Handbook to the Mennonite Hymnary

Most of the hymns were set to secular melodies popular at the time. Very little of this first hymnal survives.

1570—Ausbund, Das ist: Etliche schöne Christliche Lieder, wie sie in dem Gefängnis zu Passau in dem Schlosz von den Schweizer-Brüdern und von andern rechtglaubigen Christen hin und her gedichtet worden.

At least twelve editions have been printed in Europe, the last one in Basel, 1838. Its use was confined to the South Germans and Swiss Mennonites. Reprinted in America and still in use by the Amish, the Ausbund has the distinction of being the oldest hymn book officially in use by any church in America.

1780—Geistreiches Gesangbuch zur öffentlichen und besonderen Erbauung der Mennonitischen Gemeinde in und vor der Stadt Danzig.

The book has had long use in Danzig. A revised edition appeared in 1908.

1803—Das Kleine Geistliche Harfe der Kinder Zions. Germantown, Pa. The first Mennonite hymnbook printed in America. It was the official hymnbook of the Franconia Conference of Mennonites of which John H. Oberholzer, founder of the General Conference of Mennonites, was a member. Seven editions were printed, the last in Elkhart, Ind., 1904.

1804—Unpartheyisches Gesangbuch, Lancaster, Pa. The official hymnbook of the Lancaster Mennonite Conference for almost a century. Fourteen reprints were made, the last in 1923 for the Amish.

1843—Gesangbuch in welchem eine Sammlung geistreiche Lieder befindlich. 9th ed. Elbing. The hymnbook of the Prussian Mennonites. It was taken by the Prussians to Russia where it was republished in Odessa, 1844.

1856—Gesangbuch zum Gottesdienstlichen und haeuslichen Gebrauch in Evangelischen Mennoniten Gemeinden. Worms.

Published by the churches of Baden and the Palatinate. The hymnal committee was fortunate in securing the assistance of the eminent German hymnologist, Albert Knapp. The book contains 600 hymns and an appendix of prayers. A book of melodies was also provided. This collection holds an important place in Mennonite hymnody. It was reprinted in Danzig, 1873, for use by the Danzig Mennonites, and in Philadelphia, 1873, for use in the General Conference of Mennonites. The excellent qualities of the more recent Gesangbuch mit Noten may be traced, in considerable measure, to this work.

1869—Gesangbuch in Mennoniten Gemeinden für Kirche und Haus. Published for the churches of West Prussia, this work went through at least four editions, the fourth in 1901. The book was republished in Danzig, 1873.

1873—Gesangbuch zum Gottesdienstlichen und häuslichen Gebrauch in Mennoniten Gemeinden. Philadelphia. Ordered by the sixth General Conference of Mennonites held at Wadsworth, Ohio. The main body of the book is the same as that published in Worms, 1856, but with the appendix of prayers omitted, and an appendix of 22 hymns added, the latter the contribution of the Mennonites in Pennsylvania. The book was intended to form a closer bond of union between the Mennonites in the East and those west of the Mississippi.

1890—Gesangbuch mit Noten. Herausgegeben von der allgemeinen Conferenz der Mennoniten von Nord America. Berne, Ind. The book passed through 15 editions, the last in 1936. A noteworthy collection of hymns and tunes that met with wide approval in the General Conference churches.

1894—Mennonite Hymnal, A Blending of Many Voices. Berne, Ind. An A. S. Barnes publication adopted, practically unchanged, by the General Conference of Mennonites. Our first official English hymnal, though many collections from other sources were finding wide use in our churches. The book has nothing of distinctiveness or distinction.

1927—The Mennonite Hymn Book. Berne, Ind. Published by the General Conference of Mennonites. Compiled and edited by a committee appointed by the Conference. The book was more satisfactory than the Mennonite Hymnal of 1894, but never became very popular. Total sales of three editions were less than 5,000 copies.

1940—The Mennonite Hymnary. Published by the General Conference of Mennonites of North America, Board of Publication, Mennonite Publication Office, Newton, Kansas, 1940. Now in its sixth edition.

