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Give me the wings of faith to rise
Author: Isaac Watts, 1674-1748 Meter: 8.6.8.6 Appears in 514 hymnals Scripture: Hebrews 11:1-3 Lyrics: 1 Give me the wings of faith to rise
within the veil, and see
the saints above, how great their joys,
how bright their glories be.
2 Once they were mourning here below,
and poured out sighs and tears;
they wrestled hard, as we do now,
with sins and doubts and fears.
3 I ask them whence their victory came;
they, with united breath,
ascribe their conquest to the Lamb,
their triumph to his death.
4 They marked the footsteps that he trod,
his zeal inspired their quest,
and, following their incarnate God,
possess the promised rest.
5 Our glorious leader claims our praise
for his own pattern given;
while the long cloud of witnesses
show the same path to heaven.
Topics: All Saints and All Souls; Communion of Saints; Endurance; Faith; People of God; Pilgrimage; Saints Days and Holy Days Any Saint; Vision Used With Tune: SAN ROCCO
Give me the wings of faith to rise
Give Thanks for Life
Author: Shirley Erena Murray, 1931- Meter: 10.10.10.4.4 Appears in 13 hymnals Scripture: Hebrews 11:39-40, 12:1-2 First Line: Give thanks for life, the measure of our days Topics: Eternal Life; Hope; Human Love; Memorial; Servanthood; Thanksgiving Used With Tune: SINE NOMINE
Give Thanks for Life
Give Praise for Famous Men
Author: Christopher M. Idle Appears in 2 hymnals Scripture: Hebrews 11 First Line: [Give Praise for Famous Men] Text Sources: Light Upon the River (Hope Publishing Company,, 1998)
Give Praise for Famous Men
Give Me the Wings of Faith
Author: Isaac Watts (1674-1748) Hymnal: Common Praise (1998) #286 (1998) Meter: 8.6.8.6 Scripture: Hebrews 11:29-40, 12:1-2 First Line: Give me the wings of faith to rise Lyrics: 1 Give me the wings of faith to rise
within the veil, and see
the saints above, how great their joys,
how bright their glories be.
2 Once they were mourners here below,
and poured out sighs and tears;
they wrestled hard, as we do now,
with sins and doubts and fears.
3 I ask them whence their victory came;
they with united breath
ascribe their conquest to the Lamb,
their triumph to his death.
4 They marked the footsteps that he trod,
his zeal inspired their breast;
and, following their incarnate God,
possess the promised rest.
5 Our glorious Leader claims our praise,
for his own pattern given;
while the long cloud of witnesses
show the same path to heaven. Topics: Communion of Saints; Heaven; Yearning Languages: English Tune Title: WESTMINSTER
Give Me the Wings of Faith
Give us the wings of faith to rise
Author: Isaac Watts (1674-1748) Hymnal: Ancient and Modern #299b (2013) Meter: 8.6.8.6 Scripture: Hebrews 11:32-40 Lyrics: 1 Give us the wings of faith to rise
within the veil, and see
the saints above, how great their joys,
how bright their glories be.
2 Once they were mourning here below,
their couch was wet with tears;
they wrestled hard, as we do now,
with sins and doubts and fears.
3 We ask them whence their victory came:
they, with united breath,
ascribe their conquest to the Lamb,
their triumph to his death.
4 They marked the footsteps that he trod,
his zeal inspired their breast,
and, following their incarnate God,
possess the promised rest.
5 Our glorious Leader claims our praise
for his own pattern given;
while the long cloud of witnesses
show the same path to heaven. Topics: Communion of Saints; Discipleship; Heaven; Jesus Names and images for; Other Saints and Festivals Thomas the Apostle; Other Saints and Festivals James the Apostle; Victory Languages: English Tune Title: SAN ROCCO
Give us the wings of faith to rise
Give us the wings of faith to rise
Author: Isaac Watts (1674-1748) Hymnal: Ancient and Modern #299a (2013) Meter: 8.6.8.6 Scripture: Hebrews 11:32-40 Lyrics: 1 Give us the wings of faith to rise
within the veil, and see
the saints above, how great their joys,
how bright their glories be.
2 Once they were mourning here below,
their couch was wet with tears;
they wrestled hard, as we do now,
with sins and doubts and fears.
3 We ask them whence their victory came:
they, with united breath,
ascribe their conquest to the Lamb,
their triumph to his death.
4 They marked the footsteps that he trod,
his zeal inspired their breast,
and, following their incarnate God,
possess the promised rest.
