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For O, we stand on Jordan's strand

Author: David Nelson Appears in 595 hymnals Topics: The Christian Hymns for Social Worship First Line: My days are gliding swiftly by Lyrics: 1 My days are gliding swiftly by, And I, a pilgrim stranger, Would not detain them as they fly Those hours of toil and danger; Chorus: For O, we stand on Jordan's strand, And soon we'll all pass over; And just before, the shining shore We may almost discover. 2 We'll gird our loins, my brethren dear, Our distant home discerning; Our absent Lord has left us word, Let every lamp be burning. [Chorus] 3 Should coming days be cold and dark, We need not cease our singing; That perfect rest naught can molest, Where golden harps are ringing. [Chorus] 4 Let sorrow's rudest tempest blow, Each cord on earth to sever, Our King says, Come, and there's our home, Forever, O forever! [Chorus] Used With Tune: SHINING SHORE

We speak of the realms of the blest

Author: Elizabeth Mills Appears in 367 hymnals Topics: The Christian Hymns for Social Worship Lyrics: 1 We speak of the realms of the blest, That country so bright and so fair, And oft are its glories confessed, But what must is be to be there! We speak of its pathway of gold, Its walls decked with jewels so fare, Its wonders and pleasures untold, But what must it be to be there! 2 We speak of its freedom from sin, From sorrow, temptation and care, From trials without and within, But what must is be to be there! We speak of its service of love, Of the robes which the glorified wear, Of the church of the first-born above, But what must it be to be there! 3 Our mourning is all at an end, When, raised by the life-giving word, We see the new city descend, Adorned as a bride for her Lord: The city so holy and clean, No sorrow can breathe in the air; No gloom of affliction or sin, No shadow of evil is there. 4 Do Thou, midst temptation and woe, For heaven my spirit prepare; And shortly I also shall know And feel what it is to be there. Then o'er the bright fields we shall roam, In glory celestial and fair, With saints and with angels at home, And Jesus himself will be there. Used With Tune: CONTRAST

Where two or three, with sweet accord

Author: Samuel Stennett Appears in 246 hymnals Topics: The Christian Hymns for Social Worship Lyrics: 1 Where two or three, with sweet accord, Obedient to their sovereign Lord, Meet to recount his acts of grace, And offer solemn prayer and praise. 2 There, says the Saviour, will I be, Amid this little company; To them unvail my smiling face, And shed my glories round the place. 3 We meet at thy command, dear Lord, Relying on thy faithful word; Now send thy Spirit from above, Now fill our hearts with heavenly love. Used With Tune: MALVERN

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Tunes

Tune authorities

BEACH SPRING

Meter: 8.7.8.7 D Appears in 212 hymnals Composer and/or Arranger: B. F. White; Ronald A. Nelson Topics: The Nature of the Church Called to God's Mission; Particular Times of Worship Closing of Worship; Closing Hymns; Discipleship and Service; Jesus Christ Example; Mission and Outreach; Social Concerns Tune Key: F Major Incipit: 11213 32161 16561 Used With Text: Lord, Whose Love Through Humble Service

DUKE STREET

Meter: 8.8.8.8 Appears in 1,443 hymnals Composer and/or Arranger: John Hatton Topics: Sanctifiying and Perfecting Grace Social Holiness; Particular Times of Worship Closing of Worship; Christian Perfection; Closing Hymns; Discipleship and Service; Eternal Life; Installation Services; Stewardship; Work, Daily Tune Key: E Flat Major Incipit: 13456 71765 55565 Used With Text: Forth in Thy Name, O Lord

FINLANDIA

Meter: 11.10.11.10.11.10 Appears in 283 hymnals Composer and/or Arranger: Jean Sebelius Topics: Sanctifiying and Perfecting Grace Social Holiness; Particular Times of Worship Special Days; Nation; Peace, World; Prayer Tune Sources: The Hymnal, 1933, arr. Tune Key: E Flat Major Incipit: 32343 23122 33234 Used With Text: This Is My Song

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Instances

Published text-tune combinations (hymns) from specific hymnals

Social Evening Worship

Hymnal: The Gospel Psalmist #593 (1861) Topics: Social Worship First Line: O 'tis a scene the heart to move Tune Title: TURNER

The Joy of Social Worship

Hymnal: The Gospel Psalmist #601 (1861) Topics: Social Worship First Line: How good and pleasant is the sight Tune Title: ACKRON

Call to Social Worship

Hymnal: The Gospel Psalmist #607 (1861) Topics: Social Worship First Line: Let us join, 'tis as God commands

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People

Authors, composers, editors, etc.

Anonymous

Person Name: Anon. Topics: The Christian Hymns for Social Worship Author of "Far from mortal cares retreating" in The Seventh-Day Adventist Hymn and Tune Book In some hymnals, the editors noted that a hymn's author is unknown to them, and so this artificial "person" entry is used to reflect that fact. Obviously, the hymns attributed to "Author Unknown" "Unknown" or "Anonymous" could have been written by many people over a span of many centuries.