15. The Translation of Hymns.

A word may be in order concerning the translation of hymns. It is difficult to transfer the color and feeling of one language to another. For this reason many people who know the German hymns by heart have a sense of disappointment when they read them in an English version. In some instances a translation is inferior to the original but this is not necessarily the case. It is well to remember that nearly all of us read the Bible only in a translation, yet never doubt the literary quality of the English King James Version or the German Version of Luther. The hymn, “Ich weiss einen Strom,” is superior as poetry, and in its religious feeling, to the English original, “O have you not heard of that beautiful stream,” though the former is a translation of the latter. The reason is that Gebhardt, the translator, was a poet in his own right. Good translations are possible if the translator has poetic ability of a high order, and if he translates into his native tongue. Catherine Winkworth was the foremost translator of German hymns into English and Ernst Gebhardt performed a similar role in translating English and American hymns into German. Had either tried to do the work of the other, the results would in all probability have lacked true color and correct idiomatic and poetic expression.

16. Church Unity in the Hymnbook.

The unity of the Christian Church is expressed nowhere more eloquently than in the hymns we sing. Every modern hymnal, regardless of the denominational interest it represents, reaches across the ages to gather its treasures from sources new and old; it knows nothing of the external barriers which divide Christians into denominations, but makes use of the hymns of widely divergent Christian groups. The Mennonite Hymnary is no exception. Here are found hymns from the early church, East and West, translated from the Greek and Latin fathers. Others, like Savonarola’s hymn, come from the Middle Ages. Many are chorales from the land of Luther, or metrical psalms from the Calvinistic reformers. A substantial body of our hymnody stems from the Anglican Church, while some of our best hymns are from sturdy independents like Watts and Doddridge, and still others breathe the evangelistic fervor of Wesley, Cowper, and Newton. The Quakers too have made their contribution as well as certain Roman Catholics and Unitarians. In no aspect of our church life do we attain so nearly to ecumenicity as in our worship in song. Christians may differ widely in their religious views but they are able to unite as one body in singing their songs of praise.

The following classification of hymns by denominations is far from exhaustive. It is intended merely to suggest the wealth of material drawn from many denominations, listing only representative writers together with a representative hymn. The index of authors may be consulted for a complete list of hymns written by each author.

a. Anglican (Church of England)

Addison, Joseph, “The spacious firmament on high” (50)

Alexander, Mrs. Cecil (Irish), “Jesus calls us, o’er the tumult” (140)

Baring-Gould, Sabine, “Onward, Christian soldiers” (225)

Bode, John E., “O Jesus, I have promised” (212)

Croly, George (Irish), “Spirit of God, descend” (133)

Dix, William C., “As with gladness men of old” (530)

Ellerton, John, “Savior, again to Thy dear name we raise” (43)

Elliott, Charlotte, “Just as I am, without one plea” (458)

Grant, Robert (Scotch), “O worship the King” (7)

Hankey, Katherine, “I love to tell the story” (493)

Havergal, Frances, “Take my life, and let it be” (215)

Heber, Reginald, “Holy, holy, holy” (1)

How, W. W., “O Jesus, Thou art standing” (144)

Lyte, Henry F., “Abide with me” (40)

Newton, John, “Glorious things of thee are spoken” (274)

Pierpoint, Folliott S., “For the beauty of the earth” (51)

Stone, Samuel, “The Church’s one foundation” (273)

Toplady, Augustus, “Rock of ages” (148)

Wordsworth, Christopher, “O day of rest and gladness” (285)

b. Baptist

Fawcett, John (Eng.), “Blest be the tie that binds” (41)

Gilmore, Henry, “He leadeth me” (478)

Hearn, Marianne (Eng.), “Just as I am, thine own to be” (393)

Hawks, Annie S., “I need Thee every hour” (187)

Lowry, Robert, “Low in the grave He lay” (452)

Phelps, Sylvanus, “Savior, Thy dying love” (220)

Rankin, Jeremiah, “God be with you till we meet again” (365)

Smith, Samuel F., “The morning light is breaking” (324)