5 Our glorious Leader claims our praise
for his own pattern given;
while the long cloud of witnesses
show the same path to heaven. Topics: Communion of Saints; Discipleship; Heaven; Jesus Names and images for; Other Saints and Festivals Thomas the Apostle; Other Saints and Festivals James the Apostle; Victory Languages: English Tune Title: SONG 67
Give us the wings of faith to rise
Orlando Gibbons
1583 - 1625 Person Name: Orlando Gibbons (1583-1625) Scripture: Hebrews 11:32-40 Composer (melody and bass) of "SONG 67" in Ancient and Modern Orlando Gibbons (baptised 25 December 1583 – 5 June 1625) was an English composer, virginalist and organist of the late Tudor and early Jacobean periods. He was a leading composer in the England of his day.
Gibbons was born in Cambridge and christened at Oxford the same year – thus appearing in Oxford church records.
Between 1596 and 1598 he sang in the Choir of King's College, Cambridge, where his brother Edward Gibbons (1568–1650), eldest of the four sons of William Gibbons, was master of the choristers. The second brother Ellis Gibbons (1573–1603) was also a promising composer, but died young. Orlando entered the university in 1598 and achieved the degree of Bachelor of Music in 1606. James I appointed him a Gentleman of the Chapel Royal, where he served as an organist from at least 1615 until his death. In 1623 he became senior organist at the Chapel Royal, with Thomas Tomkins as junior organist. He also held positions as keyboard player in the privy chamber of the court of Prince Charles (later King Charles I), and organist at Westminster Abbey. He died at age 41 in Canterbury of apoplexy, and a monument to him was built in Canterbury Cathedral. A suspicion immediately arose that Gibbons had died of the plague, which was rife in England that year. Two physicians who had been present at his death were ordered to make a report, and performed an autopsy, the account of which survives in The National Archives:
We whose names are here underwritten: having been called to give our counsels to Mr. Orlando Gibbons; in the time of his late and sudden sickness, which we found in the beginning lethargical, or a profound sleep; out of which, we could never recover him, neither by inward nor outward medicines, & then instantly he fell in most strong, & sharp convulsions; which did wring his mouth up to his ears, & his eyes were distorted, as though they would have been thrust out of his head & then suddenly he lost both speech, sight and hearing, & so grew apoplectical & lost the whole motion of every part of his body, & so died. Then here upon (his death being so sudden) rumours were cast out that he did die of the plague, whereupon we . . . caused his body to be searched by certain women that were sworn to deliver the truth, who did affirm that they never saw a fairer corpse. Yet notwithstanding we to give full satisfaction to all did cause the skull to be opened in our presence & we carefully viewed the body, which we found also to be very clean without any show or spot of any contagious matter. In the brain we found the whole & sole cause of his sickness namely a great admirable blackness & syderation in the outside of the brain. Within the brain (being opened) there did issue out abundance of water intermixed with blood & this we affirm to be the only cause of his sudden death.
His death was a shock to peers and the suddenness of his passing drew comment more for the haste of his burial – and of its location at Canterbury rather than the body being returned to London. His wife, Elizabeth, died a little over a year later, aged in her mid-30s, leaving Orlando's eldest brother, Edward, to care for the children left orphans by this event. Of these children only the eldest son, Christopher Gibbons, went on to become a musician.
One of the most versatile English composers of his time, Gibbons wrote a quantity of keyboard works, around thirty fantasias for viols, a number of madrigals (the best-known being "The Silver Swan"), and many popular verse anthems. His choral music is distinguished by his complete mastery of counterpoint, combined with his wonderful gift for melody. Perhaps his most well known verse anthem is This is the record of John, which sets an Advent text for solo countertenor or tenor, alternating with full chorus. The soloist is required to demonstrate considerable technical facility at points, and the work at once expresses the rhetorical force of the text, whilst never being demonstrative or bombastic. He also produced two major settings of Evensong, the Short Service and the Second Service. The former includes a beautifully expressive Nunc dimittis, while the latter is an extended composition, combining verse and full sections. Gibbons's full anthems include the expressive O Lord, in thy wrath, and the Ascension Day anthem O clap your hands together for eight voices.
He contributed six pieces to the first printed collection of keyboard music in England, Parthenia (to which he was by far the youngest of the three contributors), published in about 1611. Gibbons's surviving keyboard output comprises some 45 pieces. The polyphonic fantasia and dance forms are the best represented genres. Gibbons's writing exhibits full mastery of three- and four-part counterpoint. Most of the fantasias are complex, multisectional pieces, treating multiple subjects imitatively. Gibbons's approach to melody in both fantasias and dances features a capability for almost limitless development of simple musical ideas, on display in works such as Pavane in D minor and Lord Salisbury's Pavan and Galliard.
In the 20th century, the Canadian pianist Glenn Gould championed Gibbons's music, and named him as his favorite composer. Gould wrote of Gibbons's hymns and anthems: "ever since my teen-age years this music ... has moved me more deeply than any other sound experience I can think of." In one interview, Gould compared Gibbons to Beethoven and Webern:
...despite the requisite quota of scales and shakes in such half-hearted virtuoso vehicles as the Salisbury Galliard, one is never quite able to counter the impression of music of supreme beauty that lacks its ideal means of reproduction. Like Beethoven in his last quartets, or Webern at almost any time, Gibbons is an artist of such intractable commitment that, in the keyboard field, at least, his works work better in one's memory, or on paper, than they ever can through the intercession of a sounding-board.
