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My Hope is Built on Nothing Less

Author: Edward Mote Meter: 8.8.8.8.8.8.8 Appears in 1,108 hymnals Refrain First Line: On Christ the solid rock I stand Lyrics: 1 My hope is built on nothing less than Jesus' blood and righteousness; I dare not trust the sweetest frame, but wholly lean on Jesus' name. Refrain: On Christ, the solid Rock, I stand: all other ground is sinking sand; all other ground is sinking sand. 2 When darkness veils his lovely face, I rest on his unchanging grace; in every high and stormy gale, my anchor holds within the veil. [Refrain] 3 His oath, his covenant, his blood, support me in the whelming flood; when all around my soul gives way, he then is all my hope and stay. [Refrain] 4 When he shall come with trumpet sound, O may I then in him be found: dressed in his righteousness alone, faultless to stand before the throne. [Refrain] Worship and Rejoice (2003) Topics: liturgical Songs of Response

With Grateful Heart My Thanks I Bring

Meter: 8.8.8.8.8.8.8 Appears in 15 hymnals Topics: Deliverance From Trouble; Perseverance Of The Saints; Post-Communion Service; Praise To God, Jesus Christ; Worship; House of God Scripture: Psalm 138 Used With Tune: THE SOLID ROCK

Built on the Rock

Author: Nicolai F. S. Grundtvig; Carl Døving Meter: 8.8.8.8.8.8.8 Appears in 74 hymnals First Line: Built on the Rock, the Church shall stand

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Tunes

Tune authorities

THE SOLID ROCK

Meter: 8.8.8.8.8.8.8 Appears in 523 hymnals Composer and/or Arranger: William B. Bradbury, 1816-1868 Tune Key: F Major Incipit: 51353 32234 44217 Used With Text: My Hope Is Built on Nothing Less

VENI EMMANUEL

Meter: 8.8.8.8.8.8.8 Appears in 302 hymnals Tune Sources: Plainsong, 13th Century Tune Key: e minor Incipit: 13555 46543 4531 Used With Text: O Come O Come, Emmanuel

REDSTON

Meter: 8.8.8.8.8.8.8 Appears in 1 hymnal Composer and/or Arranger: Andrew K Griffiths Tune Key: B Flat Major Incipit: 51216 54351 23155 Used With Text: Ahead of us, a race to run

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Instances

Published text-tune combinations (hymns) from specific hymnals

I thank Thee, uncreated Sun

Hymnal: The Methodist Hymn-Book with Tunes #V9 (1933) Meter: 8.8.8.8.8.8.8 Languages: English

All praise and thanks to God most High

Author: Schutz Hymnal: Chorale Book for England, The #2 (1863) Meter: 8.8.8.8.8.8.8 Lyrics: All praise and thanks to God most High, The Father who is perfect love; The God who doeth wondrously, The God who from His throne above My soul with richest solace fills, The God who every sorrow stills; Give glory now to Him, our God! The host of heaven thy praises tell, All powers and thrones bow down to Thee, And all who in Thy shadow dwell, Alike in earth and air and sea, Declare and laud their Maker's might, Whose wisdom orders all things right: Give glory then to Him, our God! And for the creatures He hath made, Our God will ceaselessly provide, His grace will be their constant aid, And guard them round on every side; His kingdom ye may surely trust, There all is equal, all is just; Give glory then to Him, our God! I sought Him In my hour of need, I cried,--Lord God, now hear my prayer! For death He gave me life indeed, And hope and comfort for despair; For this my thanks shall endless be, O thank Him, thank Him too with me; Give glory now to Him, our God! The Lord is never far away, Is never sundered from His flock, He is their refuge and their stay, He is their peace, their trust, their rock; And with a mother's watchful love He guides them wheresoe'er they rove: Give glory then to Him, our God! Ah yes! till life hath reached its bound, My faithful God, I'll worship Thee! The chorus of Thy praise shall sound From henceforth over land and sea. Oh soul and body, now rejoice, My heart, send forth a gladsome voice; Give glory now to Him, our God! All ye who name Christ's holy name, Give all the glory to our God! Ye who the Father's power proclaim, Give all the glory to our God! All idols under foot be trod, The Lord is God, the Lord is God! Give glory evermore to Him! Languages: English

Eternity! Eternity!

