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God of my life, whose gracious power
Author: Charles Wesley Appears in 157 hymnals Matching Instances: 155 Lyrics: 1 God of my life, whose gracious power
Through varied scenes my soul hath led,
Or turned aside the fatal hour,
Or lifted up my sinking head,
2 In all my ways thy hand I own,
Thy ruling providence I see;
Assist me still my course to run,
And still direct my paths to thee.
3 How do thy mercies close me round!
Forever be thy name adored;
I blush in all things to abound;
The servant of a gracious Lord.
4 I have no skill the snare to shun,
But Thou O God, my wisdom art:
I ever into danger run,
But thou art greater than my heart.
5 I rest beneath thy kindly shade;
My griefs expire, my troubles cease;
Thou, Lord, on whom my soul is stayed,
Wilt keep me still in perfect peace. Topics: Wisdom Attributes and Providence of God Used With Tune: UXBRIDGE
God of my life, whose gracious power
ANGELUS
Meter: 8.8.8.8 Appears in 250 hymnals Matching Instances: 1 Composer and/or Arranger: Georg Joseph Tune Sources: Heilige Seelenlust oder Geistliche Hirten-Lieder (Breslau, German, now Wroclaw, Poland: 1657) Tune Key: E Flat Major Incipit: 11234 55455 67176 Used With Text: God Of My Life, Whose Gracious Power
ANGELUS
God Of My Life, Whose Gracious Power
Author: Charles Wesley Hymnal: The Cyber Hymnal #10118 Meter: 8.8.8.8 Lyrics: 1 God of my life, whose gracious power
Through varied deaths my soul hath led,
Or turned aside the fatal hour,
Or lifted up my sinking head!
2 In all my ways Thy hand I own,
Thy ruling providence I see:
Assist me still my course to run,
And still direct my paths to Thee.
3 On Thee my helpless soul is cast,
And looks again Thy grace to prove;
I call to mind the wonders past,
The countless wonders of Thy love.
4 Thou, Lord, my spirit oft has stayed,
Hast snatched me from the gaping tomb,
A monument of Thy mercy made,
And rescued me from wrath to come.
5 Oft hath the sea confessed Thy power,
And gave me back to Thy command;
It could not, Lord, my life devour,
Safe in the hollow of Thine hand.
6 Oft from the margin of the grave
Thou, Lord, hast lifted up my head;
Sudden I found Thee near to save;
The fever owned Thy touch, and fled.
7 But O! The mightier work of grace,
That still the life of faith I live,
That still I pant to sing Thy praise,
That still my all I gasp to give.
8 Plucked from the roaring lion’s teeth,
Caught up from the eternal fire,
Snatched from the gates of hell I breathe,
And lo! to Heaven I still aspire!
9 Whither, oh whither should I fly,
But to my loving Savior’s breast;
Secure within Thine arms to lie,
And safe beneath Thy wings to rest!
10 I feel the fiery trial near,
But Thou, my God, art still the same;
Hell, earth, and sin I scorn to fear,
Divinely armed with Jesu’s name.
11 I have no skill the snare to shun,
But Thou, O Christ, my wisdom art;
I ever into ruin run:
But Thou art greater than my heart.
12 I have no might t’oppose the foe,
But everlasting strength is Thine.
Show me the way that I should go;
Show me the path I should decline.
13 Which shall I leave, and which pursue?
Thou only mine advisor be;
My God, I know not what to do;
But Oh! mine eyes are fixed on Thee.
14 Foolish, and impotent, and blind,
Lead me a way I have not known;
Bring me where I my heaven may find,
The heaven of loving Thee alone.
15 Enlarge my heart to make Thee room;
Enter, and in me ever stay;
The crooked then shalt straight become:
The darkness shall be lost in day! Languages: English Tune Title: ANGELUS
God Of My Life, Whose Gracious Power
God of my life, whose gracious power
Author: C. Wesley Hymnal: Hymns for the Sanctuary and Social Worship #854 (1874) Languages: English
God of my life, whose gracious power
God of My Life
Author: C. Wesley Hymnal: Christ in Song #828 (1908) First Line: God of my life, whose gracious pow'r Lyrics: 1. God of my life, whose gracious pow'r
Thro' varied scenes my soul hath led,
Or turned aside the fatal hour,
Or lifted up my sinking head,
2. I have no skill the snare to shun,
But thou, O God, my wisdom art:
I ever into danger run,
But thou art greater than my heart.
3. I rest beneath thy kindly shade;
My griefs expire, my troubles cease;
Thou, Lord, on whom my soul is stayed,
Wilt keep me still in perfect peace. Topics: God God's Protection; God God's Protection; God God's Protection; God God's Protection; God God's Protection; God God's Protection; God God's Protection; God God's Protection; God God's Protection Languages: English Tune Title: UXBRIDGE
God of My Life
Charles Wesley
1707 - 1788 Author of "God of my life, whose gracious power" in The Seventh-Day Adventist Hymn and Tune Book 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
Lowell Mason
1792 - 1872 Composer of "UXBRIDGE" in The Church Hymnal Dr. Lowell Mason (the degree was conferred by the University of New York) is justly called the father of American church music; and by his labors were founded the germinating principles of national musical intelligence and knowledge, which afforded a soil upon which all higher musical culture has been founded. To him we owe some of our best ideas in religious church music, elementary musical education, music in the schools, the popularization of classical chorus singing, and the art of teaching music upon the Inductive or Pestalozzian plan. More than that, we owe him no small share of the respect which the profession of music enjoys at the present time as contrasted with the contempt in which it was held a century or more ago. In fact, the entire art of music, as now understood and practiced in America, has derived advantage from the work of this great man.
