christmas and Easter carols, the most widely known of which is "The Manger Throne." In addition to detached pieces in prose and verse for various magazines, he has published two devotional works, Light; and The Risen Life, 1883; and a book of instructions for children entitled The Pattern Life, 1885. The last-named contains original hymns by Mr. Dix not given elsewhere. In addition to the more important of Mr. Dix's hymns which are annotated under their respective first lines, the following are also in common use:-
1. God cometh, let the heart prepare. Advent. In his Vision of All Saints, &c, 1871.
2. Holy, holy, holy, to Thee our vows we pay. Holy Communion. Published in his Altar Songs, 1867, in 6 stanzas of 6 lines, and headed "Eucharistic Processional for Dedication Feast." In the Society for Promoting Christian Knowledge Church Hymns, 1871, and others in an abridged form.
3. How long, O Lord, how long, we ask. Second Advent. Appeared in the Appendix to the Society for Promoting Christian Knowledge Psalms & Hymns, 1869, and repeated in several collections.
4. In our work and in our play. Children's Hymn. Published in his Hymns and Carols for Children, 1869, and is largely adopted in children's hymnbooks, as Mrs. Brock's Children's Hymnbook, 1881, and others. Also in the Society for Promoting Christian Knowledge Church Hymns, 1871.
5. In the hollow of Thine hand. For Fair Weather. Appeared in the People's Hymns, 1867, and repeated in several others.
6. Joy fills our inmost heart today. Christmas. Printed in the Church Times, and then on a Flysheet by Gr. J. Palmer, as the third of Four Joyful Hymns for Christmas, circa 1865. It is in the Society for Promoting Christian Knowledge Church Hymns, 1871, and other hymnals. It is also one of Mr. Dix's Christmas Customs & Christmas Carols, not dated.
7. Lift up your songs, ye thankful. St. Ambrose. Contributed to the People's Hymns, 1867.
8. Now in numbers softly flowing. St. Cecilia. Contributed to the People's Hymns, 1867.
9. Now, our Father, we adore Thee. Praise to the Father. Appeared in the Appendix to the S. P. C. K. Psalms & Hymns, 1869.
10. O Christ, Thou Son of Mary. St. Crispin. First printed in the Union Review, Sept., 1866, and thence into the People's Hymns, 1887.
11. O Cross which only canst allay. Glorying and Trusting in the Cross. Published in the People's Hymns, 1867.
12. O Thou the Eternal Son of God. Good Friday. Appeared in Lyra Messianica, 1864; the author's Hymns and Carols for Children, 1869; the S. P. C. K. Church Hymns, 1871, &c.
13. On the waters dark and drear. For use at Sea. Published in Hymns for Public Worship, &c. (St. Raphael's, Bristol), 1861; the S. P. C. K. Church Hymns, 1871, &c.
14. Only one prayer to-day. Ash Wednesday. Contributed to the People's Hymns, 1867.
15. Sitting at receipt of custom. St. Matthew. Appeared in the People's Hymns, 1867.
16. The Cross is on thy brow. Confirmation. In the 1869 Appendix to the S. P. C. K. Psalms & Hymns.
17. The stars above our head. Work and Humility. In the 1869 Appendix to the S. P. C. K. Psalms & Hymns.
18. When the shades of night are falling. Evening Hymn to the Good Shepherd. In the author's Seekers of a City, &c. [1878].
Most of Mr. Dix's best-known hymns, and also some of those named above, are in common use in America and other English-speaking countries. In Great Britain and America from 30 to 40 are in common use. He died Sept. 9, 1898.
-- John Julian, Dictionary of Hymnology (1907)
======================
Dix, William Chatterton, p. 302, ii. Additional hymns by Mr. Dix now in common use are:—
1. Lift up your songs, ye angel choirs. Ascension.
2. Now, my soul rehearse the story. Christ Feeding the Multitude.
3. Within the temple's hallowed courts. Blessed Virgin Mary. These hymns are from his Altar Songs, 1867.
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
W. Chatterton Dix
