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Christ High-Ascended
Author: Timothy Dudley-Smith Meter: 11.11.11.6 Appears in 9 hymnals First Line: Christ high-ascended, now in glory seated Lyrics: 1 Christ high-ascended, now in glory seated, throned ... , we are his witnesses. 2 Christ from the Father every power ... , we are his witnesses. 4 Christ in his splendor, all dominion ... gaining, Christ with his people evermore remaining ... Topics: Ascension Day; Jesus Christ Final Victory; Proclamation; Saving Work of Christ Scripture: Luke 24:50 Used With Tune: CHRISTE SANCTORUM
Christ High-Ascended
Since Our Great High Priest, Christ Jesus
Author: Christopher M. Idle Meter: 8.7.8.7.7.7 Appears in 8 hymnals Lyrics: great high priest, Christ Jesus, bears the ... Since our great high priest, Christ ... glory raised, our ascended Lord, be ...
Since Our Great High Priest, Christ Jesus
The Lord ascendeth up on high
Author: Arthur Russell, 1806-1874 Meter: 8.7.8.7.8.8.7 Appears in 37 hymnals Lyrics: ... The Lord ascendeth up on high, loud anthems round him swelling ... to Christ our King be given, who hath to heaven ascended: To ... Topics: Ascension; Easter VII Year B; Proper 25 Year B Scripture: Colossians 2:15 Used With Tune: NUN FREUT EUCH
The Lord ascendeth up on high
CHRIST IST ERSTANDEN
Meter: 7.7.7.7.4 with refrain Appears in 74 hymnals Composer and/or Arranger: Dale Grotenhuis Tune Key: a minor Incipit: 54571 55453 23114 Used With Text: Christ the Lord Ascends to Reign
CHRIST IST ERSTANDEN
Christ High-Ascended
Author: Timothy Dudley-Smith (b. 1926) Hymnal: Moravian Book of Worship #626 (1995) Meter: 11.11.11.6 First Line: Christ high-ascended, now in glory seated Lyrics: 1 Christ high-ascended, now in glory seated, ... are his witnesses. 2 Christ from the Father ev'ry ... are his witnesses. 3 Christ, who in dying won ... are his witnesses. 4 Christ in his splendor, all ... dominion gaining, Christ with his people evermore ... Topics: Spread of the Gospel; Christ--Presence of; Christ--Victorious; Spread of the Gospel; Trust and Confidence Scripture: Colossians 3:1-17 Languages: English Tune Title: CHRISTE SANCTORUM
Christ High-Ascended
Christ High-Ascended
Author: Timothy Dudley-Smith Hymnal: The Worshiping Church #734 (1990) Meter: 11.11.11.6 First Line: Christ high-ascended, now in glory seated Lyrics: 1 Christ high-ascended, now in glory seated, throned ... , we are his witnesses. 2 Christ from the Father every power ... , we are his witnesses. 4 Christ in his splendor, all dominion ... gaining, Christ with his people evermore remaining ... Topics: Ascension Day; Jesus Christ Final Victory; Proclamation; Saving Work of Christ Scripture: Luke 24:50 Languages: English Tune Title: CHRISTE SANCTORUM
Christ High-Ascended
Christ High-Ascended
Author: Timothy Dudley-Smith, 1926- Hymnal: Worship and Rejoice #324 (2003) Meter: 11.11.11.6 First Line: Christ high-ascended, now in glory seated Lyrics: 1 Christ high-ascended, now in glory seated, throned ... , we are his witnesses. 2 Christ from the Father every power ... , we are his witnesses. 4 Christ in his splendor, all dominion ... gaining, Christ with his people evermore remaining ... Scripture: Ephesians 4:8 Languages: English Tune Title: CHRISTE SANCTORUM
Christ High-Ascended
Lowell Mason
1792 - 1872 Composer of "MISSIONARY HYMN" in Trinity Psalter Hymnal Dr. Lowell Mason (the degree was conferred by the University of New York) is justly called the father of American church music; and by his labors were founded the germinating principles of national musical intelligence and knowledge, which afforded a soil upon which all higher musical culture has been founded. To him we owe some of our best ideas in religious church music, elementary musical education, music in the schools, the popularization of classical chorus singing, and the art of teaching music upon the Inductive or Pestalozzian plan. More than that, we owe him no small share of the respect which the profession of music enjoys at the present time as contrasted with the contempt in which it was held a century or more ago. In fact, the entire art of music, as now understood and practiced in America, has derived advantage from the work of this great man.
