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Just as I Am, Without One Plea
Author: Charlotte Elliott Meter: 8.8.8.8 Appears in 2,107 hymnals Scripture: John 1:29 Lyrics: 1 Just as I am, without one plea
But that Thy blood was shed for me,
And that Thou bidst me come to Thee,
O Lamb of God, I come, I come!
2 Just as I am, though tossed about
With many a conflict, many a doubt,
Fightings and fears within, without,
O Lamb of God, I come, I come!
3 Just as I am, Thou wilt receive,
Wilt welcome, pardon, cleanse, relieve;
Because Thy promise I believe,
O Lamb of God, I come, I come!
4 Just as I am, Thy love unknown
Has broken every barrier down;
Now, to be Thine, yea, Thine alone,
O Lamb of God, I come, I come!
Topics: Repentance Used With Tune: WOODWORTH
Just as I Am, Without One Plea
O Christ, the Lamb of God
Meter: Irregular Appears in 294 hymnals Scripture: John 1:29 Lyrics: O Christ, the Lamb of God, who takes away the sin of the world,
have mercy upon us.
O Christ, the Lamb of God, who takes away the sin of the world,
have mercy upon us.
O Christ, the Lamb of God, who takes away the sin of the world,
grant us your peace.
Amen.
Topics: Songs for Children Hymns; Confession and Forgiveness; Confession of Sin; Forgiveness; Lamb of God; Mercy; Peace; Prayer Used With Tune: CHRISTE, DU LAMM GOTTES Text Sources: Agnus Dei
O Christ, the Lamb of God
O Come, All Ye Faithful
Author: John Francis Wade; Frederick Oakeley Meter: Irregular Appears in 728 hymnals Scripture: John 1:1-14 Refrain First Line: O come, let us adore him Lyrics: 1 O come, all ye faithful, joyful and triumphant!
O come ye, O come ye to Bethlehem!
Come and behold him, born the King of angels;
Refrain:
O come, let us adore him, O come, let us adore him,
O come, let us adore him, Christ the Lord!
2 God of God, Light of Light eternal,
lo, he abhors not the virgin's womb;
Son of the Father, begotten, not created; Refrain
3 Sing, choirs of angels, sing in exultation,
sing, all ye bright hosts of heaven above:
"Glory to God, all glory in the highest!" Refrain
4 Yea, Lord, we greet thee, born this happy morning;
Jesus, to thee be all glory given;
Word of the Father, now in flesh appearing; Refrain
Topics: Biblical Names & Places Bethlehem; Christmas; Biblical Names & Places Bethlehem; Christmas Used With Tune: ADESTE FIDELES
O Come, All Ye Faithful
ADESTE FIDELES
Meter: Irregular Appears in 1,329 hymnals Composer and/or Arranger: John Francis Wade Scripture: John 1:1-14 Tune Sources: Hymns Ancient and Modern Revised (desc.) Tune Key: G Major Incipit: 11512 55323 43211 Used With Text: O Come, All Ye Faithful
ADESTE FIDELES
DIVINUM MYSTERIUM
Meter: 8.7.8.7.8.8.7 Appears in 164 hymnals Composer and/or Arranger: Charles Winfred Douglas Scripture: John 1:1-14 Tune Sources: 12th cent. plainsong Tune Key: E Flat Major Incipit: 12343 23213 45653 Used With Text: Of the Father's Love Begotten
DIVINUM MYSTERIUM
Lamb of God
Author: Twila Paris Hymnal: Praise Hymnal #1 (2020) Scripture: John 1:29 First Line: Your only Son no sin to hide Refrain First Line: O Lamb of God, sweet Lamb of God Tune Title: LAMB OF GOD
Lamb of God
Behold the Lamb
Hymnal: Praise Hymnal #26 (2020) Scripture: John 1:29 First Line: Behold the Lamb, behold the Lamb
Behold the Lamb
Jesu, lover of my soul
Author: Charles Wesley, 1707-1788 Hymnal: Common Praise #96a (2000) Meter: 7.7.7.7 D Scripture: John 1:14 Lyrics: 1 Jesu, lover of my soul,
let me to thy bosom fly,
while the nearer waters roll,
while the tempest still is high:
hide me, O my Saviour, hide,
till the storm of life is past;
safe into the haven guide,
O receive my soul at last.
2 Other refuge have I none,
hangs my helpless soul on thee;
leave, ah, leave me not alone,
still support and comfort me.
All my trust on thee is stayed,
all my help from thee I bring;
cover my defenceless head
with the shadow of thy wing.
3 Thou, O Christ, art all I want;
more than all in thee I find;
raise the fallen, cheer the faint,
heal the sick, and lead the blind.
