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ALL SAINTS NEW
Meter: 8.6.8.6 D Appears in 590 hymnals Composer and/or Arranger: Henry S. Cutler, 1824-1902 Tune Key: B Flat Major Incipit: 53451 17712 34322 Used With Text: The Son of God Goes Forth to War
ALL SAINTS NEW
The Son of God goes forth to war
Author: Bishop Reginald Heber Meter: 8.6.8.6 D Appears in 848 hymnals Topics: Pilgrimage and Conflict; St. Stephen's Day December 26; Saints' Days and Other Holy Days All Saints' Day, Novemer 1; Saints' Days and Other Holy Days Festivals of Saints; Lay Helpers and Teachers Used With Tune: ALL SAINTS NEW
The Son of God goes forth to war
O Jesus, once a Nazareth boy
Author: Ethel Wendell Trout Appears in 18 hymnals Used With Tune: ALL SAINTS NEW
O Jesus, once a Nazareth boy
We Sing for All the Unsung Saints
Author: Carl P. Daw, Jr. b. 1944 Hymnal: Lutheran Service Book #678 (2006) Meter: 8.6.8.6 D Lyrics: 1 We sing for all the unsung saints,
That countless, nameless throng,
Who kept the faith and passed it on
With hope steadfast and strong
Through all the daily griefs and joys
No chronicles record,
Forgetful of their lack of fame,
But mindful of their Lord.
2 Though uninscribed with date or place,
With title, rank, or name,
As living stones their stories join
To form a hallowed frame
Around the myst'ry in their midst:
The Lamb once sacrificed,
The Love that wrested life from death,
The wounded, risen Christ.
3 So we take heart from unknown saints
Bereft of earthly fame,
Those faithful ones who have received
A more enduring name:
For they reveal true blessing comes
When we our pride efface
And offer back our lives to be
The vessels of God's grace. Scripture: Hebrews 11 Languages: English Tune Title: ALL SAINTS NEW
We Sing for All the Unsung Saints
The Son of God goes forth to war
Author: Bishop Reginald Heber Hymnal: The Book of Common Praise #404 (1939) Meter: 8.6.8.6 D Topics: Pilgrimage and Conflict; St. Stephen's Day December 26; Saints' Days and Other Holy Days All Saints' Day, Novemer 1; Saints' Days and Other Holy Days Festivals of Saints; Lay Helpers and Teachers Tune Title: ALL SAINTS NEW
The Son of God goes forth to war
The Son of God goes forth to war
Author: Reginald Heber Hymnal: The Hymnal of the Protestant Episcopal Church in the United States of America 1940 #549 (1940) Meter: 8.6.8.6 D Topics: Saints' Days and Holy Days St. Stephen; Saints' Days and Holy Days All Saints; Apostles; Martyrs; Courage; Discipleship; Lent III Evening Prayer General; St. Stephen's Day The Holy Communion Opening; The Church Militant The Christian warfare Tune Title: ALL SAINTS NEW
The Son of God goes forth to war
Charles Wesley
1707 - 1788 Author of "Let saints below in concert sing" in University Hymns 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
James Montgomery
1771 - 1854 Author of "Lift up your heads, ye gates of brass" in Trinity Hymnal James Montgomery (b. Irvine, Ayrshire, Scotland, 1771; d. Sheffield, Yorkshire, England, 1854), the son of Moravian parents who died on a West Indies mission field while he was in boarding school, Montgomery inherited a strong religious bent, a passion for missions, and an independent mind. He was editor of the Sheffield Iris (1796-1827), a newspaper that sometimes espoused radical causes. Montgomery was imprisoned briefly when he printed a song that celebrated the fall of the Bastille and again when he described a riot in Sheffield that reflected unfavorably on a military commander. He also protested against slavery, the lot of boy chimney sweeps, and lotteries. Associated with Christians of various persuasions, Montgomery supported missions and the British Bible Society. He published eleven volumes of poetry, mainly his own, and at least four hundred hymns. Some critics judge his hymn texts to be equal in quality to those of Isaac Watts and Charles Wesley . Many were published in Thomas Cotterill's Selection of Psalms and Hymns (1819 edition) and in Montgomery's own Songs of Zion (1822), Christian Psalmist (1825), and Original Hymns (1853).
