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Author: Samuel Crossman Meter: 6.6.6.6.4.4.4.4 Appears in 127 hymnals Scripture: Mark 11:8-9 Lyrics: 1 My song is love unknown, my Savior’s love to me, love to the loveless shown that they might lovely be. O who am I, that for my sake my Lord should take frail flesh, and die? 2 He came from his blest throne all made strange, and none the longed-for Christ would know. But, O, my Friend, my fFiend indeed, who at my need his life did spend! 3 Sometimes they strew his way, and his strong praises sing, resounding all the way Hosannas to their King. Then “Crucify!” is all their breath, and for his death they thirst and cry. 4 Why, what hath my Lord done? What makes this rage and spite? He made the lame to run, he gave the blind their sight. Sweet injuries! Ye they at these themselves displease, and 'gainst him rise. 5 They rise, and needs will have my dear Lord made away; a murderer they save, the Prince of life they slay. Yet cheerful he to suff'ring goes, that he his foes from thence might free. 6 In life, no house, no home my Lord on earth might have; in death, no friendly tomb but what a stranger gave. What may I say? Heaven was his home, but mine the tomb wherein he lay. 7 Here might I stay and sing, no story so divine: never was love, dear King, never was grief like thine. This is my Friend, in whose sweet praise I all my days could gladly spend. Topics: Jesus Christ Passion and Cross Used With Tune: LOVE UNKNOWN

Mantos y palmas esparciendo (Filled with excitement)

Author: Rubèn Ruiz Avila (b. 1945); Gertrude C. Suppe Meter: 10.10.10.10 with refrain Appears in 25 hymnals Scripture: Mark 11:8-10 First Line: Mantos y palmas esparciendo va (Filled with excitement, all the happy throng) Refrain First Line: Mientras mil voces resuenan por doquier (From every corner a thousand voices sing) Topics: Hymns and Spiritual Songs Lent, Holy Week, and Easter Used With Tune: HOSANNA

Mi Fe Espera En Ti

Author: B. S. Appears in 14 hymnals Scripture: Mark 11:22 Used With Tune: [Mi fe espera en Ti]

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Tunes

Tune authorities

[Mi fe espera en Ti]

Appears in 1,040 hymnals Composer and/or Arranger: Lowell Mason Scripture: Mark 11:22 Tune Key: E Flat Major Incipit: 13554 32244 32326 Used With Text: Mi Fe Espera En Ti

MORNING SONG

Meter: 8.6.8.6 Appears in 170 hymnals Composer and/or Arranger: Charles Winfred Douglas, 1867-1944 Scripture: Mark 11:1-10 Tune Sources: Early American melody from 'Kentucky Harmony', 1816 Tune Key: f minor Incipit: 51234 32175 51234 Used With Text: The glory of our King was seen

McCONNELSVLLE

Appears in 207 hymnals Composer and/or Arranger: Leila N. Morris Scripture: Mark 11:23 Tune Key: A Flat Major Incipit: 55553 51235 17777 Used With Text: If You Are Tired of the Load

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Instances

Published text-tune combinations (hymns) from specific hymnals

Man of Sorrows! What a Name

Author: Philip P. Bliss Hymnal: Trinity Psalter Hymnal #352 (2018) Meter: 7.7.7.8 Scripture: Mark 11:1-10 Lyrics: 1 Man of sorrows! what a name for the Son of God, who came ruined sinners to reclaim: Hallelujah, what a Savior! 2 Bearing shame and scoffing rude, in my place condemned he stood, sealed my pardon with his blood: Hallelujah, what a Savior! 3 Guilty, vile, and helpless, we; spotless Lamb of God was he; full atonement! can it be? Hallelujah, what a Savior! 4 Lifted up was he to die, "It is finished!" was his cry; now in heav'n exalted high: Hallelujah, what a Savior! 5 When he comes, our glorious King, all his ransomed home to bring, then anew this song we'll sing: Hallelujah, what a Savior! Topics: Blessed Hope; Christ Humiliation of; Christ As Lamb of God; Christ As Man of Sorrows; Christ Passion and Atoning Death of Languages: English Tune Title: HALLELUJAH! WHAT A SAVIOR

