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Love Divine, All Loves Excelling
Author: Charles Wesley Meter: 8.7.8.7 D Appears in 1,863 hymnals Scripture: Malachi 3:1 Lyrics: 1 Love divine, all loves excelling,
joy of heav'n to earth come down;
fix in us thy humble dwelling,
all thy faithful mercies crown.
Jesus, thou art all compassion,
pure, unbounded love thou art;
visit us with thy salvation,
enter ev'ry trembling heart.
2 Come almighty to deliver;
let us all thy life receive;
suddenly return and never,
nevermore thy temples leave.
Thee we would be always blessing,
serve thee as thy hosts above,
pray and praise thee without ceasing,
glory in thy perfect love.
3 Finish then thy new creation;
pure and spotless let us be;
let us see thy great salvation
perfectly restored in thee,
changed from glory into glory,
till in heaven we take our place,
till we cast our crowns before thee,
lost in wonder, love, and praise!
Used With Tune: HYFRYDOL
Love Divine, All Loves Excelling
Angels from the Realms of Glory
Author: James Montgomery Meter: 8.7.8.7.8.7 Appears in 763 hymnals Scripture: Malachi 3:1 Refrain First Line: Come and worship, come and worship Lyrics: 1 Angels from the realms of glory,
wing your flight o'er all the earth;
ye who sang creation's story
now proclaim Messiah's birth:
Refrain:
Come and worship, come and worship,
worship Christ, the newborn king.
2 Shepherds, in the field abiding,
watching o'er your flocks by night,
God with us is now residing;
yonder shines the infant light: [Refrain]
3 Sages, leave your contemplations,
brighter visions beam afar;
seek the great Desire of nations;
ye have seen his natal star: [Refrain]
4. Saints, before the altar bending,
watching long in hope and fear;
suddenly the Lord, descending,
in his temple shall appear:
(Refrain)
Topics: Christ's Gracious Life Birth and Baptism; Christian Year Christmas; Christian Year Epiphany; Christ's Gracious Life Birth and Baptism; Christian Year Christmas; Christian Year Epiphany; Jesus Christ; Opening Hymns; Responses, Antiphonal Used With Tune: REGENT SQUARE
Angels from the Realms of Glory
Abide with me, Fast Falls the Eventide
Author: Henry F. Lyte Meter: 10.10.10.10 Appears in 1,673 hymnals Scripture: Malachi 3:6 Lyrics: 1 Abide with me, fast falls the eventide;
the darkness deepens; Lord, with me abide!
When other helpers fail, and comforts flee,
help of the helpless, O abide with me.
2 Swift to its close ebbs out life's little day;
earth's joys grow dim, its glories pass away;
change and decay in all around I see:
O thou who changest not, abide with me.
3 I need thy presence every passing hour;
what but thy grace can foil the tempter's power?
Who, like thyself, my guide and stay can be?
Through cloud and sunshine, Lord, abide with me.
4 I fear no foe, with thee at hand to bless;
ills have no weight, and tears no bitterness.
Where is death's sting? Where, grave, thy victory?
I triumph still, if thou abide with me.
5 Hold thou thy cross before my closing eyes;
shine through the gloom and point me to the skies:
heaven's morning breaks, and earth's vain shadows flee;
in life, in death, O Lord, abide with me. Topics: Eternal Life; Evening; Fears; God Changelessness; God Presence of Used With Tune: EVENTIDE
Abide with me, Fast Falls the Eventide
How firm a foundation, you people of God
Author: 'K-" Hymnal: Together in Song #578 (1999) Scripture: Malachi 3:3-6 Lyrics: 1 How firm a foundation, you people of God,
is laid for your faith in his excellent word;
what more can he say than to you he has said,
to all who for refuge to Jesus have fled?
2 Fear not, he is with you, and be not dismayed,
for he is your God and will still give you aid:
he'll strengthen you, help you, and cause you to stand,
upheld by his righteous, omnipotent hand.
3 When through the deep waters he calls you to go,
the rivers of grief shall not you overflow;
the Lord will be with you in trouble to bless,
and sanctify to you your deepest distress.