Bert Polman
========================
Montgomery, James, son of John Montgomery, a Moravian minister, was born at Irvine, Ayrshire, Nov. 4, 1771. In 1776 he removed with his parents to the Moravian Settlement at Gracehill, near Ballymena, county of Antrim. Two years after he was sent to the Fulneck Seminary, Yorkshire. He left Fulneck in 1787, and entered a retail shop at Mirfield, near Wakefield. Soon tiring of that he entered upon a similar situation at Wath, near Rotherham, only to find it quite as unsuitable to his taste as the former. A journey to London, with the hope of finding a publisher for his youthful poems ended in failure; and in 1792 he was glad to leave Wath for Shefield to join Mr. Gales, an auctioneer, bookseller, and printer of the Sheffield Register newspaper, as his assistant. In 1794 Mr. Gales left England to avoid a political prosecution. Montgomery took the Sheffield Register in hand, changed its name to The Sheffield Iris, and continued to edit it for thirty-one years. During the next two years he was imprisoned twice, first for reprinting therein a song in commemoration of "The Fall of the Bastille," and the second for giving an account of a riot in Sheffield. The editing of his paper, the composition and publication of his poems and hynms, the delivery of lectures on poetry in Sheffield and at the Royal Institution, London, and the earnest advocacy of Foreign Missions and the Bible Society in many parts of the country, gave great variety but very little of stirring incident to his life. In 1833 he received a Royal pension of £200 a year. He died in his sleep, at the Mount, Sheffield, April 30, 1854, and was honoured with a public funeral. A statue was erected to his memory in the Sheffield General Cemetery, and a stained glass window in the Parish Church. A Wesleyan chapel and a public hall are also named in his honour. Montgomery's principal poetical works, including those which he edited, were:—
(1) Prison Amusements, 1797; (2) The Wanderer of Switzerland, 1806; (3) The West Indies, 1807; (4) The World before the Flood, 1813; (5) Greenland and Other Poems, 1819; (6) Songs of Zion, 1822; (7) The Christian Psalmist, 1825; (8) The Christian Poet, 1825; (9) The Pelican Island, 1828; (10) The Poet’s Portfolio, 1835; (11) Original Hymns for Public, Private, and Social Devotion, 1853. He also published minor pieces at various times, and four editions of his Poetical Works, the first in 1828, the second in 1836, the third in 1841, and the fourth in 1854. Most of these works contained original hymns. He also contributed largely to Collyer's Collection, 1812, and other hymnbooks published during the next 40 years, amongst which the most noticeable was Cotterill's Selections of 1819, in which more than 50 of his compositions appeared. In his Christian Psalmist, 1825, there are 100 of his hymns, and in his Original Hymns, 1853, 355 and 5 doxologies. His Songs of Zion, 1822, number 56. Deducting those which are repeated in the Original Hymns, there remain about 400 original compositions.
Of Montgomery's 400 hymns (including his versions of the Psalms) more than 100 are still in common use. With the aid of Montgomery's MSS. we have given a detailed account of a large number. The rest are as follows:—
i. Appeared in Collyer's Collection, 1812.
1. Jesus, our best beloved Friend. Personal Dedication to Christ.
2. When on Sinai's top I see. Sinai, Tabor, and Calvary.
ii. Appeared in Cotterill's Selection, 1819.
3. Come to Calvary's holy mountain. The Open Fountain.
4. God in the high and holy place. God in Nature. The cento in Com. Praise, 1879, and others, "If God hath made this world so fair," is from this hymn.
5. Hear me, O Lord, in my distress. Ps. cxliii.
6. Heaven is a place of rest from sin. Preparation for Heaven.
7. I cried unto the Lord most just. Ps. cxlii.
8. Lord, let my prayer like incense rise. Ps. cxxxix.
9. O bless the Lord, my soul! His grace to thee proclaim. Ps. ciii.
10. Out of the depths of woe. Ps. cxxx. Sometimes "When from the depths of woe."
11. The world in condemnation lay. Redemption.
12. Where are the dead? In heaven or hell? The Living and the Dead.
iii. Appeared in his Songs of Zion, 1822.
