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God The Omnipotent

Author: Henry Fothergill Chorley Meter: 11.10.11.10 Appears in 3 hymnals First Line: God the Omnipotent! mighty Avenger Topics: The Worship of God Adoration Scripture: Genesis 17:1

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RUSSIAN HYMN

Appears in 307 hymnals Composer and/or Arranger: Alexis F. Lvov; Paul Sjolund Tune Key: D Major Incipit: 56653 11765 64553 Used With Text: God the Omnipotent

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God, the Omnipotent! mighty Avenger!

Hymnal: Hymns of the Spirit #262 (1864) Languages: English

God The Omnipotent

Author: Henry Fothergill Chorley Hymnal: Hymns of Faith and Life #17 (1976) Meter: 11.10.11.10 First Line: God the Omnipotent! mighty Avenger Topics: The Worship of God Adoration Scripture: Genesis 17:1 Languages: English

God the Omnipotent

Author: Henry F. Chorley; John Ellerton Hymnal: Hymns for the Family of God #353 (1976) Topics: Worship and Adoration Languages: English Tune Title: RUSSIAN HYMN

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John Ellerton

1826 - 1893 Author (st. 3, 4) of "God the Omnipotent" in Hymns for the Family of God John Ellerton (b. London, England, 1826; d. Torquay, Devonshire, England, 1893) Educated at King William's College on the Isle of Man and at Trinity College, Cambridge, England, he was ordained in the Church of England in 1851. He served six parishes, spending the longest time in Crewe Green (1860-1872), a church of steelworkers and farmers. Ellerton wrote and translated about eighty hymns, many of which are still sung today. He helped to compile Church Hymns and wrote its handbook, Notes and Illustrations to Church Hymns (1882). Some of his other hymn texts were published in The London Mission Hymn Book (1884). Bert Polman ========================= Ellerton, John, M.A., son of George Ellerton, was born in London, Dec. 16, 1826, and educated at Trinity College, Cambridge (B.A. 1849; M.A. 1854). Taking Holy Orders he was successively Curate of Easebourne, Sussex, 1850; Brighton, and Lecturer of St. Peter's, Brighton, 1852; Vicar of Crewe Green, and Chaplain to Lord Crewe, 1860; Rector of Hinstock, 1872; of Barnes, 1876; and of White Roding, 1886. Mr. Ellerton's prose writings include The Holiest Manhood, 1882; Our Infirmities, 1883, &c. It is, however, as a hymnologist, editor, hymnwriter, and translator, that he is most widely known. As editor he published: Hymns for Schools and Bible Classes, Brighton, 1859. He was also co-editor with Bishop How and others of the Society for Promoting Christian Knowledge Church Hymns, 1871. His Notes and Illustrations of Church Hymns, their authors and translators, were published in the folio edition of 1881. The notes on the hymns which are special to the collection, and many of which were contributed thereto, are full, accurate, and of special value. Those on the older hymns are too general for accuracy. They are written in a popular form, which necessarily precludes extended research, fulness, and exactness of detail. The result is acceptable to the general public, but disappointing to the hymnological expert. Mr. Ellerton's original hymns number about fifty, and his translations from the Latin ten or more. Nearly every one of these are in common use and include:— 1. Before the day draws near its ending. Afternoon. Written April 22, 1880, for a Festival of Choirs at Nantwich, and first published in the Nantwich Festival Book, 1880. In 1883 it passed into the Westminster Abbey Hymn Book. 2. Behold us, Lord, a little space. General for Weekdays. Written in 1870 for a mid-day service in a City Church, and published in Church Hymns in 1871. It has passed into several collections. 3. Come forth, 0 Christian brothers. Processional for Choral Festival. Written for a Festival of Parochial Choirs held at Chester, May, 1870, and 1st printed in the Service-book of the same. In 1871 it passed into Church Hymns. 4. Father, Name of love and fear. Confirmation. Written in 1871 for a Confirmation in the North of England, and published in Church Hymns, 1871, and other collections. 5. God, Creator and Preserver. In Time of Scarcity. Written for and first published in The Hymnary, 1870; and again in the revised edition, 1872, and other hymnbooks. 6. Hail to the Lord Who comes. Presentation of Christ in the Temple. Written Oct. 6, 1880, for Mrs. Brock's Children's Hymn Book, and published therein, 1881. 7. In the Name which earth and heaven. Foundation of a Church. Written for and first published in Church Hymns, 1871, and repeated in several collections. The hymn sung at the re-opening of the Nave of Chester Cathedral, January 25, 1872, was compiled by Mr. Ellerton from this hymn, and his "Lift the strain of high thanksgiving.” 8 King Messiah, long expected. The Circumcision. Written Jan. 14, 1871, and first published in Church Hymns, 1871. It has passed into other collections. 9. King of Saints, to Whom the number. St. Bartholomew. Written for and first published in Church Hymns., 1871. It is very popular, and has been repeated in many hymnals. 10. Mary at the Master's feet. Catechizing. Written for and first published in Church Hymns, 1871. 11. O Father, all-creating. Holy Matrimony. Written Jan. 29, 1876, at the request of the Duke of Westminster, for the marriage of his daughter to the Marquess of Ormonde. It was published in Thring's Collection, 1880 and 1882. 12 O! how fair the morning broke. Septuagesima. Written March 13, 1880, for Mrs. Brock's Children's Hymn Book, and included therein, 1881. 13. O Lord of life and death, welcome. In Time of Pestilence. Written for and first published in Church Hymns, 1871. 14. O shining city of our God. Concerning the Hereafter. First published in the Rev. R. Brown-Borthwick's Sixteen Hymns with Tunes, &c, 1870; and again in Church Hymns, 1871. 15. O Son of God, our Captain of Salvation. St. Barnabas. Written April 5, 1871, and first published in Church Hymns, 1871; and again in Hymns Ancient & Modern, 1875, Thring's Collection, 1882, and others. 