Stennett, Samuel, “Majestic sweetness sits enthroned” (120)

c. Bohemian Brethren (Moravians)

Hayn, Luise von, “I am Jesus’ little lamb” (430)

Montgomery, James, “Prayer is the soul’s sincere desire” (184)

Rights, Douglas LeTell, “Veiled in darkness Judah lay” (68)

Weisse, Michael, “Christ, the Lord, is ris’n again” (544)

Zinzendorf, Nikolaus Ludwig, Graf von, “Jesu! geh’ voran” (574)

Zinzendorf, Christian Renatus, Graf von, “Man of sorrows” (537)

d. Catholic (Roman)

St. Bernard of Clairvaux, “O sacred Head, now wounded” (539)

Bridges, Matthew, “Crown Him with many crowns” (118)

Faber, Frederick, “Faith of our fathers” (154)

Franz, Ignaz, “Grosser Gott, wir loben dich” (519)

Mohr, Joseph, “Silent night” (83)

Newman, John Henry, “Lead, kindly Light” (162-3)

Scheffler, Johann, “Mir nach, spricht Christus” (565)

e. Congregational

Bliss, Philip P., “Brightly beams our Father’s mercy” (448)

Dwight, Timothy, “I love Thy Kingdom, Lord” (275)

Gladden, Washington, “O Master, let me walk with Thee” (223)

Luke, Jemima (Eng.), “I think when I read that sweet story” (427)

Palmer, Horatio, “Yield not to temptation” (477)

Palmer, Ray, “My faith looks up to Thee” (150)

Shurtleff, Ernest W., “Lead on, O King Eternal” (399)

Sleeper, W. T., “Ye must be born again” (461)

Stocking, Jay T., “O Master Workman of the race” (93)

Stowe, Harriet Beecher, “Still, still with Thee” (23)

Walter, Howard A., “I would be true” (207)

Wolcott, Samuel, “Christ for the world we sing” (327)

f. English Independent

Doddridge, Philip, “How gentle God’s commands” (56)

Watts, Isaac, “When I survey the wondrous cross” (105-6)

g. Episcopal (American)

Brooks, Phillips, “O little town of Bethlehem” (84)

Bowie, W. Russel, “Lord, through changing days” (402)

Coxe, Arthur C., “O where are kings and empires now” (276)

Doane, George W., “Fling out the banner” (331)

Hopkins, John, Jr., “We three kings of Orient are” (90)

Key, Francis Scott, “Lord, with glowing heart I’d praise” (511)

Roberts, Daniel C., “God of our fathers, whose almighty” (347)

h. Lutheran (German)

Clausnitzer, Tobias, “Liebster Jesu, wir sind hier” (553a)

Gerhardt, Paul, “Commit thou all thy griefs” (558)

Luther, Martin, “A mighty fortress is our God” (549)

Nicolai, Philipp, “Wake, awake for night is flying” (522)

Rinkart, M. Martin, “Now thank we all our God” (514)

Schmolck, Benjamin, “My Jesus, as Thou wilt” (250)

Spitta, Karl Johann Philipp, “O happy home, where Thou” (358)

i. Methodist

Crosby, Fanny, “Jesus, keep me near the cross” (490)

Farrington, Harry Webb, “I know not how that Bethlehem’s” (99)

Gebhardt, Ernst (German), “Ich weiss einen Strom” (232)

Lathbury, Mary, “Break Thou the bread of life” (288)

Marlatt, Earl, “Are ye able, said the Master” (392)

Nicholson, James, “Lord Jesus, I long to be perfectly whole” (469)

North, Frank Mason, “Where cross the crowded ways of life” (222)

Owens, Priscilla, “We have heard the joyful sound” (334)

Wesley, Charles, “Jesus, lover of my soul” (158-9)

Williams, William (Welsh), “Guide me, O Thou great” (160)

j. Presbyterian

Babcock, Maltbie, “This is my Father’s world” (48)

Benson, Louis, “O sing a song of Bethlehem” (92)

