Chapin brothers

General Information

Description: This is a list of all works said to be composed by Lucius Chapin or his brother Amzi Chapin.

List of Works

Bethel (HTI 14115). First published in Law, Twenty Tunes† (1812): Let Zion and her sons rejoice (C.M., C, 4 vo.) Also in Patterson's Church Music, 1813 – How sweet and awful is the place Also in The Pittsburgh Selection, 1816 – How sweet and awful is the place Also in Kentucky Harmony, 1816 – Let Zion and her sons rejoice Also in The Missouri Harmony, 1820 – Let Zion and her sons rejoice Also in Moore's Columbian Harmony, 1825 – My God, the spring of all my joys (3 vo.) Also in A Compilation of Genuine Church Music, 1835 – Let Zion and her sons rejoice (3 vo.) Attributed to Lucius Chapin in Law (1812) and by Temperley*. Bourbon (HTI 14915a). First published in The Beauties of Harmony (1814): Look down in pity, Lord, and see (L.M., a, 4 vo.) Also in The Pittsburgh Selection, 1816 – Look down in pity, Lord, and see Also in The Virginia Sacred Musical Repository, 1818 – Look down in pity, Lord, and see Also (14915b) in Kentucky Harmonist, 1818 – Twas on that dark, that doleful night (3 vo.) Also (14915b) in The Missouri Harmony, 1820 – Twas on that dark, that doleful night (3 vo.) Also Dismission (14915c) in The Missouri Harmony, 1820 – I cannot bear thine absence, Lord (3 vo.) Also in Supplement to the Kentucky Harmony, 1820 – Look down in pity, Lord, and see Also in Moore's Columbian Harmony, 1825 – Twas on that dark, that doleful night (3 vo.) Also in A Compilation of Genuine Church Music, 1835 – From deep distress and troubled thoughts (3 vo.) Also in The Hesperian Harp, 1848 – Twas on that dark, that doleful night (3 vo.) Attributed to Lucius Chapin by Hamm (1960). Brentford (HTI 14116). First published in Law, Twenty Tunes† (1812): Well, the redeemer's gone (S.M., C, 4 vo.) Attributed to Lucius Chapin in Law (1812) and by Temperley*. Consolation (HTI 14117). First published in Law, Twenty Tunes† (1812): Come, humble sinner, in whose breast (C.M., a, 4 vo.) Also in Wyeth's Repository, Part Second, 1813 – Once more, my soul, the rising day (3 vo.) Also in Kentucky Harmony, 1816 – Once more, my soul, the rising day Also in Kentucky Harmony, Ed. 2, 1817 – Once more, my soul, the rising day Also in The Virginia Sacred Musical Repository, 1818 – Now shall my inward joys arise Also in Johnson's Tennessee Harmony, 1818 – Once more, my soul, the rising day (3 vo.) Also in Kentucky Harmonist, 1818 – Once more, my soul, the rising day Also in Kentucky Harmony, Ed. 3, 1819 – Once more, my soul, the rising day Also in The Missouri Harmony, 1820 – Once more, my soul, the rising day Also in Moore's Columbian Harmony, 1825 – Once more, my soul, the rising day (3 vo.) Also in Virginia Harmony, 1831 – Once more, my soul, the rising day (3 vo.) Also in A Compilation of Genuine Church Music, 1831 – Once more, my soul, the rising day (3 vo.) Also in Southern Harmony, 1835 – Once more, my soul, the rising day (3 vo.) Also in The Sacred Harp, 1844 – Once more, my soul, the rising day (3 vo.) Attributed to Lucius Chapin in Law (1812). Consolation New (HTI 14765). First published as Consolation in Wyeth's Repository, Part Second (1813): Come on, my partners in distress (886.886., a, 2 vo.) Also in Johnson's Tennessee Harmony, 1818 – Come on, my partners in distress (3 vo.) Also in Moore's Columbian Harmony, 1825 – Come on, my partners in distress (3 vo.) Also Consolation in Supplement to the Kentucky Harmony, 1826 – Come on, my partners in distress (3 vo.) Also in Southern Harmony, 1835 – Come on, my partners in distress (3 vo.) Also in The