Author: Wülffer; Catherine Winkworth Hymnal: Lyra Germanica #11 (1861) Meter: 8.8.8.8.8.8.8 Lyrics: Eternity! Eternity! How long art thou, Eternity! And yet to thee Time hastes away, Like as the warhorse to the fray, Or swift as couriers homeward go, Or ship to port, or shaft from bow. Ponder, O Man, Eternity! Eternity! Eternity! How long art thou, Eternity! For ever as on a perfect sphere End nor beginning can appear, Even so, Eternity, in thee Entrance nor exit can there be. Ponder, O Man, Eternity! Eternity! Eternity! How long art thou, Eternity! A circle infinite art thou, Thy centre an Eternal Now, Never, we name thy outer bound, For never end therein is found. Ponder, O Man, Eternity! Eternity! Eternity! How long art thou, Eternity! A little bird with fretting beak Might wear to nought the loftiest peak, Though but each thousand years it came, Yet thou wert then, as now, the same. Ponder, O Man, Eternity! Eternity! Eternity! How long art thou, Eternity! As long as God is God, so long Endure the pains of sin and wrong, So long the joys of heaven remain; Oh lasting joy, Oh lasting pain! Ponder, O Man, Eternity! Eternity! Eternity! How long art thou, Eternity! O man, full oft thy thoughts should dwell Upon the pains of sin and hell, And on the glories of the pure, That both beyond all time endure. Ponder, O Man, Eternity! Eternity! Eternity! How long art thou, Eternity! How terrible art thou in woe, How fair where joys for ever glow! God's goodness sheddeth gladness here, His justice there wakes bitter fear. Ponder, O Man, Eternity! Eternity! Eternity! How long art thou, Eternity! They who lived poor and naked rest With God, for ever rich and blest, And love and praise the Highest Good, In perfect bliss and gladsome mood. Ponder, O Man, Eternity! Eternity! Eternity! How long art thou, Eternity! A moment lasts all joy below, Whereby man sinks to endless woe, A moment lasts all earthly pain, Whereby an endless joy we gain. Ponder, O Man, Eternity! Eternity! Eternity! How long art thou, Eternity! Who ponders oft on thee, is wise, All fleshly lusts will he despise, The world finds place with him no more; The love of vain delights is o'er. Ponder, O Man, Eternity! Eternity! Eternity! How long art thou, Eternity! Who marks thee well would say to God, Here judge, burn, smite me with Thy rod, Here let me all Thy justice bear, When time of grace is past, then spare! Ponder, O Man, Eternity! Eternity! Eternity! How long art thou, Eternity! Lo, I, Eternity, warn thee, O Man, that oft thou think on me, The sinner's punishment and pain, To them who love their God, rich gain! Ponder, O Man, Eternity! Languages: English

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People

Authors, composers, editors, etc.