Mass of the Spirit (Kevin Mayhew)

Hymnal: Complete Anglican Hymns Old and New #954 (2000) Scripture: Mark 11:9-10 First Line: Lord, have mercy Lyrics: Kyrie: Lord, have mercy. Lord, have mercy. Lord, have mercy. Christ, have mercy. Christ, have mercy. Christ, have mercy. Lord, have mercy. Lord, have mercy. Lord, have mercy. Gloria: Glory to God in the highest, and peace to his people on earth. Lord God, heavenly King, almighty God and Father, we worship you, we give you thanks, we praise you for your glory. Lord Jesus Christ, only Son of the Father, Lord God, Lamb of God, you take away the sin of the world: have mercy on us; you are seated at the right hand of the Father; receive our prayer. For you alone are the Holy One, you alone are the Lord, you alone are the Most High. Jesus Christ, with the Holy Spirit, in the glory of God the Father. Amen, amen. Sanctus: Holy, holy, holy Lord, God of power and might, heaven and earth are full of your glory. Hosanna in the highest. Blessed is he who comes in the name of the Lord. Hosanna in the highest. Agnus Dei: Lamb of God, you take away the sins of the world: have mercy on us. Lamb of God, you take away the sins of the world: have mercy on us. Lamb of God, you take away the sins of the world: grant us peace. Topics: Holy Communion Languages: English Tune Title: [Lord, have mercy]

Mass of the Bread of Life (Margaret Rizza)

Hymnal: Complete Anglican Hymns Old and New #955 (2000) Scripture: Mark 11:9-10 First Line: Lord, have mercy Lyrics: Kyrie: Lord, have mercy. Lord, have mercy. Lord, have mercy. Lord, have mercy. Christ, have mercy. Christ, have mercy. Christ, have mercy. Christ, have mercy. Lord, have mercy, Lord, have mercy. Lord, have mercy, Lord, have mercy. Gloria: Glory, glory to God, glory to God in the highest; peace to his people on earth, peace to his people on earth. Lord God, heavenly King, almighty God and Father, we worship you, we give you thanks, we praise you for your glory. Glory, glory to God, glory to God in the highest; peace to his people on earth, peace to his people on earth. Lord Jesus Christ, only Son of the Father, Lord God, Lamb of God, you take away the sin of the world: have mercy on us; you are seated at the right hand of the Father: receive our prayer, receive our prayer, receive our prayer. You alone are the Holy One, you alone are the Lord, you alone are the Lord, you alone are the Most High. Jesus Christ, with the Holy Spirit, in the glory, the glory, the glory of God the Father. Amen, amen, amen, amen, amen, amen. Sanctus: Holy, holy, holy Lord, God of pow'r and God of might, heaven and earth are full of your glory. Hosanna in the highest; hosanna, hosanna, hosanna in the highest; hosanna, hosanna, hosanna in the highest. Blessed is he, blessed is he, blessed is he who comes in the name, he who comes in the name of the Lord. Hosanna in the highest, hosanna, hosanna, hosanna in the highest, hosanna, hosanna, hosanna in the highest. Memorial Acclamation: Let us proclaim the myst'ry of faith: Christ has died, Christ is risen, Christ will come again. Christ has died, Christ is risen, Christ will come again. Hosanna, hosanna, hosanna in the highest, hosanna, hosanna, hosanna in the highest. Great Amen: Through him, with him, in him, in the unity of the Holy Spirit, all glory and honour is yours, almighty Father for ever and ever. Amen, amen, amen, amen, amen, amen. Agnus Dei: Jesus, Lamb of God, Jesus, Lamb of God, you take away the sins of the world: have mercy on us. Jesus, Lamb of God, Jesus, Lamb of God, you take away the sins of the world: have mercy on us. Jesus, Lamb of God, Jesus, Lamb of God, you take away the sins of the world: grant us your peace, grant us your peace. Topics: Holy Communion Languages: English Tune Title: [Lord, have mercy]

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People

Authors, composers, editors, etc.

