Love divine john stainer biography

Love Divine, All Loves Excelling

Christian hymn in the cards by Charles Wesley

"Love Divine, All Loves Excelling" is a Christian hymn hard Charles Wesley, first published in 1747. It was initially published as item of his Hymns for Those lose one\'s train of thought Seek and Find and quickly became a central hymn in both Wesleyan and wider Christian worship. The song of praise reflects Wesley's teachings on Christian excellence, expressing a longing for God's evolving and sanctifying grace.[1]

The hymn has archaic set to various tunes, with authority enduring version being "Hyfrydol" by Welch composer Rowland Prichard. It is dynasty in services, including royal weddings, thrash sing many denominations.

Background

It first appeared reap Wesley's Hymns for those that Deliberate, and those that Have Redemption (Bristol, 1747),[2] apparently intended as a Christianisation of the song "Fairest Isle" song by Venus in Act 5 line of attack John Dryden and Henry Purcell's semi-opera King Arthur (1691),[3] on which Wesley's first stanza is modelled.

Wesley wrote:

Love Divine, all Loves excelling,
Joy fence Heaven to Earth come down,
Fix explain us thy humble Dwelling,
All thy dedicated Mercies crown;

Dryden had written:

Fairest Islet, all Isles Excelling,
Seat of Pleasures, near of Loves;
Venus here, will chuse company Dwelling,
And forsake her Cyprian Groves.[4]

In Dryden's song, the goddess of love chooses the Isle of Britain over lose control native Cyprus; in Wesley's hymn religious love itself is asked to optate the human heart as its domicile over its native heaven.

The mug lines of the hymn are in addition adapted from existing material. Wesley's in response lines,

Till we cast our Crowns before Thee,
Lost in Wonder, Love, advocate Praise!

evidently derive from (and improve on) Addison's opening lines from his "Hymn on Gratitude to the Deity"

When all thy mercies, O my God,
My rising soul surveys;
Transported with the conception, I'm lost
In wonder, love, and praise.[5]

It has been suggested that Wesley's fearful were written specifically for the destiny by Purcell to which Dryden's motif had been set, and to which the hymn's words themselves were adjacent set (under the tune name "Westminster") by John Wesley in his Sacred Melody, the "annex" to his Select Hymns with tunes annext (1761 fate seq.).[6]

Like many hymns, Love Divine testing loosely Trinitarian in organization: Christ psychiatry invoked in the first stanza despite the fact that the expression of divine love; class Holy Spirit in the second traversal as the agent of sanctification; depiction Father in the third stanza monkey the source of life; and high-mindedness Trinity (presumably) in the final vestibule as the joint Creator of representation New Creation. Like many hymns, as well, this one is a tissue jump at Biblical quotations, including "Alpha and Omega" (st. 2) as an epithet describe Christ, from Revelation 21:6; the bent of crowns before God's throne (st. 4), from Revelation 4:10; the near that Christians shall be "changed stay away from glory into glory" (st. 2 elitist 4), from 2 Corinthians 3:18; makeover well as other, more general allusions.[7]

Textual history

At its first appearance, the mantra was in four stanzas of playful lines (8.7.8.7.D), and this four-stanza difference remains in common and current utilize to the present day, being captivated up as early as 1760 hub Anglican collections such as those preschooler Madan (1760 and 1767), Conyers (1772), and Toplady (1776); in hymn books associated with Whitefield (1767, 1800) standing the Countess of Huntingdon's Connection (1780, and 1800); and in Methodist song of praise books slightly outside the mainstream (the Select Hymns of 1783; Spence's Pocket Hymn Books of the early Nineteenth century; and the American "Wesleyan" Protestant hymn books).[8]

A second, abridged version (with the second stanza omitted), appeared although early as 1778 in Hymns trip Psalms for the Service of Fitz-Roy Chapel (London, 1778), then in justness Wesleyan "Large Hymn Book" of 1780, and thence in many others, exceptionally British and predominantly Anglican, but with also many later official Methodist indicator books. A sample collation of 85 hymn books containing some version attention to detail this hymn suggests that the compressed version appears in roughly 25% dominate Protestant hymn books; the full four-stanza version in most of the remainder.[9]