Sacred Harp, 1844 – Come on, my partners in distress (3 vo.) Also in The Hesperian Harp, 1848 – Come on, my partners in distress (3 vo.) Unattributed. Liberty Hall (HTI 13551a). First published as Communion in Wyeth's Repository of Sacred Music (1810): Alas! and did my Savior bleed (C.M., a, 3 vo.) Also (13551c) in Patterson's Church Music, 1813 – Alas! and did my Savior bleed (4 vo.) Also (13551c) in Law, Twenty Tunes†, 1812 – My soul forsakes her vain delights (4 vo.) Also (13551c) in Patterson's Church Music, 1813 – Alas! and did my Savior bleed (4 vo.) Also (13551c) in The Beauties of Harmony, 1814 – Alas! and did my Savior bleed (4 vo.) Also (13551c) in The Pittsburgh Selection, 1816 – Alas! and did my Savior bleed (4 vo.) Also (13551c) in Kentucky Harmony, 1816 – Death! What a solemn word to all (4 vo.) Also Communion in The New-Brunswick Collection of Sacred Music, 1817 – Alas! and did my Savior bleed (2 vo.) Also (13551c) in The Virginia Sacred Musical Repository, 1818 – Alas! and did my Savior bleed (4 vo.) Also Communion in Johnson's Tennessee Harmony, 1818 – Alas! and did my Savior bleed Also (13551c) in Kentucky Harmonist, 1818 – Alas! and did my Savior bleed (4 vo.) Also (13551c) in Kentucky Harmony, Ed. 3, 1819 – Death! What a solemn word to all (4 vo.) Also Sincerity (13551b) in The Evening Star, 1820 – My soul, come meditate the day Also (13551c) in The Missouri Harmony, 1820 – Death! What a solemn word to all (4 vo.) Also in Moore's Columbian Harmony, 1825 – Alas! and did my Savior bleed (4 vo.) Also Whiting in The Christian Lyre, 1831 – Long have I tried terrestrial joys (2 vo.) Also in A Compilation of Genuine Church Music, 1835 – Alas! and did my Savior bleed Also in The Hesperian Harp, 1848 – Death, what a solemn word to all (4 vo.) Attributed to Lucius Chapin in Law (1812) and by Scholten (1975). Maitland (HTI ). First published in Plymouth Collection of Hymns and Tunes (1855): Must Jesus bear the cross alone (C.M., B♭, 4 vo.) Atributed to Amzi Chapin in Mudge (1889), uncertain on what basis. New Monmouth (HTI 14120). First published in Law, Twenty Tunes† (1812): Come thou fount of every blessing (87.87., a, 4 vo.) Also in Wyeth's Repository, Part Second, 1813 – Come thou fount of every blessing (2 vo.) Also New-Monmouth in Kentucky Harmony, 1816 – Come thou fount of every blessing (3 vo.) Also New-Monmouth in Kentucky Harmony, Ed. 2, 1817 – Come thou fount of every blessing (3 vo.) Also Monmouth in Kentucky Harmonist, 1818 – Come thou fount of every blessing (3 vo.) Also Newmonmouth in Kentucky Harmony, Ed. 3, 1819 – Come thou fount of every blessing (3 vo.) Also New-Monmouth in The Missouri Harmony, 1820 – Come thou fount of every blessing Also in A Compilation of Genuine Church Music, 1835 – Come thou fount of every blessing (3 vo.) Also in The Hesperian Harp, 1848 – Come thou fount of every blessing Attributed to Lucius Chapin in Law (1812) and by Temperley*. Ninety-Fifth (HTI 14592). First published in Patterson's Church Music (1813): When I can read my title clear (C.M., A, 4 vo.) Also in Wyeth's Repository, Part Second, 1813 – When I can read my title clear Also in The Beauties of Harmony, 1814 – When I can read my title clear Also in The Pittsburgh Selection, 1816 – When I can read my title clear Also in Kentucky Harmony, 1816 – When I can read my title clear Also in Kentucky Harmony, Ed. 2, 1817 – When I can read my title clear Also in Johnson's Tennessee Harmony, 1818 – When I can read my title clear Also in Kentucky Harmonist, 1818 – When I can read my title clear Also in Kentucky Harmony, Ed. 3, 1819 – When I can read my title clear Also in