Lowell Mason was born in Medfield, Mass., January 8, 1792. From childhood he had manifested an intense love for music, and had devoted all his spare time and effort to improving himself according to such opportunities as were available to him. At the age of twenty he found himself filling a clerkship in a banking house in Savannah, Ga. Here he lost no opportunity of gratifying his passion for musical advancement, and was fortunate to meet for the first time a thoroughly qualified instructor, in the person of F. L. Abel. Applying his spare hours assiduously to the cultivation of the pursuit to which his passion inclined him, he soon acquired a proficiency that enabled him to enter the field of original composition, and his first work of this kind was embodied in the compilation of a collection of church music, which contained many of his own compositions. The manuscript was offered unavailingly to publishers in Philadelphia and in Boston. Fortunately for our musical advancement it finally secured the attention of the Boston Handel and Haydn Society, and by its committee was submitted to Dr. G. K. Jackson, the severest critic in Boston. Dr. Jackson approved most heartily of the work, and added a few of his own compositions to it. Thus enlarged, it was finally published in 1822 as The Handel and Haydn Society Collection of Church Music. Mason's name was omitted from the publication at his own request, which he thus explains, "I was then a bank officer in Savannah, and did not wish to be known as a musical man, as I had not the least thought of ever making music a profession." President Winchester, of the Handel and Haydn Society, sold the copyright for the young man. Mr. Mason went back to Savannah with probably $500 in his pocket as the preliminary result of his Boston visit.
The book soon sprang into universal popularity, being at once adopted by the singing schools of New England, and through this means entering into the church choirs, to whom it opened up a higher field of harmonic beauty. Its career of success ran through some seventeen editions. On realizing this success, Mason determined to accept an invitation to come to Boston and enter upon a musical career. This was in 1826. He was made an honorary member of the Handel and Haydn Society, but declined to accept this, and entered the ranks as an active member. He had been invited to come to Boston by President Winchester and other musical friends and was guaranteed an income of $2,000 a year. He was also appointed, by the influence of these friends, director of music at the Hanover, Green, and Park Street churches, to alternate six months with each congregation. Finally he made a permanent arrangement with the Bowdoin Street Church, and gave up the guarantee, but again friendly influence stepped in and procured for him the position of teller at the American Bank.
In 1827 Lowell Mason became president and conductor of the Handel and Haydn Society. It was the beginning of a career that was to win for him as has been already stated the title of "The Father of American Church Music." Although this may seem rather a bold claim it is not too much under the circumstances. Mr. Mason might have been in the average ranks of musicianship had he lived in Europe; in America he was well in advance of his surroundings. It was not too high praise (in spite of Mason's very simple style) when Dr. Jackson wrote of his song collection: "It is much the best book I have seen published in this country, and I do not hesitate to give it my most decided approbation," or that the great contrapuntist, Hauptmann, should say the harmonies of the tunes were dignified and churchlike and that the counterpoint was good, plain, singable and melodious.
Charles C. Perkins gives a few of the reasons why Lowell Mason was the very man to lead American music as it then existed. He says, "First and foremost, he was not so very much superior to the members as to be unreasonably impatient at their shortcomings. Second, he was a born teacher, who, by hard work, had fitted himself to give instruction in singing. Third, he was one of themselves, a plain, self-made man, who could understand them and be understood of them."
The personality of Dr. Mason was of great use to the art and appreciation of music in this country. He was of strong mind, dignified manners, sensitive, yet sweet and engaging.
