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The Sands of Time Are Sinking
Author: A. R. Cousin; Samuel Rutherford Meter: 7.6.7.6.7.6.7.5 Appears in 311 hymnals Matching Instances: 310 Refrain First Line: Come join, join your voices Text Sources: Samuel Rutherford (1600-1661), based on
The Sands of Time Are Sinking
RUTHERFORD
Meter: 7.6.7.6.7.6.7.5 Appears in 250 hymnals Matching Instances: 150 Composer and/or Arranger: Chrétien Urhan; Edward F. Rimbault Tune Key: F Major Incipit: 33322 11144 34225 Used With Text: The Sands of Time Are Sinking
RUTHERFORD
[The sands of time are sinking]
Appears in 17 hymnals Matching Instances: 10 Composer and/or Arranger: E. S. Lorenz Incipit: 33514 32211 22333 Used With Text: Immanuel’s Land
[The sands of time are sinking]
[The sands of time are wasting]
Appears in 5 hymnals Matching Instances: 3 Composer and/or Arranger: W. F. Sherwin Incipit: 55346 53133 47155 Used With Text: Immanuel's Land
[The sands of time are wasting]
The Sands of Time Are Sinking
Author: Anne R. Cousin Hymnal: The Cyber Hymnal #5889 Meter: 7.6.7.6 D Lyrics: 1. The sands of time are sinking,
the dawn of Heaven breaks;
The summer morn I’ve sighed for—
the fair, sweet morn awakes:
Dark, dark hath been the midnight,
but dayspring is at hand,
And glory, glory dwelleth
in Immanuel’s land.
2. O Christ, He is the fountain,
the deep, sweet well of love!
The streams on earth I’ve tasted
more deep I’ll drink above:
There to an ocean fullness
His mercy doth expand,
And glory, glory dwelleth
in Immanuel’s land.
3. Oh! Well it is forever,
Oh! well forevermore,
My nest hung in no forest
of all this death doomed shore:
Yea, let the vain world vanish,
as from the ship the strand,
While glory—glory dwelleth
in Immanuel’s land.
4. There the red rose of Sharon
unfolds its heartsome bloom
And fills the air of Heaven
with ravishing perfume:
Oh! To behold it blossom,
while by its fragrance fanned
Where glory—glory dwelleth
in Immanuel’s land.
5. The King there in His beauty,
without a veil is seen:
It were a well spent journey,
though seven deaths lay between:
The Lamb with His fair army,
doth on Mount Zion stand,
And glory—glory dwelleth
in Immanuel’s land.
6. Oft in yon sea beat prison
My Lord and I held tryst,
For Anwoth was not Heaven,
and preaching was not Christ:
And aye, my murkiest storm cloud
was by a rainbow spanned,
Caught from the glory dwelling
in Immanuel’s land.
7. But that He built a Heaven
of His surpassing love,
A little new Jerusalem,
like to the one above,
Lord take me over the water
hath been my loud demand,
Take me to my love’s own country,
unto Immanuel’s land.
8. But flowers need night’s cool darkness,
the moonlight and the dew;
So Christ, from one who loved it,
His shining oft withdrew:
And then, for cause of absence
my troubled soul I scanned
But glory shadeless shineth
in Immanuel’s land.
9. The little birds of Anwoth,
I used to count them blessed,
Now, beside happier altars
I go to build my nest:
Over these there broods no silence,
no graves around them stand,
For glory, deathless, dwelleth
in Immanuel’s land.
10. Fair Anwoth by the Solway,
to me thou still art dear,
Even from the verge of Heaven,
I drop for thee a tear.
Oh! If one soul from Anwoth
meet me at God’s right hand,
My heaven will be two heavens,
In Immanuel’s land.
11. I’ve wrestled on towards Heaven,
against storm and wind and tide,
Now, like a weary traveler
that leaneth on his guide,
Amid the shades of evening,
while sinks life’s lingering sand,
I hail the glory dawning
from Immanuel’s land.
12. Deep waters crossed life’s pathway,
the hedge of thorns was sharp;
Now, these lie all behind me
Oh! for a well tuned harp!
Oh! To join hallelujah
with yon triumphant band,
Who sing where glory dwelleth
in Immanuel’s land.