John Wesley

1703 - 1791 Meter: 8.8.8.8.8.8.8 Adapter of "Creator Spirit! By Whose Aid" in Hymns of Faith and Life John Wesley, the son of Samuel, and brother of Charles Wesley, was born at Epworth, June 17, 1703. He was educated at the Charterhouse, London, and at Christ Church, Oxford. He became a Fellow of Lincoln College, Oxford, and graduated M.A. in 1726. At Oxford, he was one of the small band consisting of George Whitefield, Hames Hervey, Charles Wesley, and a few others, who were even then known for their piety; they were deridingly called "Methodists." After his ordination he went, in 1735, on a mission to Georgia. The mission was not successful, and he returned to England in 1738. From that time, his life was one of great labour, preaching the Gospel, and publishing his commentaries and other theological works. He died in London, in 1791, in his eighty-eighth year. His prose works are very numerous, but he did not write many useful hymns. It is to him, however, and not to his brother Charles, that we are indebted for the translations from the German. --Annotations of the Hymnal, Charles Hutchins, M.A., 1872 ====================== John Wesley, M.A., was born at Epworth Rectory in 1703, and, like the rest of the family, received his early education from his mother. He narrowly escaped perishing in the fire which destroyed the rectory house in 1709, and his deliverance made a life-long impression upon him. In 1714 he was nominated on the foundation of Charterhouse by his father's patron, the Duke of Buckingham, and remained at that school until 1720, when he went up, with a scholarship, from Charterhouse to Christ Church, Oxford. Having taken his degree, he received Holy Orders from the Bishop of Oxford (Dr. Potter) in 1725. In 1726 he was elected Fellow of Lincoln College, and remained at Oxford until 1727, when he returned into Lincolnshire to assist his father as curate at Epworth and Wroot. In 1729 he was summoned back to Oxford by his firm friend, Dr. Morley, Rector of Lincoln, to assist in the College tuition. There he found already established the little band of "Oxford Methodists" who immediately placed themselves under his direction. In 1735 he went, as a Missionary of the Society for the Propagation of the Gospel, to Georgia, where a new colony had been founded under the governorship of General Oglethorpe. On his voyage out he was deeply impressed with the piety and Christian courage of some German fellow travellers, Moravians. During his short ministry in Georgia he met with many discouragements, and returned home saddened and dissatisfied both with himself and his work; but in London he again fell in with the Moravians, especially with Peter Bohler; and one memorable night (May 24, 1738) he went to a meeting in Aldersgate Street, where some one was reading Luther's preface to the Epistle to the Romans. There, "About a quarter before nine, while he was describing the change which God works in the heart through faith in Christ, I felt my heart strangely warmed. I felt I did trust in Christ, Christ alone, for salvation; and an assurance was given me, that He had taken away my sins, even mine, and saved me from the law of sin and death." From that moment his future course was sealed; and for more than half a century he laboured, through evil report and good report, to spread what he believed to be the everlasting Gospel, travelling more miles, preaching more sermons, publishing more books of a practical sort, and making more converts than any man of his day, or perhaps of any day, and dying at last, March 2, 1791, in harness, at the patriarchal age of 88. The popular conception of the division of labour between the two brothers in the Revival, is that John was the preacher, and Charles the hymnwriter. But this is not strictly accurate. On the one hand Charles was also a great preacher, second only to his brother and George Whitefield in the effects which he produced. On the other hand, John by no means relegated to Charles the exclusive task of supplying the people with their hymns. John Wesley was not the sort of man to depute any part of his work entirely to another: and this part was, in his opinion, one of vital importance. With that wonderful instinct for gauging the popular mind, which was one element in his success, he saw at once that hymns might be utilized, not only for raising the devotion, but also for instructing, and establishing the faith of his disciples. He intended the hymns to be not merely a constituent part of public worship, but also a kind of creed in verse. They were to be "a body of experimental and practical divinity." "In what other publication," he asks in his Preface to the Wesleyan Hymn Book, 1780 (Preface, Oct. 20,1779), "have you so distinct and full an account of Scriptural Christianity; such a declaration of the heights and depths of religion, speculative and practical; so strong cautions against the most plausible errors, particularly those now most prevalent; and so clear directions for making your calling and election sure; for perfecting holiness in the fear of God?" The part which he actually took in writing the hymns, it is not easy to ascertain; but it is certain that more than thirty translations from the German, French and Spanish (chiefly from the German) were exclusively his; and there are some original hymns, admittedly his composition, which are not unworthy to stand by the side of his brother's. His translations from the German especially have had a wide circulation. Although somewhat free as translations they embody the fire and energy of the originals. 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) =================== See also in: Hymn Writers of the Church