Prof. Horace Mann, one of the great educators of that day, said he would walk fifty miles to see and hear Mr. Mason teach if he could not otherwise have that advantage.
Dr. Mason visited a number of the music schools in Europe, studied their methods, and incorporated the best things in his own work. He founded the Boston Academy of Music. The aim of this institution was to reach the masses and introduce music into the public schools. Dr. Mason resided in Boston from 1826 to 1851, when he removed to New York. Not only Boston benefited directly by this enthusiastic teacher's instruction, but he was constantly traveling to other societies in distant cities and helping their work. He had a notable class at North Reading, Mass., and he went in his later years as far as Rochester, where he trained a chorus of five hundred voices, many of them teachers, and some of them coming long distances to study under him. Before 1810 he had developed his idea of "Teachers' Conventions," and, as in these he had representatives from different states, he made musical missionaries for almost the entire country. He left behind him no less than fifty volumes of musical collections, instruction books, and manuals.
As a composer of solid, enduring church music. Dr. Mason was one of the most successful this country has introduced. He was a deeply pious man, and was a communicant of the Presbyterian Church. Dr. Mason in 1817 married Miss Abigail Gregory, of Leesborough, Mass. The family consisted of four sons, Daniel Gregory, Lowell, William and Henry. The two former founded the publishing house of Mason Bros., dissolved by the death of the former in 1869. Lowell and Henry were the founders of the great organ manufacturer of Mason & Hamlin. Dr. William Mason was one of the most eminent musicians that America has yet produced.
Dr. Lowell Mason died at "Silverspring," a beautiful residence on the side of Orange Mountain, New Jersey, August 11, 1872, bequeathing his great musical library, much of which had been collected abroad, to Yale College.
--Hall, J. H. (c1914). Biography of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company.
Lowell Mason
George Ratcliffe Woodward
1848 - 1934 Person Name: George Ratcliffe Woodward (1848-1934) Harmonizer of "PUER NOBIS NASCITUR" in Church Hymnary (4th ed.) Educated at Caius College in Cambridge, England, George R. Woodward (b. Birkenhead, Cheshire, England, 1848; d. Highgate, London, England, 1934) was ordained in the Church of England in 1874. He served in six parishes in London, Norfolk, and Suffolk. He was a gifted linguist and translator of a large number of hymns from Greek, Latin, and German. But Woodward's theory of translation was a rigid one–he held that the translation ought to reproduce the meter and rhyme scheme of the original as well as its contents. This practice did not always produce singable hymns; his translations are therefore used more often today as valuable resources than as congregational hymns. With Charles Wood he published three series of The Cowley Carol Book (1901, 1902, 1919), two editions of Songs of Syon (1904, 1910), An Italian Carol Book (1920), and the Cambridge Carol Book
George Ratcliffe Woodward
Samuel Webbe
1740 - 1816 Person Name: Samuel Webbe, the elder, 1740-1816 Composer of "MELCOMBE" in The Irish Presbyterian Hymnbook Samuel Webbe (the elder; b. London, England, 1740; d. London, 1816) Webbe's father died soon after Samuel was born without providing financial security for the family. Thus Webbe received little education and was apprenticed to a cabinetmaker at the age of eleven. However, he was determined to study and taught himself Latin, Greek, Hebrew, French, German, and Italian while working on his apprenticeship. He also worked as a music copyist and received musical training from Carl Barbant, organist at the Bavarian Embassy. Restricted at this time in England, Roman Catholic worship was freely permitted in the foreign embassies. Because Webbe was Roman Catholic, he became organist at the Portuguese Chapel and later at the Sardinian and Spanish chapels in their respective embassies. He wrote much music for Roman Catholic services and composed hymn tunes, motets, and madrigals. Webbe is considered an outstanding composer of glees and catches, as is evident in his nine published collections of these smaller choral works. He also published A Collection of Sacred Music (c. 1790), A Collection of Masses for Small Choirs (1792), and, with his son Samuel (the younger), Antiphons in Six Books of Anthems (1818).
Bert Polman
Samuel Webbe