4 When through fiery trials your pathway shall lie
his grace, all-sufficient shall be your supply;
the flame shall not hurt you, his only design
your dross to consume and your gold to refine.
5 The soul that on Jesus still leans for repose
he will not, he cannot, desert to its foes;
that soul, though all hell should endeavor to shake,
he never will leave, he will never forsake. Topics: Conflict; Consolation; Faithfulness of God; Grace; Jesus Christ Reign; People of God; Response to Word; Saints Days and Holy Days Any Saint; Sanctification; Suffering; Trust in God; Worship The Word Languages: English Tune Title: FOUNDATION
How firm a foundation, you people of God
How Firm a Foundation
Hymnal: Worship (3rd ed.) #585 (1986) Meter: 11.11.11.11 Scripture: Malachi 3:2 First Line: How firm a foundation, you saints of the Lord Lyrics: 1 How firm a foundation, you saints of the Lord,
Is laid for your faith in his excellent Word!
What more can he say than to you he has said,
To you who for refuge to Jesus have fled?
2 "Fear not, I am with you, O be not dismayed,
For I am your God and will still give you aid;
I’ll strengthen you, help you, and cause you to stand,
Upheld by my righteous, omnipotent hand.
3 "When through the deep waters I call you to go,
The rivers of woe shall not you overflow;
For I will be with you, your troubles to bless,
And sanctify to you, your deepest distress.
4 "The soul that on Jesus still leans for repose,
I will not, I will not desert to its foes;
That soul, though all hell should endeavor to shake,
I’ll never, no never, no never forsake!" Topics: Ordinary Time 12, Year B; Ordinary Time 19, Year A; Funeral; Pastoral Care of the Sick; Penance; Comfort; Courage; Death; Eternal Life; Guidance; Jesus Christ; Mercy; Pilgrimage; Saints; Strength; Suffering; Trust; Victory over Sin and Death; Word of God; Canons Languages: English Tune Title: FOUNDATIN
How Firm a Foundation
How Firm a Foundation
Author: “K” Hymnal: Voices Together #592 (2020) Meter: 11.11.11.11 Scripture: Malachi 3:1-4 First Line: How firm a foundation, you saints of the Lord Lyrics: 1 How firm a foundation, you saints of the Lord,
is laid for your faith in his excellent Word!
What more can he say than to you he has said,
to you who for refuge to Jesus have fled?
2 “Fear not, I am with you; O be not dismayed,
for I am your God, and will still give you aid.
I’ll strengthen you, help you, and cause you to stand,
upheld by my righteous, omnipotent hand.
3 “When through the deep waters I call you to go,
the rivers of sorrow shall not overflow,
for I will be with you, your troubles to bless,
and sanctify to you the deepest distress.
4 “When through fiery trials your pathway shall lie,
my grace, all sufficient, shall be your supply.
The flames shall not hurt you. I only design
your dross to consume, and your gold to refine.
5 “The soul that on Jesus still leans for repose,
I will not, I will not desert to its foes.
That soul, though all hell should endeavor to shake,
I’ll never, no never, no never forsake!” Topics: Assurance of Grace; Confessing Faith; Disaster; God Presence of; Hope; Trials; Word of God Tune Title: FOUNDATION (BELLEVUE)
How Firm a Foundation
Charles Wesley
1707 - 1788 Scripture: Malachi 3:1 Author of "Love Divine, All Loves Excelling" in Rejoice in the Lord 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
William Henry Monk
1823 - 1889 Person Name: William H. Monk Scripture: Malachi 3:6 Composer of "EVENTIDE" in The Worshiping Church 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
William Henry Monk
George F. Root
1820 - 1895 Person Name: George Frederick Root, 1820-1895 Scripture: Malachi 3:17 Composer of "JEWELS" in Trinity Hymnal (Rev. ed.) Root, George F., MUS. DOC, born in Sheffield, Berkshire County, Mass., Aug. 30, 1820. He is much more widely known as a composer of popular music than as a hymn writer. Four of his hymns are in I. D. Sankey's Sacred Songs & Solos, 1878. Nos. 16, 100, 293, and 297. A sympathetic biographical sketch, with portrait, is in The Tonic Sol-Fa Reporter, Sep. 1886. He died Aug. 6, 1895.
