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O Christ, Our Hope, Our Heart's Desire
Meter: 8.6.8.6 Appears in 56 hymnals Topics: Names and Office of Christ Reward Lyrics: 1 O Christ, our Hope, our heart's Desire,
Maker and God of all,
The Word in latter days made flesh,
Redeemer from the fall!
2 How vast the mercy and the love
Which laid our sins on Thee,
And led Thee to a cruel death,
To set Thy people free!
3 But now the bands of death are burst,
The ransom has been paid;
And Thou art on Thy Father's throne,
In glorious robes arrayed.
4 O may Thy mighty love prevail
Our sinful souls to spare!
O may we come before Thy throne,
And fine acceptance there!
5 O Christ, be Thou our present Joy,
Our future great Reward;
Our only glory may it be
To glory in the Lord!
Amen.
Scripture: 1 Corinthians 1:29-31 Used With Tune: ST. ANNE Text Sources: Latin, 7th or 8th Century.
O Christ, Our Hope, Our Heart's Desire
Dependence on God
Meter: 8.6.8.6 Appears in 16 hymnals Topics: The Christian's Reward First Line: My soul in silence wiats for God Lyrics: 1 My soul in silence waits for God,
My Saviour He has proved;
He only is my rock and tow'r;
I never shall be moved.
2 My enemies my ruin seek,
They plot with fraud and guile;
Deceitful, they pretend to bless,
But inwardly revile.
3 My soul, in silence wait for God;
He is my help approved,
He only is my rock and tow'r,
And I shall not be moved.
4 My honor is secure with God,
My Saviour He is known;
My refuge and my rock of strength
Are found in God alone.
5 On Him, ye people, evermore
Rely with confidence;
Before Him pour ye out your heart,
For God is our defense.
6 For surely men are helpers vain,
The high and the abased;
Yea, lighter than a breath are thy
When in the balance placed.
7 Trust not in harsh oppression's power
Nor in unrighteous gain;
If wealth increase, yet on your gold
Ye set your hearts in vain.
8 For God has spoken o'er and o'er,
And unto me has shown,
That saving power and lasting strength
Belong to Him alone.
9 Yea, loving-kindness evermore
Belongs to Thee, O Lord;
And Thou according to his work
Dost every man reward. Scripture: Psalm 62 Used With Tune: SAWLEY
Dependence on God
Yes, we'll gather at the river
Author: Anon. Appears in 746 hymnals Topics: Bible Songs Reward of Saints First Line: Shall we gather at the river Lyrics: 1 Shall we gather at the river
Where bright angel feet have trod;
With its crystal tide forever
Flowing by the throne of God?
Chorus:
Yes, we'll gather at the river,
The beautiful, the beautiful river;
Gather with the saints at the river
That flows by the throne of God.
2 On the margin of the river,
Washing up its silver spray,
We will walk and worship ever,
All the happy golden day. [Chorus]
3 Ere we reach the shining river,
Lay we ev'ry burden down;
Grace our spirits will deliver,
And provide a robe and crown. [Chorus]
4 Soon we'll reach the shining river,
Soon our pilgrimage will cease,
Soon our happy hearts will quiver
With the melody of peace. [Chorus]
Scripture: Psalm 46:4 Used With Tune: SHALL WE GATHER AT THE RIVER?
Yes, we'll gather at the river
ALL SAINTS OLD
Meter: 8.7.8.7.7.7 Appears in 131 hymnals Topics: Rewards Tune Sources: Darmstadt Gesangbuch,1698 Tune Key: B Flat Major Incipit: 15665 43156 71766 Used With Text: Let Us Love and Sing and Wonder
ALL SAINTS OLD
Soldiers who to Christ belong
Author: Isaac Williams Hymnal: Trinity Hymnal #485 (1961) Meter: 7.7.7.7 Topics: Rewards Lyrics: 1 Soldiers who to Christ belong,
Trust ye in his Word, be strong;
For his promises are sure,
His rewards for aye endure.
2 His no crowns that pass away,
His no palm that sees decay,
His the joy that shall not fade,
His the light that knows no shade;
3 His the home for spirits blest,
Where he gives them peaceful rest,
Far above the starry skies,
In the bliss of Paradise.
4 Here on earth ye can but clasp
Things that perish in the grasp:
Lift your hearts, then, to the skies;
God Himself shall be your prize.
5 Praise we now with saints at rest
Father, Son and Spirit blest;
For his promises are sure,
His rewards shall aye endure.
Amen.
