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At that First Eucharist
Author: William H. Turton, 1859-1938 Meter: 10.10.10.10 with refrain Appears in 76 hymnals Scripture: John 17 First Line: At that first Eucharist before you died Refrain First Line: Thus may we all one Bread, on Body be Lyrics: 1 At that first Eucharist before you died,
O Lord, you prayed that all be one in you;
At this our Eucharist again preside,
And in our hearts your law of love renew.
Thus may we all one Bread, one Body be;
Through this blest Sacrament of Unity.
2 For all your church, O Lord, we intercede;
O make our lack of charity to cease;
Draw us the nearer each to each we plead,
By drawing all to you, O Prince of Peace.
Thus may we all one Bread, one Body be;
Through this blest Sacrament of Unity.
3 We pray for those who wander from the fold;
O bring them back, Good Shepherd of the sheep.
Back to the faith which saints believed of old,
Back to the Church which still that faith does keep.
Thus may we all one Bread, one Body be;
Through this blest Sacrament of Unity. Used With Tune: UNDE ET MEMORES
At that First Eucharist
O Jesus, I have promised
Author: John Ernest Bode (1816-1874) Meter: 7.6.7.6.7.6.7.6 Appears in 619 hymnals Scripture: John 17:24 Lyrics: 1 O Jesus, I have promised
to serve you to the end;
be now and always near me,
my master and my friend:
I shall not fear the battle
if you are by my side,
not wander from the pathway
if you will be my guide.
2 Oh, let me feel you near me:
the world is ever near;
I see the sights that dazzle,
the tempting sounds I hear;
my foes are ever near me,
around me, and within;
but, Jesus, draw still nearer,
and shield my soul from sin.
3 Oh, let me hear you speaking
in accents clear and still,
above the storms of passion,
the murmurs of self-will;
Oh, speak to reassure me,
to hasten or control;
O speak, and make me listen,
true guardian of my soul.
4 O Jesus, you have promised
to all who follow you,
that where you are in glory
your servant shall be too;
and, Jesus, I have promised
to serve you to the end:
now give me grace to follow,
my master and my friend. Topics: The Holy Spirit The Church Celebrates - Confirmation; Conflict; Discipleship Used With Tune: THORNBURY
O Jesus, I have promised
Son of God, Eternal Savior
Author: Somerset T. C. Lowry, 1855-1932 Meter: 8.7.8.7 D Appears in 62 hymnals Scripture: John 17:20-21 Lyrics: 1 Son of God, eternal Savior,
Source of life and truth and grace,
Word made flesh, whose birth among us
Hallows all our human race,
You our Head, who, throned in glory,
For Your own will ever plead:
Fill us with Your love and pity,
Heal our wrongs, and help our need.
2 As You, Lord, have lived for others,
So may we for others live.
Freely have Your gifts been granted;
Freely may Your servants give.
Yours the gold and Yours the silver,
Yours the wealth of land and sea;
We but stewards of Your bounty
Held in solemn trust will be.
3 Come, O Christ, and reign among us,
King of Love and Prince of Peace;
Hush the storm of strife and passion,
Bid its cruel discords cease.
By Your patient years of toiling,
By Your silent hours of pain,
Quench our fevered thirst of pleasure,
Stem our selfish greed of gain.
4 Son of God, eternal Savior,
Source of life and truth and grace,
Word made flesh, whose birth among us
Hallows all our human race:
By your praying, by Your willing,
That Your people should be one,
Grant, O grant our hope’s fruition;
Here on earth Your will be done.
Topics: Society; Redeemer Used With Tune: IN BABILONE
Son of God, Eternal Savior
UNDE ET MEMORES
Meter: 10.10.10.10 with refrain Appears in 72 hymnals Composer and/or Arranger: William H. Monk, 1823-1889 Scripture: John 17 Tune Key: D Major Incipit: 33112 33345 32344 Used With Text: At that First Eucharist
UNDE ET MEMORES
Blest Be the Tie That Binds
Author: John Fawcett, 1740-1817 Hymnal: Lutheran Service Book #649 (2006) Meter: 6.6.8.6 Scripture: John 17:20-23 Lyrics: 1 Blest be the tie that binds
Our hearts in Christian love;
The fellowship of kindred minds
Is like to that above.
2 Before our Father’s throne
We pour our ardent prayers;
Our fears, our hopes, our aims are one,
Our comforts and our cares.
3 We share our mutual woes,
Our mutual burdens bear,
And often for each other flows
The sympathizing tear.
4 When here our pathways part,
We suffer bitter pain;
Yet, one in Christ and one in heart,
We hope to meet again.