Wolfgang Amadeus Mozart

1756 - 1791 Person Name: Johann C. W. A. Mozart Topics: The Christian Hymns for Social Worship Composer of "ELLESDIE" in The Seventh-Day Adventist Hymn and Tune Book Wolfgang Amadeus Mozart Austria 1756-1791. Born at Salzburg, Austria, the son of Leopold Mozart, a minor composer and violinist, and youngest of seven children, he showed amazing ability on violin and keyboard from earliest childhood, even starting to compose music at age four when his father would play a piece and Mozart would play it exactly as did his father. At five, he composed some of his own music, which he played to his father, who wrote it down. When Mozart was eight, he wrote his first symphony, probably transcribed by his father. In his early years his father was his only teacher, teaching his children languages and academic subjects, as well as fundamentals of their strict Catholic faith. Some of his early compositions came as a surprise to his father, who eventually gave up composing himself when he realized how talented his son was. His family made several European journeys and he and his sister, Nanneri, performed as child prodigies, at the court of Prince-elector Maximillian II of Bavaria in Munich, and at the Imperial Courts in Vienna and Prague. A long concert tour followed, for 3.5 years, taking the family to courts in Munich, Mannheim, Paris, London, Dover, The Hague, Amsterdam, Utrecht, Mechelen, and again to Paris, and back home via Zurich, Donaueschingen, and Munich. During these trips Mozart met many musicians, acquainting himself with the works of other composers. He met Johann Christian Bach in London in 1764. Family trips were challenging, and travel conditions were primitive. They had to wait for invitations and reimbursements from nobility, and they endured long, near-fatal illnesses far from home. First Leopold (1764) got sick, then both children (1765). They traveled again to Vienna in 1767 and stayed there over a year. After a year back in Salzburg, Leopold and Wolfgang went to Italy (1769-1771), Leopold wished to display his son’s abilities as a performer and maturing composer. In Bologna, Italy, Wolfgang was accepted as a member of the famous Academia Filamonica. In Rome he heard Gregorio Allegri’s Miserere twice in performance. Back in the Sistine Chapel, Mozart wrote the whole performance out from memory, thus producing the first unauthorized copy of this closely guarded property of the Vatican. In the next few years Mozart wrote several operas performed with success in Italy, but his father’s hopes of securing a professional appointment for his son were not realized. At age 17 he was engaged as a musician at the Salzburg court, but grew restless and traveled in search of a better position. After returning to Salzburg, Mozart was employed as a court musician by the ruler of Salzburg, Prince Archbishop Hieronymus Colloredo. This gave Mozart ample opportunity to develop relationships with other musicians and his admirers, resulting in his development of new symphonies, sonatas, string quartets, masses, serenades, and some minor operas. In 1775 he wrote his only violin concertos, five in all. Again, he was discontent with work in Salzburg and traveled to find more opportunity to write operas. He and his father again visited Munich and Vienna, but neither visit was successful with the exception of his opera ‘La finta giardiniera’ in Munich. In 1777 he resigned his Salzburg position and went to Augsburg, Mannheim, Paris, and Munich again. In Mannheim he met and fell in love with Aloysia Weber, one of four daughters of a musical family. He could find no real employment there and left for Paris in 1778. He might have had a position as organist at Versailles, but he was not interested in that. He fell into debt and started pawning valuables. During these events his mother died. Meanwhile his father was still trying to find him a position in Salzburg. After checking out several other European cities and Munich, he again encountered Aloysia, but she was no longer interested in him, so he returned to Salzburg, having written another symphony, concerto, and piano sonata, and took the new appointment his father had found. However, he was still in discontent. Visiting Vienna in 1781, he was dismissed from his Salzburg position. He wrote another opera, ‘Idomeneo’, in 1781, that was successful in Munich. Two months later he was summoned to Vienna, where his employer, Archbishop Colloredo, wanted him around due to his notoriety. Mozart wished to meet the emperor and perform for him, and finally got that opportunity. It resulted in a part-time position and substantial commissions. Colloredo became a nemesis to Mozart’s career, finally releasing Mozart from his employ with a literal kick in the pants, much against his father’s wishes. However, he was now independent. Mozart then decided to settle in Vienna as a free lance performer and composer. He lived with the Fridolin Weber family, who had moved from Mannheim to Vienna. Fridolin, the father, had died, and they were taking in lodgers to make ends meet. His career there went well, and he performed as a pianist before the Emperor, establishing himself as the finest keyboard player in Vienna. He wrote another opera in 1782, again achieving success. Mozart had now become a prolific and influential composer of the Classical period and was known throughout Europe. Aloysia was now married to actor, Joseph Lange, and Mozart’s interest shifted to her sister, Constanze. In 1782 he married Constanze Weber Mozart Nissen. The marriage started out with a brief separation, and there was a problem getting Mozart’s father’s permission, which finally came. They had six children, but only two survived infancy: Carl and Franz. He lived in Vienna and achieved some notoriety, composing many of his best-known symphonies, concertos, and operas. In 1782-83 he became intimately acquainted with Johann Sebastian Bach and George Friederic Handel, as his friend, Gottfried van Swieten, owned many manuscripts of the Baroque masters, which Mozart studied intently. He altered his style of composition as a result. That year Mozart and his wife visited his father and sister, and he composed a liturgical piece, a Mass, with a singing part for his wife. He also met Joseph Hadyn in Vienna in 1784 and they became friends. They even played together in a string quartet from time to time. Mozart wrote six quartets dedicated to Hadyn. In 1785 Hadyn told Leopold Mozart, “Your son is the greatest composer known to me by person and repute, he has taste, and what is more, the greatest skill in composition”. Over the next several years Mozart booked several piano concertos in various places as a sole performer to delighted audiences, making substantial remuneration for his work. He and his wife then adopted a more luxurious lifestyle. They moved to an expensive apartment and he bought a fine fortepiano and billiard table. They sent their son, Karl, to an expensive boarding school and also kept servants. In 1784 Mozart became a Freemason and even composed Masonic music. Over the next several years he did little operatic writing and focused on his career as a piano soloist and writer of concertos. He again began operatic collaboration in 1785, creating ‘The marriage of Figaro’, then ‘Don Giovanni’ in 1787. That year his father died. Also that year he obtained a steady post under Emperor Joseph II as his chamber composer. This was part-time employment that was important when hard times arrived. However, Joseph aimed at keeping Mozart from leaving Vienna for better work. The Austrio-Turkish War made life difficult for musicians, and his aristocracy support had declined. He moved to save on expenses, but that did not help much, and he was reduced to borrowing funds from his friends, and pleading for loans. During this period he produced his last three symphonies. In 1789 he then set up on a journey to Leipzig, Dresden, and Berlin hoping to improve his fortunes. In 1790 he was highly productive, producing concertos, an opera, ‘The magic flute’, a series of string quintets, a motet, and an (unfinished) Requiem. Finances began to improve and he begin paying back his debts. Public reaction to his works also brought him great satisfaction. In 1791, while in Prague for the premiere of his opera, ‘La clemenza di Tito’, he fell ill. He continued professional functions for a short time, but had to go home and be nursed by his wife over the next couple of months. He died at Vienna, Austria, at the age of 35, a small thin man with undistinguishing characteristics. He was buried in a modest grave, having had a small funeral. Beethoven composed his early works in the shadow of Mozart, and Joseph Hadyn wrote “posterity will not see such a talent (as Mozart) again in 100 years”. 600+ works. Side note: Mozart enjoyed billiards, dancing, and had a pet canary, a starling, a dog, and a horse for recreational riding. He liked off-color humor. He wore elegant clothing when performing and had a modest tenor voice. John Perry