Just and holy is thy name,
I am all unrighteousness;
false and full of sin I am,
thou art full of truth and grace.
4 Plenteous grace with thee is found,
grace to cover all my sin;
let the healing streams abound,
make and keep me pure within.
Thou of life the fountain art:
freely let me take of thee,
spring thou up within my heart,
rise to all eternity. Topics: Lent; Fourth Sunday Before Lent Year B; Ash Wednesday; Proper 17 Year C Languages: English Tune Title: HOLLINGSIDE
Jesu, lover of my soul
Charles Wesley
1707 - 1788 Scripture: John 1:1-14 Author of "Hark! The Herald Angels Sing" in Psalter Hymnal (Gray) Charles Wesley, M.A. was the great hymn-writer of the Wesley family, perhaps, taking quantity and quality into consideration, the great hymn-writer of all ages. Charles Wesley was the youngest son and 18th child of Samuel and Susanna Wesley, and was born at Epworth Rectory, Dec. 18, 1707. In 1716 he went to Westminster School, being provided with a home and board by his elder brother Samuel, then usher at the school, until 1721, when he was elected King's Scholar, and as such received his board and education free. In 1726 Charles Wesley was elected to a Westminster studentship at Christ Church, Oxford, where he took his degree in 1729, and became a college tutor. In the early part of the same year his religious impressions were much deepened, and he became one of the first band of "Oxford Methodists."
In 1735 he went with his brother John to Georgia, as secretary to General Oglethorpe, having before he set out received Deacon's and Priest's Orders on two successive Sundays. His stay in Georgia was very short; he returned to England in 1736, and in 1737 came under the influence of Count Zinzendorf and the Moravians, especially of that remarkable man who had so large a share in moulding John Wesley's career, Peter Bonier, and also of a Mr. Bray, a brazier in Little Britain. On Whitsunday, 1737, [sic. 1738] he "found rest to his soul," and in 1738 he became curate to his friend, Mr. Stonehouse, Vicar of Islington, but the opposition of the churchwardens was so great that the Vicar consented that he "should preach in his church no more." Henceforth his work was identified with that of his brother John, and he became an indefatigable itinerant and field preacher. On April 8, 1749, he married Miss Sarah Gwynne. His marriage, unlike that of his brother John, was a most happy one; his wife was accustomed to accompany him on his evangelistic journeys, which were as frequent as ever until the year 1756," when he ceased to itinerate, and mainly devoted himself to the care of the Societies in London and Bristol. Bristol was his headquarters until 1771, when he removed with his family to London, and, besides attending to the Societies, devoted himself much, as he had done in his youth, to the spiritual care of prisoners in Newgate. He had long been troubled about the relations of Methodism to the Church of England, and strongly disapproved of his brother John's "ordinations." Wesley-like, he expressed his disapproval in the most outspoken fashion, but, as in the case of Samuel at an earlier period, the differences between the brothers never led to a breach of friendship. He died in London, March 29, 1788, and was buried in Marylebone churchyard. His brother John was deeply grieved because he would not consent to be interred in the burial-ground of the City Road Chapel, where he had prepared a grave for himself, but Charles said, "I have lived, and I die, in the Communion of the Church of England, and I will be buried in the yard of my parish church." Eight clergymen of the Church of England bore his pall. He had a large family, four of whom survived him; three sons, who all became distinguished in the musical world, and one daughter, who inherited some of her father's poetical genius. The widow and orphans were treated with the greatest kindness and generosity by John Wesley.
As a hymn-writer Charles Wesley was unique. He is said to have written no less than 6500 hymns, and though, of course, in so vast a number some are of unequal merit, it is perfectly marvellous how many there are which rise to the highest degree of excellence. His feelings on every occasion of importance, whether private or public, found their best expression in a hymn. His own conversion, his own marriage, the earthquake panic, the rumours of an invasion from France, the defeat of Prince Charles Edward at Culloden, the Gordon riots, every Festival of the Christian Church, every doctrine of the Christian Faith, striking scenes in Scripture history, striking scenes which came within his own view, the deaths of friends as they passed away, one by one, before him, all furnished occasions for the exercise of his divine gift. Nor must we forget his hymns for little children, a branch of sacred poetry in which the mantle of Dr. Watts seems to have fallen upon him. It would be simply impossible within our space to enumerate even those of the hymns which have become really classical. The saying that a really good hymn is as rare an appearance as that of a comet is falsified by the work of Charles Wesley; for hymns, which are really good in every respect, flowed from his pen in quick succession, and death alone stopped the course of the perennial stream.
