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Almighty God, Whose Only Son
Author: Henry W. Baker Meter: 8.8.8.8 Appears in 27 hymnals Topics: Edification and Encouragement Scripture: James 5:16 Used With Tune: CANONBURY
Almighty God, Whose Only Son
[Almighty God, Whose only Son]
Meter: 8.8.8.8 Appears in 79 hymnals Composer and/or Arranger: Rev. J. B. Dykes, Mus. Doc. Tune Key: G Major Incipit: 13214 32127 17123 Used With Text: Almighty God, Whose only Son
[Almighty God, Whose only Son]
Almighty God, Whose only Son
Author: Rev. Sir H. W. Baker Hymnal: The Hymnal, Revised and Enlarged, as adopted by the General Convention of the Protestant Episcopal Church in the United States of America in the year of our Lord 1892 #499 (1894) Meter: 8.8.8.8 Lyrics: 1 Almighty God, Whose only Son
O'er sin and death the triumph won,
And ever lives to intercede
For souls who Thy sweet mercy need;
2 In His dear Name to Thee we pray
For all who err and go astray,
For sinners, whereso'er they be,
Who do not serve and honor Thee.
3 And some within thy sacred fold,
To holy tings are dead and cold,
And waste the precious hours of life
In selfish ease, or toil, or strife;
4 And many a quickened soul within
There lurks the secret love of sin,
A wayward will, or anxious fears
Or lingering taint of bygone years;
5 Oh, give repentance true and deep
To all Thy lost and wandering sheep!
And kindle in their hearts the fire
Of holy love and pure desire;
6 That so from angel hosts above
May rise a sweeter song of love,
And we, with all the blest, adore
Thy Name, O God, for evermore.
Amen. Topics: Lay Helpers; Intercession for the Church Languages: English Tune Title: [Almighty God, Whose only Son]
Almighty God, Whose only Son
Almighty God, Whose Only Son
Author: Henry W. Baker Hymnal: The Cyber Hymnal #64 Meter: 8.8.8.8 Lyrics: 1. Almighty God, whose only Son
O’er sin and death the triumph won,
And ever lives to intercede
For souls who Thy sweet mercy need;
2. In His dear name to Thee we pray
For all who err and go astray,
For sinners, wheresoe’er they be,
Who do not serve and honor Thee.
3. There are who never yet have heard
The tidings of Thy blessèd Word,
But still in heathen darkness dwell,
Without one thought of Heav’n or hell.
4. And some within Thy sacred fold
To holy things are dead and cold,
And waste the precious hours of life
In selfish ease, or toil, or strife;
5. And many a quickened soul within
There lurks the secret love of sin,
A wayward will, or anxious fears,
Or lingering taint of bygone years.
6. O give repentance true and deep
To all Thy lost and wandering sheep,
And kindle in their hearts the fire
Of holy love and pure desire.
