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Sing Praise to the Lord
Author: H. W. Baker Meter: 10.10.11.11 Appears in 78 hymnals Hymnal Title: Calvin Hymnary Project First Line: Sing praise to the Lord! Praise Him in the heights
Sing Praise to the Lord
LAUDATE DOMINUM (PARRY)
Meter: 10.10.11.11 Appears in 82 hymnals Composer and/or Arranger: Charles Hubert Hastings Parry (1848-1918) Hymnal Title: Ancient and Modern Tune Key: B Flat Major Incipit: 53125 16543 53251 Used With Text: O praise ye the Lord! Praise him in the height
LAUDATE DOMINUM (PARRY)
O praise ye the Lord! praise him in the height
Hymnal: A Church of England Hymn Book #370 (1880) Meter: 5.5.5.5.6.5.6.5 Hymnal Title: A Church of England Hymn Book Languages: English
O praise ye the Lord! praise him in the height
Sing praise to the Lord! Sing praise in the height
Hymnal: A New Hymnal for Colleges and Schools #46 (1992) Hymnal Title: A New Hymnal for Colleges and Schools Languages: English Tune Title: Laudate Dominum
Sing praise to the Lord! Sing praise in the height
O praise ye the Lord! Praise him in the height
Author: Henry Williams Baker (1821-1877) Hymnal: Ancient and Modern #753 (2013) Meter: 10.10.11.11 Hymnal Title: Ancient and Modern Lyrics: 1 O praise ye the Lord! Praise him in the height;
rejoice in his word, ye angels of light;
ye heavens adore him by whom ye were made,
and worship before him, in brightness arrayed.
2 O praise ye the Lord! Praise him upon earth,
in tuneful accord, ye sons of new birth;
praise him who hath brought you his grace from above,
praise him who hath taught you to sing of his love.
3 O praise ye the Lord, all things that give sound;
each jubilant chord re-echo around;
loud organs, his glory forth tell in deep tone,
and, sweet harp, the story of what he hath done.
4 O praise ye the Lord! Thanksgiving and song
to him be outpoured all ages along:
for love in creation, for heaven restored,
for grace of salvation, O praise ye the Lord!
(Amen, amen.) Topics: Angels; God in majesty; Music and Song; Praise; Proper 23 Year A Scripture: Psalm 150 Languages: English Tune Title: LAUDATE DOMINUM (PARRY)
O praise ye the Lord! Praise him in the height
Henry J. Gauntlett
1805 - 1876 Person Name: Henry John Gauntlett, 1805-76 Hymnal Title: Complete Mission Praise Composer of "HOUGHTON" in Complete Mission Praise Henry J. Gauntlett (b. Wellington, Shropshire, July 9, 1805; d. London, England, February 21, 1876) When he was nine years old, Henry John Gauntlett (b. Wellington, Shropshire, England, 1805; d. Kensington, London, England, 1876) became organist at his father's church in Olney, Buckinghamshire. At his father's insistence he studied law, practicing it until 1844, after which he chose to devote the rest of his life to music. He was an organist in various churches in the London area and became an important figure in the history of British pipe organs. A designer of organs for William Hill's company, Gauntlett extended the organ pedal range and in 1851 took out a patent on electric action for organs. Felix Mendelssohn chose him to play the organ part at the first performance of Elijah in Birmingham, England, in 1846. Gauntlett is said to have composed some ten thousand hymn tunes, most of which have been forgotten. Also a supporter of the use of plainchant in the church, Gauntlett published the Gregorian Hymnal of Matins and Evensong (1844).
