Welcome to this space where we can worship together, even while apart, by singing beautiful songs of praise and adoration "with heart and soul and voice." May the music, stories, Scripture and images shared here help you to grow in your faith and provide encouragement as you start a new week.
If you are a first-time visitor, click here to find out the story of "Notes of Glory." (You will also find instructions here for listening to music using the SoundCloud windows).
Here's an alphabetical list of all "Notes of Glory" music with links so that you can revisit your favorite hymns/songs and sing them once again!
Near to the Heart of God
Words and Music by Cleland Boyd McAfee, arranged for solo piano by Virginia Halberg
The Lord is near to the brokenhearted
and saves the crushed in spirit.
Isaiah 10:11
He will tend his flock like a shepherd;
he will gather the lambs in his arms;
he will carry them in his bosom,
and gently lead those that are with young.
He will tend his flock like a shepherd;
he will gather the lambs in his arms;
he will carry them in his bosom,
and gently lead those that are with young.
Matthew 11:28
Come to me, all who labor and are heavy laden, and I will give you rest.
Hebrews 10:22
Let us draw near with a true heart in full assurance of faith, with our hearts sprinkled clean from an evil conscience and our bodies washed with pure water.
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"Near to the Heart of God" was composed by theologian, Presbyterian minister and composer Cleland McAfee (1886-1944) in 1903. The story of its creation was related by the composer's daughter, Katharine McAfee Parker, in her book, Near to the Heart of God.
My father's father, John A. McAfee, was one of the founders and the first president of Park College in Missouri. In the last years of the past century, his five sons (Lowell, Howard, Lapsley, Cleland, Ernest) and his only daughter (Helen) were all living in Parkville, serving the college. My father (Cleland) was the college preacher and director of the choir, and it was his custom, when communion services came, to write the words and music of a response which his choir could sing and which would fit into the theme of the sermon.One terrible week, just before a communion Sunday, the two little daughters of my Uncle Howard and Aunt Lucy McAfee died of diptheria within twenty-four hours of each other. The college family and town were stricken with grief. My father often told us how he sat long and late thinking of what could be said in word and song on the coming Sunday....So he wrote ("Near to the Heart of God"). The choir learned it at the regular Saturday night rehearsal, and afterward they went to Howard McAfee's home and sang it as they stood under the sky outside the darkened, quarantined house. It was sung again on Sunday morning at the communion service. (cited in Robert Morgan, Then Sings My Soul, p. 257)
Cleland McAfee's hymn was greatly used by God to bring comfort and solace to a grieving family and community, and this simple song is still full of assurance for us today, especially during this pandemic when so many have suffered great loss and sorrow. This peaceful piano arrangement of "Near to the Heart of God' by Virginia Halberg features a gently undulating accompaniment under the main treble melody notes: feel free to reflect on the lyrics (listed below) as you listen and meditate on God's love.
There is a place of quiet rest,
near to the heart of God,
a place where sin cannot molest,
near to the heart of God.
Refrain:
O Jesus, blest Redeemer,
sent from the heart of God,
hold us, who wait before thee,
near to the heart of God.
There is a place of comfort sweet,
near to the heart of God,
a place where we our Savior meet,
near to the heart of God. [Refrain]
There is a place of full release,
near to the heart of God,
a place where all is joy and peace,
near to the heart of God. [Refrain]
Words by Charles Wesley, "Amsterdam" hymn tune, attributed to James Nares/Johann Georg Hille
near to the heart of God,
a place where sin cannot molest,
near to the heart of God.
Refrain:
O Jesus, blest Redeemer,
sent from the heart of God,
hold us, who wait before thee,
near to the heart of God.
There is a place of comfort sweet,
near to the heart of God,
a place where we our Savior meet,
near to the heart of God. [Refrain]
There is a place of full release,
near to the heart of God,
a place where all is joy and peace,
near to the heart of God. [Refrain]
HYMNS FOR YOU TO SING ANYWHERE
(transposed to easily singable keys!)
Praise the Lord Who Reigns Above
Words by Charles Wesley, "Amsterdam" hymn tune, attributed to James Nares/Johann Georg Hille
Psalm 150
Praise the Lord!
Praise God in his sanctuary;
praise him in his mighty heavens!
Praise him for his mighty deeds;
praise him according to his excellent greatness!
Praise him with trumpet sound;
praise him with lute and harp!
Praise him with tambourine and dance;
praise him with strings and pipe!