Scripture: 1 Peter 5:4 Languages: English Tune Title: NUREMBERG
Soldiers who to Christ belong
Go, labour on; spend and be spent
Author: Dr. H. Bonar, 1808-1889 Hymnal: Methodist Hymn and Tune Book #364 (1917) Topics: Faithfulness Rewards of ; Faithfulness Rewards of ; Reward Lyrics: 1 Go labour on; spend and be spent,
Thy joy to do the Father's will;
It is the way the Master went,
Should not the servant tread it still?
2 Go labour on; 'tis not for nought,
Thy earthly loss is heavenly gain;
Men heed thee, love thee, praise thee not;
The Master praises; what are men?
3 Go labour on, while it is day,
The world's dark night is hastening on;
Speed, speed thy work, cast sloth away;
It is not thus that souls are won.
4 Men die in darkness at thy side,
Without a hope to cheer the tomb;
Take up the torch and wave it wide,
The torch that lights time's thickest gloom.
5 Toil on, faint not, keep watch, and pray;
Be wise, the erring soul to win;
Go forth into the world's highway,
Compel the wanderer to come in.
6 Toil on, and in thy toil rejoice;
For toil comes rest, for exile home;
Soon shalt thou hear the Bridegroom's voice,
The midnight peal, "Behold, I come!" Languages: English Tune Title: ST. ALBAN
Go, labour on; spend and be spent
How Blest the Man Who fears the Lord
Hymnal: Psalter Hymnal (Red) #237 (1934) Meter: 8.8.8.8 Topics: Rewards of Righteousness Lyrics: 1 How blest the man who fears the Lord
And greatly loves God's holy will;
His children share his great reward,
And blessings all their days shall fill.
2 Abounding wealth shall bless his home,
His righteousness shall still endure,
To him shall light arise in gloom,
For he is merciful and pure.
3 The man whose hand the weak befriends
In judgment shall his cause maintain;
A peace unmoved his life attends,
And long his memory shall remain.
4 Of evil tidings not afraid,
His trust is in the Lord alone;
His heart is steadfast, undismayed,
For he shall see his foes o'erthrown.
5 With kind remembrance of the poor,
For their distress his gifts provide;
His righteousness shall thus endure,
His name in honor shall abide.
6 To shame the wicked shall be brought,
While righteous men shall favor gain;
Unrighteous hopes shall come to naught,
Its due reward shall sin obtain. Scripture: Psalm 112 Languages: English Tune Title: MELCOMBE
How Blest the Man Who fears the Lord
George C. Stebbins
1846 - 1945 Person Name: Geo. C. Stebbins Topics: Reward Composer of "[Must I go, and empty handed]" in The Voice of Thanksgiving No. 3 Stebbins studied music in Buffalo and Rochester, New York, then became a singing teacher. Around 1869, he moved to Chicago, Illinois, to join the Lyon and Healy Music Company. He also became the music director at the First Baptist Church in Chicago. It was in Chicago that he met the leaders in the Gospel music field, such as George Root, Philip Bliss, & Ira Sankey.
At age 28, Stebbins moved to Boston, Massachusetts, where he became music director at the Claredon Street Baptist Church; the pastor there was Adoniram Gordon. Two years later, Stebbins became music director at Tremont Temple in Boston. Shortly thereafter, he became involved in evangelism campaigns with Moody and others. Around 1900, Stebbins spent a year as an evangelist in India, Egypt, Italy, Palestine, France and England.
(www.hymntime.com/tch)
George C. Stebbins
T. C. O'Kane
1830 - 1912 Topics: Bible Songs Reward of Saints Composer of "THE HOME OVER THERE" in The Seventh-Day Adventist Hymn and Tune Book O'Kane, Tullius Clinton, an American writer, born March 10, 1830, is the author of "O sing of Jesus, Lamb of God" (Redemption); and "Who, who are these beside the chilly wave?" (Triumph in Death), in I. D. Sankey's Sacred Songs and Solos, 1878 and 1881.
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
===========================
Tullius Clinton O'Kane was born in Fairfield County, Ohio, March 10, 1830. He resided with his parents in this vicinity until the spring of 1849, when he went to Delaware, Ohio, and entered the Ohio Wesleyan University, from which he graduated in 1852, with the degree A. B., and received his A. M. degree three years later from his Alma Mater.
Immediately upon his graduation, he was tendered a position in the Faculty as Tutor of Mathematics, which he accepted and successfully filled for five years. The students always called him "Professor," by which title he is known to the present day.
His musical abilities were early recognized in the University, and for years he was the musical precentor in the daily chapel devotions. He organized and maintained a Choral Society in the College, and was the first musical instructor in the Ohio Wesleyan Female College, which a few years ago was incorporated into the University.
