John Dykes Composer of "Holy, Holy, Holy"

"Holy, Holy, Holy, Lord God Almighty," read Reginald Heber's widow. Among her dead husband's papers she found the words of one of the
most powerful and beautiful hymns ever written. But years would pass before the lines took their place in worship services around the world.
In 1861, a publisher rediscovered the words. He asked John Bacchus Dykes to furnish him with a tune. It made sense for him to turn to John
who had a natural aptitude for music (he graduated with a music master that same year). John had been a church organist since he was ten-
years-old and was co-founder and president of the Cambridge University Musical Society.
John accepted the words. Within thirty minutes he wrote the tune "Nicea," which carried the praise of the Trinity to Christians everywhere.
Holy, Holy, Holy Lord God Almighty
Early in the morning our song shall rise to Thee;
Holy, Holy, Holy, Merciful and Mighty!
God in Three Persons, Blessed Trinity!
The year after he composed this famous tune, John was appointed vicar of St. Oswald. This put him in charge of a parish. He was thirty-nine and
had already held several lesser church posts. John's people came to love him.
His bishop, however, did not care for John's views. John was "high-church." This meant that he stressed the continuity of the Church of England
with the Roman Catholic church from which it had sprung. He believed that church and monarchy had divine rights which were being washed
away by modern changes. There was long-lasting disagreement between John and his bishop because of this.
Charles Baring, his bishop, refused to give John any help with his large parish unless he would agree to conduct his services in a more "low-
church" style. He had to get rid of colorful collars, stop burning incense and not turn his back on his congregation at times during the service.
John wouldn't agree and so he had to handle the whole parish himself, a job which exhausted him.
Nonetheless, in addition to his regular duties, he managed to write over 300 hymn tunes. These included some for our favorite hymns, such as
"Jesus, the Very Thought of Thee" and less familiar songs such as "Ten Thousand Times Ten Thousand" and "Lead, Kindly Light."
Worn out with his labors and constant friction with his bishop, John died on this day, January 22, 1876. He was just fifty-three years old. Those
who loved and admired him, raised 10,000 to support his widow and children.
Holy, Holy, Holy! is a Christian hymn written by Reginald Heber (17831826).
[1][2][3]
Its lyrics speak specifically of the Holy Trinity,
[2][3]
having
been written for use on Trinity Sunday.
[3]
It quotes the Sanctus of the Latin Mass, which translated into English begins "Holy, Holy, Holy! Lord
God of Hosts". The text also paraphrases Revelation 4:1-11. John Bacchus Dykes composed the tune Nicaea for this hymn in 1861.
[3]
The tune
name is a tribute to the First Council of Nicaea which formalized the doctrine of the Trinity in 325.
[2][3]

Lyrics
Holy, Holy Holy! Lord God Almighty!
Early in the morning our song shall rise to Thee;
Holy, Holy, Holy! Merciful and Mighty!
God in Three Persons, blessed Trinity!
Holy, Holy, Holy! all the saints adore Thee,
Casting down their golden crowns around the glassy sea;
Cherubim and Seraphim falling down before Thee,
Which wert, and art, and evermore shalt be.
Holy, Holy, Holy! though the darkness hide Thee,
Though the eye of sinful man Thy glory may not see:
Only Thou art holy, there is none beside Thee,
Perfect in power, in love, and purity.
Holy, Holy, Holy! Lord God Almighty!
All Thy works shall praise thy name in earth and sky and sea;
Holy, Holy, Holy! Merciful and Mighty!
God in Three Persons, blessed Trinity!
STAND UP FOR JESUS hymn....story behind it.