Henry Hart Milman

1791 - 1868 Scripture: Mark 11:7-11 Author of "Ride On! Ride On in Majesty!" in The Presbyterian Hymnal Milman, Henry Hart, D.D., the youngest son of Sir Francis Milman (who received his Baronetage as an eminent Court physician), was born Feb. 10th, 1791, and educated at Dr. Burney's at Greenwich, and subsequently at Eton. His career at B. N. C. Oxford, was brilliant. He took a first class in classics, and carried off the Newdigate, Latin Verse, Latin Essay, and English Essay. His Newdigate on the Apollo Belvedere, 1812, is styled by Dean Stanley "the most perfect of Oxford prize poems." His literary career for several years promised to be poetical. His tragedy Fazio was played at Covent Garden, Miss O'Neill acting Bianca. Samor was written in the year of his appointment to St. Mary's, Reading (1817); The Fall of Jerusalem (1820); Belshazzar and The Martyr of Antioch (1822), and Anne Boleyn, gained a brilliant reception from the reviewers and the public. He was appointed Poetry Professor at Oxford in 1821, and was succeeded ten years after by Keble. It must have been before 1823, the date of Heber's consecration to Calcutta, that the 13 hymns he contributed to Heber's Hymns were composed. But his poetry was only the prelude to his larger work. The Bampton Lectures (1827) mark his transition to theological study, and the future direction of it was permanently fixed by his History of the Jews (1829). This book raised a storm of obloquy. It was denounced from the University pulpit, and in the British Critic. "It was the first decisive inroad of German theology into England, the first palpable indication that the Bible could be studied like another book, that the characters and events of the sacred history could be treated at once critically and reverently" (Dean Stanley). In 1835 he was presented by Sir Robert Peel to a Canonry at Westminster and the Rectory of St. Margaret's. In 1839 appeared his valuable edition of Gibbon's Decline and Fall; and in 1840 his History of Christianity to the Abolition of Paganism in the Roman Empire. Among his minor works in a different field were his Life of Keats and his edition and Life of Horace. It was not till 1854 that his greatest work—-for "vast and varied learning, indefatigable industry, calm impartiality, and subtle and acute criticism, among the most memorable in our language" (Quart Rev.)—-Latin Christianity—-appeared. He had been appointed Dean of St. Paul's in 1849. The great services under the dome originated in his tenure of the Deanery. His latest work, published after his death, Sept. 24, 1868, was The Annals of St. Paul’s. Though one of the most illustrious in the school of English liberal theology, he had no sympathy with the extreme speculations of Germany. The "criticism" of Tübingen "will rarely bear criticism." He "should like an Ewald to criticise Ewald." "Christianity will survive the criticism of Dr. Strauss," and the "bright flashing artillery" of Rénan. His historical style has been compared to Gibbon in its use of epigram and antithesis. His narrative is full of rapidity of movement. His long complex paragraphs have often a splendour of imagination as well as wealth of thought. All the varied powers of his mind found vent in his conversation; he was called, after his death, "the last of the great converters." The catalogue of his friends from the days of Heber, "his early friend," to those of Hallam, Macaulay, and Dean Stanley, was long and distinguished. Milman's 13 hymns were published in Heber's posthumous Hymns in 1827, and subsequently in his own Selection of Psalms & Hymns, 1837. The fine hymn for The Burial of the Dead, in Thring's Collection, "Brother, thou art gone before us," is from The Martyr of Antioch (1822). Like Heber's, they aim at higher literary expression and lyric grace. He makes free use of refrains. The structure is often excellent. His style is less florid and fuller of burning, sometimes lurid force than Heber's. His hymn for the 16th Sunday after Trinity, "When our heads are bowed with woe," has no peer in its presentation of Christ's human sympathy; the hymn for the 2nd Sunday in Lent, “Oh! help us, Lord! each hour of need," is a piece of pure deep devotion. "Ride on, ride on in majesty," the hymn for Palm Sunday, is one of our best hymns. And the stanzas for Good Friday, "Bound upon the accursed tree," form one of the finest meditations on the Passion. All his hymns are still in common use. [Rev.H.Leigh Bennett, M.A.] --John Julian, Dictionary of Hymnology (1907)