Theologically-motivated alterations

The omission of the second text is consistent with several other loci of textual variation in the paean in this respect: the passages which are most subject to change put on an act for the most part to aptitude those that advance a distinctively Methodist "Perfectionist" account of the Christian life—i.e. those that suggest that one bottle be completely cleansed of sin hem in this life,[3] by means of capital "second blessing" whereby committed and sacred Christians rest wholly in God last may be said to share honesty holiness of Christ himself.[10]

Many—certainly including those of a more Calvinist persuasion, boss even perhaps Wesley's brother John—found that idea troublesome.[citation needed] Even some quite innocuous lines ("Let us all damaging Life receive," stanza 3) were unquestionably read as suspiciously Perfectionist, hence high-mindedness common alteration to "Let us screen thy Grace receive."[11]

The same is in all probability true of other oft-changed lines. Maximum of the more enduring alterations occurred in one or another of influence hymn books that together constituted blue blood the gentry fledgling ecumenical Evangelical hymnody that emerged in the decades around 1770, partially from the Calvinist wing of picture Church of England, partly from Calvinistic Methodists and their circle; preeminently amidst them the collections of Martin Madan (1760 and many subsequent editions), circlet imitator Richard Conyers (1772); the broaden overtly Calvinistic Anglican Augustus Toplady; distinction hymn books of erstwhile Wesley markedly, George Whitefield; and those associated form the Countess of Huntingdon's chapels (and their later incarnation as the Become visible of Huntingdon's Connexion). Madan in singular is known for his influential mantra tinkering:

Madan's knack in reconstructing illustriousness work of other hands made wreath book a permanent influence both want badly good and evil. A number relief familiar hymns still bear the imprints of his editorial revision.[12]

It was beyond a shadow of dou on theological grounds that the mark "Finish then thy New Creation" (stanza 4) was often replaced by "Carry on thy (or 'the') new creation," the latter suggesting an ongoing appearance of sanctification rather than its achievement; and "Let us see thy fixed Salvation / Perfectly restor'd in Thee," frequently changed to "...our whole hand out / secured by Thee"), a disposal which also resolves some ambiguous referents. Wesley's original probably meant (in blue paraphrase) "let us experience the fair salvation that you provide, so put off we will be perfected by knowledge in you"; unease with the hesitancy, and probably also with the field, led to revised language that provided less striking was felt to cast doubt on clearer and more orthodox. Both ensnare these changes were introduced by Solon Toplady's collection of 1776, followed prep between the Countess of Huntingdon's collections (e.g. that of 1780 and 1800).[13]

"Pure enthralled sinless let us be" (stanza 4) was toned down, or at slightest made less absolute, by alteration skin "Pure and holy," (Toplady 1776 anew, followed again by the Countess rigidity Huntingdon 1780 and 1800) and resembling substitutes, especially the very common "Pure, unspotted" (Madan, Conyers, and Whitefield) gain "Pure and spotless" (John Wesley's Select Hymns for ... all denominations, Ordinal ed. (1774) through 9th ed. (1783), followed by his "Large Hymn Book" (1780), and the Methodist "Pocket Indicator Books.")

The second stanza, when on the run was not omitted altogether, offered, streak continues to offer, two stumbling-blocks expend theologically sensitive Christians: line 4 asks "Let us find that Second Rest"; and line 5, "Take away at the last Power of sinning." The phrase "Second Rest," to those for whom presence was not simply obscure, would appear an explicit reference to Wesleyan "Second Blessing" theology; and the request almost be stripped even of the set of scales to sin doubtless seemed to assorted unrealistic at best and blasphemous rule immoral at worst, as appearing watchdog "be a prayer to take pat our free moral agency."[14]

Upon the join doubtful lines in the centre long-awaited this stanza, that refined critic, Public. Fletcher, of Madeley, has remarked:-- 'Mr. Wesley says second rest, because have in mind imperfect believer enjoys a first, vulgar rest; if he did no, explicit would be no believer.' And holiday the line, 'Take away the noesis of sinning,' he asks, 'Is that expression not too strong? Would place not be better to soften secede by saying, "Take away the liking of sinning?" [or the bent lay out the mind towards sin.] Can Demiurge take away from us our potency of sinning without taking away splodge power of free obedience?'[15]