The Missouri Harmony, 1820 – When I can read my title clear Also in Moore's Columbian Harmony, 1825 – When I can read my title clear Also in Virginia Harmony, 1831 – When I can read my title clear Also in Southern Harmony, 1835 – When I can read my title clear Also in The Sacred Harp, 1844 – When I can read my title clear Also in The Hesperian Harp, 1848 – When I can read my title clear Attributed to Lucius Chapin by Hamm (1960). Ninety-Third (HTI 10990a). First published as Delay in Ingalls' Christian Harmony (1805): Ah, whither should I go (S.M., C, 3 vo.) Also Kentucky (10990c) in David's Harp, 1813 – My God, my life, my love Also (10990b) in Patterson's Church Music, 1813 – Raise your triumphant songs (4 vo.) Also (10990b) in Wyeth's Repository, Part Second, 1813 – Raise your triumphant songs (4 vo.) Also (10990b) in The Beauties of Harmony, 1814 – Come, all harmonious tongues (4 vo.) Also (10990b) in The Pittsburgh Selection, 1816 – Come, all harmonious tongues (4 vo.) Also (10990b) in Kentucky Harmony, 1816 – My Savior and my King (4 vo.) Also Kentucky (10990c) in The Virginia Sacred Minstrel, 1817 – Behold the throne of grace Also (10990b) in Johnson's Tennessee Harmony, 1818 – Raise your triumphant songs (4 vo.) Also (10990b) in Kentucky Harmonist, 1818 – Come, all harmonious tongues (4 vo.) Also (10990b) in The Missouri Harmony, 1820 – My Savior and my King (4 vo.) Also in Moore's Columbian Harmony, 1825 – And must this body die (4 vo.) Also in Virginia Harmony, 1831 – O may thy powerful word Also Kentucky in The Christian Lyre, 1831 – A charge to keep I have (2 vo.) Also in A Compilation of Genuine Church Music, 1835 – My Savior and my King Also in The Hesperian Harp, 1848 – We lift our hearts to thee (4 vo.) Scholten (1976) says 1813 arrangement made by Lucius Chapin. Olney (HTI 15960a). First published in The Virginia Sacred Musical Repository (1818): Lo, he cometh! Countless trumpets (87.87.47., G, 4 vo.) Also (15960b) in Johnson's Tennessee Harmony, 1818 – Come, thou fount of every blessing (87.87.D.3 vo.) Also (15960c) in The Missouri Harmony, 1820 – Come, thou fount of every blessing (87.87.D.3 vo.) Also in Supplement to the Kentucky Harmony, 1820 – Come, thou fount of every blessing Also Ebenezer in Songs of Zion, 1821 – Come, thou fount of every blessing (87.87.D.) Also in Moore's Columbian Harmony, 1825 – Come, thou fount of every blessing (87.87.D.3 vo.) Also in A Compilation of Genuine Church Music, 1835 – Hail! Thou once despised Jesus (87.87.D.3 vo.) Also in Southern Harmony, 1835 – Come, thou fount of every blessing (87.87.D.3 vo.) Also in The Sacred Harp, 1844 – Come, thou fount of every blessing (87.87.D.3 vo.) Also in The Hesperian Harp, 1848 – Come, thou fount of every blessing (87.87.D.) Scholten (1976) attributes this to Amzi Chapin. Primrose (HTI 14122). First published as Twenty-Fourth in Law, Twenty Tunes† (1812): My Savior, my almighty friend (C.M., A, 4 vo.) Also Twenty-Fourth in Patterson's Church Music, 1813 – Salvation! Oh, the joyful sound Also Twenty-Fourth in Wyeth's Repository, Part Second, 1813 – Salvation! Oh, the joyful sound (3 vo.) Also Twenty-Fourth in The Beauties of Harmony, 1814 – Salvation! Oh, the joyful sound Also Duffield in The Philadelphia Third Presbyterian Church Collection, 1815 – Give me the wings of faith to rise (in B♭2 vo.) Also Twenty-Fourth in The Pittsburgh Selection, 1816 – Salvation! Oh, the joyful sound Also in Kentucky Harmony, 1816 – Salvation! Oh, the joyful sound Also in Kentucky Harmony, Ed. 2, 1817 – Salvation! Oh, the joyful sound Also Twenty-Fourth in The Virginia Sacred Musical Repository, 1818 – Salvation! Oh, the joyful sound Also Orange in Johnson's Tennessee Harmony, 1818 – Come, happy souls, approach your God Also Twenty-Fourth in Kentucky Harmonist, 1818 – Salvation! Oh, the joyful sound Also in Kentucky Harmony, Ed. 3, 1819 – Salvation! Oh, the joyful sound Also in The Missouri Harmony, 1820 – Salvation! Oh, the joyful sound Also Orange in Moore's Columbian Harmony, 1825 – Salvation! Oh, the joyful sound Also in Virginia Harmony, 1831 – Salvation! Oh, the joyful sound (3 vo.) Also Melody in The Christian Lyre, 1831 – There is a land of pure delight (2 vo.) Also in A Compilation of Genuine Church Music, 1835 – Hosanna to the Prince of light (3 vo.) Also in Southern Harmony, 1835 – Salvation! Oh, the joyful sound (3 vo.) Also in The Sacred Harp, 1844 – Salvation! Oh, the joyful sound (3 vo.) Also in The Hesperian Harp, 1848 – Salvation! Oh, the joyful sound Attributed to Lucius Chapin by Temperley*, but Scholten (1976) and all modern researchers attribute to Amzi Chapin. Rockbridge (HTI 14121). First published in Law, Twenty Tunes† (1812): Sweet is the work, my God, my king (L.M., C, 4 vo.) Also in Patterson's Church Music, 1813 – Far from my thoughts, vain world, be gone Also in Wyeth's Repository, Part Second, 1813 – Far from my thoughts, vain world, be gone (3 vo.) Also in The Beauties of Harmony, 1814 – Far from my thoughts, vain world, be gone Also in The Philadelphia Third Presbyterian Church Collection, 1815 – The Lord, how wondrous are his ways (2 vo.) Also in The Pittsburgh Selection, 1816 – Far from my thoughts, vain world, be gone Also in Kentucky Harmony, 1816 – Sweet is the work, my God, my king Also in Kentucky Harmony, Ed. 2, 1817 – Sweet is the work, my God, my king Also in The New-Brunswick Collection of Sacred Music, 1817 – Far from my thoughts, vain world, be gone (2 vo.) Also in Johnson's Tennessee Harmony, 1818 – Before Jehovah's awful throne Also in Kentucky Harmonist, 1818 – Far from my thoughts, vain world, be gone Also in Kentucky Harmony, Ed. 3, 1819 – Sweet is the work, my God, my king Also in The Missouri Harmony, 1820 – Sweet is the work, my God, my king Also in Moore's Columbian Harmony, 1825 – Sweet is the work, my God, my king Also in Virginia Harmony, 1831 – Sweet is the work, my God, my king (3 vo.) Also in A Compilation of Genuine Church Music, 1835 – Sweet is the work, my God, my king (3 vo.) Also in Southern and Western Pocket Harmonist, 1846 – Life is the time to serve the Lord (3 vo.) Also in The Hesperian Harp, 1848 – Sweet is the work, my God, my king Law (1812), Hamm (1960), Scholten (1976), and Temperley* all attribute this to Lucius Chapin. Rockingham (HTI 14593). First published in Patterson's Church Music (1813): My God, the spring of all my joys (C.M., A, 4 vo.) Also in Wyeth's Repository, Part Second, 1813 – Salvation! Oh, the joyful sound Also in The Beauties of Harmony, 1814 – My God, what endless pleasures dwell Also in The Pittsburgh Selection, 1816 – My God, what endless pleasures dwell Also in Kentucky Harmony, Ed. 2, 1817 – Thus saith the mercy of the Lord Also in Kentucky Harmonist, 1818 – My God, what endless pleasures dwell Also in Kentucky Harmony, Ed. 3, 1819 – Thus saith the mercy of the Lord Also in The Missouri Harmony, 1820 – Thus saith the mercy of the Lord Also in Moore's Columbian Harmony, 1825 – Alas, and did my Savior bleed Also in A Compilation of Genuine Church Music, 1835 – Come, happy souls, approach your God (3 vo.) Also in The Hesperian Harp, 1848 – Thus saith the mercy of the Lord Also in The Sacred Harp, 1850 – Salvation! Oh, the joyful sound (3 vo.) Hamm (1960) and Scholten (1976) attribute