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To Thine Eternal Arms, O God
Author: Thomas W. Higginson Meter: 8.8.8.8 Appears in 42 hymnals Lyrics: 1. To Thine eternal arms, O God,
Take us, Thine erring children, in;
From dangerous paths too boldly trod,
From wandering thoughts and dreams of sin.
2. Those arms were round our childhood’s ways,
A guard through helpless years to be;
O leave not our maturer days!
We still are helpless without Thee.
3. We trusted hope and pride and strength;
Our strength proved false, our pride was vain;
Our dreams have faded all at length—
We come to Thee, O Lord, again!
4. A guide to trembling steps yet be!
Give us of Thine eternal power!
So shall our paths all lead to Thee,
And life still smile, like childhood’s hour. Used With Tune: FEDERAL STREET Text Sources: A Book of Hymns for Public and Private Devotion, by Samuel Longfellow & Samuel Johnson, 1846
To Thine Eternal Arms, O God
FEDERAL STREET
Meter: 8.8.8.8 Appears in 630 hymnals Composer and/or Arranger: Henry Kemble Oliver Tune Key: F Major Incipit: 33343 55434 44334 Used With Text: To Thine Eternal Arms, O God
FEDERAL STREET
To Thine Eternal Arms, O God
Author: Thomas W. Higginson Hymnal: The Cyber Hymnal #6949 Meter: 8.8.8.8 Lyrics: 1. To Thine eternal arms, O God,
Take us, Thine erring children, in;
From dangerous paths too boldly trod,
From wandering thoughts and dreams of sin.
2. Those arms were round our childhood’s ways,
A guard through helpless years to be;
O leave not our maturer days!
We still are helpless without Thee.
3. We trusted hope and pride and strength;
Our strength proved false, our pride was vain;
Our dreams have faded all at length—
We come to Thee, O Lord, again!
4. A guide to trembling steps yet be!
Give us of Thine eternal power!
So shall our paths all lead to Thee,
And life still smile, like childhood’s hour. Languages: English Tune Title: FEDERAL STREET
To Thine Eternal Arms, O God
To thine eternal arms, O God
Author: Thomas Wentworth Higginson Hymnal: The Hymnal #90 (1950) Meter: 8.8.8.8 Lyrics: 1 To Thine eternal arms, O God,
Take us, Thine erring children, in;
From dangerous paths too boldly trod,
From wandering thoughts and dreams of sin.
2 Those arms were round our childhood's ways,
A guard through helpless years to be;
O leave not our maturer days!
We still are helpless without Thee.
We trusted hope and pride and strength;
Our strength proved false, our pride was vain,
Our dreams have faded all at length —
We come to Thee, O Lord, again!
A guide to trembling steps yet be!
Give us of Thine eternal powers!
So shall our paths all lead to Thee,
And life still smile, like childhood’s hours.
Amen. Topics: God the Father His Love and Fatherhood; God Guidance, His; God Love and Fatherhood, His; Penitence and Confession Tune Title: FEDERAL STREET
To thine eternal arms, O God
I Will Arise and Go unto My Father
Hymnal: A Book of Hymns for Public and Private Devotion (15th ed.) #205 (1866) Meter: 8.8.8.8 First Line: To Thine eternal arms, O God Lyrics:
To Thine eternal arms, O God,
Take us, Thine erring children, in;
From dangerous paths too boldly trod,
From wandering thoughts and dreams of sin.
Those arms were round our childish ways,
A guard through helpless years to be;
O leave not our maturer days,
We still are helpless without Thee!
We trusted hope and pride and strength:
Our strength proved false, our pride was vain,
Our dreams have faded all at length,—
We come to Thee, O Lord, again!
A guide to trembling steps yet be!
Give us of Thine eternal powers!
So shall our paths all lead to Thee,
And life smile on like childhood’s hours.
Languages: English
I Will Arise and Go unto My Father
Thomas Tallis
1505 - 1585 Person Name: Thomas Tallis, 1520?-85 Composer of "TALLIS" in Songs for the Chapel Thomas Tallis (b. Leicestershire [?], England, c. 1505; d. Greenwich, Kent, England 1585) was one of the few Tudor musicians who served during the reigns of Henry VIII: Edward VI, Mary, and Elizabeth I and managed to remain in the good favor of both Catholic and Protestant monarchs. He was court organist and composer from 1543 until his death, composing music for Roman Catholic masses and Anglican liturgies (depending on the monarch). With William Byrd, Tallis also enjoyed a long-term monopoly on music printing. Prior to his court connections Tallis had served at Waltham Abbey and Canterbury Cathedral. He composed mostly church music, including Latin motets, English anthems, settings of the liturgy, magnificats, and two sets of lamentations. His most extensive contrapuntal work was the choral composition, "Spem in alium," a work in forty parts for eight five-voice choirs. He also provided nine modal psalm tunes for Matthew Parker's Psalter (c. 1561).
Bert Polman
Thomas Tallis
Samuel Webbe
1740 - 1816 Composer of "MELCOMBE" in The Pilgrim Hymnal Samuel Webbe (the elder; b. London, England, 1740; d. London, 1816) Webbe's father died soon after Samuel was born without providing financial security for the family. Thus Webbe received little education and was apprenticed to a cabinetmaker at the age of eleven. However, he was determined to study and taught himself Latin, Greek, Hebrew, French, German, and Italian while working on his apprenticeship. He also worked as a music copyist and received musical training from Carl Barbant, organist at the Bavarian Embassy. Restricted at this time in England, Roman Catholic worship was freely permitted in the foreign embassies. Because Webbe was Roman Catholic, he became organist at the Portuguese Chapel and later at the Sardinian and Spanish chapels in their respective embassies. He wrote much music for Roman Catholic services and composed hymn tunes, motets, and madrigals. Webbe is considered an outstanding composer of glees and catches, as is evident in his nine published collections of these smaller choral works. He also published A Collection of Sacred Music (c. 1790), A Collection of Masses for Small Choirs (1792), and, with his son Samuel (the younger), Antiphons in Six Books of Anthems (1818).
Bert Polman
Samuel Webbe
Anonymous
Author of "I will arise and go to my Father" in The Gospel Psalmist 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