Clephane, Elizabeth (Scotch), “Beneath the cross of Jesus” (112)

Duffield, George, “Stand up, stand up for Jesus” (193)

Hastings, Thomas, “Hail to the brightness” (332)

Hopper, Edward, “Jesus, Savior, pilot me” (161)

Mackay, Wm. P., “We praise Thee, O God” (437)

Matheson, George (Scotch), “O Love that wilt not let me go” (175)

Merrill, Wm. P., “Rise up, O men of God” (230)

Prentiss, Elizabeth, “More love to Thee, O Christ” (472)

Small, James G. (Scotch), “I’ve found a Friend” (445)

Van Dyke, Henry, “Joyful, joyful, we adore Thee” (10)

k. Quaker

Adams, Jessie, “I feel the winds of God today” (391)

Barton, Bernard, “Walk in the light” (209)

Whittier, John G., “Dear Lord and Father of mankind” (181)

l. Unitarian

Adams, Sarah F., “Nearer, my God, to Thee” (202)

Bennett, S. F., “In the sweet bye and bye” (504)

Bowring, John, “In the cross of Christ I glory” (110)

Holmes, Oliver W., “Lord of all being, throned afar” (53)

Hosmer, Frederick L., “Father, to Thee we look in all our” (249)

Johnson, Samuel, “Father, in Thy mysterious presence” (188)

Longfellow, Samuel, “I look to Thee in every need” (244)

Martineau, James, “Thy way is in the deep, O Lord” (242)

Parker, Theodore, “O Thou great Friend to all the sons” (224)

Sears, Edmund, “It came upon a midnight clear” (75)

Ware, Henry, Jr., “Great God, the followers of Thy Son” (13)

m. No Church Affiliation

Bates, Katherine Lee, “O beautiful, for spacious skies” (343)

Vories, Wm. M., “Let there be light, Lord God of hosts” (353)

17. Hymn Meters.

Meter (English, Metre) refers to the rhythmic element in poetry:

a. the number of lines in a stanza.

b. the number of syllables in a line.

c. the arrangement of accented and unaccented syllables.

The figures attached to the tune names in the Hymnary indicate the number of lines in a stanza and the number of syllables in a line, e. g., 8.7.8.7. means that the hymn has four lines in each stanza, the first line being made up of 8 syllables, the second of 7 syllables, the third of 8 syllables, and the last of 7 syllables. The figures are placed there to facilitate the fitting of tunes to hymns, a responsibility which is left now-a-days largely to hymnbook editors.

A given tune may be used with any variety of hymns provided the latter have the same meter as the tune. Likewise a given hymn may be sung to any tune that fits its meter, e.g., “Come, Thou Almighty King,” set to the tune, “Italian Hymn,” as both have the meter pattern 6.6.4.6.6.6.4. This is also the meter of “My country ’tis of thee” set to “America.” Hence the words and tunes of these hymns may be interchanged. As a matter of fact, “Come Thou Almighty King” was originally used with the tune “America.” The practice of using alternate tunes is less common now than formerly and must be done with care for while the meters may be suited, the words and tune may be incompatible otherwise.

Meter Names

A few meters have specific names. These, with their abbreviations are as follows:

Short Meter (S.M.) 6.6.8.6, e.g.

Short Meter Double (S.M.D.) is used for a tune in which the quatrain is repeated, e.g. “Terra Beata” (48), set to the words “This is my Father’s world.”

Common Meter (C.M.), also called Ballad Meter, consists of four lines of 8.6.8.6. syllables, e.g.

Nearly all the metrical psalms appeared in this meter.

Common Meter Double (C.M.D.) is employed when two Common Meter quatrains are used to form one stanza, e.g.,

“It came upon a midnight clear.” (75)

Long Meter (L.M.) consists of a four line stanza in which each line is of eight syllables, e.g.,

Long Meter Double (L.M.D.), not often used, consists of a stanza of eight lines, each line of eight syllables, e.g.,

“The spacious firmament on high.” (50)

Accentuation

In setting a hymn to music it is important that the accented syllables of the poetry fall on the accented beats of the musical bars. Try singing “Softly and tenderly Jesus is calling” (456) to the tune “Ich weiss einen Strom” (232). The meter is the same in each case—11.7.11.7.—with refrain—but the words and tune are obviously not suited to each other because of differences in accentuation.