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
=====================
George Frederick Root was born in Sheffield, Mass., August 30, 1820. His father moved to North Reading, near Boston, when the boy was six years old, and there his youth was spent.
He was always fond of music— not singing at all as a boy, but played upon every kind of instrument that came in his way. At thirteen it was his pride that he could "play a tune" on as many instruments as he was years old. His dream of life was to be a musician, although such an ambition was looked down upon by all his relatives and friends, excepting a fond mother. In the fall of 1838 he went to Boston and made an engagement to work for Mr. A. N. Johnson and take lessons on the piano.
His father and one of the brothers were at the time in South America, and the mother, with six younger children, was at home on the farm. When he secured the engagement with Mr. Johnson to receive three dollars a week and board and lessons, the neighbors became interested and encouraged him to go ahead, they promising to help look after the farm and see that the family got along. The young man's happiness over these events can better be imagined than described.
On the second day of October, 1838, he entered upon his duties in his new heaven on earth located at Harmony Hall, Mr. Johnson's music-room, in Boston. His duties were to see to the fires, care for the room, answer callers, give information about Mr. Johnson when he was out, and practice his lessons when not otherwise engaged. He worked industriously and made steady progress. It was but a few weeks till Mr. Johnson had him playing for the prayer-meeting, and but a few more till he began turning over pupils to him. In about seven weeks' time Mr. Johnson encouraged him by a considerable increase of salary. A most important event to him was meeting Dr. Lowell Mason and being accepted as a bass singer in the celebrated Bowdoin Street choir. Also, on Mr. Johnson's recommendation, he began taking private voice lessons of Mr. Geo. Jas. Webb, the then celebrated voice teacher of Boston. He continued at least a year with Mr. Webb.
His first real singing class was taught the following fall, 1839, at the North End. It lasted nearly through the winter, and on the closing night his class made him a present of a silver goblet, suitably engraved, which he kept among his treasures.
Before the first year was up Mr. Johnson proposed a five year partnership, by which Mr. Root was to receive one-third of their earnings, and the former was to have the privilege of visiting Germany part of the time if he chose. They then changed their quarters to three rooms in the basement of Park Street Church. The annual rental was six hundred dollars. They were kept quite busy.
At this time Dr. Mason's music teaching in the public schools was a growing success, and Messrs. Johnson and Root were employed to assist him. Drs. Mason and Webb had introduced what is now called Musical Conventions a year or two previous to this. They called them "The Teachers' Class." Teachers and singers were called to Boston from surrounding territory to study and practice pretty much as they do now at normals.
In 1841 Mr. Root became one of the teachers in this class. He taught vocal training and continued this work for years afterward in Dr. Mason's teachers' classes, and later incorporated the same method in his own normals. During this year Mr. Johnson went to Germany, and left the two large church choirs (Winter Street and Park Street) in charge of Mr. Root. One of the organs was played by a pupil — Mr. S. A. Bancroft.
Everything went smoothly during Mr. Johnson's absence as it did also after his return. During the last year of the five-year partnership, Mr. Root was called to take the organ at Bowdoin Street, Mr. Mason changing to Winter Street. An amicable settlement was made between Messrs. Johnson and Root, and the partnership dissolved.
In 1811, Mr. Jacob Abbott (father of Lyman Abbott)and his three brothers had established a young ladies' school in New York City. They wanted a music teacher, and offered the position to Mr. Root. They also secured him the organ and choir of the Mercer Street Church, with prospects for other good work. It required pretty strong persuasive arguments to tempt Mr. Root to leave Boston, he was doing well there, and as the sequel shows, there was an attraction in Boston that held him in too tight a grasp to be relinquished by the mere offer of greater power and place. He made up his mind, however, only after getting the consent of the powders of Boston to take with him this [to him] the greatest attraction of the city — Miss Mary Olive Woodman — an accomplished lady, a sweet singer, and a member of a prominent family of musicians. He went to New York first to prepare a home, and in August, 1845, returned for his bride, who took her place in his New York choir as leading soprano, and through his long and eventful career she was ever at his side, a true helpmeet.