Lydia Baxter

1809 - 1874 Person Name: Lillian Baxter Topics: Hymns for Social Worship Author of "Take the Name of Jesus With You" in The Church Hymnal Baxter, Lydia, an American Baptist, was b. at Petersburg, N. York, Sep. 2, 1800, married to Mr. Baxter, and d. in N. Y. June 22, 1874. In addition to her Gems by the Wayside, 1855, Mrs. Baxter contributed many hymns to collections for Sunday Schools, and Evangelistic Services. Of these, the following are the best known:— 1. Cast thy net again, my brother. Patient toil. Given in the Royal Diadem, N. Y., 1873. 2. Go, work in my vineyard. Duty. Also given in the Royal Diadem, 1873, and Mr. Sankey's S. & Solos, No. 4. 3. I'm kneeling, Lord, at mercy's gate. Lent. In Coronation Hymns, &c, N. Y., 1879. 4. I'm weary, I'm fainting, my day's work is done. Longing for rest. Royal Diadem. 1873. 5. In the fadeless spring-time. Heavenly Reunion. In the Royal Diadem, 1873, I. D. Sankey's S. S. & Solos, No. 256, and others. It was written for Mr. H. P. Main in 1872. 6. One by one we cross the river. Death. In Songs of Salvation, N. Y., 1870, I. D. Sankey's S. S. & Solos, No. 357, &c. It dates cir. 1866. 7. Take the name of Jesus with you. Name of Jesus. Written late in 1870, or early in 1871, for W. H. Doane, and pub. in Pure Gold, 1871. It is No. 148 of I. D. Sankey's S. S. & Solos. 8. The Master is coming. Invitation. In Songs of Salvation, 1870, No. 38. 9. There is a gate that stands ajar. Mercy. In New Hallowed Songs, and also the Gospel Songs of P. Bliss, 1874. It was written for S. J. Vail about 1872. It has attained to some popularity. It is given in Mr. Sankey's S. & Solos, No. 2. -John Julian, Dictionary of Hymnology (1907)

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