Bert Polman
Henry J. Gauntlett
Charles Wesley
1707 - 1788 Person Name: Charles Wesley, 1707-1788 Hymnal Title: Hymns for Worship Author (attributed to) of "O praise ye the Lord, Praise him in the height" in Hymns for Worship 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
Anne Steele
1717 - 1778 Hymnal Title: Hymns for Worship Composer (attributed to) of "CONVENTION" in Hymns for Worship Anne Steele was the daughter of Particular Baptist preacher and timber merchant William Steele. She spent her entire life in Broughton, Hampshire, near the southern coast of England, and devoted much of her time to writing. Some accounts of her life portray her as a lonely, melancholy invalid, but a revival of research in the last decade indicates that she had been more active and social than what was previously thought. She was theologically conversant with Dissenting ministers and "found herself at the centre of a literary circle that included family members from various generations, as well as local literati." She chose a life of singleness to focus on her craft. Before Christmas in 1742, she declined a marriage proposal from contemporary minister-hymnist Benjamin Beddome. All the same, some of Steele's sufferings were very real. She lost her mother at age 3, a potential suitor at age 20, her step mom at 43, and her sister-in-law at 45. She spent many years caring for her father until his death in 1769. For most of her life, she exhibited symptoms of malaria, including persistent pain, fever, headaches, and stomach aches. Caleb Evans, in his preface to Steele's posthumous Miscellaneous Pieces in Verse and Prose (1780), noted that she had been bed ridden for "some years" before her death: When the interesting hour came, she welcomed its arrival, and though her feeble body was excruciated with pain, her mind was perfectly serene. . . . She took the most affectionate leave of her weeping friends around her, and at length, the happy moment of her dismission arising, she closed her eyes, and with these animating words on her dying lips, "I know that my Redeemer liveth," gently fell asleep in Jesus. Historically, her most popular hymn has been "When I survey life's varied scene" (and its shortened form, "Father, whate'er of earthly bliss"), a hymn that turns earthly loss or denial into a spirit of thankfulness, published in over 800 North American hymnals since 1792. Not all of her work deals with personal agony. Her hymns span a wide doctrinal and ecclesiastical range, some crafted and used for her father's congregation. Her metrical psalms are among the finest of the genre. Steele's hymns and psalms were published in two volumes in 1760, Poems on Subjects Chiefly Devotional, under the pseudonym Theodosia, with an additional volume of material published after her death, in Miscellaneous Pieces in Verse and Prose, 1780. Sixty two of her hymns, including new material and some revisions by Steele, were published in a hymnal for Baptists in 1769, A Collection of Hymns Adapted to Public Worship, edited by Caleb Evans and John Ash. Forty seven were included in John Rippon's A Selection of Hymns from the Best Authors in 1787; the only author with larger representation was Philip Doddridge, with 101. These collections represent the earliest attempts to anthologize Baptist hymns and were vital for bringing Steele's hymns into wider public worship, where they have been a mainstay for over two hundred years.
Chris Fenner adapted from The Towers (Southern Baptist Theological Seminary, August 2015)
Recommended Bibliography:
Cynthia Y. Aalders, To Express the Ineffable: The Hymns and Spirituality of Anne Steele (Milton Keynes, U.K.: Paternoster, 2008).
Cynthia Y. Aalders, "In melting grief and ardent love: Anne Steele's contribution to eighteenth-century hymnody," The Hymn (summer 2009), 16-25.
J.R. Broome, A Bruised Reed: The Life and Times of Anne Steele (Harpenden, U.K.: Gospel Standard Trust Publications, 2007).
Joseph Carmichael, The Hymns of Anne Steele in John Rippon's Selection of Hymns: A Theological Analysis in the Context of the English Particular Baptist Revival (2012), dissertation, http://digital.library.sbts.edu/handle/10392/4112
Priscilla Wong, Anne Steele and Her Spiritual Vision (Grand Rapids: Reformation Heritage Books, 2012)
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Steele, Anne, born in 1716, was the daughter of Mr. Wm. Steele, a timber merchant, and pastor, without salary, of the Baptist Church at Broughton, in Hampshire. At an early age she showed a taste for literature, and would often entertain her friends by her poetical compositions. But it was not until 1760 that she could be prevailed upon to publish. In that year two volumes appeared under the title of Poems on Subjects chiefly Devotional, by Theodosia. After her death, which occurred in November, 1778, a new edition was published with an additional volume and a Preface by the Rev. Dr. Caleb Evans, of Bristol (Bristol, 1780). In the three volumes are 144 hymns, 34 Psalms in verse, and about 30 short poems. They have been reprinted in one vol. by D. Sedgwick, 1863….