Stand Up, Stand Up for Jesus

George Duffidd, Jr., 1818-88

Stand up, stand up for Jesus, Ye soldiers of the cross; Lift high his royal banner, It must not suffer loss. From victory unto victory His army shall he
lead, Till every foe is vanquished, And Christ is Lord indeed.
In 1858, three years before the outbreak of the Civil War, revival swept the city of Philadelphia. People responded particularly to the
hard-hitting messages of Dudley Tyng, a young, vivacious, abolitionist Episcopal priest.
In March at a noontime, weekday YMCA gathering of five thousand men, Tyng let it rip, basing his sermon on Exodus 10:ll: "Go now ye
that are men, and serve the Lord" (KJV). As he spoke, he acknowledged that his radical call for repentance was potentially offensive. He hoped
his audience would not take umbrage at his challenge, but, he continued,'! would rather that this right arm were amputated at the trunk, than
that I should come short of my duty to you in delivering God's message."
That afternoon more than a thousand men enlisted in the Lord's army. And Tyng returned home newly challenged to lead the charge, lift
high the banner. Little did he know the impending twists of fate.
A week later, studying in his home office, Tyng took a break. He walked out to the barnyard to encourage a mulewhose circular
plodding fueled a corn-shelling machine. Alas. Patting the mule, Tyng caught his billowy sleeve in the wheel cogs. Tyng lost his arm. And within
days his life.
At his son's deathbed, Tyng's father asked if he had a message for his colleagues. Tyng's last words proved to be his most memorable:
"Tell my brethren of the ministry, wherever you meet them, to stand up for Jesus."
That message, relayed at Tyng's funeral, gripped a friend, Rev. George DufEeld. The next Sunday at Philadelphia's Temple Presbyterian
Church, DufEeld preached on Ephesians 6:14, a Pauline challenge couched in military language: "Stand firm," wearing the whole armor of God.
Duffield ended his sermon with a poem he had penned that week: "Stand Up, Stand Up for Jesus . . ." (Am I perverse to wonder if there is
hidden meaning in the lines: "The arm of flesh will fail you, Ye dare not trust your own"?)
A parishioner printed the poem in leaflet form. It was picked up by a magazine and within a few years sung heartily around Union army
campfires.
And still is sung today.

Our church organist played its familiar tune. The congregation joined in. A stooped, old man sitting behind me sang lustily. And as the last
chord died out, he whispered loudly, spontaneously, as if he'd forgotten he was in church: "That was a good one!"
I smiled.Was he a veteran of a great war? I expect so. After church he slipped out the door before I could ask. The song struck something
in his spirit. A call to take courage and stand for his Lordeven as his years and life slipped from him.

A musician tells me this song is a favorite at nursing homes, especially among men and women confined to wheel-chairspeople who
can't physically stand. What does the song mean to someone whose options are limited?
In search of an answer I went scrounging for a haunting article I'd clipped some years ago. Richard Mouw writes: ""We are called to be
obedient where we are located, with the resources that are available to us, and in the light of our present' understanding of God's will."
Mouw continues, relating an eye-opening exchange between him and sociologist Peter Berger. When a younger, harsher Mouw had
suggested "that every Christian is called to engage in radical obedience to God's program of justice, righteousness, and peace," Berger had
challenged Mouw's grandiose view of obedience.
Somewhere in a retirement home,. [Berger] said, there is a Christian woman whose greatest fear in life is that she will make a fool of
herself because she will not be able to control her bladder in the cafeteria line. For this woman, the greatest act of radical obedience to Jesus
Christ is to place herself in the hands of a loving God every time she goes off to dinner.
Here I Am, Lord
From Wikipedia, the free encyclopedia
Here I Am, Lord, also known as "I, the lord of sea and sky," is a well known Christian hymn written by Dan Schutte in 1981. Its words are based
on Isaiah 6:8 and 1 Samuel 3. It's published by OCP Publications and has become one of the most well known Catholic hymns in use today.
Despite its Catholic origins, Schutte's hymn is also sung in many Protestant worship services and is found in most Christian hymnals being
translated into over 20 languages.
[1]
It's been used at many Papal Masses and at International World Youth Day events.
[2][3]