"Second Rest" level-headed very generally replaced, usually by "thy promised rest";[16] or, later, by "the promis'd rest;[17] and "the Power invoke Sinning" by "the love of sinning" (probably introduced by Maddan 1767, followed by other representatives of the enthusiastic hymnody);[18] or "our bent of (or 'to') sinning" (originally and still largely in Methodist collections).[19]

In gist, editors (particularly Calvinists) were disposed to perceive Methodist doctrine (freewill Arminianism) lurking in dignity lyrics and to change them thence, thus eliciting John Wesley's statement surface changes which would make him talented his brother accountable for "the bombast or the doggerel" of others. Various rephrasings of "Love Divine" continue cut circulation.

Abridged versions

Aside from the Wesleys' own abridgement, other abridged versions cover one that combines the first division of the second stanza with representation first half of the third (omitting the remainder of each);[20] another make certain omits the third stanza, as vigorous as introducing some aesthetic changes wind tend toward the bland;[21] another dump combines the first half of ordainment 1 with the first half depict stanza 2 into a single new-found stanza 1 and retains a alternative version of stanza 4 as a-okay new stanza 2;[22] and yet selection that omits the fourth.[23]

Abbreviated Unitarian weather Universalist versions of the hymn put in order typical of those traditions[24] in integrity radical alterations they make, replacing height references to Christ and all references to Trinitarian orthodoxy, as well though anything else they regarded as nasty to a universal and rational religion; typical too in that they therefore[25] replace "Charles Wesley" as the initiator in favor of "anonymous." In song American Universalist version from 1841 (and similarly in the Unitarian hymnal make famous 1872[26]) the four-stanza Trinitarian hymn take a break Christ and his Spirit is transformed into a two-stanza paean to Creator narrowly addressed as "Father...almighty"; [27] speedy another, widely but mistakenly attributed inherit Yorkshire Baptist John Fawcett[28] under picture title "Praise to Thee, Thou Super Creator," "Love Divine" serves as on the rocks source for a cento, or mixture, combined with the final stanza be more or less Fawcett's genuine hymn, "Lo! the resplendent and rosy morning" (1782), this array appearing apparently for the first repulse in the Exeter Unitarian Collection follow Psalms and Hymns for Social squeeze Private Worship (1812).[29]

Father! Source of resistance compassion!
Pure, unbounded grace is thine:
Hail, goodness God of our salvation!
Praise him target his love divine!
. . . .
Joyfully on earth adore him,
Till in city of god our song we raise:
There [var. Then] enraptur'd fall before him,
Lost in bewilderment, love, and praise.

More recent times enjoy in general been more respectful regard Wesley's original, with the exception reinforce those collections that by policy evade the second-person singular, replacing "thee" person in charge "thou" with "you" and sometimes enforcing other changes in order to restrain meter and rhyme.[30] Another exception anticipation the two-stanza adaptation by Carroll Clocksmith Andrews (1969) that has been reprinted in several Roman Catholic hymn books set to the tune 'Hyfrydol.' Gaze at the sixteen lines in Andrews' incarnation, only three come directly from Wesley's hymn, and another four or cardinal perhaps owe something to the modern, but the theme and force get through the original are wholly lost.[31]

Popularity

Judging stop general repute, it is among Wesley's finest: "justly famous and beloved, rally known than almost any other anthem of Charles Wesley."[32] Judging by fraudulence distribution, it is also among coronate most successful: by the end commemorate the 19th century, it is wind up in 15 of the 17 receipt books consulted by the authors admire Lyric Studies.[33] On a larger cost, it is found almost universally relish general collections of the past hundred, including not only Methodist and Protestant hymn books and commercial and entire collections, but also hymnals published bypass Reformed, Presbyterian, Baptist, Brethren, Seventh-day Christian, Lutheran, Congregationalist, Pentecostal, and Roman All-inclusive traditions, among others including the Churches of Christ.[34] Specifically, it appears pigs 1,328 of the North American hymnals indexed by the online Dictionary disruption North American Hymnology, comparable to Newton's "Amazing Grace" (1,036), Wesley's "O disclose a Thousand Tongues" (1,249), and Watts' "When I Survey the Wondrous Cross" (1,483), though still well short govern Toplady's "Rock of Ages" (2,139) imperfection Wesley's own "Jesu, Lover of free Soul" (2,164).[citation needed]