It has been the common practice, however for a hundred years or more to ascribe all translations from the German to John Wesley, as he only of the two brothers knew that language; and to assign to Charles Wesley all the original hymns except such as are traceable to John Wesley through his Journals and other works.
The list of 482 original hymns by John and Charles Wesley listed in this Dictionary of Hymnology have formed an important part of Methodist hymnody and show the enormous influence of the Wesleys on the English hymnody of the nineteenth century.
-- Excerpts from John Julian, Dictionary of Hymnology (1907)
==================
Charles Wesley, the son of Samuel Wesley, was born at Epworth, Dec. 18, 1707. He was educated at Westminster School and afterwards at Christ Church, Oxford, where he graduated M.A. In 1735, he took Orders and immediately proceeded with his brother John to Georgia, both being employed as missionaries of the S.P.G. He returned to England in 1736. For many years he engaged with his brother in preaching the Gospel. He died March 29, 1788. To Charles Wesley has been justly assigned the appellation of the "Bard of Methodism." His prominence in hymn writing may be judged from the fact that in the "Wesleyan Hymn Book," 623 of the 770 hymns were written by him; and he published more than thirty poetical works, written either by himself alone, or in conjunction with his brother. The number of his separate hymns is at least five thousand.
--Annotations of the Hymnal, Charles Hutchins, M.A., 1872.
Charles Wesley
Ralph Vaughan Williams
1872 - 1958 Person Name: R. Vaughan Williams Scripture: John 1:40 Adapter of "SUSSEX" in Rejoice in the Lord Through his composing, conducting, collecting, editing, and teaching, Ralph Vaughan Williams (b. Down Ampney, Gloucestershire, England, October 12, 1872; d. Westminster, London, England, August 26, 1958) became the chief figure in the realm of English music and church music in the first half of the twentieth century. His education included instruction at the Royal College of Music in London and Trinity College, Cambridge, as well as additional studies in Berlin and Paris. During World War I he served in the army medical corps in France. Vaughan Williams taught music at the Royal College of Music (1920-1940), conducted the Bach Choir in London (1920-1927), and directed the Leith Hill Music Festival in Dorking (1905-1953). A major influence in his life was the English folk song. A knowledgeable collector of folk songs, he was also a member of the Folksong Society and a supporter of the English Folk Dance Society. Vaughan Williams wrote various articles and books, including National Music (1935), and composed numerous arrangements of folk songs; many of his compositions show the impact of folk rhythms and melodic modes. His original compositions cover nearly all musical genres, from orchestral symphonies and concertos to choral works, from songs to operas, and from chamber music to music for films. Vaughan Williams's church music includes anthems; choral-orchestral works, such as Magnificat (1932), Dona Nobis Pacem (1936), and Hodie (1953); and hymn tune settings for organ. But most important to the history of hymnody, he was music editor of the most influential British hymnal at the beginning of the twentieth century, The English Hymnal (1906), and coeditor (with Martin Shaw) of Songs of Praise (1925, 1931) and the Oxford Book of Carols (1928).
Bert Polman
Ralph Vaughan Williams
John L. Bell
b. 1949 Person Name: John L. Bell, b. 1949 Scripture: John 1:35-42 Author of "Sing Hey for the Carpenter" in Gather Comprehensive John Bell (b. 1949) was born in the Scottish town of Kilmarnock in Ayrshire, intending to be a music teacher when he felt the call to the ministry. But in frustration with his classes, he did volunteer work in a deprived neighborhood in London for a time and also served for two years as an associate pastor at the English Reformed Church in Amsterdam. After graduating he worked for five years as a youth pastor for the Church of Scotland, serving a large region that included about 500 churches. He then took a similar position with the Iona Community, and with his colleague Graham Maule, began to broaden the youth ministry to focus on renewal of the church’s worship. His approach soon turned to composing songs within the identifiable traditions of hymnody that began to address concerns missing from the current Scottish hymnal:
"I discovered that seldom did our hymns represent the plight of poor people to God. There was nothing that dealt with unemployment, nothing that dealt with living in a multicultural society and feeling disenfranchised. There was nothing about child abuse…,that reflected concern for the developing world, nothing that helped see ourselves as brothers and sisters to those who are suffering from poverty or persecution." [from an interview in Reformed Worship (March 1993)]
That concern not only led to writing many songs, but increasingly to introducing them internationally in many conferences, while also gathering songs from around the world. He was convener for the fourth edition of the Church of Scotland’s Church Hymnary (2005), a very different collection from the previous 1973 edition. His books, The Singing Thing and The Singing Thing Too, as well as the many collections of songs and worship resources produced by John Bell—some together with other members of the Iona Community’s “Wild Goose Resource Group,” —are available in North America from GIA Publications.
Emily Brink
John L. Bell
