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Meter: 7.7.7.7.7.7 Appears in 6 hymnals Composer and/or Arranger: Malcolm Williamson, b. 1931 Hymnal Title: The Hymnal 1982 Tune Key: E Flat Major Incipit: 32123 21432 34325 Used With Text: Christ, whose glory fills the skies

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Christ, Whose Glory Fills the Skies

Author: Charles Wesley Meter: 7.7.7.7.7.7 Appears in 475 hymnals Hymnal Title: The Presbyterian Hymnal Lyrics: 1 Christ, whose glory fills the skies, Christ, the true, the only Light, Sun of Righteousness, arise, Triumph o’er the shades of night; Dayspring from on high, be near; Day-star, in my heart appear. 2 Dark and cheerless is the morn Unaccompanied by Thee; Joyless is the day’s return Till Thy mercy’s beams I see, Till they inward light impart, Cheer my eyes and warm my heart. 3 Visit then this soul of mine; Pierce the gloom of sin and grief; Fill me, Radiancy divine; Scatter all my unbelief; More and more Thyself display, Shining to the perfect day. Topics: Jesus Christ Praise; Morning and Opening Hymns Scripture: Proverbs 4:18 Used With Tune: CHRIST WHOSE GLORY

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Christ, whose glory fills the skies

Author: Charles Wesley (1707-1788) Hymnal: Church Hymnary (4th ed.) #578a (2005) Meter: 7.7.7.7.7.7 Hymnal Title: Church Hymnary (4th ed.) Lyrics: 1 Christ, whose glory fills the skies, Christ, the true, the only Light, Sun of Righteousness, arise, triumph o'er the shades of night. Dayspring from on high, be near; Daystar, in my heart appear. 2 Dark and cheerless is the morn unaccompanied by thee; joyless is the day’s return, till thy mercy’s beams I see, till they inward light impart, glad my eyes, and warm my heart. 3 Visit, then, this soul of mine; pierce the gloom of sin and grief; fill me, Radiancy Divine: scatter all my unbelief; more and more thyself display, shining to the perfect day. Topics: Our Response to Christ In Devotion; Our Response to God in the morning and evening; Jesus Names and images for; Light; Morning Scripture: 2 Corinthians 4:6 Languages: English Tune Title: SKIES OF GLORY

Christ, Whose Glory Fills the Skies

Author: Charles Wesley Hymnal: Ecumenical Praise #34 (1977) Hymnal Title: Ecumenical Praise Lyrics: 1. Christ, whose glory fills the skies, Christ, the true, the only Light, Sun of Righteousness, arise, Triumph o'er the shades of night; Day-spring from on high, be near; Day-star, in my heart appear. 2. Dark and cheerless is the morn Unaccompanied by Thee; Joyless is the day's return, Till Thy mercy's beams I see; Till they inward light impart, Glad my eyes, and warm my heart. 3. Visit then this soul of mine; Pierce the gloom of sin and grief; Fill me, Radiancy Divine; Scatter all my unbelief; More and more Thyself display, Shining to the perfect day. Topics: Christian Experience and Devotion Consecration and Prayer Languages: English Tune Title: [Christ, whose glory fills the skies]

Christ, whose glory fills the skies

Author: Charles Wesley (1707-1788) Hymnal: Hymns of Glory, Songs of Praise #578a (2008) Meter: 7.7.7.7.7.7 Hymnal Title: Hymns of Glory, Songs of Praise Lyrics: 1 Christ, whose glory fills the skies, Christ, the true, the only Light, Sun of Righteousness, arise, triumph o'er the shades of night. Dayspring from on high, be near; Daystar, in my heart appear. 2 Dark and cheerless is the morn unaccompanied by thee; joyless is the day’s return till thy mercy’s beams I see, till they inward light impart, glad my eyes, and warm my heart. 3 Visit then this soul of mine; pierce the gloom of sin and grief; fill me, Radiancy Divine; scatter all my unbelief; more and more thyself display, shining to the perfect day. Topics: Our Response to Christ In Devotion; Our Response to God in the morning and evening; Jesus Names and images for; Light; Morning Scripture: 2 Corinthians 4:6 Languages: English Tune Title: SKIES OF GLORY

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Charles Wesley

1707 - 1788 Hymnal Title: The Presbyterian Hymnal Author of "Christ, Whose Glory Fills the Skies" in The Presbyterian Hymnal 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.