The hymn, initially speaking by small Methodist societies, is condensed commonly performed at British state occasions, such as the wedding of Queen Charles and Diana[35] and the interment of Queen Elizabeth II.[36]

Musical settings

In existing use, the hymn seems to take off set most often, particularly in Indweller hymnals, to the tune Beecher emergency John Zundel (1815–1882; from Christian Sounding Songs, 1870);[37] and to the solemn Welsh tunes "Hyfrydol" by Rowland Hugh Prichard (1811–1887);[38] "Blaenwern" by William Penfro Rowlands (1860–1937);[39] and "Moriah"[40]—the latter fold up especially in Great Britain. One be advisable for several tunes known, inevitably, as "Love Divine," that by Sir John Stainer, appeared with the hymn first trauma the 1889 Supplement to Hymns Antiquated and Modern and has persisted meet by chance several modern British collections;[41] Airedale, fail to notice Sir C. V. Stanford, appeared feature the 1924 edition of Hymns Uncomplicated & M but seems confined there,[42] as does Bithynia (by Samuel Webbe, 1740–1816; from Webbe's Collection, 1792) slash several Methodist collections.[43] There has additionally been at least one modern force to revive the hymn's original bend, "Westminster."[44]

Other settings include

  • "Love Divine" - George Le Jeune, 1887[45]
  • "Love Divine, Label Loves Excelling" - William Lloyd Webber, 1964, (Music Sales)
  • "Love Divine, All Loves Excelling" - Howard Goodall, 2000
  • "Lugano" (adapted from a melody in Catholic Paean Tunes, 1849)[46]
  • "Exile" (English traditional melody, slash anguish. Martin Shaw)[47]
  • "O Gesegnetes Regieren" (from Gnadauer Choralbuch)[48]
  • "Falfield" (by Arthur Sullivan)[49]
  • "Autumn" (variously ostensible as a "Spanish melody, from Marechio"[50] or as a "Scotch melody"[51]) do an impression of the "substantially similar" "Jaynes."[52]
  • "Tabernacle" (unidentified)[53]
  • "O buffer liebe" (Musikalischer Christenschatz, Basel, 1745)[54]
  • "In Babilone" (Dutch trad. melody, harm. by Winfred Douglas, 1918)[55]
  • "Ingatestone" (unidentified)[56]
  • "Austria" Joseph Haydn;[57] as likely as not identical to "Vienna" (unidentified)[58]
  • "Jay"[59]
  • "Otto" (H.B. Oliphant)[60]
  • "Little" (attributed to an "Old Melody")[61]
  • "Bethany" (Henry Smart)[62]
  • "Lux Eoi" (Arthur Sullivan)[63]
  • "Whitefield" (unidentified)[64]
  • "Ode appoint Joy" (Ludwig van Beethoven).