7. That so from angel hosts above
May rise a sweeter song of love,
And we, with all the blest, adore
Thy name, O God, for evermore. Languages: English Tune Title: INTERCESSION
Almighty God, Whose Only Son
Almighty God, Whose Only Son
Author: Henry W. Baker Hymnal: Church Hymnal, Mennonite #482 (1927) Meter: 8.8.8.8 Topics: Edification and Encouragement Scripture: James 5:16 Languages: English Tune Title: CANONBURY
Almighty God, Whose Only Son
H. W. Baker
1821 - 1877 Person Name: Henry W. Baker Author of "Almighty God, Whose Only Son" in Church Hymnal, Mennonite Baker, Sir Henry Williams, Bart., eldest son of Admiral Sir Henry Loraine Baker, born in London, May 27, 1821, and educated at Trinity College, Cambridge, where he graduated, B.A. 1844, M.A. 1847. Taking Holy Orders in 1844, he became, in 1851, Vicar of Monkland, Herefordshire. This benefice he held to his death, on Monday, Feb. 12, 1877. He succeeded to the Baronetcy in 1851. Sir Henry's name is intimately associated with hymnody. One of his earliest compositions was the very beautiful hymn, "Oh! what if we are Christ's," which he contributed to Murray's Hymnal for the Use of the English Church, 1852. His hymns, including metrical litanies and translations, number in the revised edition of Hymns Ancient & Modern, 33 in all. These were contributed at various times to Murray's Hymnal, Hymns Ancient & Modern and the London Mission Hymn Book, 1876-7. The last contains his three latest hymns. These are not included in Hymns Ancient & Modern. Of his hymns four only are in the highest strains of jubilation, another four are bright and cheerful, and the remainder are very tender, but exceedingly plaintive, sometimes even to sadness. Even those which at first seem bright and cheerful have an undertone of plaintiveness, and leave a dreamy sadness upon the spirit of the singer. Poetical figures, far-fetched illustrations, and difficult compound words, he entirely eschewed. In his simplicity of language, smoothness of rhythm, and earnestness of utterance, he reminds one forcibly of the saintly Lyte. In common with Lyte also, if a subject presented itself to his mind with striking contrasts of lights and shadows, he almost invariably sought shelter in the shadows. The last audible words which lingered on his dying lips were the third stanza of his exquisite rendering of the 23rd Psalm, "The King of Love, my Shepherd is:"—
Perverse and foolish, oft I strayed,
But yet in love He sought me,
And on His Shoulder gently laid,
And home, rejoicing, brought me."
This tender sadness, brightened by a soft calm peace, was an epitome of his poetical life.
Sir Henry's labours as the Editor of Hymns Ancient & Modern were very arduous. The trial copy was distributed amongst a few friends in 1859; first ed. published 1861, and the Appendix, in 1868; the trial copy of the revised ed. was issued in 1874, and the publication followed in 1875. In addition he edited Hymns for the London Mission, 1874, and Hymns for Mission Services, n.d., c. 1876-7. He also published Daily Prayers for those who work hard; a Daily Text Book, &c. In Hymns Ancient & Modern there are also four tunes (33, 211, 254, 472) the melodies of which are by Sir Henry, and the harmonies by Dr. Monk. He died Feb. 12, 1877.
--John Julian, Dictionary of Hymnology (1907)
H. W. Baker
John Bacchus Dykes
1823 - 1876 Person Name: Rev. J. B. Dykes, Mus. Doc. Arranger of "[Almighty God, Whose only Son]" in The Hymnal, Revised and Enlarged, as adopted by the General Convention of the Protestant Episcopal Church in the United States of America in the year of our Lord 1892 As a young child John Bacchus Dykes (b. Kingston-upon-Hull' England, 1823; d. Ticehurst, Sussex, England, 1876) took violin and piano lessons. At the age of ten he became the organist of St. John's in Hull, where his grandfather was vicar. After receiving a classics degree from St. Catherine College, Cambridge, England, he was ordained in the Church of England in 1847. In 1849 he became the precentor and choir director at Durham Cathedral, where he introduced reforms in the choir by insisting on consistent attendance, increasing rehearsals, and initiating music festivals. He served the parish of St. Oswald in Durham from 1862 until the year of his death. To the chagrin of his bishop, Dykes favored the high church practices associated with the Oxford Movement (choir robes, incense, and the like). A number of his three hundred hymn tunes are still respected as durable examples of Victorian hymnody. Most of his tunes were first published in Chope's Congregational Hymn and Tune Book (1857) and in early editions of the famous British hymnal, Hymns Ancient and Modern.