18. Hymn Tunes.

a. What is a good tune?

b. Importance of tunes.

c. Composers of tunes.

d. Sources of tunes.

e. Tune names.

a. What is a good tune?

The quality of a tune must be judged by its definite and restricted use. It is to be sung by a congregation of people, the majority of whom have had only limited musical training, and without benefit of rehearsal. The tune must therefore be judged by such questions as these: Is it singable? Are the parts within easy pitch range of the voices? Is it free from difficult intervals or modulations into other keys? Is it interesting? Does it create a worshipful atmosphere? Does the mood of the tune fit the mood and thought of the words?

b. The importance of tunes.

The tune is of great importance to the success of the hymn. Our “best hymns” owe their popularity in many instances, to the tune with which they are associated. On the other hand many excellent hymns remain unused because the tunes given them are too difficult or too uninteresting. It is the tune that creates the mood of worship and charges the words with emotion so that their message is carried forth with feeling and power.

c. Composers of tunes.

The story of the development of the hymn tune begins with the worship song in the Temple at Jerusalem where the psalms were sung antiphonally by priests and people accompanied by harps and trumpets. Little is known of these tunes or their composers. This early Christian music would doubtless sound strange to modern ears.

The important names in the roll of church musicians, from the early centuries to the present time, include the following:

Italian—Ambrose, 4th century

Gregory the Great, 6th century

Palestrina, 1525-94

French—Louis Bourgeois, c. 1510-?

German—Luther, 1483-1546; Nicolai, 1556-1608; Hassler, 1564-1612; Praetorius, 1571-1621; Crüger, 1598-1662; Bach, 1685-1750.

English—Tallis, 1510-85; Gibbons, 1583-1625; Croft, 1678-1727; Gauntlett, 1805-76; Monk, 1823-99; Dykes, 1823-76; S. Wesley, 1810-76; Barnby, 1838-96; Stainer, 1840-1901; Sullivan, 1842-1900.

American—L. Mason, 1792-1872; Bradbury, 1816-68; Hastings, 1784-1872; Stebbins, 1846-1945.

The great composers, besides Bach, whose names are found in church hymnals are: Haydn, Beethoven, Handel, Mozart, Mendelssohn, Gounod, and Sibelius.

The above is only a partial list of composers of good church music. Among their works is a corpus of fine hymn tunes far greater than has been utilized by the church so far. For years to come, compilers of hymn books will have a vast reservoir of excellent tunes, old yet new, to draw from.

d. Sources of tunes.

An examination of the origin of church tunes shows a variety of sources. Many tunes were especially written for the words to which they are set; others are adaptations from early medieval chants; still others, as for example, the “Passion Chorale” and “Londonderry Air”, were folk tunes originally used with secular words. Some of our best tunes are adaptations of melodies from larger musical works, as for example, “Hymn to Joy” (10) from Beethoven’s Ninth Symphony; “Finlandia” (54), from a tone poem by Sibelius; and “Seymour” (36), from Weber’s opera, Oberon.

e. Tune names.

Composers usually name their tunes in order to facilitate their identification. The names given them are selected quite arbitrarily. W. H. Havergal, prolific composer of church music, named his tunes after the rivers, mountains, valleys, etc., of Palestine, e.g. “Abana,” “Ahava,” “Ararat,” “Baca,” etc. Other tunes have been named for the composer, e.g., “Bradbury” (395); the name of a friend, e.g., “Rockingham” (105); name of a city or village, e.g., “Boylston” (214); a street, “Federal Street” (192); a cottage, “Hollingside” (159); an event in history, “Nicaea” (1); or the central idea in the words, “Pilot” (161).

In Germany, the usual practice has been to name the tune after the first line of the hymn to which it was originally set.