In 1857 he was elected to a principalship in the Cincinnati public schools, and served in that capacity until 1861, when he resigned his position to accept a place in the piano establishment of Philip Phillips & Co. He remained with this house until its removal to New York City in 1867, when, although urged to be transferred with the house to that city, he preferred to remove with his family back to Delaware, Ohio.
For the ensuing six years he traveled over the state of Ohio as the general agent for the Smith American Organ Co., of Boston, Mass. During this time he visited conferences, Sunday-school conventions, both State and County, introducing his Sunday-school singing books, and in this way became well known throughout his native state, and quite extensively in some of the adjoining states.
His musical compositions were first published in Philip Phillips' Musical Leaves, in 1865, and since then but few Sunday-school singing books have appeared without one or more of his compositions.
His first music book, Fresh Leaves, was issued in 1868. This was followed at intervals by Dew Drops, Songs of Worship, Every Sabbath, Jasper and Gold, Redeemer's Praise, Glorious Things and Morning Stars. In connection with his son, Edward T. O'Kane, who is himself a most excellent composer and a very skillful organist, in 1882 he issued Selected Anthems, a book designed for use by the more advanced choirs. In association with J. R. Sweney and "Chaplain" McCabe, he issued Joy to the World, a song book for prayer-meetings, and the same editors, with the addition of W. J. Kirkpatrick, compiled Songs of Redeeming Love, No. 1, in 1882, and No. 2 in 1884. He also issued Songs of Praises, Unfading Treasures and Forward Songs.
Some of Professor O'Kane's best known songs are Glorious Fountain, The Home Over There, On Jordan's Stormy Banks, Say, are You Ready? and many others. With Mr. O'Kane, music and musical composition have ever been a recreation, rather than a profession. He is an excellent leader of choirs, but his forte seems to be in leading large congregations, Sunday-schools and social religious meetings in sacred song. He sings "with the spirit and the understanding also " — with a due appreciation of both words and music — and very naturally infuses his enthusiasm into his audiences so that they cannot "keep from singing." In his music he endeavors to catch the spirit of the hymn, and then give it expression in the music he composes for it. This sometimes seems to have been almost an inspiration, and could be illustrated by a reference to the circumstances under which many of his compositions have been made.
One of his earlier and more widely known pieces is that entitled, Over There. He says he cut this hymn out of some newspaper and put it with others in his portfolio, intending some time when he felt like it to give it a musical setting. One Sunday afternoon, after studying his lesson for the next session of his Sunday-school, he opened his portfolio, and turning over the selections, found these words, and something seemed to say, "Now's your time." He sat down at the organ, studied the hymn intently for a few moments, and then, as his fingers touched the keys of the instrument, melody and harmony were in every movement, and when the stanza was ended, melody and harmony found their expression in the chorus, and Over There was finished.
Another of his well known songs is Sweeping Through the Gates. One cold, blustery day he had occasion to go from his residence to the railroad depot, about a mile distant, and in his route had to cross the river on a suspension foot-bridge. As he came down to the bridge, he thought of the "river of death," so cold, with no bridge, and then the words of the dying Cookman came to his mind, and he exclaimed to himself:
'Who, who are these beside the chilly wave? "
Words, melody and refrain seemed to come all at once and all together, so that by the time he arrived back at his home, the composition was complete.
Professor O'Kane is a genial, modest Christian gentleman, who carries sunshine wherever he goes. His greatest joy comes from the consciousness that his music has cheered and comforted the hearts of Christian people all over the world, and has been the means of winning thousands from the pleasures of the world to the higher enjoyments of the Christian religion. His song, Sweeping Through the Gates, will be sung till all the ransomed are gathered Over There.
-Hall, J. H. (c1914). Biographies of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company.
========================
O'Kane, Tullius Clinton. Died 10 February 1912, Delaware, Ohio. Buried in Oak Grove Cemetery, Delaware, Ohio.