Praise him with sounding cymbals;
praise him with loud clashing cymbals!
Let everything that has breath praise the Lord!
Praise the Lord!
Praise God in his sanctuary;
praise him in his mighty heavens!
Praise him for his mighty deeds;
praise him according to his excellent greatness!
Praise him with trumpet sound;
praise him with lute and harp!
Praise him with tambourine and dance;
praise him with strings and pipe!
Praise him with sounding cymbals;
praise him with loud clashing cymbals!
Let everything that has breath praise the Lord!
Praise the Lord!
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Remember last week when the hymn "Praise the Lord Who Reigns Above" was introduced as a piano postlude, along with the promise that it would make a return appearance as a hymn for you to sing, after having the melody subtly "planted" in your ears? Here's the link to that post in case you'd like to refresh your memory.
Today we'll be singing this great hymn, a poetic paraphrase of Psalm 150, composed by British hymn writer and preacher Charles Wesley (1707-1788). "Praise the Lord Who Reigns Above" was first published in 1743, five years after Charles Wesley's 1738 conversion experience (which inspired him to write the hymn "Where Shall My Wondering Soul Begin?"). Wesley wrote "Praise the Lord Who Reigns Above" during a period when he and his brother John Wesley were busily criss-crossing England, preaching in the open air to thousands. Charles was then 36 years old, writing hymns for every occasion in nearly 100 different poetic meters, including iambic, trochaic, dactylic, anapests, and couplets; and many variations of these. Wesley wrote at least 6500 hymn texts during his lifetime, averaging an estimated ten lines of verse every day (or two hymns a week) over the course of 50 years.
In 1743, the second edition of John and Charles Wesley's Collection of Psalms and Hymns was published. Charles Wesley's hymn "Praise the Lord Who Reigns Above" appeared in this volume with 37 other psalm-inspired hymns he composed, along with hymns by Isaac Watts, Nahum Tate/Nicholas Brady, and Joseph Addison. The worshipful spirit of "Praise the Lord Who Reigns Above," paraphrasing Psalm 150, is also evident in the following Wesley hymns included in the same book, of which the first verses are shown below. (You can see the full version of these Charles Wesley hymns and many more from the 1743 Collection of Psalms and Hymns in this modern transcription.
My heart is full of Christ, and longsthis glorious matter to declare!Of him I make my loftier songs,I cannot from his praise forbear;my ready tongue makes haste to singthe glories of my heavenly King. (Psalm 45)Clap your hands, ye people all,Praise the God on whom ye call;Lift your voice, and shout His praise,Triumph in His sovereign grace! (Psalm 47)
In "Praise the Lord Who Reigns Above," Wesley powerfully adapted Psalm 150 as rhymed verse. The first stanza evokes God's majesty, love, noble deeds, matchless power, goodness, greatness, and also points out that God is the source of all good things. The second stanza calls for musical praise, noting the distinctive timbres of loud and soft instruments which can harmoniously "agree" by praising the Lord together with "the music of the heart." The final stanza summons "everything that has breath" (as in the final verse of Psalm 150) to praise God, giving glory to their maker, and homage to their King.
The tune "Amsterdam" used with this hymn is attributed to British organist and composer James Nares (1715-1783) although other sources cite German composer and organist Johann Georg Hille as the source for this tune. "Amsterdam" first appeared in print in the Foundery Collection ("A Collection of Tunes Sung at the Foundery") published by John Wesley in 1742. The "Foundery" was the first location where brass cannon were cast for the British Board of Ordinance in north London: this building later served as a meeting place during the early years of John and Charles Wesley's ministry.
You may enjoy reading this wonderful exploration of the hymns of Charles Wesley in this article, "Why Wesley still dominates our Hymn book." If you would like to hear an instrumental introduction to "Praise the Lord Who Reigns Above," here's a piano arrangement by Lloyd Larson (featured on Notes of Glory last week). Here's a recording with voices, featuring the Washington Choral Arts Society. Finally, without further ado, come back here to "praise the Lord in ev'ry breath, let all things praise the Lord!"
Praise the Lord who reigns above
and keeps His courts below;
praise the holy God of love,
and all His greatness show.
Praise Him for His noble deeds,
praise Him for His matchless pow'r
Him from whom all good proceeds
let earth and heaven adore.
Celebrate th'eternal God
with harp and psaltery;
timbrels soft and cymbals loud
in His high praise agree.