5 From sorrow, toil, and pain,
And sin we shall be free
And perfect love and friendship reign
Through all eternity.
Topics: Christian Home and Education Languages: English Tune Title: BOYLSTON
Blest Be the Tie That Binds
Jesus' Prayer for His Disciples
Hymnal: Seventh-day Adventist Hymnal #732 (1985) Scripture: John 17 First Line: "Father, the time has come. Glorify your Son, Topics: Scripture Readings
Jesus' Prayer for His Disciples
The Church's one foundation
Author: Samuel John Stone Hymnal: The Presbyterian Book of Praise #464 (1897) Meter: 7.6.7.6 D Scripture: John 17:21-23 Topics: The Church Unity and Defence Languages: English Tune Title: AURELIA
The Church's one foundation
W. H. Turton
1856 - 1938 Person Name: William H. Turton, 1859-1938 Scripture: John 17 Author of "At that First Eucharist" in Gather Comprehensive Turton, W. H., a Lieut. in the Royal Engineers, has published A Few Hymns written by A Layman between the Festivals of All Saints, 1880 and 1881. This contains 12 hymns. The Second Series, "written between the Festivals of All Saints, 1881 and 1882," also contains 12 hymns, and the Third Series, 1882-1883, another 12. These hymns are worthy of attention. Those which have passed into common use include;—
1. And now our Eucharist is o'er (1881-1882). Holy Communion.
2. 0 Thou who at Thy Eucharist didst pray. For Unity. "This hymn was used at S. Mary Magdalene's, Munster Square, N. W., in the Anniversary Service of the English Church Union, June 22,1881. It is intended to be sung after the ‘Agnus Dei,' at a choral celebration." In the 1889 Supplemental Hymns to Hymns Ancient & Modern it reads "Thou, Who at Thy first Eucharist didst pray."
"This hymn was used at S. Mary Magdalene's, Munster Square, N. W., in the Anniversary Service of the English Church Union, June 22,1881. It is intended to be sung after the ‘Agnus Dei,' at a choral celebration." In the 1889 Supplemental Hymns to Hymns Ancient & Modern it reads "Thou, Who at Thy first Eucharist didst pray."
These hymns are in the Altar Hymnal, 1884, together with a third, "Behold! the star is shining." (Epiphany.) Lieut. Turton's signature on A Few Hymns is "R. E." and his publishers, The Church Printing Co., London.
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
W. H. Turton
Orlando Gibbons
1583 - 1625 Person Name: Orlando Gibbons (1583-1625) Scripture: John 17:21-23 Composer of "SONG 1" in Church Hymnary (4th ed.) Orlando Gibbons (baptised 25 December 1583 – 5 June 1625) was an English composer, virginalist and organist of the late Tudor and early Jacobean periods. He was a leading composer in the England of his day.
Gibbons was born in Cambridge and christened at Oxford the same year – thus appearing in Oxford church records.
Between 1596 and 1598 he sang in the Choir of King's College, Cambridge, where his brother Edward Gibbons (1568–1650), eldest of the four sons of William Gibbons, was master of the choristers. The second brother Ellis Gibbons (1573–1603) was also a promising composer, but died young. Orlando entered the university in 1598 and achieved the degree of Bachelor of Music in 1606. James I appointed him a Gentleman of the Chapel Royal, where he served as an organist from at least 1615 until his death. In 1623 he became senior organist at the Chapel Royal, with Thomas Tomkins as junior organist. He also held positions as keyboard player in the privy chamber of the court of Prince Charles (later King Charles I), and organist at Westminster Abbey. He died at age 41 in Canterbury of apoplexy, and a monument to him was built in Canterbury Cathedral. A suspicion immediately arose that Gibbons had died of the plague, which was rife in England that year. Two physicians who had been present at his death were ordered to make a report, and performed an autopsy, the account of which survives in The National Archives:
We whose names are here underwritten: having been called to give our counsels to Mr. Orlando Gibbons; in the time of his late and sudden sickness, which we found in the beginning lethargical, or a profound sleep; out of which, we could never recover him, neither by inward nor outward medicines, & then instantly he fell in most strong, & sharp convulsions; which did wring his mouth up to his ears, & his eyes were distorted, as though they would have been thrust out of his head & then suddenly he lost both speech, sight and hearing, & so grew apoplectical & lost the whole motion of every part of his body, & so died. Then here upon (his death being so sudden) rumours were cast out that he did die of the plague, whereupon we . . . caused his body to be searched by certain women that were sworn to deliver the truth, who did affirm that they never saw a fairer corpse. Yet notwithstanding we to give full satisfaction to all did cause the skull to be opened in our presence & we carefully viewed the body, which we found also to be very clean without any show or spot of any contagious matter. In the brain we found the whole & sole cause of his sickness namely a great admirable blackness & syderation in the outside of the brain. Within the brain (being opened) there did issue out abundance of water intermixed with blood & this we affirm to be the only cause of his sudden death.