--DNAH Archives
T. C. O'Kane
Bernard, of Cluny
1100 - 1199 Person Name: Bernard of Cluny Topics: Reward of Saints Author of "Jerusalem, the golden" in The Seventh-Day Adventist Hymn and Tune Book Bernard of Morlaix, or of Cluny, for he is equally well known by both titles, was an Englishman by extraction, both his parents being natives of this country. He was b., however, in France very early in the 12th cent, at Morlaix, Bretagne. Little or nothing is known of his life, beyond the fact that he entered the Abbey of Cluny, of which at that time Peter the Venerable, who filled the post from 1122 to 1156, was the head. There, so far as we know, he spent his whole after-life, and there he probably died, though the exact date of his death, as well as of his birth is unrecorded. The Abbey of Cluny was at that period at the zenith of its wealth and fame. Its buildings, especially its church (which was unequalled by any in France); the services therein, renowned for the elaborate order of their ritual; and its community, the most numerous of any like institution, gave it a position and an influence, such as no other monastery, perhaps, ever reached. Everything about it was splendid, almost luxurious. It was amid such surroundings that Bernard of Cluny spent his leisure hours in composing that wondrous satire against the vices and follies of his age, which has supplied—and it is the only satire that ever did so—some of the most widely known and admired hymns to the Church of today. His poem De Contemptu Mundi remains as an imperishable monument of an author of whom we know little besides except his name, and that a name overshadowed in his own day and in ours by his more illustrious contemporary and namesake, the saintly Abbot of Clairvaux.
The poem itself consists of about 3000 lines in a meter which is technically known as Leonini Cristati Trilices Dactylici, or more familiarly—to use Dr. Neale's description in his Mediaeval Hymns, p. 69—" it is a dactylic hexameter, divided into three parts, between which a caesura is inadmissible. The hexameter has a tailed rhyme, and feminine leonine rhyme between the two first clauses, thus :—
" Tune nova gloria, pectora sobria, clarificabit: Solvit enigmata, veraque sabbata, continuabit, Patria luminis, inscia turbinis, inscia litis, Cive replebitur, amplificabitur Israelitis."
The difficulty of writing at all, much more of writing a poem of such length in a metre of this description, will be as apparent to all readers of it, as it was to the writer himself, who attributes his successful accomplishment of his task entirely to the direct inspiration of the Spirit of God. "Non ego arroganter," he says in his preface, "sed omnino humiliter, et ob id audenter affirmaverim, quia nisi spiritus sapicntiae et intellectus mihi affuisset et afftuxisset, tarn difficili metro tarn longum opus con-texere non sustinuissem."
As to the character of the metre, on the other hand, opinions have widely differed, for while Dr. Neale, in his Mediaeval Hymns, speaks of its "majestic sweetness," and in his preface to the Rhythm of Bernard de Morlaix on the Celestial Country, says that it seems to him "one of the loveliest of mediaeval measures;" Archbishop Trench in his Sac. Lat. Poetry, 1873. p. 311, says "it must be confessed that" these dactylic hexameters "present as unattractive a garb for poetry to wear as can well be imagined;" and, a few lines further on, notes "the awkwardness and repulsiveness of the metre." The truth perhaps lies between these two very opposite criticisms. Without seeking to claim for the metre all that Dr. Neale is willing to attribute to it, it may be fairly said to be admirably adapted for the purpose to which it has been applied by Bernard, whose awe-stricken self-abasement as he contemplates in the spirit of the publican, “who would not so much as lift up his eyes unto heaven," the joys and the glory of the celestial country, or sorrowfully reviews the vices of his age, or solemnly denounces God's judgments on the reprobate, it eloquently pourtrays. So much is this the case, that the prevailing sentiment of the poem, that, viz., of an awful apprehension of the joys of heaven, the enormity of sin, and the terrors of hell, seems almost wholly lost in such translations as that of Dr. Neale. Beautiful as they are as hymns, "Brief life is here our portion," "Jerusalem the Golden," and their companion extracts from this great work, are far too jubilant to give any idea of the prevailing tone of the original. (See Hora Novissima.)
In the original poem of Bernard it should be noted that the same fault has been remarked by Archbishop Trench, Dean Stanley, and Dr. Neale, which may be given in the Archbishop's words as excusing at the same time both the want, which still exists, of a very close translation of any part, and of a complete and continuous rendering of the whole poem. "The poet," observes Archbishop Trench, "instead of advancing, eddies round and round his object, recurring again and again to that which he seemed thoroughly to have discussed and dismissed." Sac. Lat. Poetry, 1873, p. 311. On other grounds also, more especially the character of the vices which the author lashes, it is alike impossible to expect, and undesirable to obtain, a literal translation of the whole. We may well be content with what we already owe to it as additions to our stores of church-hymns.
-John Julian, Dictionary of Hymnology (1907)
==================
Bernard of Cluny, p. 137, i., is best described thus: his place of origin is quite uncertain. See the Catalogue of the Additional MSS. of the B. M. under No. 35091, where it is said that he was perhaps of Morlas in the Basses-Pyrenees, or of Morval in the Jura, but that there is nothing to connect him with Morlaix in Brittany. [Rev. James Mearns, M.A.]
--John Julian, Dictionary of Hymnology, New Supplement (1907)
Bernard, of Cluny