Praise Him, ev'ry tuneful string;
all the reach of heav'nly art,
all the pow'rs of music bring,
the music of the heart.
Him, in whom they move and live,
let ev'ry creature sing,
glory to their Maker give,
and homage to their King.
Hallowed be His name beneath,
as in heav'n, on earth adored;
praise the Lord in ev'ry breath,
let all things praise the Lord!
More Love to Thee
Words by Elizabeth Prentiss, Music by W. Howard Doane
You shall love the Lord your God with all your heart and with all your soul and with all your might.
Psalm 116:1-2
I love the Lord, because he has heardmy voice and my pleas for mercy.
Because he inclined his ear to me,
therefore I will call on him as long as I live.
Philippians 1:9
And it is my prayer that your love may abound more and more, with knowledge and all discernment.Grace be with all who love our Lord Jesus Christ with love incorruptible.
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Even while a young woman, Elizabeth Payson Prentiss (1818-1878 ) of Portland, Maine suffered from periods of frailty and ill health. She was the daughter of a well-known minister (Edward Payson) and began to write both prose and verse as a teenager. Like many women of her era, Elizabeth had limited career choices so she became a school teacher. In 1845, she married a Presbyterian minister, Geroge Lewis Prentiss, who became a professor at Union Theological Seminary in New York City. Elizabeth was a prolific writer and published many books during her lifetime: several, including Stepping Heavenward and The Flower of the Family became extremely popular.
Even while a young woman, Elizabeth Payson Prentiss (1818-1878 ) of Portland, Maine suffered from periods of frailty and ill health. She was the daughter of a well-known minister (Edward Payson) and began to write both prose and verse as a teenager. Like many women of her era, Elizabeth had limited career choices so she became a school teacher. In 1845, she married a Presbyterian minister, Geroge Lewis Prentiss, who became a professor at Union Theological Seminary in New York City. Elizabeth was a prolific writer and published many books during her lifetime: several, including Stepping Heavenward and The Flower of the Family became extremely popular.
In 1852, two of Elizabeth's three children (her four year-old son, and a newborn daughter) died of illness in the span of just three months. Her own health, always tenuous, declined as she entered a season of prolonged grief In 1856, after another daughter nearly died, Elizabeth composed "More Love to Thee" as a personal prayer, then set aside the poem. Thirteen years later, upon discovering the unfinished verses, George Prentiss encouraged Elizabeth to complete her poem, and had a number of copies printed. One copy reached inventor, choral director, church leader and philanthropist William H. Doane (1832-1915) in Cincinnati, who wrote a tune to match Elizabeth's lyrics, and published the song in his 1870 collection Songs of Devotion. Doane frequently collaborated with famed American hymn writer Fanny Crosby, and wrote the tune for Crosby's "To God Be the Glory" which was featured as part of the June 21, 2020 Notes of Glory post.
Elizabeth understood, from personal experience, the power of Christ to comfort and sustain during times of suffering. The following quotations illustrate Elizabeth's lifelong journey with her Lord and Savior, in her own words. There is no wilderness so dreary but that His love can illuminate it, no desolation so desolate but that He can sweeten it. I know what I am saying. It is no delusion. I believe the highest, purest happiness is known only to those who have learned Christ in sickrooms, in poverty, in racking suspense and anxiety, amid hardships, and at the open grave.To love Christ more, is the deepest need, the constant cry of my soul. Out in the woods and on my bed and out driving, when I am happy and busy, and when I am sad and idle, the whisper keeps going up for more love, more love, more love!
During my long illness and confinement to my room, the Bible has been almost a new book to me; and I see that God has always dealt with His children as He deals with them now and that no new thing has befallen me. All these weary days so full of languor, these nights so full of unrest have had their appointed mission to my soul. And perhaps I have had no discipline so salutary as this forced inaction and uselessness at a time when youth and natural energy continually cried out for room and work.
You can read more about this wife, mother, author, and hymn writer in The Life and Letters of Elizabeth Prentiss, published in 1780 after her death by Elizabeth's husband, George Prentiss (available to read online for free at the Internet Archive). If this hymn is new to you, here's a lovely recording featuring Christian singer Fernando Ortega, and here's a recording with Dick Anthony's 16 Singing Men.
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| Public domain. Courtesy of Hymnary.org |
More love to Thee, O Christ,
More love to Thee!
Hear Thou the prayer I make
On bended knee;
This is my earnest plea:
More love, O Christ, to Thee,
More love to Thee,
More love to Thee!