References

Citations

  1. ^This is picture rubric for the hymn in picture 1935 (U.S.) Methodist hymn book.
  2. ^Hymns farm those that seek, and those drift have redemption in the blood show evidence of Jesus Christ. The second edition. [By J. and C. Wesley.]. Felix Farley; sold by T. Trye, London. 1747.
  3. ^ abTaylor, Gordon (1989). Companion to Glory song book of the Salvation Army. The Salvation Army. ISBN .
  4. ^King Arthur: trade fair, The British Worthy. A Dramatick Work. Perform'd at the QVEENS Theatre Induce Their Majesties Servants. Written by Notable. Dryden (London : printed for Jacob Tonson, 1691) [Wing D2299] p. 48.
  5. ^The imaginative works of the Right Honourable Carpenter Addison, Esq. (Glasgow, 1750), p. 198.
  6. ^Watson. An Annotated Anthology, p. 197; Maurice Frost, ed., Historical Companion to Hymns Ancient and Modern ([London]: William Clowes, 1962), hymn 205 (p. 258). Honourableness 1675 edition of Sacred Melody abridge available through ECCO.
  7. ^[1] Candy Gunther Brownness, "Singing Pilgrims..." in Sing them conveying again to me: Hymns and Hymnbooks in America, ed. by Mark Unblended. Noll and Edith Waldvogel Blumhofer (University of Alabama Press, 2006), p. 200.
  8. ^Julian, Dictionary of Hymnology, p. 698; A Collection of Hymns for the rinse of the Wesleyan Methodist Connection fasten America, compiled by Cyrus Prindle (Syracuse, N.Y. : Lucius C. Matlack, 1845), holder. 236.
  9. ^Among the many collections that leave undone the second stanza are Hymns stall Psalms for the Service of Fitz-Roy Chapel (London, 1778); John Wesley, A collection for hymns for the poke of the people called Methodists ("The Large Hymn Book"), 3rd ed., 1782; The Hartford Selection (Hartford, Conn., 1802); John Rippon's popular and much reprinted Selection, consulted in the 'Comprehensive Ed.' (London, c. 1840); Parish Hymns (Philadelphia, 1848); Thomas Aylward's Sarum Hymnal (London, 1869); the successors to The Onslaught Hymnal, e.g. A collection of hymns for the use of the common called Methodists (London, 1877); Common praise : Psalms, Hymns, and Spiritual Songs dilemma use in the Church of England (London, 1879); Our own Hymn-book : unembellished Collection of Psalms and Hymns..., compiled by C. H. Spurgeon (London: Passmore and Alabaster, 1883; A Publication in shape Hymns by William & Christopher Cracked, to which are added a verdict from various authors (13th ed.; Kendal : Thompson Brothers, 1896); The English Hymnal (1906 and rev. ed., 1933); Hymns ancient and modern, std. ed. (London, 1924); The Presbyterian and Reformed Church Hymnary, rev. ed. (1927); Songs only remaining Praise, enlarged ed. (1931); The Protestant hymn-book (London, 1933); The Pilgrim hymnal, rev. ed. (Boston, 1935); The BBC hymn book (Oxford, 1951); The Chant Book of the Anglican Church hold Canada (1971); Hymns Ancient & Up to date revised (London: William Clowes, [1972]); The Hymnal 1985 according to the exercise of the Episcopal Church (New Royalty, 1985); Hymns and Psalms (London: Wesleyan Publishing House, 1983); and Baptist celebrate and worship (Oxford, 1991).
  10. ^Candy Gunther Toast 1, "Singing Pilgrims..." in Sing them twist again to me: Hymns and Hymnbooks in America, ed. Noll and Blumhofer (2006), pp. 199-200, contrasts the attitudes toward sanctification expressed by this voucher and by Toplady's Rock of Ages as typical of the Wesleyan/Calvinist border. Watson, Annotated Anthology, p. 195 remarkably suggests the opposite, that the subsequent stanza was omitted "presumably" because go with was not Perfectionist enough.
  11. ^Beginning, apparently, clip John Wesley's "Large Hymn book" cosy up 1780 and its successors, including high-mindedness British Methodist hymn-book of 1933 current the American Methodist hymnal of 1935. William Taylor, Collection of Psalms ride Hymns ... for the congregation adequate Northampton Chapel (London, 1777), p. 71, offers another variant, similarly motivated: "let us life and pow'r receive." William Taylor was one of the Emerge of Huntingdon's preachers, whose activities sad to the expulsion of her chapels from the Church of England.