13. Give glory to God in the highest. Ps. xxix.
14. Glad was my heart to hear. Ps. cxxii.
15. God be merciful to me. Ps. lxix.
16. God is my strong salvation. Ps. xxvii.
17. Hasten, Lord, to my release. Ps. lxx.
18. Have mercy on me, O my God. Ps. li.
19. Hearken, Lord, to my complaints. Ps. xlii.
20. Heralds of creation cry. Ps. cxlviii.
21. How beautiful the sight. Ps. cxxxiii.
22. How precious are Thy thoughts of peace. Ps. cxxxix.
23. I love the Lord, He lent an ear. Ps. cxvi.
24. In time of tribulation. Ps. lxxvii.
25. Jehovah is great, and great be His praise. Ps. xlviii. Sometimes, "0 great is Jehovah, and great is His Name."
26. Judge me, O Lord, in righteousness. Ps. xliii.
27. Lift up your heads, ye gates, and wide. Ps.xxiv.
28. Lord, let me know mine [my] end. Ps. xxxi.
29. Of old, 0 God, Thine own right hand. Ps. lxxx.
30. O God, Thou art [my] the God alone. Ps. lxiii.
31. 0 Lord, our King, how excellent. Ps. viii. Sometimes, "0 Lord, how excellent is Thy name."
32. O my soul, with all thy powers. Ps. ciii.
33. One thing with all my soul's desire. Ps. xxvii. From this, "Grant me within Thy courts a place."
34. Searcher of hearts, to Thee are known. Ps. cxxxix.
35. Thank and praise Jehovah's name. Ps. cvii.
36. Thee will I praise, O Lord in light. Ps. cxxxviii.
37. The Lord is King; upon His throne. Ps. xciii.
38. The Lord is my Shepherd, no want shall I know. Ps. xxiii.
39. The tempter to my soul hath said. Ps. iii.
40. Thrice happy he who shuns the way. Ps. i.
41. Thy glory, Lord, the heavens declare. Ps. xix.
42. Thy law is perfect, Lord of light. Ps. xix.
43. Who make the Lord of hosts their tower. Ps. cxxv.
44. Yea, I will extol Thee. Ps. xxx.
iv. Appeared in his Christian Psalmist. 1825.
45. Fall down, ye nations, and adore. Universal adoration of God desired.
46. Food, raiment, dwelling, health, and friends. The Family Altar.
47. Go where a foot hath never trod. Moses in the desert. Previously in the Leeds Congregational Collection, 1822.
48. Green pastures and clear streams. The Good Shepherd and His Flock.
49. Less than the least of all. Mercies acknowledged.
50. Not to the mount that burned with fire [flame]. Communion of Saints.
51. On the first Christian Sabbath eve. Easter Sunday Evening.
52. One prayer I have: all prayers in one. Resignation.
53. Our heavenly Father hear. The Lord's Prayer.
54. Return, my soul, unto thy rest. Rest in God.
55. Spirit of power and might, behold. The Spirit's renewing desired.
56. The Christian warrior, see him stand. The Christian Soldier. Sometimes, "Behold the Christian warrior stand."
57. The days and years of time are fled. Day of Judgment.
58. The glorious universe around. Unity.
59. The pure and peaceful mind. A Children's Prayer.
60. This is the day the Lord hath made (q. v.). Sunday.
61. Thy word, Almighty Lord. Close of Service.
62. What secret hand at morning light ? Morning.
63. While through this changing world we roam. Heaven.
64. Within these walls be peace. For Sunday Schools.
v. Appeared in his Original Hymns, 1853.