Some tunes, unfortunately, are known by more than one name, e.g., “St. Michel’s” (93) and “Jerusalem, Jerusalem” (125). In a few cases the same name is given to several tunes, e.g., “Wesley” (309 and 332). This is confusing and it is highly desirable that hymnbook editors strive toward uniformity of nomenclature.

19. John Wesley’s Rules for Singing.

In one of John Wesley’s compilations of tunes, Sacred Melody, the great preacher and founder of Methodism gives the following rules for singing. Some of the expressions used may provoke a smile but, as Lightwood suggests, “it would be a very good thing if these were read aloud from time to time in all churches and chapels where good congregational singing is aimed at.”

a. Learn these tunes before you learn any others; afterwards learn as many as you please.

b. Sing them exactly as they are printed here, without altering or mending them at all; and if you have learned to sing them otherwise, unlearn it as soon as you can.

c. Sing ALL. See that you join with the congregation as frequently as you can. Let not a slight degree of weakness or weariness hinder you. If it is a cross to you, take it up, and you will find it a blessing.

d. Sing lustily and with a good courage. Beware of singing as if you were half dead, or half asleep; but lift up your voice with strength. Be no more afraid of your voice now, nor more ashamed of its being heard, than when you sang the songs of Satan.

e. Sing modestly. Do not bawl, so as to be heard above or distinct from the rest of the congregation, that you may not destroy the harmony; but strive to unite your voices together, so as to make one clear melodious sound.

f. Sing in tune. Whatever time is sung be sure to keep with it. Do not run before nor stay behind it; but attend close to the leading voices, and move therewith exactly as you can; and take care not to sing too low. This drawling way naturally steals on all who are lazy: and it is high time to drive it out from among us, and sing all our tunes just as quick as we did at first.

g. Above all sing spiritually. Have an eye to God in every word you sing. Aim at pleasing Him more than yourself, or any other creature. In order to do this attend strictly to the sense of what you sing, and see that your heart is not carried away with the sound, but offered to God continually; so shall our singing be such as the Lord will approve of here, and regard you when He cometh in the clouds of Heaven.

BOOK I
Hymns for Worship and Praise

WORSHIP—PRAISE AND ADORATION

1. Holy, holy, holy

A metrical paraphrase of Revelation 4:8-11. The hymn was written for use on Trinity Sunday of the Church Year but has found a wide general use as a morning hymn. It ranks high in any list of “best hymns.” Some give it first place.

The author, Reginald Heber, was educated at Oxford, England, for the Anglican ministry. For sixteen years he served as rector at Hodnet, Shropshire, where most of his hymns were written. He became an eminent churchman, as well as hymn writer, and was made bishop of Calcutta in 1822. After four years, his life came to an end suddenly at the close of a day in which he had baptized forty-two native converts. He is the author of the popular missionary hymn, “From Greenland’s icy mountains” (333).

“Holy, holy, holy,” was one of Alfred Tennyson’s favorite hymns, and it was sung at his funeral service in Westminster Abbey, April 12, 1892.

MUSIC. The tune, NICAEA, was composed for this hymn and was so named because the text deals with the doctrine of the Trinity as expounded in the Council of Nicaea which met in the city of Nicaea in Asia Minor, 325 A.D., the first ecumenical council of the Christian Church. It convened at the call of the Emperor, Constantine, to settle the so-called “Arian controversy” concerning the nature of Christ. Arius, a presbyter of Alexandria, taught that Christ was neither divine nor human, but superangelic. After sitting from May 20 to August 25, to hear all sides of the heated debate, the council decided in favor of Athanasius, a deacon of Alexandria and chief opponent of Arius. The result was incorporated in the Nicene creed which declares that Christ is “the same substance with the Father.” Our hymn asserts the same doctrine: “God in Three Persons, blessed Trinity.”

J. B. Dykes, 1823-76, composer of the tune, was born in Hull, England, the son of a banker. He was educated at Cambridge for the ministry but had also received a thorough training in music and became one of England’s leading hymn-tune writers. For a score of years he was vicar of the Anglican church, St. Oswald’s, in the city of Durham. He published sermons and other writings but is best known for his 300 hymn tunes, many of which are still in wide use. One of his most popular tunes is “Lux Benigna” which is always associated with John Henry Newman’s hymn, “Lead kindly light” (162).

