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All Hail the Power of Jesus' Name
Author: Edward Perronet Meter: 8.6.8.6.8.6 Appears in 3,425 hymnals Topics: liturgical Opening Hymns First Line: All hail the power of Jesus' name, Let angels prostrate fall Refrain First Line: And crown Him, crown Him Lyrics: 1 All hail the power of Jesus' name!
Let angels prostrate fall.
Bring forth the royal diadem,
and crown him Lord of all.
Bring forth the royal diadem,
and crown him Lord of all!
2 O seed of Israel's chosen race
now ransomed from the fall,
hail him who saves you by his grace,
and crown him Lord of all.
Hail him who saves you by his grace,
and crown him Lord of all!
3 Let every tongue and every tribe
responsive to his call,
to him all majesty ascribe,
and crown him Lord of all.
To him all majesty ascribe,
and crown him Lord of all!
4 Oh, that with all the sacred throng
we at his feet may fall!
We'll join the everlasting song
and crown him Lord of all.
We'll join the everlasting song
and crown him Lord of all.
Psalter Hymnal (Gray), 1987
All Hail the Power of Jesus' Name
Praise to the Lord, the Almighty
Author: Joachim Neander; Catherine Winkworth Meter: 14.14.4.7.8 Appears in 384 hymnals Topics: liturgical Opening Hymns First Line: Praise to the Lord! the Almighty, the King of creation! Lyrics: 1 Praise to the Lord, the Almighty, the King of creation!
O my soul, praise him, for he is your health and salvation!
Come, all who hear; now to his temple draw near,
join me in glad adoration.
2 Praise to the Lord, above all things so wondrously reigning;
sheltering you under his wings, and so gently sustaining!
Have you not seen all that is needful has been
sent by his gracious ordaining?
3 Praise to the Lord, who will prosper your work and defend you;
surely his goodness and mercy shall daily attend you.
Ponder anew what the Almighty can do,
if with his love he befriends you.
4 Praise to the Lord! O let all that is in me adore him!
All that has life and breath, come now with praises before him.
Let the Amen sound from his people again;
gladly forever adore him.
Worship and Rejoice, 2003
Praise to the Lord, the Almighty
This Is the Day
Author: Unknown; R. Gerald Hobbs Meter: Irregular Appears in 43 hymnals Topics: The Church at Worship Opening and Morning Hymns; liturgical Opening Hymns; Opening Hymns First Line: This is the day, this is the day Used With Tune: THIS IS THE DAY
This Is the Day
This Is the Day
Author: Unknown; R. Gerald Hobbs Hymnal: Voices United #412 (1996) Meter: Irregular Topics: The Church at Worship Opening and Morning Hymns; liturgical Opening Hymns; Opening Hymns First Line: This is the day, this is the day Tune Title: THIS IS THE DAY
This Is the Day
God, Reveal Your Presence
Author: Gerhardt Tersteegen; Frederick William Foster; John Miller; William Mercer Hymnal: Voices United #391 (1996) Topics: The Church at Worship Opening and Morning Hymns; liturgical Opening Hymns; Opening Hymns Lyrics: 1 God, reveal your presence:
as we now adore you
and with awe appear before you.
Here in this your temple:
all within keep silence,
gather now with deepest reverence.
You alone
God we own,
you, our God and Saviour:
praise your name for ever.
2 God, reveal your presence:
hear the harps resounding;
see the crowds the throne surrounding.
"Holy, holy, holy!"
Hear the hymn ascending,
angels, saints, their voices blending.
Bow your ear
to us here;
hearken, O Lord Jesus,
to our humble praises.
3 O great Fount of blessing,
purify my spirit,
trusting only in your merit;
like the holy angels
gathered all before you,
may I ceaselessly adore you.
Let your will
ever still
rule your church terrestrial,
as the hosts celestial. Languages: English Tune Title: ARNSBERG
God, Reveal Your Presence
God Is Here
Author: Fred Pratt Green Hymnal: Voices United #389 (1996) Meter: 8.7.8.7 D Topics: The Church at Worship Opening and Morning Hymns; liturgical Opening Hymns; Opening Hymns First Line: God is here! As we your people Lyrics: 1 God is here! As we your people
meet to offer praise and prayer,
may we find in fuller measure
what it is in Christ we share.
Here, as in the world around us,
all our varied skills and arts
wait the coming of the Spirit
into open minds and hearts.
2 Here are symbols to remind us
of our lifelong need of grace;
here are table, font, and pulpit;
here the cross has central place.
Here in honesty of preaching,
here in silence, as in speech,
here, in newness and renewal,
God the Spirit comes to each.
3 Here our children find a welcome
in the Shepherd's flock and fold;
here as bread and wine are taken,
Christ sustains us, as of old.
Here the servants of the Servant
seek in worship to explore
what it means in daily living
to believe and to adore.