Among Baptist hymnwriters Miss Steele stands at the head, if we regard either the number of her hymns which have found a place in the hymnals of the last 120 years, or the frequency with which they have been sung. Although few of them can be placed in the first rank of lyrical compositions, they are almost uniformly simple in language, natural and pleasing in imagery, and full of genuine Christian feeling. Miss Steele may not inappropriately be compared with Miss F. R. Havergal, our "Theodosia" of the 19th century. In both there is the same evangelic fervour, in both the same intense personal devotion to the Lord Jesus. But whilst Miss Steele seems to think of Him more frequently as her "bleeding, dying Lord "—dwelling on His sufferings in their physical aspect—Miss Havergal oftener refers to His living help and sympathy, recognizes with gladness His present claims as "Master" and "King," and anticipates almost with ecstasy His second coming. Looking at the whole of Miss Steele's hymns, we find in them a wider range of thought than in Miss Havergal's compositions. She treats of a greater variety of subjects. On the other hand, Miss Havergal, living in this age of missions and general philanthropy, has much more to say concerning Christian work and personal service for Christ and for humanity. Miss Steele suffered from delicacy of health and from a great sorrow, which befell her in the death of her betrothed under peculiarly painful circumstances. In other respects her life was uneventful, and occupied chiefly in the discharge of such domestic and social duties as usually fall to the lot of the eldest daughter of a village pastor. She was buried in Broughton churchyard. [Rev W. R. Stevenson, M.A.]
A large number of Miss Steele's hymns are in common use, the larger proportion being in American hymnbooks. In addition to "Almighty Maker of my frame," “Far from these narrow scenes of night," "Father of mercies in Thy word," and others annotated under their respective first lines, there are also:—
i. From her Poems on Subjects Chiefly Devotional, 1760, vols. i., ii.
1. Come, let our souls adore the Lord. Pleading for Mercy. One of two hymns "On the Fast, Feb. 11, 1757," the first being "While justice waves her vengeful hand."
2. Come, tune ye saints, your noblest strains. Christ Dying and Rising.
3. Deep are the wounds which sin has made. Christ, the Physician.
4. Enslaved by sin, and bound in chains. Redemption.
5. Eternal power, almighty God. Divine Condescension.
6. Eternal Source of joys divine. Divine Assurance desired.
7. Great God, to Thee my evening song. Evening.
8. Great Source of boundless power and grace. Desiring to Trust in God.
9. Hear, gracious [God] Lord, my humble moan [prayer] . The presence of God desired.
10. Hear, O my God, with pity hear. Ps. cxliii.
11. How long shall earth's alluring toys ? On Longing after unseen pleasures.
12. How lovely, how divinely sweet. Ps. lxxziv.
13. How oft, alas, this wretched heart. Pardoning Love.
14. In vain my roving thoughts would find. Lasting Happiness.
15. Jesus, the spring of joys divine. Christ the Way.
16. Lord, how mysterious are Thy ways. Providence.
17. Lord, Thou hast been Thy Children's God. Ps. xc.
18. Lord, we adore Thy boundless grace. Divine Bounty.
19. Lord, when my [our] raptured thought surveys. Creation and Providence.
20. Lord, when my thoughts delighted rove. Passiontide.
21. My God, 'tis to Thy mercy seat. Divine Mercy.
22. My God, to Thee I call. Lent.
23. O for a sweet, inspiring ray. The Ascended Saviour.
24. O Thou Whose tender mercy hears. Lent.
25. Permit me, Lord, to seek Thy face. Strength and Safety in God alone.
26. Should famine o'er the mourning field. During Scarcity.
27. So fades the lovely, blooming flower. Death of a Child.
28. Stretched on the Cross the Saviour dies. Good Friday.
29. The Lord, my Shepherd and my Guide. Ps.xxiii.
30. The Lord, the God of glory reigns. Ps. xciii.
31. The Saviour calls; let every ear. The Invitation.
32. There is a glorious world on high. True Honour.
33. Thou lovely [only] Source of true delight. Desiring to know Jesus.
34. Thou only Sovereign of my heart. Life in Christ alone.
35. To Jesus, our exalted Lord. Holy Communion.
36. To our Redeemer's glorious Name. Praise to the Redeemer.
37. To your Creator, God. A Rural Hymn.
38. When I survey life's varied scene. Resignation.
39. When sins and fears prevailing rise. Christ the Life of the Soul.
40. Where is my God? does He retire. Rreathing after God.
41. While my Redeemer's near. The Good Shepherd.
42. Why sinks my weak desponding mind? Hope in God.
43. Ye earthly vanities, depart. Love for Christ desired.
44. Ye glittering toys of earih adieu. The Pearl of great Price.
45. Ye humble souls, approach your God. Divine Goodness.
ii. From the Bristol Baptist Collection of Ash & Evans, 1769.