65. Behold yon bright array. Opening a Place of Worship.
66. Behold the book whose leaves display. Holy Scriptures.
67. Come ye that fear the Lord. Confirmation.
68. Home, kindred, friends, and country, these. Farewell to a Missionary.
69. Let me go, the day is breaking. Jacob wrestling.
70. Not in Jerusalem alone. Consecration of a Church.
71. Praise the high and holy One. God the Creator.
In common with most poets and hymnwriters, Montgomery strongly objected to any correction or rearrangement of his compositions. At the same time he did not hesitate to alter, rearrange, and amend the productions of others. The altered texts which appeared in Cotterill's Selections, 1819, and which in numerous instances are still retained in some of the best hymnbooks, as the "Rock of Ages," in its well-known form of three stanzas, and others of equal importance, were made principally by him for Cotterill's use. We have this confession under his own hand.
As a poet, Montgomery stands well to the front; and as a writer of hymns he ranks in popularity with Wesley, Watts, Doddridge, Newton, and Cowper. His best hymns were written in his earlier years. In his old age he wrote much that was unworthy of his reputation. His finest lyrics are "Angels from the realms of glory," "Go to dark Gethsemane," "Hail to the Lord's Anointed," and "Songs of praise the angels sang." His "Prayer is the soul's sincere desire," is an expanded definition of prayer of great beauty; and his "Forever with the Lord" is full of lyric fire and deep feeling. The secrets of his power as a writer of hymns were manifold. His poetic genius was of a high order, higher than most who stand with him in the front rank of Christian poets. His ear for rhythm was exceedingly accurate and refined. His knowledge of Holy Scripture was most extensive. His religious views were broad and charitable. His devotional spirit was of the holiest type. With the faith of a strong man he united the beauty and simplicity of a child. Richly poetic without exuberance, dogmatic without uncharitableness, tender without sentimentality, elaborate without diffusiveness, richly musical without apparent effort, he has bequeathed to the Church of Christ wealth which could onlv have come from a true genius and a sanctified! heart.
--John Julian, Dictionary of Hymnology (1907)
James Montgomery
Frederick William Faber
1814 - 1863 Person Name: Rev. Frederick W. Faber Author of "O God, Thy pow'r is wonderful" in The Evangelical Hymnal Raised in the Church of England, Frederick W. Faber (b. Calverly, Yorkshire, England, 1814; d. Kensington, London, England, 1863) came from a Huguenot and strict Calvinistic family background. He was educated at Balliol College, Oxford, and ordained in the Church of England in 1839. Influenced by the teaching of John Henry Newman, Faber followed Newman into the Roman Catholic Church in 1845 and served under Newman's supervision in the Oratory of St. Philip Neri. Because he believed that Roman Catholics should sing hymns like those written by John Newton, Charles Wesley, and William Cowpe, Faber wrote 150 hymns himself. One of his best known, "Faith of Our Fathers," originally had these words in its third stanza: "Faith of Our Fathers! Mary's prayers/Shall win our country back to thee." He published his hymns in various volumes and finally collected all of them in Hymns (1862).
Bert Polman
=================
Faber, Frederick William, D.D., son of Mr. T. H. Faber, was born at Calverley Vicarage, Yorkshire, June 28, 1814, and educated at Balliol College, Oxford, graduating B.A. in 1836. He was for some time a Fellow of University College, in the same University. Taking Holy Orders in 1837, he became Rector of Elton, Huntingdonshire, in 1843, but in 1846 he seceded to the Church of Rome. After residing for some time at St. Wilfrid's, Staffordshire, he went to London in 1849, and established the London "Oratorians," or, "Priests of the Congregation of St. Philip Neri," in King William Street, Strand. In 1854 the Oratory was removed to Brompton. Dr. Faber died Sept. 26, 1863. Before his secession he published several prose works, some of which were in defence of the Church of England; and afterwards several followed as Spiritual Conferences, All for Jesus, &c. Although he published his Cherwell Waterlily and Other Poems, 1840; The Styrian Lake, and Other Poems, 1842; Sir Lancelot, 1844; and The Rosary and Other Poems, 1845; and his Lives of the Saints, in verse, before he joined the Church of Rome, all his hymns were published after he joined that communion. They were included in his:—
(1) A small book of eleven Hymns1849, for the School at St. Wilfrid's, Staffordshire. (2) Jesus and Mary: or, Catholic Hymns for Singing and Reading, London 1849. In 1852 the 2nd edition was published with an addition of 20 new hymns. (3) Oratory Hymns, 1854; and (4) Hymns, 1862, being a collected edition of what he had written and published from time to time.