4 God of all, of church and kingdom,
in an age of change and doubt
keep us faithful to the gospel;
help us work your purpose out.
Here, in this day's dedication,
all we have to give, receive;
we, who cannot live without you,
we adore you! We believe! Languages: English Tune Title: BLAENWERN
God Is Here
George Ratcliffe Woodward
1848 - 1934 Person Name: G. R. Woodward Topics: The Church at Worship Opening and Morning Hymns; liturgical Opening Hymns; Opening Hymns Harmonizer of "PUER NOBIS NASCITUR" in Voices United Educated at Caius College in Cambridge, England, George R. Woodward (b. Birkenhead, Cheshire, England, 1848; d. Highgate, London, England, 1934) was ordained in the Church of England in 1874. He served in six parishes in London, Norfolk, and Suffolk. He was a gifted linguist and translator of a large number of hymns from Greek, Latin, and German. But Woodward's theory of translation was a rigid one–he held that the translation ought to reproduce the meter and rhyme scheme of the original as well as its contents. This practice did not always produce singable hymns; his translations are therefore used more often today as valuable resources than as congregational hymns. With Charles Wood he published three series of The Cowley Carol Book (1901, 1902, 1919), two editions of Songs of Syon (1904, 1910), An Italian Carol Book (1920), and the Cambridge Carol Book
George Ratcliffe Woodward
Eleanor Farjeon
1881 - 1965 Topics: The Church at Worship Opening and Morning Hymns; liturgical Opening Hymns; Opening Hymns Author of "Morning Has Broken" in Voices United Eleanor Farjeon, (born Feb. 13, 1881, London--died June 5, 1965, Hampstead, London), English writer for children whose magical but unsentimental tales, which often mock the behaviour of adults, earned her a revered place in many British nurseries.
The daughter of a British novelist and granddaughter of a U.S. actor, Eleanor Farjeon grew up in the bohemian literary and dramatic circles of London. Attending opera and theatre at 4 and writing on her father’s typewriter at 7, Farjeon came to public attention at 16 as the librettist of an opera, with music by her brother Harry, which was produced by the Royal Academy of Music.
Her success with Nursery Rhymes of London Town (1916), simple tunes originally for adults but adapted and sung in junior schools throughout England, spurred her writing. In addition to such favourites as Martin Pippin in the Apple Orchard (1921) and The Little Bookroom (1955), which won the Carnegie Medal and the first Hans Christian Anderson Award, Farjeon’s prolific writings include children’s educational books, among them Kings and Queens (1932; with Herbert Farjeon); adult books; and memoirs, notably A Nursery in the Nineties (1935; rev. ed. 1960).
--www.britannica.com/EBchecked/topic/201881/Eleanor-Farjeon
Eleanor Farjeon
St. Ambrose
340 - 397 Person Name: Ambrose of Milan Topics: The Church at Worship Opening and Morning Hymns; liturgical Opening Hymns; Opening Hymns Author of "O Splendour of God's Glory Bright" in Voices United Ambrose (b. Treves, Germany, 340; d. Milan, Italy, 397), one of the great Latin church fathers, is remembered best for his preaching, his struggle against the Arian heresy, and his introduction of metrical and antiphonal singing into the Western church. Ambrose was trained in legal studies and distinguished himself in a civic career, becoming a consul in Northern Italy. When the bishop of Milan, an Arian, died in 374, the people demanded that Ambrose, who was not ordained or even baptized, become the bishop. He was promptly baptized and ordained, and he remained bishop of Milan until his death. Ambrose successfully resisted the Arian heresy and the attempts of the Roman emperors to dominate the church. His most famous convert and disciple was Augustine. Of the many hymns sometimes attributed to Ambrose, only a handful are thought to be authentic. Bert Polman =====================
Ambrosius (St. Ambrose), second son and third child of Ambrosius, Prefect of the Gauls, was born at Lyons, Aries, or Treves--probably the last--in 340 A.D. On the death of his father in 353 his mother removed to Rome with her three children. Ambrose went through the usual course of education, attaining considerable proficiency in Greek; and then entered the profession which his elder brother Satyrus had chosen, that of the law. In this he so distinguished himself that, after practising in the court of Probus, the Praetorian Prefect of Italy, he was, in 374, appointed Consular of Liguria and Aemilia. This office necessitated his residence in Milan. Not many months after, Auxentius, bishop of Milan, who had joined the Arian party, died; and much was felt to depend upon the person appointed as his successor. The church in which the election was held was so filled with excited people that the Consular found it necessary to take steps fur preserving the peace, and himself exhorted them to peace and order: when a voice suddenly exclaimed, "Ambrose is Bishop," and the cry was taken up on all sides. He was compelled to accept the post, though still only a catechumen; was forthwith baptized, and in a week more consecrated Bishop, Dec. 7, 374. The death of the Emperor Valentinian I., in 375, brought him into collision with Justina, Valentinian's