William Henry Monk

1823 - 1889 Scripture: Mark 11:8-10 Arranger of "VALET WILL ICH DIR GEBEN" in The Presbyterian Hymnal William H. Monk (b. Brompton, London, England, 1823; d. London, 1889) is best known for his music editing of Hymns Ancient and Modern (1861, 1868; 1875, and 1889 editions). He also adapted music from plainsong and added accompaniments for Introits for Use Throughout the Year, a book issued with that famous hymnal. Beginning in his teenage years, Monk held a number of musical positions. He became choirmaster at King's College in London in 1847 and was organist and choirmaster at St. Matthias, Stoke Newington, from 1852 to 1889, where he was influenced by the Oxford Movement. At St. Matthias, Monk also began daily choral services with the choir leading the congregation in music chosen according to the church year, including psalms chanted to plainsong. He composed over fifty hymn tunes and edited The Scottish Hymnal (1872 edition) and Wordsworth's Hymns for the Holy Year (1862) as well as the periodical Parish Choir (1840-1851). Bert Polman

James Montgomery

1771 - 1854 Person Name: James Montgomery, 1771-1854 Scripture: Mark 11:1-10 Author of "Hail to the Lord’s anointed" in Together in Song James Montgomery (b. Irvine, Ayrshire, Scotland, 1771; d. Sheffield, Yorkshire, England, 1854), the son of Moravian parents who died on a West Indies mission field while he was in boarding school, Montgomery inherited a strong religious bent, a passion for missions, and an independent mind. He was editor of the Sheffield Iris (1796-1827), a newspaper that sometimes espoused radical causes. Montgomery was imprisoned briefly when he printed a song that celebrated the fall of the Bastille and again when he described a riot in Sheffield that reflected unfavorably on a military commander. He also protested against slavery, the lot of boy chimney sweeps, and lotteries. Associated with Christians of various persuasions, Montgomery supported missions and the British Bible Society. He published eleven volumes of poetry, mainly his own, and at least four hundred hymns. Some critics judge his hymn texts to be equal in quality to those of Isaac Watts and Charles Wesley . Many were published in Thomas Cotterill's Selection of Psalms and Hymns (1819 edition) and in Montgomery's own Songs of Zion (1822), Christian Psalmist (1825), and Original Hymns (1853). Bert Polman ======================== Montgomery, James, son of John Montgomery, a Moravian minister, was born at Irvine, Ayrshire, Nov. 4, 1771. In 1776 he removed with his parents to the Moravian Settlement at Gracehill, near Ballymena, county of Antrim. Two years after he was sent to the Fulneck Seminary, Yorkshire. He left Fulneck in 1787, and entered a retail shop at Mirfield, near Wakefield. Soon tiring of that he entered upon a similar situation at Wath, near Rotherham, only to find it quite as unsuitable to his taste as the former. A journey to London, with the hope of finding a publisher for his youthful poems ended in failure; and in 1792 he was glad to leave Wath for Shefield to join Mr. Gales, an auctioneer, bookseller, and printer of the Sheffield Register newspaper, as his assistant. In 1794 Mr. Gales left England to avoid a political prosecution. Montgomery took the Sheffield Register in hand, changed its name to The Sheffield Iris, and continued to edit it for thirty-one years. During the next two years he was imprisoned twice, first for reprinting therein a song in commemoration of "The Fall of the Bastille," and the second for giving an account of a riot in Sheffield. The editing of his paper, the composition and publication of his poems and hynms, the delivery of lectures on poetry in Sheffield and at the Royal Institution, London, and the earnest advocacy of Foreign Missions and the Bible Society in many parts of the country, gave great variety but very little of stirring incident to his life. In 1833 he received a Royal pension of £200 a year. He died in his sleep, at the