46. Come ye that love the Saviour's Name. Jesus, the King of Saints.
47. How helpless guilty nature lies. Need of Receiving Grace.
48. Praise ye the Lord let praise employ. Praise.
iii. Centos and Altered Texts,
49. How blest are those, how truly wise. True honour. From "There is a glorious world on high."
50. How far beyond our mortal view. Christ the Supreme Beauty. From "Should nature's charms to please the eye," 1760, st. iii.
51. In vain I trace creation o'er. True happiness. From "When fancy spreads her boldest wings," 1760, st. ii.
52. Jesus, and didst thou leave the sky? Praise to Jesus. From “Jesus, in Thy transporting name," 1760, st. iv.
53. Look up, my soul, with cheerful eye. Breathing after God. From No. 40, st. v.
54. Lord, in the temple of Thy grace. Christ His people's Joy. From "The wondering nations have beheld," 1760, st. iii.
55. My God, O could I make the claim. Part of No. 9 above.
56. My soul, to God, its source, aspires. God, the Soul's only Portion. From "In vain the world's alluring smile," st. iii.
57. O could our thoughts and wishes fly. Part of No. 11 above, st. iv.
58. O for the eye of faith divine. Death anticipated. From "When death appears before my sight," 1760, st. iii., vii., viii. altered, with opening stanzas from another source.
59. O Jesus, our exalted Head. Holy Communion. From "To Jesus, our exalted Lord." See No. 35.
60. O world of bliss, could mortal eyes. Heaven. From "Far from these narrow scenes of night."
61. See, Lord, Thy willing subjects bow. Praise to Christ. From "O dearer to my thankful heart," 1780, st. 5.
62. Stern winter throws his icy chains. Winter. From "Now faintly smile day's hasty hours," 1760, st. ii.
63. Sure, the blest Comforter is nigh. Whitsuntide. From "Dear Lord, and shall Thy Spirit rest," 1760, st. iii.
64. The God of my salvation lives. In Affliction. From, "Should famine, &c," No. 26, st. iv.
65. The Gospel, O what endless charms. The Gospel of Redeeming Love. From "Come, Heavenly Love, inspire my song."
66. The mind was formed lo mount sublime. The Fettered Mind. From "Ah! why should this immortal mind?" 1760, st. ii.
67. The once loved form now cold and dead. Death of a Child. From "Life is a span, a fleeting hour," 1760, st. iii.
68. Thy gracious presence, O my God. Consolation in Affliction. From "In vain, while dark affliction spreads," 1780, st. iv.
69. Thy kingdom, Lord, for ever stands. Ps. cxlv. From "My God, my King, to Thee I'll raise," 1760, st. xii.
70. Triumphant, Christ ascends on high. Ascension. From "Come, Heavenly Love, inspire my song," 1760, st. xxxii.
71. When blest with that transporting view. Christ the Redeemer. From "Almighty Father, gracious Lord," 1760, st. xi.
72. When death before my sight. Death Anticipated. From "When death appears before my sight," 1760.
73. When gloomy thoughts and boding fears. Com¬forts of Religion. From "O blest religion, heavenly fair," 1760, st. ii.
74. When weary souls with sin distrest. Invitation to Rest. From "Come, weary souls, with sin distressed," 1760.
75. Whene'er the angry passions rise. Example of Christ. From “And is the gospel peace and love?" 1760, st. ii.
All the foregoing hymns are in D. Sedgwick's reprint of Miss Steele's Hymns, 1863.
--Excerpts from John Julian, Dictionary of Hymnology (1907)
====================
Steele, Anne, p. 1089, i., Additional hymns in common use:
1. Amazing love that stoop'd so low. Thankfulness. From "O dearer to my thankful heart," 1780, iii.
2. Bright scenes of bliss, unclouded skies. Saved by Hope. Poems, 1760, i. p. 228.
3. Jesus demands this heart of mine. Pardon De¬sired. Poems, 1760, i. p. 120.
4. Jesus, Thou Source divine. Christ the Way. Poems, 1760, i. p. 53, altered.
5. Lord, how mysterious are Thy ways. Mysteries of Providence. Poems, 1760, i. p. 131.
6. Lord^in Thy great, Thy glorious Name. Ps. xxxi. Poems, 1760, ii. p. 158.
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
Anne Steele