He was soon employed at Rutger's Female Institute, Miss Haines' School for Young Ladies, Union Theological Seminary and the New York State Institution for the Blind. Within six weeks after he arrived in New York his time was fully occupied. He continued with Mr. Abbott's young ladies' school ten years.
While teaching in New York he continued his summer work with Messrs. Mason and Webb in Teachers' Classes. Up to the year 1849 he had written but little music; only a few hymn tunes while in Boston. He needed more music for the young ladies of his schools, so he made his first book, The Young Ladies' Choir, of which he had enough copies made for his own use, as he had no thought of offering it to the public. Then in connection with Mr. J. E. Sweetser, they compiled the Root and Sweetser's Collection.
Mr. Root did work enough for two men, hence broke down in health. Mr. Abbott suggested that he take a trip to Paris. After weighing the matter carefully, in December, 1853, he sailed, and in due time arrived at Paris, where he began studying French, voice culture and piano under celebrated teachers. After spending nearly a year abroad, he returned home in improved health and ready for active work. He began to feel the need of new music for his classes, and after some thought decided upon a musical play ; the subject and title, The Flower Queen.
At the Institution for the Blind was a young lady, a former pupil, but now a teacher who had shown some poetical talent. He asked her to help him with the words. He would suggest in prose what the flowers might say and she would put it into rhyme. She did it so well that it seldom needed any alteration. This lady was the now famous Fanny Crosby. The cantata became very popular. About this time Mr. Root wrote a half dozen simple songs for the people. They all sold pretty well, but Hazel Dell and Rosalie, the Prairie Flower, became the most popular, and had a large sale.
It was in the summer of 1853 that the first real normal was held. Mr. Root originated it, and held it in New York. The principal teachers were Messrs. Mason, Root, Hastings, and Bradbury. This school became famous. Sessions were also held at North Reading, Mass., a village near Mr. Root's "Willow Farm Home," with Dr. Mason, Mr. Webb, Mr. Bradbury and himself as principal teachers.
About this time Mr. Root decided to give up his work in New York, and devote himself entirely to conventions, normal work and authorship. He was eminently successful. Among the most eminent teachers and composers of our country have been students in Dr. Geo. F. Root's Normal Musical Institute.
In 1860 Dr. Root settled in Chicago and entered the music publishing business with his brother E. T. Root, and C. M. Cady, as "Root & Cady," Mr. Root's reputation being the most important capital of the firm. His books and popular songs soon made the new firm prosperous. Then came the war with its horror. Dr. Root wielded his musical sword in the way of writing war songs, which made him famous. The Battle Cry of Freedom, Just Before the Battle, Mother, and others, made thousands of dollars for the music house.
In the great Chicago fire of 1871 the interests of the firm of Root & Cady became engulfed in the general ruin. Their loss was upward of a quarter of a million dollars. They then sold their book catalogue, plates and copyrights to John Church & Co., of Cincinnati, and the sheet music plates and copyrights to S. Brainard's Sons, Cleveland. These sales realized about §130,000. The final result was that Dr. Root, his talented son F. W., and others became connected with John Church & Co. Under this new business relationship Mr. Root went right on with his normal and convention work; also issued a great many new books and cantatas. In 1872 the Chicago University very worthily conferred upon him the degree Doctor of Music.
In 1886 he made a trip to Scotland and England, and arranged with publishers to issue some of his cantatas. He was royally received.
Dr. Root was the author of about seventy-five books, nearly two hundred songs in sheet form, and many popular gospel songs. Dr. Root occupies a prominent place in the musical history of this country. It was Dr. Mason who lifted music from almost nothing and gave it an impetus, but he left no better follower than Dr. Root to carry on his work. He was a man of spotless integrity and high Christian character, and to know him was to love him.
At the time of Dr. Root's death he was at Bailey Island, Maine, a summer resort, where he and other relatives had cottages. On August 6, 1895, he was seized with neuralgia of the heart — and died within one hour. He was buried at North Reading, Mass., his old home.
--Hall, J. H. (c1914). Biographies of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company.
George F. Root