Lowell Mason was born in Medfield, Mass., January 8, 1792. From childhood he had manifested an intense love for music, and had devoted all his spare time and effort to improving himself according to such opportunities as were available to him. At the age of twenty he found himself filling a clerkship in a banking house in Savannah, Ga. Here he lost no opportunity of gratifying his passion for musical advancement, and was fortunate to meet for the first time a thoroughly qualified instructor, in the person of F. L. Abel. Applying his spare hours assiduously to the cultivation of the pursuit to which his passion inclined him, he soon acquired a proficiency that enabled him to enter the field of original composition, and his first work of this kind was embodied in the compilation of a collection of church music, which contained many of his own compositions. The manuscript was offered unavailingly to publishers in Philadelphia and in Boston. Fortunately for our musical advancement it finally secured the attention of the Boston Handel and Haydn Society, and by its committee was submitted to Dr. G. K. Jackson, the severest critic in Boston. Dr. Jackson approved most heartily of the work, and added a few of his own compositions to it. Thus enlarged, it was finally published in 1822 as The Handel and Haydn Society Collection of Church Music. Mason's name was omitted from the publication at his own request, which he thus explains, "I was then a bank officer in Savannah, and did not wish to be known as a musical man, as I had not the least thought of ever making music a profession." President Winchester, of the Handel and Haydn Society, sold the copyright for the young man. Mr. Mason went back to Savannah with probably $500 in his pocket as the preliminary result of his Boston visit.
The book soon sprang into universal popularity, being at once adopted by the singing schools of New England, and through this means entering into the church choirs, to whom it opened up a higher field of harmonic beauty. Its career of success ran through some seventeen editions. On realizing this success, Mason determined to accept an invitation to come to Boston and enter upon a musical career. This was in 1826. He was made an honorary member of the Handel and Haydn Society, but declined to accept this, and entered the ranks as an active member. He had been invited to come to Boston by President Winchester and other musical friends and was guaranteed an income of $2,000 a year. He was also appointed, by the influence of these friends, director of music at the Hanover, Green, and Park Street churches, to alternate six months with each congregation. Finally he made a permanent arrangement with the Bowdoin Street Church, and gave up the guarantee, but again friendly influence stepped in and procured for him the position of teller at the American Bank.
In 1827 Lowell Mason became president and conductor of the Handel and Haydn Society. It was the beginning of a career that was to win for him as has been already stated the title of "The Father of American Church Music." Although this may seem rather a bold claim it is not too much under the circumstances. Mr. Mason might have been in the average ranks of musicianship had he lived in Europe; in America he was well in advance of his surroundings. It was not too high praise (in spite of Mason's very simple style) when Dr. Jackson wrote of his song collection: "It is much the best book I have seen published in this country, and I do not hesitate to give it my most decided approbation," or that the great contrapuntist, Hauptmann, should say the harmonies of the tunes were dignified and churchlike and that the counterpoint was good, plain, singable and melodious.
Charles C. Perkins gives a few of the reasons why Lowell Mason was the very man to lead American music as it then existed. He says, "First and foremost, he was not so very much superior to the members as to be unreasonably impatient at their shortcomings. Second, he was a born teacher, who, by hard work, had fitted himself to give instruction in singing. Third, he was one of themselves, a plain, self-made man, who could understand them and be understood of them."
The personality of Dr. Mason was of great use to the art and appreciation of music in this country. He was of strong mind, dignified manners, sensitive, yet sweet and engaging.
Prof. Horace Mann, one of the great educators of that day, said he would walk fifty miles to see and hear Mr. Mason teach if he could not otherwise have that advantage.
Dr. Mason visited a number of the music schools in Europe, studied their methods, and incorporated the best things in his own work. He founded the Boston Academy of Music. The aim of this institution was to reach the masses and introduce music into the public schools. Dr. Mason resided in Boston from 1826 to 1851, when he removed to New York. Not only Boston benefited directly by this enthusiastic teacher's instruction, but he was constantly traveling to other societies in distant cities and helping their work. He had a notable class at North Reading, Mass., and he went in his later years as far as Rochester, where he trained a chorus of five hundred voices, many of them teachers, and some of them coming long distances to study under him. Before 1810 he had developed his idea of "Teachers' Conventions," and, as in these he had representatives from different states, he made musical missionaries for almost the entire country. He left behind him no less than fifty volumes of musical collections, instruction books, and manuals.
As a composer of solid, enduring church music. Dr. Mason was one of the most successful this country has introduced. He was a deeply pious man, and was a communicant of the Presbyterian Church. Dr. Mason in 1817 married Miss Abigail Gregory, of Leesborough, Mass. The family consisted of four sons, Daniel Gregory, Lowell, William and Henry. The two former founded the publishing house of Mason Bros., dissolved by the death of the former in 19G9. Lowell and Henry were the founders of the great organ manufacturer of Mason & Hamlin. Dr. William Mason was one of the most eminent musicians that America has yet produced.
Dr. Lowell Mason died at "Silverspring," a beautiful residence on the side of Orange Mountain, New Jersey, August 11, 1872, bequeathing his great musical library, much of which had been collected abroad, to Yale College.
--Hall, J. H. (c1914). Biographies of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company.
Lowell Mason