Once earthly joy I craved,
Sought peace and rest;
Now Thee alone I seek,
Give what is best;
This all my prayer shall be:
More love, O Christ, to Thee,
More love to Thee,
More love to Thee!
Then shall my latest breath
Whisper Thy praise;
This be the parting cry
My heart shall raise;
This still its prayer shall be:
More love, O Christ, to Thee,
More love to Thee,
More love to Thee!
He Lifted Me
Words and Music by Charles H. Gabriel
Psalm 40:2-3
He drew me up from the pit of destruction,
out of the miry bog,
and set my feet upon a rock,
making my steps secure.
He put a new song in my mouth,
a song of praise to our God.
Many will see and fear,
and put their trust in the Lord.
out of the miry bog,
and set my feet upon a rock,
making my steps secure.
He put a new song in my mouth,
a song of praise to our God.
Many will see and fear,
and put their trust in the Lord.
Titus 3:4-7
But when the goodness and loving kindness of God our Savior appeared, he saved us, not because of works done by us in righteousness, but according to his own mercy, by the washing of regeneration and renewal of the Holy Spirit, whom he poured out on us richly through Jesus Christ our Savior, so that being justified by his grace we might become heirs according to the hope of eternal life.
1 Peter 2:9
But you are a chosen race, a royal priesthood, a holy nation, a people for his own possession, that you may proclaim the excellencies of him who called you out of darkness into his marvelous light.
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Over the past ten months here on Notes of Glory we've learned of prolific hymn writers whose creations number in the thousands: these include Charles Wesley (featured today) and Fanny Crosby. Another who joins their ranks but is perhaps lesser-known today is Charles H. Gabriel (1856-1932) who wrote between 7,000-8,000 gospel songs and tunes during his lifetime. We've featured "His Eye is On the Sparrow," "Higher Ground" (Gabriel composed the music for both of these) and "I Stand Amazed" (Gabriel wrote both words and music) previously on Notes of Glory.
Born in rural Wilton, in Muscatine County, Iowa, Gabriel was raised on a farm and experienced music in his home when his father occasionally led singing schools there. This experience sparked an interest in music that resulted in Charles, who was largely self-taught, leading his own traveling singing schools by age 17. From 1890-1892 Gabriel was a church music director in San Francisco, then returned to the Midwest to work in music publishing. Between 1895-1912 he published a number of song collections, many in collaboration with the highly successful publisher, composer, and evangelical song leader Edwin O. Excell (1851-1921). In 1912, Gabriel began working for the publishing firm of Homer A. Rodeheaver Co. of Winona Lake, Indiana. Rodeheaver was the music director for revival evangelist Billy Sunday (1862-1935) who frequently used Gabriel's songs in his famous campaigns from 1910-1920. As a result, Gabriel's music became widely known, in spite of the fact that he sometimes used pseudonyms like "Charlotte G. Homer," "H. A. Henry," and “S. B. Jackson," particularly when he composed both words and music to songs. Gabriel edited some 95 songbooks, hymn collections, and music instructional guides.
"He Lifted Me" was first published in the 1905 collection Revival Hymns. It relates the depths of Christ's love and describes how he suffered death by crucifixion so that we could be "lifted" from the depths of our sin, "from shades of night, to plains of light." Romans 5:8 reminds us that "God shows his love for us in that while we were still sinners, Christ died for us." Gabriel echoes this verse in his second stanza, "He called me long before I heard, before my sinful heart was stirred" and in the third stanza, "his brow was pierced with many a thorn, His hands by cruel nails were torn." "He Lifted Me" also recalls the second verse of Psalm 40, "He drew me up from the pit of destruction, out of the miry bog, and set my feet upon a rock, making my steps secure."
Although "He Lifted Me" is probably new to you, it's worth taking the time to get to know as it directs us, with wonder and gratitude, toward our deeply loving Redeemer. Yes, the melody jumps around a bit more than the typical hymn, but the tune is well-crafted and fits the text very nicely, with its ascending notes matching the idea of being "lifted." Here's a gorgeous recording of this song by the Dallas Adult Christian Concert Choir that will give you a sense of the music and words together. Feel free to listen and then come back here to give this gospel classic a hearty sing-through!
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| Public domain. Courtesy of Hymnary.org |
In loving-kindness Jesus came
my soul in mercy to reclaim,
and from the depths of sin and shame
through grace He lifted me.