His death was a shock to peers and the suddenness of his passing drew comment more for the haste of his burial – and of its location at Canterbury rather than the body being returned to London. His wife, Elizabeth, died a little over a year later, aged in her mid-30s, leaving Orlando's eldest brother, Edward, to care for the children left orphans by this event. Of these children only the eldest son, Christopher Gibbons, went on to become a musician.
One of the most versatile English composers of his time, Gibbons wrote a quantity of keyboard works, around thirty fantasias for viols, a number of madrigals (the best-known being "The Silver Swan"), and many popular verse anthems. His choral music is distinguished by his complete mastery of counterpoint, combined with his wonderful gift for melody. Perhaps his most well known verse anthem is This is the record of John, which sets an Advent text for solo countertenor or tenor, alternating with full chorus. The soloist is required to demonstrate considerable technical facility at points, and the work at once expresses the rhetorical force of the text, whilst never being demonstrative or bombastic. He also produced two major settings of Evensong, the Short Service and the Second Service. The former includes a beautifully expressive Nunc dimittis, while the latter is an extended composition, combining verse and full sections. Gibbons's full anthems include the expressive O Lord, in thy wrath, and the Ascension Day anthem O clap your hands together for eight voices.
He contributed six pieces to the first printed collection of keyboard music in England, Parthenia (to which he was by far the youngest of the three contributors), published in about 1611. Gibbons's surviving keyboard output comprises some 45 pieces. The polyphonic fantasia and dance forms are the best represented genres. Gibbons's writing exhibits full mastery of three- and four-part counterpoint. Most of the fantasias are complex, multisectional pieces, treating multiple subjects imitatively. Gibbons's approach to melody in both fantasias and dances features a capability for almost limitless development of simple musical ideas, on display in works such as Pavane in D minor and Lord Salisbury's Pavan and Galliard.
In the 20th century, the Canadian pianist Glenn Gould championed Gibbons's music, and named him as his favorite composer. Gould wrote of Gibbons's hymns and anthems: "ever since my teen-age years this music ... has moved me more deeply than any other sound experience I can think of." In one interview, Gould compared Gibbons to Beethoven and Webern:
...despite the requisite quota of scales and shakes in such half-hearted virtuoso vehicles as the Salisbury Galliard, one is never quite able to counter the impression of music of supreme beauty that lacks its ideal means of reproduction. Like Beethoven in his last quartets, or Webern at almost any time, Gibbons is an artist of such intractable commitment that, in the keyboard field, at least, his works work better in one's memory, or on paper, than they ever can through the intercession of a sounding-board.
To this day, Gibbons's obit service is commemorated every year in King's College Chapel, Cambridge.
--wikipedia.org
Orlando Gibbons
John L. Bell
b. 1949 Person Name: John L. Bell, b. 1949 Scripture: John 17:21-23 Author of "The Broken Body" in Gather Comprehensive John Bell (b. 1949) was born in the Scottish town of Kilmarnock in Ayrshire, intending to be a music teacher when he felt the call to the ministry. But in frustration with his classes, he did volunteer work in a deprived neighborhood in London for a time and also served for two years as an associate pastor at the English Reformed Church in Amsterdam. After graduating he worked for five years as a youth pastor for the Church of Scotland, serving a large region that included about 500 churches. He then took a similar position with the Iona Community, and with his colleague Graham Maule, began to broaden the youth ministry to focus on renewal of the church’s worship. His approach soon turned to composing songs within the identifiable traditions of hymnody that began to address concerns missing from the current Scottish hymnal:
"I discovered that seldom did our hymns represent the plight of poor people to God. There was nothing that dealt with unemployment, nothing that dealt with living in a multicultural society and feeling disenfranchised. There was nothing about child abuse…,that reflected concern for the developing world, nothing that helped see ourselves as brothers and sisters to those who are suffering from poverty or persecution." [from an interview in Reformed Worship (March 1993)]
That concern not only led to writing many songs, but increasingly to introducing them internationally in many conferences, while also gathering songs from around the world. He was convener for the fourth edition of the Church of Scotland’s Church Hymnary (2005), a very different collection from the previous 1973 edition. His books, The Singing Thing and The Singing Thing Too, as well as the many collections of songs and worship resources produced by John Bell—some together with other members of the Iona Community’s “Wild Goose Resource Group,” —are available in North America from GIA Publications.
Emily Brink
John L. Bell