16. O Thou in Whom Thy saints repose. Consecration of a Burial Ground. Written for the consecration of an addition to the Parish Churchyard of Tarporley, Cheshire, 1870, and published in Church Hymns, 1871. 17. O Thou Whose bounty fills the earth. Flower Services. Written for a Flower Service at St. Luke's Church, Chelsea, June 6, 1880, and published in Mrs. Brock's Children's Hymn Book, 1881. 18. Praise to our God, Whose bounteous hand. National Thanksgiving. Written in 1870 for Church Hymns, but first published in the Rev. R. Brown-Borthwick's Select Hymns, &c., 1871, and then in Church Hymns later the same year. 19. The day Thou gavest, Lord, is ended. The darkness, &c. Evening. Written in 1870 for A Liturgy for Missionary Meetings (Frome, Hodges), and revised for Church Hymns, 1871. The revised form has passed into other collections. 20. The Lord be with us when we bend. Close of Afternoon Service. Written [in 1870] at the request of a friend for use at the close of Service on Sunday afternoons when (as in summer) strictly Evening hymns would be unsuitable. It was published in Church Hymns, 1871, Thring's Collection, 1882, and others. 21. This day the Lord's disciples met. Whitsuntide. "Originally written in 1855 for a class of children, as a hymn of 8 verses of 5 lines each, beginning, 'The Fiftieth day was come at last.’ It was abridged, revised, and compressed into C.M. for Mrs. Brock's Children's Hymn Book, 1880," and published therein, 1881. 22. Thou in Whose Name the two or three. Wednesday. Appeared in the Parish Magazine, May, 1871, as a hymn for Wednesday. After revision it was included in Church Hymns, 1871, and repeated in other collections. 23. Thou Who sentest Thine Apostles. SS. Simon and Jude. Written in June, 1874, for the revised edition of Hymns Ancient & Modern, and published in the same in 1875. 24. We sing the glorious conquest. Conversion of St. Paul. Written Feb. 28, 1871, for and published later the same year in Church Hymns. It was repeated in Hymns Ancient & Modern, 1875. 25. When the day of toil is done. Eternal Best. Written in Jan., 1870, and first published in the Rev. R. Brown-Borthwick's Sixteen Hymns with Tunes, &c. 1870, Church Hymns, 1871, and subsequently in several Scottish hymn-books. The tune "Preston," in Church Hymns was written for this hymn. To these hymns must be added those which are annotated under their respective first lines, and the translations from the Latin. The grandest of his original compositions is, "Throned upon the awful tree," and the most beautiful and tender, "Saviour, again to Thy dear Name we raise"; and of his translations, "Sing Alleluia forth in duteous praise," and "Welcome, happy morning, age to age shall say," are the most successful and popular. The subjects of Mr. Ellerton's hymns, and the circumstances under which they were written, had much to do with the concentration of thought and terseness of expression by which they are characterized. The words which he uses are usually short and simple; the thought is clear and well stated; the rhythm is good and stately. Ordinary facts in sacred history and in daily life are lifted above the commonplace rhymes with which they are usually associated, thereby rendering the hymns bearable to the cultured, and instructive to the devout. His antitheses are frequent and terse, almost too much so for devotional verse, and are in danger of interrupting the tranquil flow of devotion. His sympathy with nature, especially in her sadder moods, is great; he loves the fading light and the peace of eve, and lingers in the shadows. Unlike many writers who set forth their illustrations in detail, and then tie to them the moral which they are to teach, he weaves his moral into his metaphor, and pleases the imagination and refreshes the spirit together. Now and again he falls into the weakness of ringing changes on words; but taken as a whole his verse is elevated in tone, devotional in spirit, and elegant in diction. -- John Julian, Dictionary of Hymnology (1907) ===================== Ellerton, John, p. 326, i. Other hymns are:— 1. O Father, bless the children. Holy Baptism. Written in 1886, and published in his Hymns, &c, 1888, in 4 stanzas of 8 lines. Also in the 1889 Suppl. Hymns to Hymns Ancient & Modern. 2. O Thou Who givest food to all. Temperance. Written Aug. 30, 1882, and printed in the Church of England Temperance Chronicle, Sept. 1882. Also in his Hymns, &c, 1888. 3. Praise our God for all the wonders. St. Nicholas's Day. Dated in his Hymns, 1888, "December 1882." It was written for the Dedication Festival of St. Nicholas's Church, Brighton, and first printed as a leaflet in 1882. 4. Praise our God, Whose open hand. Bad Harvest. Written as a hymn for the bad harvest of 1881, and printed in the Guardian in August of that year. Also in his Hymns, &c, 1888. 5. Praise to the Heavenly Wisdom. St. Matthias's Day. Dated in his Hymns, &c, 1888, "January, 1888." Also in the 1889 Suppl. Hymns to Hymns Ancient & Modern. 6. Shine Thou upon us, Lord. For a Teachers' Meeting. Contributed to the 1889 Suppl. Hymns to Hymns Ancient & Modern. 7. Thou Who wearied by the well. Temperance. Written for the Opening of a Workmen's Coffee Tavern, and dated in his Hymns, &c, 1888, "September 23, 1882." It was printed in the Church of England Temperance Chronicle the same year. 8. Throned upon the awful Tree. Good Friday. Written in 1875, and published in the 1875 ed. of Hymns Ancient & Modern. It has passed into many collections, and is one of the finest of Mr. Ellerton's productions. Mr. Ellerton's original and translated hymns to the number of 76 were collected, and published by Skeffington & Son in 1888, as Hymns, Original and Translated. By John Ellerton, Rector of White Roding. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) =================== Ellerton, J., pp. 326, ii.; 1561, ii. He was appointed Hon. Canon of St. Albans in 1892. and died June 15, 1893. His Life and Works, by H. Housman, was published in 1896. --John Julian, Dictionary of Hymnology, New Supplement (1907)