Malcolm Williamson

1931 - 2003 Hymnal Title: The Presbyterian Hymnal Composer of "CHRIST WHOSE GLORY" in The Presbyterian Hymnal Malcolm Benjamin Graham Christopher Williamson AO (honorary), CBE (21 November 1931 – 2 March 2003) was an Australian composer. He was the Master of the Queen's Music from 1975 until his death. Williamson was born in Sydney and studied composition and horn at the Sydney Conservatorium of Music. His teachers included Eugene Goossens. In 1950 he moved to London where he worked as an organist, a proofreader, and a nightclub pianist. From 1953 he studied with Elisabeth Lutyens. Williamson was a prolific composer at this time, receiving many commissions and often performed his own works, both on organ and piano. In 1975, the death of Sir Arthur Bliss left the title of Master of the Queen's Music vacant. The selection of Williamson to fill this post was a surprise, over other composers such as Benjamin Britten, Michael Tippett and Malcolm Arnold, such that William Walton had remarked that "the wrong Malcolm" had been chosen. In addition, Williamson was the first non-Briton to hold the post. He wrote a number of pieces connected to his royal post, including Mass of Christ the King (1978) and Lament in Memory of Lord Mountbatten of Burma (1980). However, controversy attended his tenure, notably his failure to complete the intended "Jubilee Symphony" for the Silver Jubilee of Queen Elizabeth II in 1977. He became less prolific in "Royal" works during the last twenty years or so of his life, although he never completely ceased to take interest in writing music for the Royal Family. His overall compositional output slowed considerably due to a series of illnesses. He died in 2003 in a hospital in Cambridge. Williamson married Dolores Daniel in 1960 and had one son and two daughters. Some of Williamson's early works use the twelve tone technique of Arnold Schoenberg, but his greatest influence is often said to be Olivier Messiaen. He discovered Messiaen's music shortly before converting to Roman Catholicism in 1952. He was also influenced by Benjamin Britten, as well as by jazz and popular music (this latter influence may have come in part from him working as a night club pianist in the 1950s). Williamson wrote seven symphonies; four numbered piano concertos (plus the Concerto for Two Pianos and Strings, the Concerto for Two Pianos and Wind Quintet, after Alan Rawsthorne, and the Sinfonia Concertante), concertos for violin, organ, harp and saxophone; and many other orchestral works. He wrote ballets, including Sun Into Darkness and The Display, many effective choral works, chamber music, music for solo piano, and music for film and television including the Prologue and Main Title of Watership Down. His operas include English Eccentrics, to a libretto by Edith Sitwell; Our Man in Havana, after Graham Greene's novel; The Violins of Saint Jacques, from Patrick Leigh Fermor's novel, featuring a volcanic eruption that kills all but one of the principal characters; and Lucky Peter's Journey and The Growing Castle, both of which set plays by August Strindberg. Williamson's music for children includes the operas The Happy Prince (based on the story by Oscar Wilde) and Julius Caesar Jones as well as cassations, which are short operas with audience participation. The cassation The Valley and the Hill was written for the Silver Jubilee of Elizabeth II in 1977 and performed by 18,000 children. The composer's largest choral work, his Mass of Christ the King, was commissioned by the Three Choirs Festival, also for the 1977 jubilee. It attracted attention partly because Williamson delivered it late. Scored for two sopranos, tenor, baritone, SATB chorus, SATB echo choir, and large orchestra, the work received several performances over a few years, including a live BBC broadcast in 1981, but has more recently been overlooked. Williamson became generally much less prolific in later life, although he had some very busy years. For example, in 1988 Williamson wrote a large-scale choral-orchestral work The True Endeavour, the orchestral Bicentennial Anthem, the Fanfare of Homage for military band, a ballet Have Steps Will Travel for John Alleyne and the National Ballet of Canada, Ceremony for Oodgeroo (Oodgeroo Noonuccal, formerly known as Kath Walker) for brass quintet, and also commenced work on a substantial new choral-symphony The Dawn is at Hand (to texts by Kath Walker), completed and performed in Australia the following year. Other works include the Requiem for a Tribe Brother (another Australian work, completed in 1992), a third string quartet (1993), a fourth piano concerto (1994) and a symphony for solo harp, Day That I Have Loved (1994). The orchestral song cycle on texts by Iris Murdoch, A Year of Birds, premiered at The Proms in 1995. The same year also saw the premiere of an orchestral work With Proud Thanksgiving, commissioned for the fiftieth anniversary of the United Nations, and dedicated to the memory of Williamson's long-time friend, the UK Prime Minister Harold Wilson. Williamson was appointed a Commander of the Order of the British Empire (CBE) in 1976, and an honorary Officer of the Order of Australia (AO) in 1987. Honorary awards in the Order of Australia are made only to people who are not citizens of Australia. It is not clear why Williamson did not qualify for a substantive award, as there appears to be nothing on the public record to suggest he ever relinquished his Australian citizenship. The citation for the award read "For service to music and the mentally handicapped". He was the first Master of the Queen's Music in over a century not to be knighted. --en.wikipedia.org/wiki/