2. God is in His holy temple

Based on Hab. 2:20: “The Lord is in his holy temple: let all the earth keep silence before him.” The hymn, whose authorship is anonymous, is a call to silence and reverence as the worshipper bows in the presence of God.

MUSIC. The origin of the popular and useful tune, AUTUMN, has been in dispute. Some books refer to it as a Spanish melody, and others have seen in the tune a reminiscence of a psalm-tune found in the Genevan Psalter of 1551. It is ascribed here to one, Louis von Esch, but Dr. Robert McCutchan, editor of the Methodist Hymnal and author of Our Hymnody, says: “There is no basis whatever for ascribing it to any other than Barthélémon.”

Francois H. Barthélémon was born in Bordeaux, July 27, 1741, and died in London, July 20, 1808. He gave up his position as an officer in the French army to make music his profession and became a composer and distinguished violinist and conductor in England. Most of his compositions were of a secular nature. His other church pieces are “Morning Hymn” (25) and “Ballerma” (146, 585). Late in life Barthélémon joined the Swedenborgian Church. He died of paralysis at the age of 67.

3, 4, 5. All hail the power of Jesus’ name

The original version of this hymn contained eight stanzas and first appeared in the Gospel Magazine, Augustus Toplady’s journal, the first stanza together with the tune “Miles Lane,” in November, 1779, and the remaining stanzas in April, 1780. It is one of the popular, stirring hymns of the English language, sung in England almost invariably to the tune “Miles Lane” and in America more generally to “Coronation.”

Edward Perronet was born in 1726 and became a vicar in the Church of England in Shoreham. Later, under the influence of John Wesley, he left the established church to become an itinerant Methodist preacher. After some years he left the Methodists and ministered to a small dissenting congregation in Canterbury, where he died in 1792.

The fourth stanza is attributed by some authorities to the Rev. John Rippon, a Baptist minister.

A missionary in India, E. P. Scott, went to visit a mountain tribe when one day he found himself surrounded with a number of wild, ferocious tribesmen, pointing their spears at him. Expecting death, he closed his eyes and sang this hymn, “All hail the power of Jesus’ name,” playing the tune “Miles Lane” on his violin. The music and words produced such a profound effect upon these wild tribesmen that they spared Scott’s life and invited him to settle among them. For over two years, until his health failed, he worked with great success among them, and when he was compelled to return to America, they accompanied him thirty or forty miles and begged him to return. Upon regaining his health, he did return and labored with them until his death.

MUSIC. MILES LANE (No. 3) was composed by William Shrubsole, 1760-1806, especially for this hymn. He was an intimate friend of the author of the hymn. Most of his life was spent as music teacher and organist in various English churches. The tune is very effective, especially in its thrilling climax in the fourfold repetition of “Crown Him.” However, due to its wide melodic range, its sustained notes, and interrupted pace, it is more difficult to sing than “Coronation.”

CORONATION (No. 4) was composed by Oliver Holden. He had little formal training in music and was a carpenter by trade. He was born in Shirley, Mass., Sept. 18, 1765. After the English burned Charlestown, across the river from Boston, Holden helped in the task of rebuilding and made considerable money. Later he engaged in the real estate business, owned a music store, and all the while led choirs and singing schools. He was elected representative to the Congress. He was an influential citizen and a prominent member of the Baptist Church. However, he is remembered by posterity as the composer of this much-loved tune.

DIADEM (No. 5) is an effective tune widely used on anniversary occasions. The composer, James Ellor, an English Methodist, was born in Lancashire in 1819. He was not a professional musician, but a hatter by trade. For a time he worked as a railway employee. While still a young man, he came to America, where he worked at the hatmaking trade. For some years before his death in 1899, he was nearly blind. This tune was composed when Ellor was only 19 years old. It was written especially for this hymn and has had wide use as a choir number.