Dr. Faber's account of the origin of his hymn-writing is given in his Preface to Jesus & Mary. After dwelling on the influence, respectively, of St. Theresa, of St. Ignatius, and of St. Philip Neri, on Catholicism; and of the last that "sanctity in the world, perfection at home, high attainments in common earthly callings…was the principal end of his apostolate," he says:—
“It was natural then that an English son of St. Philip should feel the want of a collection of English Catholic hymns fitted for singing. The few in the Garden of the Soul were all that were at hand, and of course they were not numerous enough to furnish the requisite variety. As to translations they do not express Saxon thought and feelings, and consequently the poor do not seem to take to them. The domestic wants of the Oratory, too, keep alive the feeling that something of the sort was needed: though at the same time the author's ignorance of music appeared in some measure to disqualify him for the work of supplying the defect. Eleven, however, of the hymns were written, most of them, for particular tunes and on particular occasions, and became very popular with a country congregation. They were afterwards printed for the Schools at St. Wilfrid's, and the very numerous applications to the printer for them seemed to show that, in spite of very glaring literary defects, such as careless grammar and slipshod metre, people were anxious to have Catholic hymns of any sort. The manuscript of the present volume was submitted to a musical friend, who replied that certain verses of all or nearly all of the hymns would do for singing; and this encouragement has led to the publication of the volume."
In the same Preface he clearly points to the Olney Hymns and those of the Wesleys as being the models which for simplicity and intense fervour he would endeavour to emulate. From the small book of eleven hymns printed for the schools at St. Wilfrid's, his hymn-writing resulted in a total of 150 pieces, all of which are in his Hymns, 1862, and many of them in various Roman Catholic collections for missions and schools. Few hymns are more popular than his "My God, how wonderful Thou art," "O come and mourn with me awhile," and "Sweet Saviour, bless us ere we go." They excel in directness, simplicity, and pathos. "Hark, hark, my soul, angelic songs are swelling," and "O Paradise, O Paradise," are also widely known. These possess, however, an element of unreality which is against their permanent popularity. Many of Faber's hymns are annotated under their respective first lines; the rest in common use include:—
i. From his Jesus and Mary, 1849 and 1852.
1. Fountain of love, Thyself true God. The Holy Ghost.
2. How shalt thou bear the Cross, that now. The Eternal Years.
3. I come to Thee, once more, O God. Returning to God.
4. Joy, joy, the Mother comes. The Purification.
5. My soul, what hast thou done for God? Self-Examination
6. O how the thought of God attract. Holiness Desired.
7. O soul of Jesus, sick to death. Passiontide. Sometimes this is divided into two parts, Pt. ii. beginning, “My God, my God, and can it be."
ii. From his Oratory Hymns, 1854.
8. Christians, to the war! Gather from afar. The Christian Warfare.
9. O come to the merciful Saviour that calls you. Divine Invitation. In many collections.
10. O God, Thy power is wonderful. Power and Eternity of God.
11. O it is sweet to think, Of those that are departed. Memory of the Dead.
12. O what are the wages of sin? The Wages of Sin.
13. O what is this splendour that beams on me now? Heaven.
14. Saint of the Sacred Heart. St. John the Evangelist.
iii. From his Hymns, 1862.
