Chapin brothers: Difference between revisions

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::Also in ''[[The Hesperian Harp (William Hauser)|The Hesperian Harp]]'', 1848 – When I can read my title clear
::Also in ''[[The Hesperian Harp (William Hauser)|The Hesperian Harp]]'', 1848 – When I can read my title clear
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*Attributed to [[Lucius Chapin]] by Hamm (1960).
*Attributed to [[Lucius Chapin]] by Hamm (1960). Uncertain to what ''Ninety-Fifth'' refers.
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::Also in ''[[The Hesperian Harp (William Hauser)|The Hesperian Harp]]'', 1848 – We lift our hearts to thee (4 vo.)
::Also in ''[[The Hesperian Harp (William Hauser)|The Hesperian Harp]]'', 1848 – We lift our hearts to thee (4 vo.)
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*Scholten (1976) and Steel (2010) say 1812-1813 arrangement made by [[Lucius Chapin]].
*Scholten (1976) and Steel (2010) say 1812-1813 arrangement made by [[Lucius Chapin]]. Uncertain to what ''Ninety-Third'' refers.
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::Also in ''[[The Hesperian Harp (William Hauser)|The Hesperian Harp]]'', 1848 – Salvation! Oh, the joyful sound
::Also in ''[[The Hesperian Harp (William Hauser)|The Hesperian Harp]]'', 1848 – Salvation! Oh, the joyful sound
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*Attributed to [[Lucius Chapin]] by Temperley*, but Lucius himself, Scholten (1976), and Steel (2010) attribute to [[Amzi Chapin]].
*Attributed to [[Lucius Chapin]] by Temperley*, but Lucius himself, Scholten (1976), and Steel (2010) attribute to [[Amzi Chapin]]. Uncertain to what ''Twenty-Fourth'' refers.
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::Also in ''[[The Sacred Harp (1844)|The Sacred Harp]]'', 1844 – And am I born to die (in G)
::Also in ''[[The Sacred Harp (1844)|The Sacred Harp]]'', 1844 – And am I born to die (in G)
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*Temperley* says 1813 arrangement is by Lucius or Amzi Chapin; Steel (2010) says 1844 arrangement is by [[Elisha J. King]].
*Temperley* says 1813 arrangement is by Lucius or Amzi Chapin; Steel (2010) says 1844 arrangement is by [[Elisha J. King]]. Uncertain to what ''Thirtieth'' refers.
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Revision as of 03:35, 31 August 2019

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.)
  • 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.)
  • 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.)
  • 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.
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).
  • 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
  • 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). Uncertain to what Ninety-Fifth refers.
  • Ninety-Third (HTI 10990a). First published as Delay in Ingalls' Christian Harmony (1805): Ah, whither should I go (S.M., C, 3 vo.)
Also Brentford (HTI 14116) in Law, Twenty Tunes† (1812): Well, the redeemer's gone, t'appear before our God (4 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) and Steel (2010) say 1812-1813 arrangement made by Lucius Chapin. Uncertain to what Ninety-Third refers.
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.)
  • 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 B2 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 Lucius himself, Scholten (1976), and Steel (2010) attribute to Amzi Chapin. Uncertain to what Twenty-Fourth refers.
  • 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.)
  • Thirtieth. First published (HTI 11003) as The General Doom in Ingalls' Christian Harmony (1805): Behold, with awful pomp (S.M., A, 3 vo.)
Also (14590) in Patterson's Church Music, 1813 – And am I born to die (in G, 4 vo.)
Also (14590) in The Pittsburgh Selection, 1816 – And am I born to die (in G, 4 vo.)
Also (14590) in Kentucky Harmonist, 1818 – And am I born to die (in G, 4 vo.)
Also in The Sacred Harp, 1844 – And am I born to die (in G)
  • Temperley* says 1813 arrangement is by Lucius or Amzi Chapin; Steel (2010) says 1844 arrangement is by Elisha J. King. Uncertain to what Thirtieth refers.
  • 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
  • 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
  • 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) and Steel (2010) say written by Amzi Chapin.

__________________________________________________________________________

 *. Nicholas Temperley. The Hymn Tune Index
†. Included in an informal publication (not distributed) by Andrew Law in 1812.