13. With mercy and with judgment
my web of time He wove,
And aye, the dews of sorrow were
lustered with His love;
I’ll bless the hand that guided,
I’ll bless the heart that planned
When throned where glory dwelleth
in Immanuel’s land.
14. Soon shall the cup of glory
wash down earth’s bitterest woes,
Soon shall the desert briar
break into Eden’s rose;
The curse shall change to blessing
the name on earth that’s banned
Be graven on the white stone
in Immanuel’s land.
15. O I am my Beloved’s
and my Beloved’s mine!
He brings a poor vile sinner
into His house of wine.
I stand upon His merit—
I know no other stand,
Not even where glory dwelleth
in Immanuel’s land.
16. I shall sleep sound in Jesus,
filled with His likeness rise,
To love and to adore Him,
to see Him with these eyes:
’Tween me and resurrection
but paradise doth stand;
Then—then for glory dwelling
in Immanuel’s land.
17. The bride eyes not her garment,
but her dear bridegroom’s face;
I will not gaze at glory
but on my king of grace.
Not at the crown He giveth
but on His piercèd hand;
The Lamb is all the glory
of Immanuel’s land.
18. I have borne scorn and hatred,
I have borne wrong and shame,
Earth’s proud ones have reproached me
for Christ’s thrice blessed name:
Where God His seal set fairest
they’ve stamped the foulest brand,
But judgment shines like noonday
in Immanuel’s land.
19. They’ve summoned me before them,
but there I may not come,
My Lord says Come up hither,
My Lord says Welcome home!
My king, at His white throne,
my presence doth command
Where glory—glory dwelleth
in Immanuel’s land. Languages: English Tune Title: RUTHERFORD
The Sands of Time Are Sinking
The sands of time are sinking
Author: Annie R. Cousin Hymnal: The Seventh-Day Adventist Hymn and Tune Book #1349 (1886) Lyrics: 1 The sands of time are sinking,
The dawn of heaven breaks;
The summer morn I've sighed for,
The fair, sweet morn, awakes,
Dark, dark has been the midnight;
But dayspring is at hand:
And glory, glory dwelleth
In Immanuel's land,
And glory, glory dwelleth
In Immanuel's land.
2 I've wrestled on to'ard heaven,
'Gainst storm and wind and tide;
Now, like a weary trav'ler
That leaneth on his guide,
Amid the shades of evening,
While sinks life's ling'ring sand,
I hail the glory dawning,
From Immanuel's land,
I hail the glory dawning,
From Immanuel's land.
3 Deep waters crossed life's pathway,
The hedge of thorns was sharp;
Now these lie all behind me;
O for a well-tuned harp!
O for the "hallelujah,"
With yon triumphant band!
Who sing where glory dwelleth,
In Immanuel's land,
Who sing where glory dwelleth,
In Immanuel's land. Topics: Bible Songs Reward of Saints Scripture: Isaiah 35:1-2 Tune Title: IMMANUEL'S LAND
The sands of time are sinking
Immanuel's Land
Author: Mrs. Cousin Hymnal: Psalms and Hymns and Spiritual Songs #1272 (1875) First Line: The sands of time are sinking Topics: Heaven Christ there; Heaven Tune Title: IMMANUEL'S LAND
Immanuel's Land
A. R. Cousin
1824 - 1906 Person Name: Anne R. Cousin Author of "The Sands of Time Are Sinking" in Trinity Hymnal (Rev. ed.) Cousin, Anne Ross, née Cundell, is the only daughter of David Ross Cundell, M.D., Leith, and is the widow of the Rev. William Cousin, late Minister of the Free Church of Melrose. She has contributed many poems to various periodicals; 7 hymns to The Service of Praise, 1865, edited by the Rev. J. H. Wilson, of Edinburgh; and 1 to the Psalms and Hymns for Divine Worship, 1866, the Hymnal of the English Presbyterian Church. Four of her hymns are included in the Scottish Presbyterian Hymnal, 1876. Her most popular hymn, "The sands of time are sinking," was first published in The Christian Treasury for 1857, and gives its title to the collected edition of her poems published in 1876, as Immanuel’s Land and other Pieces by A. R. C. This is a collection of 107 hymns and poems, many of which are very beautiful. In general they are, however, rather meditations than hymns suited for public worship. Of these the following, in addition to those annotated under their first lines, are in common use:—
1. King Eternal, King Immortal. Christmas.
2. O Christ, what burdens bowed Thy head. Good Friday.
3. To Thee, and to Thy Christ, O God. Praise.
4. To thy father and thy mother. Filial Duty.
[Rev. J. Mearns, M.A.]