Mount, Sheffield, April 30, 1854, and was honoured with a public funeral. A statue was erected to his memory in the Sheffield General Cemetery, and a stained glass window in the Parish Church. A Wesleyan chapel and a public hall are also named in his honour. Montgomery's principal poetical works, including those which he edited, were:— (1) Prison Amusements, 1797; (2) The Wanderer of Switzerland, 1806; (3) The West Indies, 1807; (4) The World before the Flood, 1813; (5) Greenland and Other Poems, 1819; (6) Songs of Zion, 1822; (7) The Christian Psalmist, 1825; (8) The Christian Poet, 1825; (9) The Pelican Island, 1828; (10) The Poet’s Portfolio, 1835; (11) Original Hymns for Public, Private, and Social Devotion, 1853. He also published minor pieces at various times, and four editions of his Poetical Works, the first in 1828, the second in 1836, the third in 1841, and the fourth in 1854. Most of these works contained original hymns. He also contributed largely to Collyer's Collection, 1812, and other hymnbooks published during the next 40 years, amongst which the most noticeable was Cotterill's Selections of 1819, in which more than 50 of his compositions appeared. In his Christian Psalmist, 1825, there are 100 of his hymns, and in his Original Hymns, 1853, 355 and 5 doxologies. His Songs of Zion, 1822, number 56. Deducting those which are repeated in the Original Hymns, there remain about 400 original compositions. Of Montgomery's 400 hymns (including his versions of the Psalms) more than 100 are still in common use. With the aid of Montgomery's MSS. we have given a detailed account of a large number. The rest are as follows:— i. Appeared in Collyer's Collection, 1812. 1. Jesus, our best beloved Friend. Personal Dedication to Christ. 2. When on Sinai's top I see. Sinai, Tabor, and Calvary. ii. Appeared in Cotterill's Selection, 1819. 3. Come to Calvary's holy mountain. The Open Fountain. 4. God in the high and holy place. God in Nature. The cento in Com. Praise, 1879, and others, "If God hath made this world so fair," is from this hymn. 5. Hear me, O Lord, in my distress. Ps. cxliii. 6. Heaven is a place of rest from sin. Preparation for Heaven. 7. I cried unto the Lord most just. Ps. cxlii. 8. Lord, let my prayer like incense rise. Ps. cxxxix. 9. O bless the Lord, my soul! His grace to thee proclaim. Ps. ciii. 10. Out of the depths of woe. Ps. cxxx. Sometimes "When from the depths of woe." 11. The world in condemnation lay. Redemption. 12. Where are the dead? In heaven or hell? The Living and the Dead. iii. Appeared in his Songs of Zion, 1822. 13. Give glory to God in the highest. Ps. xxix. 14. Glad was my heart to hear. Ps. cxxii. 15. God be merciful to me. Ps. lxix. 16. God is my strong salvation. Ps. xxvii. 17. Hasten, Lord, to my release. Ps. lxx. 18. Have mercy on me, O my God. Ps. li. 19. Hearken, Lord, to my complaints. Ps. xlii. 20. Heralds of creation cry. Ps. cxlviii. 21. How beautiful the sight. Ps. cxxxiii. 22. How precious are Thy thoughts of peace. Ps. cxxxix. 23. I love the Lord, He lent an ear. Ps. cxvi. 24. In time of tribulation. Ps. lxxvii. 25. Jehovah is great, and great be His praise. Ps. xlviii. Sometimes, "0 great is Jehovah, and great is His Name." 26. Judge me, O Lord, in righteousness. Ps. xliii. 27. Lift up your heads, ye gates, and wide. Ps.xxiv. 28. Lord, let me know mine [my] end. Ps. xxxi. 29. Of old, 0 God, Thine own right hand. Ps. lxxx. 30. O God, Thou art [my] the God alone. Ps. lxiii. 31. 0 Lord, our King, how excellent. Ps. viii. Sometimes, "0 Lord, how excellent is Thy name." 32. O my soul, with all thy powers. Ps. ciii. 33. One thing with all my soul's desire. Ps. xxvii. From this, "Grant me within Thy courts a place." 34. Searcher of hearts, to Thee are known. Ps. cxxxix. 35. Thank and praise Jehovah's name. Ps. cvii. 36. Thee will I praise, O Lord in light. Ps. cxxxviii. 37. The Lord is King; upon His throne. Ps. xciii. 38. The Lord is my Shepherd, no want shall I know. Ps. xxiii. 