15. Father, the sweetest, dearest Name. The Eternal Father.
16. Full of glory, full of wonders, Majesty Divine. Holy Trinity.
17. Hark ! the sound of the fight. Processions.
18. How pleasant are thy paths, 0 death. Death Contemplated.
19. O God, Whose thoughts are brightest light. Thinking no Evil.
20. O why art thou sorrowful, servant of God? Trust in God.
21. Souls of men, why will ye scatter? The Divine Call.
22. The land beyond the sea. Heaven Contemplated.
23. The thought of God, the thought of thee. Thoughts of God.
24. We come to Thee, sweet Saviour. Jesus, our Rest.
In addition to these there are also several hymns in common use in Roman Catholic hymn-books which are confined to those collections. In the Hymns for the Year, by Dr. Rawes, Nos. 77, 110, 112, 117, 120, 121, 122, 125, 127, 128, 131, 140, 152, 154,169, 170, 174, 179, 180, 192, 222, 226, 230, 271, 272, are also by Faber, and relate principally to the Blessed Virgin Mary. Several of these are repeated in other Roman Catholic collections.
--John Julian, Dictionary of Hymnology (1907
==================
Faber, Frederick William, p. 361, i. To this article the following additions have to be made:—
1. Blood is the price of heaven. Good Friday. (1862.)
2. Exceeding sorrowful to death. Gethsemane. This in the Scottish Ibrox Hymnal, 1871, is a cento from "O soul of Jesus, sick to death," p. 362, i., 7.
3. From pain to pain, from woe to woe. Good Friday. (1854.)
4. I wish to have no wishes left. Wishes about death. (1862.)
5. Why is thy face so lit with smiles? Ascension. (1849.)
The dates here given are those of Faber's works in which the hymns appeared. In addition to these hymns there are also the following in common use:—
6. Dear God of orphans, hear our prayer. On behalf of Orphans. This appeared in a miscellaneous collection entitled A May Garland, John Philip, n.d. [1863], No. 1, in 7 stanzas of 4 lines. In the Roman Catholic Parochial Hymn Book, 1880, it begins, "O God of orphans, hear our prayer."
7. Sleep, sleep my beautiful babe. Christmas Carol. This carol we have failed to trace.
8. By the Archangel's word of love. Pt. i. Life of our Lord. This, and Pt. ii., “By the blood that flowed from Thee"; Pt. iii., "By the first bright Easter day"; also, "By the word to Mary given"; "By the name which Thou didst take"; in The Crown Hymn Book and other Roman Catholic collections, we have seen ascribed to Dr. Faber, but in the Rev. H. Formby's Catholic Hymns, 1853, they are all signed "C. M. C," i.e. Cecilia M. Caddell (p. 200, i.).
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
======================
Faber, F. W., pp. 361, i.; 1562, ii. We are informed by members of Dr. Faber's family that his father was Mr. Thomas Henry Faber, sometime Lay Secretary of the Bishop of Durham. In addition to his hymns already noted in this Dictionary, the following are found in various Roman Catholic collections, viz.:—