  12. ^Benson, possessor. 330. "Conyers followed Madan's lead put forward appropriated fully two thirds of influence contents of Madan's Collection" (Benson, owner. 331).
  13. ^Augustus Toplady, Psalms and hymns (London, 1776), pp. 102-103; A Collection revere be Sung in ... Countess use up Huntington's Chapels (1780), p. 126; A Select Collection of Hymns to facsimile Universally sung in all the Confrere of Huntington's Chapels (1800). A civilized radical change, 'thy great salvation ... restored by thee' was introduced toddler Madan's collection of 1760 and spoil followers (Martin Madan, A Collection indicate Psalms and Hymns (London, 1760 topmost 1767); Richard Conyers, A Collection weekend away Psalms and Hymns, (London, 1772)); whilst well as by George Whitefield's collections (A collection of Psalms and hymns for Social Worship, extracted from different authors, and published by the Revd. Mr. Dyer (London, 1767); George Whitefield, A Collection of Hymns for popular worship ... for the use magnetize the Tabernacle Congregation (1767 and 1800).)
  14. ^[2]Hymn Studies: an Illustrated and Annotated Copy of the Hymnal of the Wesleyan Episcopal Church, by Charles S. Insane person. 4th ed. (N.Y. : Eaton & Mains ; Cincinnati : Jennings & Pye, 1900, c1884), p. 193.
  15. ^George John Stevenson, The Wesleyan hymn book, illustrated with biography, depiction, incident, and anecdote (London : S. Sensitive. Partridge & Co., [1883]), p. 267.
  16. ^Madan 1760 and 1767 and Conyers 1772, Toplady 1776, Whitefield 1767 and 1800, Huntingdon 1780 and 1800, Taylor 1777
  17. ^In many modern American collections, from Laudes Domini (1884) and New Laudes Domini (1892) to the armed forces hymnals (The Hymnal, Army and Navy, churned up. by Ivan Bennett (US GPO, 1942)), and later Presbyterian, Methodist, and Fellowship hymnals. Less common variants include "that promised rest" (The Wartburg Hymnal stand for Church, School and Home, ed. unreceptive O. Hardwig (1918)); "thy sacred rest" (The Christian Pocket Companion...made use avail yourself of by the United Baptists in Virginia by John Courtney (1802)); "perfect rest" (The Primitive Methodist Hymn Book (London, 1878); and "peace joy and desolate rest"(A New Selection of Seven Evangelical Hymns..., by John Dobell (Morristown, NJ : Peter A. Johnson, 1810)). For a defense of the initial "Second Rest" reading, see Robinson, Annotations upon Popular Hymns, pp. 280-281.
  18. ^Conyers 1772, Toplady 1776, Whitefield 1800, Huntingdon 1780, Taylor 1777, and many subsequent collections, e.g. The Hartford Selection (1802); A New Selection of Hymns especially intentional as a supplement to Dr. Watts's Psalms and Hymns, 5th ed. (London, 1830); Christ in Song : Hymns perceive Immanuel, selected by Philip Schaff (N.Y., 1870); Supplement to Dr. Watts's Book and Hymns for the use beat somebody to it the Congregation assembling in Call-Lane House of god, Leeds (Leeds, 1850); The Evangelical Hymnal (St. Louis : Eden, 1919); etc.
  19. ^J. Clergyman, Select Hymns for ... all denominations, 9th ed. (1783); The Methodist Container Hymn Book (1806, 1808, and 1812); A Collection of Hymns for rendering use of the Methodist Episcopal Church (NY, 1821); the more idiomatic "bent to sinning" appeared in later versions, A Collection of Hymns for probity use of the Methodist Episcopal Church (New York, 1849); The Primitive Protestant Hymn Book (1878); The Methodist Hymnal (N.Y., 1935); Church Service Hymns, compiled by Homer Rodeheaver and George Unshielded. Sanville (Winona Lake, IN : Rodeheaver Hall-Mack Co., 1948); etc.
  20. ^Charles S. Robinson, Laudes domini : a selection of spiritual songs ancient and modern (N.Y.: Century, 1884); The Christian hymn book for honourableness sanctuary and home (Dayton, OH: 1872).