--John Julian, Dictionary of Hymnology (1907)
=====================
Cousin, Anne K., p. 264, ii. Other hymns are:—
1. None but Christ; His merit hides me. None but Christ. From her Immanuel's Land, &c, 1876, into Laudes Domini, 1884, &c.
2. O! Christ, He is the Fountain. This begins with stanza iii. of "The sands of time are sinking," p. 264, ii.
3. Saviour, shed Thy sweetest [richest] blessing. On behalf of Missioriaries. Published in Wilson's Service of Praise, 1865.
4. When we reach our peaceful dwelling. Heaven Anticipated. In her Immanuel's Land, &c.
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
=================
Cousin, A. R., p. 264, ii, Other hymns that have passed into use are:—
1. In the songless night, the daylight dreary. Jesus near.
2. Lord, mine must be a spotless dress. Christ our Righteousness.
3. O now is the time. Seek the Lord.
4. O Thou that on the billow. Jesus near.
Of these No. 4 appeared in J. H. Wilson's Songs of Zion, 1862; Nos. 1 and 3 in J. H. Wilson's Service of Praise, 1865 ; and No. 2 in her own Immanuel’s Land, 1876. Mrs. Cousin died at Edinburgh Dec. 6, 1906, in her 83rd year. [Rev. James Mearns, M.A.]
--John Julian, Dictionary of Hymnology, New Supplement (1907)
A. R. Cousin
Chrétien Urhan
1790 - 1845 Composer of "RUTHERFORD" in Trinity Hymnal (Rev. ed.) Chrétien Urhan (Baptised as Christian Urhan; 16 February 1790, Montjoie - 2 November 1845, Belleville) was a French violinist, organist, composer and player of the viola and the viola d'amore.
His father first introduced him to the violin. He was first mentioned in 1804 by Joséphine de Beauharnais that he had replaced a violinist for a performance of Haydn's The Creation, at the young age of 14. From there he was sent to work in Paris, where he took instruction from Jean-François Lesueur, master of the chapel of the Tuileries. He also learned from prominent teachers such as François-Antoine Habeneck, Rodolphe Kreutzer and Pierre Rode. He was invited to join the imperial chapel as a violinist in 1810.
In this period the young Urhan shared lodgings with his friends the harpist Franz Anton Stockhausen (father of Julius Stockhausen) and the painter Carl Begas the elder (who was studying with Antoine Jean Gros, 1813-15). In 1815, through a Quartermaster in the Prussian army of occupation, Urhan and Stockhausen (who corresponded with Beethoven) obtained a score of Beethoven's Eroica Symphony and set it before Habeneck, with the result that the work was introduced to Paris. The two were among Amis de Beethoven, or Beethoven-Bruder in Paris, together with Wilhelm Mangold and others. In the early 1820s the violinist Sina, a member of the string quartet led by Schuppanzigh for Andreas Razumovsky, with Urhan gave new encouragement to Habeneck to continue with the master's works. Until Stockhausen's marriage to the singer Margarethe Schmuck, a member of their circle, in 1825, he lived with Urhan, who remained a lifelong friend.
In 1816, Urhan was appointed solo viola at the Opéra de Paris, and became solo violinist in 1825. Strongly Catholic, he was also appointed the organist at the Church of Saint-Vincent-de-Paul in Paris in 1827, a position that he held until his death. In this position he met the young Franz Liszt, with whom he played chamber music, and also the Beethoven Kreutzer Sonata in a mass. A number of composers wrote prominent parts for Urhan. Meyerbeer composed for him solo viola and solo viola d'amore parts in his opera Les Huguenots, and Rudolph Kreutzer, the solo viola d'amore part in his opera Le Paradis de Mahomet. In 1834, Berlioz wrote his Harold en Italie for orchestra with viola obbligato at the request of Niccolò Paganini, who refused to play the work. Berlioz offered the solo viola part to Urhan and the premiere was given on 23 November 1834 at the Paris Conservatory.