Aleksēi Federovich L'vov

1798 - 1870 Person Name: Alexis F. Lvov Composer of "RUSSIAN HYMN" in Hymns for the Family of God Alexis Federovich L’vov Estonia 1798-1870. Born at Reval, Estonia, son of the St. Petersburg imperial court chapel director, he learned violin as a child and gave regular concerts in his home at age 9. Studying under a number of teachers until age 19, he then studied independently and developed his own personal style of playing. He entered the Russian army in 1818, became a civil engineer there eventually a General in 1828, when he was appointed Aide-de-camp to Tsar Nicholas I. He married Praskovya Aggeyevna, and they had a son and two daughters. He eventually took over his father’s post after he died in 1837 and stayed at that position for 24 years. He formed a string quartet in St. Petersburg and held weekly concerts at his private residence, which were attended by members of high society, including Franz Liszt, Robert and Clara Schumann, and Berlioz. In charge of the Russian chapel choir, it was described by Berlioz as of exceptional quality, expressing regret that Europeans were unable to hear the extraordinary sounds of the chapel choir (80 singers). L’vov took his quartet on several European tours where he could play to public audiences. He met Mendelssohn, Meyerbeer, and Spontini, who became personal friends. L’vov codified the Russian liturgical musical style ‘Obikhod’, the standard repertory of most Russian Orthodox churches in the world. L’vov was a member of the Russian musical establishment. Two of his friends who attained musical fame were Glinka and Berlioz, both impressed with L’vov’s superb violin playing and composing abilities. He composed violin music, operas and various religious pieces. His opera “Undine” (1846) became famous. In 1850 he founded the Russian Concert Society. His musical style was eclectic, combining traditions of Russian culture with Italian and German influences. He retired in 1867 due to deafness. He died near Kovno, Lithuania. John Perry