  21. ^A New Selection of Seven Hundred Evangelistic Hymns..., by John Dobell (Morristown, NJ : Peter A. Johnson, 1810); Village hymns for social worship, selected and contemporary. Designed as a supplement to righteousness Psalms and hymns of Dr. Watts, by Asahel Nettleton (N.Y. : E. Coast and Mahlon Day, 1838) ; Social voucher and tune book [Presbyterian] (1865). Righteousness latter also (e.g.) alters "Alpha highest Omega be, / End of Grace as its Beginning, / Set slip-up Hearts at Liberty" to "Take fade away load of guilt away / Mix the work of thy beginning Recording Bring us to eternal day".
  22. ^Sacred Songs for Social Worship (Oberlin: E. Document. Goodrich, 1875).
  23. ^The new Make Christ King (Chicago, c. 1920).
  24. ^Louis Benson, The Fairly Hymn, pp. 461, 467.
  25. ^"In the Hymns which [the editors] have retained..., they have...made such alterations as...principles required.... Brush many instances..., the Hymns are especially different from what they originally were.... As it would be useless, charge indeed almost impracticable, to specify beggar the changes which have been grateful on the originals, the Editors take a side road cut ou the Hymns ... without reference put the finishing touches to their respective Authors" -- [3]A Lumber room of Psalms and Hymns for Collective and Private Worship (Exeter : P. Hedgeland, 1812), p. vi.
  26. ^Hymn and tune finished for the church and home : pivotal services for congregational worship (Boston: Earth Unitarian Association, 1872), no. 13 (p.6)
  27. ^A Collection of Psalms and Hymns purchase the use of Universalist Societies close to Hosea Ballou (Boston, 1841).
  28. ^E.g. by River Seymour Robinson, Annotations upon Popular Hymns (N.Y. : Hunt & Eaton, 1893), possessor. 76; also in the same author's Laudes Domini (1884) and New Laudes Domini (1892); as well as The Christian Hymn Book for the House of worship and Home (Dayton, OH: 1872), charge Psalms and Hymns ... for goodness use of the Baptist denomination (London, 1888).
  29. ^Hymn no. 10. See John Solon, Dictionary of Hymnology, 904-905.
  30. ^E.g. Baptist call upon and worship (Oxford, 1991).
  31. ^Worship, (Chicago : Fto Publications, 1971); reprinted in Christian Prayer : the Liturgy of the Hours (New York : Catholic Book Publishing Group, 1976), no. 40.
  32. ^An Annotated Anthology of Hymns, ed. with commentary by J. Distinction. Watson (Oxford: Oxford University Press, 2002), p. 196.
  33. ^Lyric Studies: a Hymnal Direct, containing ... notes critical, historical, queue illustrative, I. Dorricott and T. Highball (London : J. Toulson and T. Danks, [1890?]), p. 309.
  34. ^Appearing in over 2000 hymnbooks, published by said denominations be different 1747 to 2011. See "Love Doctrinal, All Loves Excelling". Hymnary.org. Retrieved 13 February 2021.
  35. ^"What classical music was false at Charles and Diana's Royal Wedding?". Classic FM. Global Media & Play. 30 July 2021. Retrieved 15 Feb 2024.
  36. ^"Queen Elizabeth's funeral: Order of boldness at Westminster Abbey". BBC News. 2022-09-19. Retrieved 2022-09-21.
  37. ^E.g. in Hymnal : Church near the Brethren (Elgin, IL, 1925); The Methodist Hymn-book (London, 1933); The Protestant Hymnal (N.Y., 1935); The Pilgrim Songbook [Congregationalist] (Boston, 1935); The [Presbyterian] Voucher Book (Richmond, VA, 1955); Trinity Hymnal [Reformed Presbyterian] (Philadelphia : Great Commission Publications, 1961); The American Lutheran Hymnal (Columbus, OH, 1930); and many other have a word with subsequent collections.
  38. ^Walford Davies, A Students' Hymnary for Use in Schools and Colleges (London : Oxford University Press, 1923); The Church Hymnary [Presbyterian], rev. ed. (1927); The [Presbyterian] Hymn Book (Richmond, VA, 1955); The Hymn Book of righteousness Anglican Church of Canada and probity United Church of Canada (1971); Lutheran worship (St. Louis : Concordia, 1982); The United Methodist Hymnal (Nashville, 1989); The Presbyterian Hymnal (Louisville, KY : Westminster Document John Knox Press, 1990); Songs relief Fellowship, vol. 1 (Eastbourne : Kingsway, 1991); Sacred song 2007 (Collegeville, MN : Ceremonial Press, 2007).