Catherine Winkworth

1827 - 1878 Meter: 8.8.8.8.8.8.8 Translator (from German) of "Eternity! Eternity!" in The Cyber Hymnal Catherine Winkworth (b. Holborn, London, England, 1827; d. Monnetier, Savoy, France, 1878) is well known for her English translations of German hymns; her translations were polished and yet remained close to the original. Educated initially by her mother, she lived with relatives in Dresden, Germany, in 1845, where she acquired her knowledge of German and interest in German hymnody. After residing near Manchester until 1862, she moved to Clifton, near Bristol. A pioneer in promoting women's rights, Winkworth put much of her energy into the encouragement of higher education for women. She translated a large number of German hymn texts from hymnals owned by a friend, Baron Bunsen. Though often altered, these translations continue to be used in many modern hymnals. Her work was published in two series of Lyra Germanica (1855, 1858) and in The Chorale Book for England (1863), which included the appropriate German tune with each text as provided by Sterndale Bennett and Otto Goldschmidt. Winkworth also translated biographies of German Christians who promoted ministries to the poor and sick and compiled a handbook of biographies of German hymn authors, Christian Singers of Germany (1869). Bert Polman ======================== Winkworth, Catherine, daughter of Henry Winkworth, of Alderley Edge, Cheshire, was born in London, Sep. 13, 1829. Most of her early life was spent in the neighbourhood of Manchester. Subsequently she removed with the family to Clifton, near Bristol. She died suddenly of heart disease, at Monnetier, in Savoy, in July, 1878. Miss Winkworth published:— Translations from the German of the Life of Pastor Fliedner, the Founder of the Sisterhood of Protestant Deaconesses at Kaiserworth, 1861; and of the Life of Amelia Sieveking, 1863. Her sympathy with practical efforts for the benefit of women, and with a pure devotional life, as seen in these translations, received from her the most practical illustration possible in the deep and active interest which she took in educational work in connection with the Clifton Association for the Higher Education of Women, and kindred societies there and elsewhere. Our interest, however, is mainly centred in her hymnological work as embodied in her:— (1) Lyra Germanica, 1st Ser., 1855. (2) Lyra Germanica, 2nd Ser., 1858. (3) The Chorale Book for England (containing translations from the German, together with music), 1863; and (4) her charming biographical work, the Christian Singers of Germany, 1869. In a sympathetic article on Miss Winkworth in the Inquirer of July 20, 1878, Dr. Martineau says:— "The translations contained in these volumes are invariably faithful, and for the most part both terse and delicate; and an admirable art is applied to the management of complex and difficult versification. They have not quite the fire of John Wesley's versions of Moravian hymns, or the wonderful fusion and reproduction of thought which may be found in Coleridge. But if less flowing they are more conscientious than either, and attain a result as poetical as severe exactitude admits, being only a little short of ‘native music'" Dr. Percival, then Principal of Clifton College, also wrote concerning her (in the Bristol Times and Mirror), in July, 1878:— "She was a person of remarkable intellectual and social gifts, and very unusual attainments; but what specially distinguished her was her combination of rare ability and great knowledge with a certain tender and sympathetic refinement which constitutes the special charm of the true womanly character." Dr. Martineau (as above) says her religious life afforded "a happy example of the piety which the Church of England discipline may implant.....The fast hold she retained of her discipleship of Christ was no example of ‘feminine simplicity,' carrying on the childish mind into maturer years, but the clear allegiance of a firm mind, familiar with the pretensions of non-Christian schools, well able to test them, and undiverted by them from her first love." Miss Winkworth, although not the earliest of modern translators from the German into English, is certainly the foremost in rank and popularity. Her translations are the most widely used of any from that language, and have had more to do with the modern revival of the English use of German hymns than the versions of any other writer. -- John Julian, Dictionary of Hymnology (1907) ============================ See also in: Hymn Writers of the Church

Charles Wesley

1707 - 1788 Meter: 8.8.8.8.8.8.8 Author of "Would Jesus Have the Sinner Die?" in The Cyber 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.

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Hymnals

Published hymn books and other collections

Small Church Music

Meter: 8.8.8.8.8.8.8 Editors: Nikolai F. S. Grundtvig Description: The SmallChurchMusic site was launched in 2006, growing out of the requests from those struggling to provide suitable music for their services and meetings. Rev. Clyde McLennan was ordained in mid 1960’s and was a pastor in many small Australian country areas, and therefore was acutely aware of this music problem. Having also been trained as a Pipe Organist, recordings on site (which are a subset of the smallchurchmusic.com site) are all actually played by Clyde, and also include piano and piano with organ versions. All recordings are in MP3 format. Churches all around the world use the recordings, with downloads averaging over 60,000 per month. The recordings normally have an introduction, several verses and a slowdown on the last verse. Users are encouraged to use software: Audacity (http://www.audacityteam.org) or Song Surgeon (http://songsurgeon.com) (see http://scm-audacity.weebly.com for more information) to adjust the MP3 number of verses, tempo and pitch to suit their local needs. Copyright notice: Rev. Clyde McLennan, performer in this collection, has assigned his performer rights in this collection to Hymnary.org. Non-commercial use of these recordings is permitted. For permission to use them for any other purposes, please contact manager@hymnary.org. Home/Music(smallchurchmusic.com) List SongsAlphabetically List Songsby Meter List Songs byTune Name About

Christian Classics Ethereal Hymnary

Publication Date: 2007 Publisher: Grand Rapids, MI: Christian Classics Ethereal Library Meter: 8.8.8.8.8.8.8

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