second wife, an adherent of the Arian party: Ambrose was supported by Gratian, the elder son of Valentinian, and by Theodosius, whom Gratian in 379 associated with himself in the empire. Gratian was assassinated in 383 by a partisau of Maximus, and Ambrose was sent to treat with the usurper, a piece of diplomacy in which he was fairly successful. He found himself, however, left to carry on the contest with the Arians and the Empress almost alone. He and the faithful gallantly defended the churches which the heretics attempted to seize. Justina was foiled: and the advance of Maximus on Milan led to her flight, and eventually to her death in 388. It was in this year, or more probably the year before (387), that Ambrose received into the Church by baptism his great scholar Augustine, once a Manichaean heretic. Theodosius was now virtually head of the Roman empire, his colleague Valentinian II., Justina's son, being a youth of only 17. In the early part of 390 the news of a riot at Thessalonica, brought to him at Milan, caused him to give a hasty order for a general massacre at that city, and his command was but too faithfully obeyed. On his presenting himself a few days after at the door of the principal church in Milan, he was met by Ambrose, who refused him entrance till he should have done penance for his crime. It was not till Christmas, eight months after, that the Emperor declared his penitence, and was received into communion again by the Bishop. Valentinian was murdered by Arbogastes, a Frank general, in 392; and the murderer and his puppet emperor Eugenius were defeated by Theodosius in 394. But the fatigues of the campaign told on the Emperor, and he died the following year. Ambrose preached his funeral sermon, as he had done that of Valentinian. The loss of these two friends and supporters was a severe blow to Ambrose; two unquiet years passed, and then, worn with labours and anxieties, he himself rested from his labours on Easter Eve, 397. It was the 4th of April, and on that day the great Bishop of Milan is remembered by the Western Church, but Rome commemorates his consecration only, Dec. 7th. Great he was indeed, as a scholar, an organiser, a statesman; still greater as a theologian, the earnest and brilliant defender of the Catholic faith against the Arians of the West, just as Athanasius (whose name, one cannot but remark, is the same as his in meaning) was its champion against those of the East. We are now mainly concerned with him as musician and poet, "the father of Church song" as he is called by Grimm. He introduced from the East the practice of antiphonal chanting, and began the task, which St. Gregory completed, of systematizing the music of the Church. As a writer of sacred poetry he is remarkable for depth and severity. He does not warm with his subject, like Adam of St. Victor, or St. Bernard. "We feel," says Abp. Trench, "as though there were a certain coldness in his hymns, an aloofness of the author from his subject. "A large number of hymns has been attributed to his pen; Daniel gives no fewer than 92 called Ambrosian. Of these the great majority (including one on himself) cannot possibly be his; there is more or less doubt about the rest. The authorities on the subject are the Benedictine ed. of his works, the Psalterium, or Hymnary, of Cardinal Thomasius, and the Thesaurus Hymnologicus of Daniel. The Benedictine editors give 12 hymns as assignable to him, as follows:—1. Aeterna Christi munera. 2. Aeterne rerum Conditor. 3. Consors Paterni luminii. 4. Deus Creator omnium. 5. Fit porta Christi pervia, 6. Illuminans Altissimus. 7. Jam surgit hora tertia. 8. 0 Lux Beata Trinitas. 9. Orabo mente Dominum. 10. Somno refectis artubus. 11. Splendor Paternae gloriae. 12. Veni Redemptor gentium. Histories of these hymns, together with details of translations into English, are given in this work, and may be found under their respective first lines. The Bollandists and Daniel are inclined to attribute to St. Ambrose a hymn, Grates tibi Jesu novas, on the finding of the relics of SS. Gervasius and Protasius. These, we know, were discovered by him in 386, and it is by no means unlikely that the bishop should have commemorated in verse an event which he announces by letter to his sister Marcellina with so much satisfaction, not to say exultation.A beautiful tradition makes the Te Deum laudamus to have been composed under inspiration, and recited alternately, by SS. Ambrose and Augustine immediately after the baptism of the latter in 387. But the story rests upon a passage which there is every reason to consider spurious, in the Chronicon of Dacius, Bishop of Milan in 550. There is no hint of such an occurrence in the Confessions of St. Augustine, nor in Paulinue's life of St. Ambrose, nor in any authentic writing of St. Ambrose himself. The hymn is essentially a compilation, and there is much reason to believe, with Merati, that it originated in the 5th century, in the monastery of St. Honoratus at Lerins. [Te Deum.] -- John Julian, Dictionary of Hymnology (1907)
Also known as: Ambrotio, Ambrosio de Milán Ambrosius Mediolanensis Ambrosius Saint, Bp. of Milan Ambrosius von Mailand Aurelio Ambrogio, Saint, Bishop of Milan Aurelius Ambrosius, Saint, Bishop of Milan Milan, d. 397
St. Ambrose