To this day, Gibbons's obit service is commemorated every year in King's College Chapel, Cambridge.
--wikipedia.org
Orlando Gibbons
Carolyn Winfrey Gillette
b. 1961 Scripture: Hebrews 11, 12:1 Author of "Lord, What a Cloud of Witnesses" in Songs of Grace Carolyn Winfrey Gillette has been a pastor in rural, small town, suburban, and city churches; she has also served as a hospice chaplain, a hospital chaplain, and a school bus aide helping children with special needs. She and her husband Bruce are pastors of the First Presbyterian Union Church in Owego, NY.
Carolyn is a gifted hymn writer who has written over 400 hymns. These hymns have been sung by congregations throughout the United States and around the world — from the Washington National Cathedral to St. Giles' Cathedral in Edinburgh, Scotland to St. George's Cathedral in Cape Town, South Africa to small town churches and small household congregations; they have also been sung at national church and international ecumenical meetings.
She has written four books: "I Sing to My Savior: New Hymns from the Stories in Luke's Gospel", "God's World is Changing: New Hymns for Advent and Christmas", "Gifts of Love: New Hymns for Today's Worship" (Geneva Press) and "Songs of Grace: New Hymns for God and Neighbo"r (Upper Room Books). Her hymns have been published in over 20 books. Two of her hymns have been published by the Choristers Guild as anthems. Carolyn was commissioned to write the lead article for the special issue on "Singing Our Lives" for Baylor University's "Christian Reflectio"n journal. Her hymns have also been in "Call to Worship" journal, "The Chorister" (cover story), "Reformed Worship," "The Presbyterian Outlook" and posted on thousands of web sites. All of her hymns can be found on her website with indices to scriptural references, topics, tunes, and the three-year cycle of the Revised Common Lectionary: http://www.carolynshymns.com
The World Council of Churches, National Council of Churches, Church World Service and Churches Uniting in Christ have asked her to write hymns. Habitat for Humanity International used a hymn by Carolyn for their 30th anniversary celebration. Family Promise (Interfaith Hospitality Network) did a music video of her hymn for their ministry with homeless families. The Humane Society of the United States did a music video contest of her hymn for their Blessing of the Animals service. The Presbyterian Church (USA) 216th General Assembly presented her with the "Ecumenical and Interreligious Service Recognition." Sojourners did a short video about her hymn writing. A Canadian scholar wrote her biography for the "Cambridge Dictionary for Hymnology."
Feature stories about Carolyn's hymns addressing concerns facing the Church, nation and world, were done by The New Yorker, The Christian Century, America, National Public Radio, national PBS-TV, and newspapers (Philadelphia Inquirer, Washington Post, New Jersey Courier Post, Delaware News Journal, and others).
Carolyn is a graduate of Lebanon Valley College and Princeton Theological Seminary. She finds joy in parish ministry, hymn writing, and most of all in her family as a wife, mother (and foster mother), grandmother, sister, and human parent to a rescue dog, "Annie."
Carolyn sees her hymn writing as a partnership and is very grateful for prayers for her hymn writing, suggestions for hymns, gifts for hymn use and commissions, and invitations to speak at conferences, workshops, and church gatherings (in person and online). She hopes her hymns nurture people in their discipleship and support churches in their worship and service in the world. Sing to the Lord a new song!
Copied from "About the Author" in "I Sing to My Savior: New Hymns from the Stories in Luke's Gospel."
Email from Bruce Gillette
Carolyn Winfrey Gillette
Richard Gillard
b. 1953 Person Name: Richard A.M. Gillard, b. 1953 Scripture: Hebrews 11:8 Author of "Brother, sister, let me serve you" in Singing the Faith Gillard, Richard. (Malmesbury, Wiltshire County, England, May 22, 1953- ). The eldest of six children, he emigrated to New Zealand with his family when he was three years old. Writes, "I've had almost no formal musical training. I'm a self-taught guitarist and play mostly in a folk style." Regarding "The Servant Song," he says it "was first published in 1978 on a record album by Scripture in Song called "Father Make Us One" and has appeared subsequently in other Scripture in Song publications including a song book entitled "Songs of Praise" which is widely used by New Zealand congregations. It has also been recorded by the St. Pauls Singers of St Pauls Anglican Church. This album, called New Harvest introduces songs and hymns from their own songbook of the same name."
--Letter from Richard Gillard to Mary Louise VanDyke, 25 March 1987, DNAH Archives
Richard Gillard