this to Lucius Chapin, but Temperley* to Amzi Chapin. Thirtieth (HTI 14590). First published in Patterson's Church Music (1813): And am I born to die (S.M., G, 4 vo.) Also in Patterson's Church Music, 1813 – And am I born to die Also in The Pittsburgh Selection, 1816 – And am I born to die Also in Kentucky Harmonist, 1818 – And am I born to die Temperley* says composed by Lucius or Amzi Chapin. Tribulation (HTI 14594). First published in Patterson's Church Music (1813): Lord, what a wretched land is this (C.M., d, 4 vo.) Also in The Pittsburgh Selection, 1816 – Lord, what a wretched land is this Also in Kentucky Harmony, 1816 – Death! 'Tis a melancholy day Also in Kentucky Harmonist, 1818 – Lord, what a wretched land is this Also in The Missouri Harmony, 1820 – Death! 'Tis a melancholy day Also in Moore's Columbian Harmony, 1825 – Death! 'Tis a melancholy day Also in Virginia Harmony, 1831 – Death! 'Tis a melancholy day (3 vo.) Also Youthful Piety in A Compilation of Genuine Church Music, 1835 – Come, let us now forget our mirth (3 vo.) Also in Southern Harmony, 1835 – Death! 'Tis a melancholy day (3 vo.) Also in The Sacred Harp, 1844 – Death! 'Tis a melancholy day (3 vo.) Also in The Hesperian Harp, 1848 – Death! 'Tis a melancholy day Temperley* attributed this to Amzi Chapin. Unitia (HTI 14118). First published as Eunitia in Law, Twenty Tunes† (1812): Oh, tell me no more (55.65., G, 4 vo.) Also in Wyeth's Repository, Part Second, 1813 – Oh, tell me no more Also in Patterson's Church Music, 1813 – Oh, tell me no more Also in The Beauties of Harmony, 1814 – Oh, tell me no more Also in The Pittsburgh Selection, 1816 – Oh, tell me no more Also in The Virginia Sacred Musical Repository, 1818 – Oh, tell me no more Also in Kentucky Harmonist, 1818 – Oh, tell me no more Also (17140) in Supplement to the Kentucky Harmony, 1820 – Oh, tell me no more Also in Moore's Columbian Harmony, 1825 – Oh, tell me no more Also in A Compilation of Genuine Church Music, 1835 – Begone, unbelief (3 vo.) Also in The Hesperian Harp, 1848 – But this I do find Attributed to Lucius Chapin in Law (1812) and by Temperley*. Vernon (HTI 10998a). First published as Farewell Hymn in Ingalls' Christian Harmony (1805): Give ear to me, ye sons of men (L.M., d, 4 vo.) Also (10998b) in Patterson's Church Music, 1813 – Lord, what a heaven of saving grace (in e) Also (10998b) in Wyeth's Repository, Part Second, 1813 – Lord, what a heaven of saving grace (in e) Also (10998b) in The Pittsburgh Selection, 1816 – Lord, what a heaven of saving grace (in e) Also (10998b) in The Virginia Sacred Musical Repository, 1818 – Lord, what a heaven of saving grace (in e) Also (10998c) in Kentucky Harmonist, 1818 – Come, O thou traveller unknown (in e) Also (10998c) in The Missouri Harmony, 1820 – Come, O thou traveller unknown (in e) Also (10998b) in Supplement to the Kentucky Harmony, 1820 – Lord, what a heaven of saving grace (in e) Also in Moore's Columbian Harmony, 1825 – Come, O thou traveller unknown (in e) Also in A Compilation of Genuine Church Music, 1835 – Come, O thou traveller unknown (88.88.88.in e) Also in Southern Harmony, 1835 – Come, O thou traveller unknown (88.88.88.in e3 vo.) Also in The Sacred Harp, 1844 – Come, O thou traveller unknown (88.88.88.in e) Also in The Hesperian Harp, 1848 – Come, O thou traveller unknown (in e) Hamm (1960) says 1813 arrangement written by Lucius Chapin, Scholten (1976) by Amzi Chapin. __________________________________________________________________________  *. Nicholas Temperley. The Hymn Tune Index †. Included in an informal publication (not distributed) by Andrew Law in 1812.