Bert Polman
John Bacchus Dykes
Robert Schumann
1810 - 1856 Person Name: R. Schumann Composer of "CANONBURY" in Church Hymnal, Mennonite Robert Alexander Schumann DM Germany 1810-1856. Born at Swickau, Saxony, Germany, the last child of a novelist, bookseller, and publisher, he began composing music at age seven. He received general music instruction at the local high school and worked to create his own compositions. Some of his works were considered admirable for his age. He even composed music congruent to the personalities of friends, who took note of the anomaly. He studied famous poets and philosophers and was impressed with the works of other famous composers of the time. After his father’s death in 1826, he went to Leipzig to study law (to meet the terms of his inheritance). In 1829 he continued law studies in Heidelberg, where he became a lifelong member of Corps Saxo-Borussia Heidelberg. In 1830 he left the study of law to return to music, intending to pursue a career as a virtuoso pianist. His teacher, Friedrich Wieck, assured him he could become the finest pianist in Europe, but an injury to his right hand (from a practicing method) ended that dream. He then focused his energies on composition, and studied under Heinrich Dorn, a German composer and conductor of the Leipzig opera. Schumann visited relatives in Zwickau and Schneeberg and performed at a concert given by Clara Wieck, age 13 at the time. In 1834 he published ‘A new journal for music’, praising some past composers and deriding others. He met Felix Mendelssohn at Wieck’s house in Leigzig and lauded the greatness of his compositions, along with those of Johannes Brahms. He also wrote a work, hoping to use proceeds from its sale towards a monument for Beethoven, whom he highly admired. He composed symphonies, operas, orchestral and chamber works, and also wrote biographies. Until 1840 he wrote strictly for piano, but then began composing for orchestra and voice. That year he composed 168 songs. He also receive a Doctorate degree from the University of Jena that year. An aesthete and influential music critic, he was one of the most regarded composers of the Romantic era. He published his works in the ‘New journal for music’, which he co-founded. In 1840, against the wishes of his father, he married Clara Wieck, daughter of his former teacher, and they had four children: Marie, Julie, Eugenie, and Felix. Clara also composed music and had a considerable concert career, the earnings from which formed a substantial part of her father’s fortune. In 1841 he wrote 2 of his 4 symphonies. In 1843 he was awarded a professorship in the Conservatory of Music, which Mendelssohn had founded in Leipzig that same year, When he and Clara went to Russia for her performances, he was questioned as to whether he also was a musician. He harbored resentment for her success as a pianist, which exceeded his ability as a pianist and reputation as a composer. From 1844-1853 he was engaged in setting Goethe’s Faust to music, but he began having persistent nervous prostration and developed neurasthenia (nervous fears of things, like metal objects and drugs). In 1846 he felt he had recovered and began traveling to Vienna, Prague, and Berlin, where he was received with enthusiasm. His only opera was written in 1848, and an orchestral work in 1849. In 1850 he succeeded Ferdinand Hiller as musical director at Dusseldorf, but was a poor conductor and soon aroused the opposition of the musicians, claiming he was impossible on the platform. From 1850-1854 he composed a wide variety of genres, but critics have considered his works during this period inferior to earlier works. In 1851 he visited Switzerland, Belgium, and returned to Leipzig. That year he finished his fourth symphony. He then went to Dusseldorf and began editing his complete works and making an anthology on the subject of music. He again was plagued with imaginary voices (angels, ghosts or demons) and in 1854 jumped off a bridge into the Rhine River, but was rescued by boatmen and taken home. For the last two years of his life, after the attempted suicide, Schumann was confined to a sanitarium in Endenich near Bonn, at his own request, and his wife was not allowed to see him. She finally saw him two days before he died, but he was unable to speak. He was diagnosed with psychotic melancholia, but died of pneumonia without recovering from the mental illness. Speculations as to the cause of his late term maladies was that he may have suffered from syphilis, contracted early in life, and treated with mercury, unknown as a neurological poison at the time. A report on his autopsy said he had a tumor at the base of the brain. It is also surmised he may have had bipolar disorder, accounting for mood swings and changes in his productivity. From the time of his death Clara devoted herself to the performance and interpretation of her husband’s works.
John Perry
Robert Schumann