According to Ernest Legouvé, he was both entirely religious and entirely devoted to music. He lived like a medieval ascetic, abstaining from almost everything except his daily visit to the Café des Anglais. His love for theatre music created a severe inner conflict, which he overcame by asking the permission of the Archbishop to play in the orchestra of the Opéra (of which he was Leader), being told it was a matter for his own conscience. He accepted this by always being seated with his back to the stage, so that he never saw the singers or dancers for whom he played, even when providing solo accompaniment for a dancer.
Legouvé thought there were several greater violin virtuousi in Paris than Urhan, but that he outshone them through his profound knowledge of the masters and respect for their music, and through the indefinable quality of style which he brought to them. He often differed with Habeneck, when the conductor wanted to make cuts, and actually published and signed an article against Habeneck when he withdrew some double-basses from Beethoven's Choral Symphony. He did not merely guard the reputation of the old masters, but he was also a fierce advocate and defender of the new, and of those of the future. He was the first to introduce a song of Schubert's into France ('L'Adieu'). For Legouvé, to see him play was like watching Fra Angelico painting in his cell, a medieval mystic at work.
The Stockhausens visited Urhan in his fifth-floor Paris apartment in 1839, and found him living in great simplicity in two rooms, with a piano and five stools in his bedroom, where they sat and were made very welcome. In 1843 Urhan encouraged their son Julius while he was in Paris. In November 1845 Julius wrote to inform his parents of Urhan's death. He had been living in pitiable conditions in Belleville, and began to refuse his food: thoughts of suicide made him resolve to starve himself to death. He suffered agonies of pain and descended into a frenzy, giving terrible grief to his friends, none of whom could talk him out of it. All interventions failed, and Urhan, whom the Stockhausen and Legentil families considered their dear friend, and who had formerly taken communion every Sunday, lost his faith in God and his desire for life. Thus he died, quietly at last with friends at his bedside, on 2 November 1845.
--en.wikipedia.org/wiki/ (excerpts)
Chrétien Urhan
Edward F. Rimbault
1816 - 1876 Arranger of "RUTHERFORD" in Trinity Hymnal (Rev. ed.) Edward Francis Rimbault PhD LLD United Kingdom 1816-1876. Born in Soho, London, England, son of an organist and composer of French descent, he was taught music by his father., Samuel Wesley, and Wiliam Crotch. At age 16 he became organist of the Swiss Church in Soho. He later became organist at various churches, including St Peter’s, Vere Street, and St John’s Wood Presbyterian Church. He edited many collections of music, journals, and publications of music, and arranged music compositions. In addition to editing or arranging contemporary operas, he had a strong interest in editing or arranging earlier English music. He studied the musical treatises in the library of Archbishop Tenison, one of the oldest public libraries in London. In 1838, At age 22 he began lecturing about the history of English music, and was in much demand due to the interest aroused. He did editorial work for the Percy Society, the Camden Society, the Motet Society, and the Handel Society. For the latter he edited the “Messiah”, “Saul”, and “Samson” He was elected a Fellow of the Society of Antiquaries, and was granted membership in the Academy of Music in Stockholm, Sweden. Gottingen University also conferred upon him a PhD. His reputation was such that he was offered a teaching position at Harvard University in the U.S., which he turned down. In 1848 he was given an honorary degree by the University of Oxford. In 1849 he published a collection of English nursery rhymes and the tunes to which they were sung. Rimbault authored 76 books, a few named here include : “Bibliotheca madrigaliana” (1847); “The pianoforte” (1860); “Early English organ builders and their works” (1865). In 1855 he co-authored “The organ- its history and construction” with John Hopkins. He did a small amount of composing as well. He wrote an operetta in 1838, and a musical drama. He also composed a large number of pianoforte scores for operas by others. He was an admirable harmonium player. Traveling to various auctions for years, he accumulated a rare collection of books. After his death his extensive collection was auctioned off in 1877, with many items going to the British Library. About 300 items were sold to an individual, and upon his death in 1888, the ‘Drexel collection’ was bequeathed to the Lenox Library (precursor of the New York Public Library). Today, the collection is part of the Music Division of the NY Public Library for the Performing Arts. He was an author, editor, arranger, composer, lithographer, translator, scribe, adapter, and bookseller. He died at London, England. No information found regarding a family.
John Perry
Edward F. Rimbault