39. The tempter to my soul hath said. Ps. iii. 40. Thrice happy he who shuns the way. Ps. i. 41. Thy glory, Lord, the heavens declare. Ps. xix. 42. Thy law is perfect, Lord of light. Ps. xix. 43. Who make the Lord of hosts their tower. Ps. cxxv. 44. Yea, I will extol Thee. Ps. xxx. iv. Appeared in his Christian Psalmist. 1825. 45. Fall down, ye nations, and adore. Universal adoration of God desired. 46. Food, raiment, dwelling, health, and friends. The Family Altar. 47. Go where a foot hath never trod. Moses in the desert. Previously in the Leeds Congregational Collection, 1822. 48. Green pastures and clear streams. The Good Shepherd and His Flock. 49. Less than the least of all. Mercies acknowledged. 50. Not to the mount that burned with fire [flame]. Communion of Saints. 51. On the first Christian Sabbath eve. Easter Sunday Evening. 52. One prayer I have: all prayers in one. Resignation. 53. Our heavenly Father hear. The Lord's Prayer. 54. Return, my soul, unto thy rest. Rest in God. 55. Spirit of power and might, behold. The Spirit's renewing desired. 56. The Christian warrior, see him stand. The Christian Soldier. Sometimes, "Behold the Christian warrior stand." 57. The days and years of time are fled. Day of Judgment. 58. The glorious universe around. Unity. 59. The pure and peaceful mind. A Children's Prayer. 60. This is the day the Lord hath made (q. v.). Sunday. 61. Thy word, Almighty Lord. Close of Service. 62. What secret hand at morning light ? Morning. 63. While through this changing world we roam. Heaven. 64. Within these walls be peace. For Sunday Schools. v. Appeared in his Original Hymns, 1853. 65. Behold yon bright array. Opening a Place of Worship. 66. Behold the book whose leaves display. Holy Scriptures. 67. Come ye that fear the Lord. Confirmation. 68. Home, kindred, friends, and country, these. Farewell to a Missionary. 69. Let me go, the day is breaking. Jacob wrestling. 70. Not in Jerusalem alone. Consecration of a Church. 71. Praise the high and holy One. God the Creator. In common with most poets and hymnwriters, Montgomery strongly objected to any correction or rearrangement of his compositions. At the same time he did not hesitate to alter, rearrange, and amend the productions of others. The altered texts which appeared in Cotterill's Selections, 1819, and which in numerous instances are still retained in some of the best hymnbooks, as the "Rock of Ages," in its well-known form of three stanzas, and others of equal importance, were made principally by him for Cotterill's use. We have this confession under his own hand. As a poet, Montgomery stands well to the front; and as a writer of hymns he ranks in popularity with Wesley, Watts, Doddridge, Newton, and Cowper. His best hymns were written in his earlier years. In his old age he wrote much that was unworthy of his reputation. His finest lyrics are "Angels from the realms of glory," "Go to dark Gethsemane," "Hail to the Lord's Anointed," and "Songs of praise the angels sang." His "Prayer is the soul's sincere desire," is an expanded definition of prayer of great beauty; and his "Forever with the Lord" is full of lyric fire and deep feeling. The secrets of his power as a writer of hymns were manifold. His poetic genius was of a high order, higher than most who stand with him in the front rank of Christian poets. His ear for rhythm was exceedingly accurate and refined. His knowledge of Holy Scripture was most extensive. His religious views were broad and charitable. His devotional spirit was of the holiest type. With the faith of a strong man he united the beauty and simplicity of a child. Richly poetic without exuberance, dogmatic without uncharitableness, tender without sentimentality, elaborate without diffusiveness, richly musical without apparent effort, he has bequeathed to the Church of Christ wealth which could onlv have come from a true genius and a sanctified! heart. --John Julian, Dictionary of Hymnology (1907)

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