Refrain:
From sinking sand He lifted me,
with tender hand He lifted me,
from shades of night to plains of light,
O praise His name, He lifted me!
He called me long before I heard,
before my sinful heart was stirred,
but when I took Him at His word,
forgiven, He lifted me. [Refrain]
His brow was pierced with many a thorn,
His hands by cruel nails were torn,
when from my guilt and grief, forlorn,
in love He lifted me. [Refrain]
Now on a higher plane I dwell,
and with my soul I know ’tis well;
yet how or why I cannot tell
He should have lifted me. [Refrain]
POSTLUDE
(to send you forth with JOY!)
Hark, Ten Thousand Harps and Voices
Words by Thomas Kelly, Music by Lowell Mason ("Harwell" tune), arranged for solo piano by Lani Smith
Hebrews 1:6
And again, when he brings the firstborn into the world, he says,
“Let all God's angels worship him.”
Then I looked, and I heard around the throne and the living creatures and the elders the voice of many angels, numbering myriads of myriads and thousands of thousands, saying with a loud voice,
“Worthy is the Lamb who was slain,
to receive power and wealth and wisdom and might
and honor and glory and blessing!”
Revelation 14:2-3
And I heard a voice from heaven like the roar of many waters and like the sound of loud thunder. The voice I heard was like the sound of harpists playing on their harps, and they were singing a new song before the throne and before the four living creatures and before the elders.
And I heard a voice from heaven like the roar of many waters and like the sound of loud thunder. The voice I heard was like the sound of harpists playing on their harps, and they were singing a new song before the throne and before the four living creatures and before the elders.
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"Hark! Ten Thousand Harps and Voices," originally titled "Let all the angels of God worship Him" when first published, draws on imagery from the book of Revelation, and portrays praise being given to the risen, reigning Christ, seated on heaven's throne. The lyrics were composed in 1806 by Irish evangelical minister Thomas Kelly (1769-1855), who wrote over 765 hymns published over 51 years. According to Edwin Hatfield in The Poets of the Church (1884),
He (Thomas Kelly) took a most lively interest in the spread of the Gospel abroad, as well as at home, especially in the work of the London Missionary Society. He was a most diligent and laborious servant of Christ. His varied and extensive learning was employed without pedantry, and with unaffected humility, in the advancement of his Master’s cause. His preaching was thoroughly evangelical, and was characterized “by surprising variety, depth, and richness of thought, accompanied by the unction of genuine piety.”
Two other hymns by Thomas Kelly, "Praise the Savior, Ye Who Know Him," and "Look Ye Saints, the Sight is Glorious" have been featured previously on Notes of Glory.
Composer, arranger, and music educator Lowell Mason (1792-1872), a hugely influential figure in American sacred music, composed "Harwell," the tune frequently sung with "Hark, Ten Thousand Harps," in 1840. This piano arrangement by Lani Smith captures the joyful character of both Mason's tune and Kelly's text.
Hark! ten thousand harps and voices
Sound the note of praise above;
Jesus reigns, and heav'n rejoices;
Jesus reigns, the God of love:
See, he sits on yonder throne;
Jesus rules the world alone.
Alleluia! Alleluia! Alleluia! Amen.
King of glory, reign for ever,
Thine an everlasting crown;
Nothing from thy love shall sever
Those whom thou hast made thine own:
Happy objects of thy grace,
Destined to behold thy face.
Alleluia! Alleluia! Alleluia! Amen.
Saviour, hasten thine appearing;
Bring, O bring the glorious day,
When, the awful summons hearing,
Heav'n and earth shall pass away:
Then with golden harps we'll sing,
"Glory, glory to our King!"
Alleluia! Alleluia! Alleluia! Amen.
Sound the note of praise above;
Jesus reigns, and heav'n rejoices;
Jesus reigns, the God of love:
See, he sits on yonder throne;
Jesus rules the world alone.
Alleluia! Alleluia! Alleluia! Amen.
King of glory, reign for ever,
Thine an everlasting crown;
Nothing from thy love shall sever
Those whom thou hast made thine own:
Happy objects of thy grace,
Destined to behold thy face.
Alleluia! Alleluia! Alleluia! Amen.
Saviour, hasten thine appearing;
Bring, O bring the glorious day,
When, the awful summons hearing,
Heav'n and earth shall pass away:
Then with golden harps we'll sing,
"Glory, glory to our King!"
Alleluia! Alleluia! Alleluia! Amen.
Here's a playlist with all the music in today's post.
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