Henry F. Chorley

1808 - 1872 Author (st. 1, 2) of "God the Omnipotent" in Hymns for the Family of God Chorley, Henry Fothergill, was born at Blackleyhurst, Lancashire, Dec. 15, 1808, and educated at the Royal Institution, Liverpool. In 1834 he was engaged as a member of the staff of the London Athenaeum. This connection he retained for 35 years. He died Feb. 15, 1872. He published some novels and a large number of songs. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) ============ Born: De­cem­ber 15, 1808, Black­ley Hurst, near Bil­linge, Lan­ca­shire, Eng­land. Pseudonym: Paul Dell. Died: Feb­ru­a­ry 16, 1872, Lon­don, Eng­land. Buried: Bromp­ton Cem­e­te­ry, Lon­don, Eng­land. Son of an ir­on work­er and lock mak­er, Chor­ley moved with his fam­i­ly to Li­ver­pool af­ter his fa­ther’s death in 1816. He was ed­u­cat­ed by pri­vate tu­tors in Li­ver­pool and at the school of the Roy­al In­sti­tu­tion. His youth was shaped part­ly by time spent in the house­hold of the wealthy and in­tel­lect­u­al Mrs. Ben­son Rath­bone of Green Bank, and he be­came a close friend of her son Ben­son, who died in an ac­ci­dent in 1834. Chorley be­gan writ­ing for the Lon­don Athen­æ­um in 1830, and was the pa­per’s mu­sic critic and lit­er­a­ry re­view­er un­til 1868. He al­so be­came mus­ic crit­ic for the Lon­don Times and wrote, for these and other jour­nals, re­views and mu­sic­al gos­sip col­umns, dis­cuss­ing com­pose­rs and per­form­ers in Bri­tain and on the Eur­o­pean con­ti­nent. He was quite con­ser­va­tive, and was a per­sist­ent op­po­nent of in­no­va­tion, but was a live­ly chron­ic­ler of Lon­don life. In the Athen­æ­um and else­where, Chor­ley oft­en cri­ti­cized the mu­sic of Schu­mann and Wag­ner for what he called "de­ca­dence." In 1850 and 1851, Chor­ley ed­it­ed the La­dies’ Com­pan­ion, which co­vered fa­shion and do­mes­tic wo­men’s is­sues. Chorley was al­so a jour­nal­ist, no­vel­ist, play­wright, and po­et, and op­era li­bret­tist. One of his best known piec­es was his obit­u­ary of Tur­ge­nev, mis­tak­en­ly writ­ten while the Russ­ian was still ve­ry much alive. Tur­ge­nev was not of­fend­ed by the er­ror near­ly as much as he was by the cri­tic­al opin­ions of his work Chorley gave in the obit­u­a­ry. Chorley was con­sid­ered ec­cen­tric and abras­ive, but was re­spect­ed for his in­te­gri­ty and kind­ness. He en­thus­i­as­tic­al­ly gave and at­tend­ed din­ner par­ties, and cul­ti­vat­ed friend­ships with Eliz­a­beth Bar­rett, Fe­lix Men­dels­sohn, Charles Dick­ens, Ar­thur Sul­li­van and Charles Sant­ley. Af­ter the death of his bro­ther, John Rut­ter Chor­ley (1806–1867), Hen­ry in­her­it­ed enough mo­ney to re­tire from the Athen­æ­um, though he con­tin­ued to con­trib­ute ar­ti­cles for that pa­per and for The Or­ches­tra. In spite of Chorley’s ef­forts to pro­mote the mu­sic of Charles Gou­nod in Eng­land, the com­poser dis­liked Chor­ley in­tense­ly. When Gou­nod lived in Eng­land in the ear­ly 1870’s, he wrote a satir­i­cal pi­a­no piece in­tende­d to be a par­o­dy of Chor­ley’s per­son­al­i­ty. It great­ly amused Gou­nod’s Eng­lish pa­tron, Geor­gi­na Weld­on, who de­scribed Chor­ley as hav­ing a "thin, sour, high-pitched so­pran­ish voice" and mov­ing like a "stuffed red-haired mon­key." Gou­nod in­tend­ed to pub­lish the piece with a ded­i­ca­tion to Chor­ley, but died be­fore this was pos­si­ble. Wel­don then in­vent­ed a new pro­gram for the piece, which was re-titled Fun­er­al March of a Mar­i­onette. It be­came pop­u­lar as a con­cert piece, and in the 1950s, its open­ing phras­es be­came well known as the theme mu­sic for the tel­e­vi­sion pro­gram Al­fred Hitch­cock Pre­sents. Chorley’s works in­clude: Music and Man­ners in France and Ger­ma­ny, 1841 Pomfret, 1845 Roccabella, 1859 The Pro­di­gy, 1866 --www.hymntime.com/tch/
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