In 2004 a survey conducted by The Tablet, an international Catholic magazine, reported Dan Schutte's hymn, "Here I Am, Lord" as reader's
favorite.
[4]
A poll conducted by the National Association of Pastoral Musicians found among members that Schutte's hymn, "Here I Am, Lord"
came in second among "songs that make a difference".
[5]
A 2008 survey conducted by the United Methodist Church found Schutte's hymn
second favorite behind "Amazing Grace."
[6]

History of Hymns: Here I Am, Lord
by C. Michael Hawn
"Here I Am, Lord"
Dan Schutte
The United Methodist Hymnal, No. 593
I, the Lord of sea and sky,
I have heard my people cry,
All who dwell in dark and sin
my hand will save.
I, who made the stars of night,
I will make their darkness bright.
Who will bear my light to them?
Whom shall I send?
Refrain: Here I am, Lord. Is it I Lord?
I have heard you calling in the night.
I will go, Lord, if you lead me.
I will hold your people in my heart.*

When The United Methodist Hymnal was published in 1989, one of the most popular hymns was immediately Here I Am, Lord (1981) by
Daniel Schutte (b. 1947).

The stirring refrain is perhaps the first part of the hymn to capture the singers imagination. In my experience teaching congregational song
throughout the United States, I have found that many Protestants are unaware that this hymn represents Roman Catholic renewal music
resulting from the Second Vatican Council (1962-1965).

Mr. Schutte is a native of Wisconsin. He received his education at St. Louis University with a bachelors degree in 1973, a master of divinity
degree in 1979 at the Jesuit School of Theology, Berkeley, Calif., and a masters degree in 1980 at the Graduate Theological Union in Berkeley.

Following graduation, Mr. Schutte joined the Jesuits and served as the director of liturgy at Marquette University (1982-1986). He entered
parish ministry in Milwaukee serving as director of music at Immaculate Heart of Mary and then Our Lady of Lourdes parishes.


Dan Schutte
Mr. Schutte has also received an honorary doctorate from the University of Scranton. He is currently director of music at the University of San
Francisco, a Jesuit institution, and tours extensively as a Christian concert artist. Of his many hymns, Here I Am, Lord is the most commonly
sung.

A salient feature of Catholic renewal hymnody since the Second Vatican Council is a stirring and memorable refrain. Here I Am, Lord recalls
immediately Isaiah 6:8: Then I heard the voice of the Lord saying, Whom shall I send, and who will go for us? And I said, Here am I; send
me!

An unusual attribute of this hymn is the change in point of view that the singer makes between the stanzas and the refrain. The stanzas speak
from the perspective of God in the first person singular, while the refrain, though remaining in first person, is from the perspective of the
singers of the hymn offering their lives to God.

Each stanza reflects a paradox. The powerful God, creator of sea and sky, snow and rain and wind and flame is also the God who hears
the people cry, bears the peoples pain and tend*s+ the poor and lame.

This is a hymn of transformation. God transforms the darkness into light in stanza one, melts hearts of stone with love in stanza two and
nourishes the poor and lame with the finest breada clear Eucharistic reference.

Each stanza ends with the question, Whom shall I send? Rhetorical questions are very common poetical devices in Christian hymnody, but
this is not one of them. The refrain immediately offers the response, Here I am, Lord.

In the Roman Catholic context, congregational hymns were interjected into the liturgy at several points following Vatican II: the opening
processional, the offering, during the Eucharist and after communion.

Drawing upon the appropriate Lectionary reading of the day, this hymn might be sung at the offering, or perhaps during the Eucharist (noting
the reference to bread in the final stanza), but most likely at the conclusion of the Mass following the Eucharist.

Given the dual points of view between the stanzas and the refrain, it is also possible that a cantor or choir may sing the stanzas, with the people
responding on the refrain. The popular style is easily accessible to the assembly.

We are all grateful for this gift from a Roman Catholic composer to the church universal, a gift that has become one of the hymns most often
sung by our generation.

* 1981, 1983, 1989 Daniel L. Schutte and NALR. Used by permission. All rights reserved.

Dr. Hawn is professor of sacred music at Perkins School of Theology.
Categories: History of Hymns