i. From St. Wilfrid's Hymns, 1849:—
1. Dear Father Philip, holy Sire. S. Philip Neri.
2. Hail, holy Joseph, hail. S. Joseph.
3. Mother of Mercy, day by day. Blessed Virgin Mary.
ii. Jesus and Mary, 1849:—
4. Ah ! dearest Lord! I cannot pray. Prayer.
5. Dear Husband of Mary. S. Joseph.
6. Dear Little One, how sweet Thou art. Christmas.
7. Father and God! my endless doom. Predestination.
8. Hail, holy Wilfrid, hail. S. Wilfrid.
9. O Jesus, if in days gone by. Love of the World.
10. O turn to Jesus, Mother, turn. B. V. M.
11. Sing, sing, ye angel bands. Assum. B. V. M.
iii. Jesus and Mary, 1852:—
12. All ye who love the ways of sin. S. Philip Neri.
13. Day set on Rome! its golden morn. S. Philip Neri.
14. Hail, bright Archangel! Prince of heaven. S. Michael.
15. Hail, Gabriel, hail. S. Gabriel.
16. O Flower of Grace, divinest Flower. B. V. M.
17. Saint Philip! 1 have never known. S. Philip Neri.
18. Sweet Saint Philip, thou hast won us. S. Philip Neri. Previously in the Rambler, May, 1850, p. 425.
iv. Oratory Hymns, 1854:—
19. Day breaks on temple roofs and towers. Expect. of B. V. M.
20. How gently flow the silent years. S. Martin and S. Philip.
21. How the light of Heaven is stealing. Grace.
22. Like the dawning of the morning. Expect. of B. V. M.
23. Mother Mary ! at thine altar. For Orphans.
24. My God! Who art nothing but mercy and kindness. Repentance.
25. O blessed Father! sent by God. S. Vincent of Paul.
26. O do you hear that voice from heaven? Forgiveness.
27. The chains that have bound me. Absolution.
28. The day, the happy day, is dawning. B. V. M.
29. The moon is in the heavens above. B. V. M.
30. Why art thou sorrowful, servant of God? Mercy.
v. Hymns, 1862:—
31. At last Thou art come, little Saviour. Christmas.
32. By the spring of God's compassions. S. Raphael.
33. Fair are the portals of the day. B. V. M.
34. Father of many children. S. Benedict.
35. From the highest heights of glory. S. Mary Magdalene.
36. Like the voiceless starlight falling. B. V. M.
37. Mary! dearest mother. B. V. M.
38. Mother of God, we hail thy heart. B. V. M.
39. O Anne! thou hadst lived through those long dreary years. S. Anne. Previously in Holy Family Hymns, 1860.
40. O balmy and bright as moonlit night. B. V. M.
41. O Blessed Trinity! Thy children. Holy Trinity.
42. O dear Saint Martha, busy saint. S. Martha
43. O Mother, will it always be. B. V. M.
44. O vision bright. B. V. M.
45. Summer suns for ever shining. B. V. M.
46. There are many saints above. S. Joseph. Previously in Holy Family Hymns, 1860.
vi. Centos and altered forms:—
47. Confraternity men to the fight. From "Hark the sound of the fight," p. 362, i.
48. Hail, sainted Mungo, hail. From No. 8.
49. I bow to Thee, sweet will of God. From "I worship Thee," p. 559, ii.
50. They whom we loved on earth. From "0 it is sweet to think," p. 362, i.
51. Vincent! like Mother Mary, thou. From No. 25.
When Dr. Faber's hymns which are in common use are enumerated, the total falls little short of one hundred. In this respect he outnumbers most of his contemporaries. [Rev. James Mearns]
--John Julian, Dictionary of Hymnology, New Supplement (1907)
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See also in:
Hymn Writers of the Church
Frederick William Faber
Christian Classics Ethereal Hymnary
Publication Date: 2007 Publisher: Grand Rapids, MI: Christian Classics Ethereal Library
Christian Classics Ethereal Hymnary
Small Church Music
Editors: Reginald Heber Description:
History
The SmallChurchMusic site was launched in 2006, growing out of the requests from those struggling
to provide suitable music for their services and meetings. Rev. Clyde McLennan was ordained in mid
1960’s and was a pastor in many small Australian country areas, and therefore was acutely aware of
this music problem. Having also been trained as a Pipe Organist, recordings on site (which are a subset
of the smallchurchmusic.com site) are all actually played by Clyde, and also include piano and piano
with organ versions.
About the Recordings All recordings are in MP3 format.
Churches all around the world use the recordings, with downloads averaging over 60,000 per
month.
The recordings normally have an introduction, several verses and a slowdown on the last verse.
Users are encouraged to use software: Audacity (http://www.audacityteam.org) or Song Surgeon (http://songsurgeon.com) to adjust the MP3 number of verses, tempo and pitch to suit their local needs.
Mobile App
We have partnered with the developer of the popular NetTracks mobile app to offer the Small Church Music collection as a convenient mobile app. Experience the beloved Small Church Music collection through this iOS app featuring nearly 10,000 high-quality hymn recordings that can be organized into custom setlists and downloaded for offline use—ideal for worship services without musicians, congregational practice, and personal devotion. The app requires a small fee to cover maintenance costs. Please note: While Hymnary.org hosts this music collection, technical support for the app is provided exclusively by the app developer, not by Hymnary.org staff.
LicensingCopyright notice: Rev. Clyde McLennan, performer in this collection, has assigned his performer rights in this collection to Hymnary.org. Non-commercial use of these recordings is permitted. For permission to use them for any other purposes, please contact manager@hymnary.org.
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