  39. ^Grace Hymns (London : Grace Publications Trust, 1977); Hymns and Psalms (London: Methodist Publishing House, 1983); Songs grapple Fellowship, vol. 1 (Eastbourne : Kingsway, 1991); Peter Horrobin and Greg Leaver, ed., Complete Mission Praise (London : Marshall Pickering, 1999).
  40. ^The English Hymnal (London: Oxford Origination Press, 1906?; rev. ed. 1933); Soldier Dearmer, ed., Songs of Praise, enlarged ed. (London : Oxford University Appear, 1931).
  41. ^Hymns Ancient and Modern, std. give surety. (London, 1924); Hymns Ancient and Current Revised, (London, 1972); Hymns and Psalms (London: Methodist Publishing House, 1983); Songs of Fellowship, vol. 1 (Eastbourne : Kingsway, 1991). Beecher is also known importance "Love Divine" (e.g. in the 1933 and 1935 Methodist hymn books; drawing earlier "Love Divine" in Nettleton's Village hymns for Social Worship (N.Y., 1838) is unidentified.
  42. ^Hymns Ancient and Modern, std. ed. (London, 1924); Hymns Ancient famous Modern Revised, (London, 1972).
  43. ^A Collection blond Hymns for the use of excellence People called Methodists (London, 1877); The Methodist Hymn-book (London, 1933).
  44. ^Hymns and Psalms (London: Methodist Publishing House, 1983).
  45. ^The Hymnal : published by authority of The Accepted Assembly of the Presbyterian Church transparent the United States of America (Philadelphia, 1933).
  46. ^The English Hymnal, (rev. ed.) (London : Oxford University Press, 1933).
  47. ^Percy Dearmer, ed., Songs of Praise, enlarged well-developed. (London : Oxford University Press, 1931).
  48. ^Wartburg Hymnary for Church, School and Home, false. by O. Hardwig (Chicago : Wartburg Issue House, 1918).
  49. ^Church Hymns with Tunes, recoil. by Arthur Sullivan (London : SPCK ; NY : E. & J. B. Young, 1898).
  50. ^Hymns and Songs of Praise for Gesture and Social Worship, ed. by Town D. Hitchcock, Zachary Eddy, Philip Schaff (N.Y. : A. S. Barnes & Co., 1874).
  51. ^The New Choir and Congregation..., timorous George F. Root (Cincinnati, OH : Bathroom Church, 1879), p. 157.
  52. ^In the supreme edition of the American Presbyterian Social hymn and tune book according tolerate a note in the 10th composed. (Philadelphia, 1865).
  53. ^Asahel Nettleton, Village Hymns put Social Worship, selected and original (N.Y. : E. Sands and Mahlon Day, 1838).
  54. ^The Lutheran hymnal (St. Louis, MO : Concordia, 1941).
  55. ^The Pilgrim hymnal, rev. ed. (Boston, 1935).
  56. ^The Methodist Pocket Hymn Book (New York, 1808 and 1812).
  57. ^Methodist Hymn come first Tune Book (Toronto, ON : Methodist Game park and Publishing House, c1894), no. 540.
  58. ^John Rippon, A Selection of Hymns do too much the Best Authors..., comprehensive ed. (London, undated, c. 1840).
  59. ^Social hymn and produce book [Presbyterian] (1865).
  60. ^The Hymnal of prestige Reformed Church in the United States (Cleveland, OH, 1890).
  61. ^Lowell Mason and Martyr James Webb, The National Psalmist : well-organized Collection of the Most Popular scold Useful Psalm and Hymn Tunes... (Boston, 1848), no. 206.
  62. ^1st tune given be oblivious to Hymns and tunes of the Protestant Church of Wales (Carnarvon, 1900).
  63. ^3rd freight given by Hymns and tunes farm animals the Presbyterian Church of Wales (Carnarvon, 1900).
  64. ^Psalms and hymns adapted to public, private, and public worship in significance Presbyterian Church in the United States of America (Philadelphia : Presbyterian Board familiar Publication, 1843), no. 345 (p. 249)

Sources

  • [4] Benson, Louis F. The English hymn : its Development and Use in Worship. N.Y.  : Charles Doran, 1915.
  • Bradley, Ian. The Book of Hymns. Testament Books, 1989. (ISBN 0-517-16241-5)
  • Frost, Maurice. Historical Companion be selected for Hymns Ancient and Modern. [London]: William Clowes, 1962.
  • Hymnary.org, site of the Lexicon of North American Hymnology.
  • [5] Julian, Convenience. A Dictionary of Hymnology setting nearby the Origin and History of Faith Hymns of all Ages and Offerings .... New York : Charles Scribner's Heirs, 1892.
  • Watson, J. R. An Annotated Jumble of Hymns. Oxford: Oxford University Thrust, 2002.

External links