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==General Information== | ==General Information== | ||
{{Descr|This is a list of all works said to be composed by [[Lucius Chapin]] or his brother [[Amzi Chapin]], and known publications of those works up to 1850.}} | |||
==List of Works== | ==List of Works== | ||
*'''Bethel''' (HTI 14115) First published in Law, Twenty | {{top}} | ||
{{top}} | |||
{{top}} | |||
*'''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 (Robert Patterson)|Patterson's Church Music]]'', 1813 – How sweet and awful is the place | ||
::Also in ''[[The Pittsburgh Selection (John Armstrong)|The Pittsburgh Selection]]'', 1816 – How sweet and awful is the place | |||
::Also in ''[[Kentucky Harmony (Ananias Davisson)|Kentucky Harmony]]'', 1816 – Let Zion and her sons rejoice | |||
::Also in ''[[The Missouri Harmony]]'', 1820 – Let Zion and her sons rejoice | |||
::Also in ''[[Columbian Harmony (William Moore)|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.) | |||
{{mdl|-3}} | |||
*Attributed to [[Lucius Chapin]] in Law (1812) and by Temperley*. | |||
{{btm}} | |||
{{top}} | |||
*'''Bourbon''' (HTI 14915a). First published in ''[[The Beauties of Harmony (Freeman Lewis)|The Beauties of Harmony]]'' (1814): Look down in pity, Lord, and see (L.M., a, 4 vo.) | |||
**''' | ::Also in ''[[The Pittsburgh Selection (John Armstrong)|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 (Samuel Metcalf)|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 (Ananias Davisson)|Supplement to the Kentucky Harmony]]'', 1820 – Look down in pity, Lord, and see | |||
::Also in ''[[Columbian Harmony (William Moore)|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 (William Hauser)|The Hesperian Harp]]'', 1848 – Twas on that dark, that doleful night (3 vo.) | |||
{{mdl|-3}} | |||
*Attributed to [[Lucius Chapin]] by Hamm (1960). | |||
{{btm}} | |||
{{top}} | |||
*'''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 (Ananias Davisson)|Kentucky Harmony]]'', 1816 – Once more, my soul, the rising day | ||
::Also in ''[[Kentucky Harmony (Ananias Davisson)|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 (Samuel Metcalf)|Kentucky Harmonist]]'', 1818 – Once more, my soul, the rising day | |||
::Also in ''[[Kentucky Harmony (Ananias Davisson)|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 ''[[Columbian Harmony (William Moore)|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)|The Sacred Harp]]'', 1844 – Once more, my soul, the rising day (3 vo.) | |||
{{mdl|-3}} | |||
*Attributed to [[Lucius Chapin]] in Law (1812). | |||
{{btm}} | |||
{{top}} | |||
*'''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 ''[[Columbian Harmony (William Moore)|Moore's Columbian Harmony]]'', 1825 – Come on, my partners in distress (3 vo.) | |||
::Also Consolation in ''[[Supplement to the Kentucky Harmony (Ananias Davisson)|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)|The Sacred Harp]]'', 1844 – Come on, my partners in distress (3 vo.) | |||
::Also in ''[[The Hesperian Harp (William Hauser)|The Hesperian Harp]]'', 1848 – Come on, my partners in distress (3 vo.) | |||
{{mdl|-3}} | |||
*Unattributed. | |||
{{btm}} | |||
{{top}} | |||
*'''Liberty Hall''' (HTI 13551a). First published as '''Communion''' in ''[[Wyeth's Repository of Sacred Music (John Wyeth)|Wyeth's Repository of Sacred Music]]'' (1810): Alas! and did my Savior bleed (C.M., a, 3 vo.) | |||
::Also (13551c) in ''Law, Twenty Tunes†'', 1812 – My soul forsakes her vain delights (4 vo.) | |||
::Also (13551c) in ''[[Patterson's Church Music (Robert Patterson)|Patterson's Church Music]]'', 1813 – Alas! and did my Savior bleed (4 vo.) | |||
::Also (13551c) in ''[[The Beauties of Harmony (Freeman Lewis)|The Beauties of Harmony]]'', 1814 – Alas! and did my Savior bleed (4 vo.) | |||
::Also (13551c) in ''[[The Pittsburgh Selection (John Armstrong)|The Pittsburgh Selection]]'', 1816 – Alas! and did my Savior bleed (4 vo.) | |||
::Also (13551c) in ''[[Kentucky Harmony (Ananias Davisson)|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 (Samuel Metcalf)|Kentucky Harmonist]]'', 1818 – Alas! and did my Savior bleed (4 vo.) | |||
::Also (13551c) in ''[[Kentucky Harmony (Ananias Davisson)|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 ''[[Columbian Harmony (William Moore)|Moore's Columbian Harmony]]'', 1825 – Alas! and did my Savior bleed (4 vo.) | |||
::Also Whiting in ''[[The Christian Lyre (Joshua Leavitt)|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 (William Hauser)|The Hesperian Harp]]'', 1848 – Death, what a solemn word to all (4 vo.) | |||
{{mdl|-3}} | |||
*Attributed to [[Lucius Chapin]] in<br>Law (1812) and by Scholten (1975). | |||
{{btm}} | |||
{{top}} | |||
*'''Maitland''' (HTI ). First published in ''[[Plymouth Collection of Hymns and Tunes]]'' (1855): Must Jesus bear the cross alone (C.M., B{{flat}}, 4 vo.) | |||
{{mdl|-3}} | |||
*Atributed to [[Amzi Chapin]] in Mudge<br>(1889), uncertain on what basis. | |||
{{btm}} | |||
{{top}} | |||
*'''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 (Ananias Davisson)|Kentucky Harmony]]'', 1816 – Come thou fount of every blessing (3 vo.) | |||
::Also New-Monmouth in ''[[Kentucky Harmony (Ananias Davisson)|Kentucky Harmony, Ed. 2]]'', 1817 – Come thou fount of every blessing (3 vo.) | |||
::Also Monmouth in ''[[Kentucky Harmonist (Samuel Metcalf)|Kentucky Harmonist]]'', 1818 – Come thou fount of every blessing (3 vo.) | |||
::Also Newmonmouth in ''[[Kentucky Harmony (Ananias Davisson)|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 (William Hauser)|The Hesperian Harp]]'', 1848 – Come thou fount of every blessing | |||
{{mdl|-3}} | |||
*Attributed to [[Lucius Chapin]] in<br>Law (1812) and by Temperley*. | |||
{{btm}} | |||
{{top}} | |||
*'''Ninety-Fifth''' (HTI 14592). First published in ''[[Patterson's Church Music (Robert Patterson)|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 (Freeman Lewis)|The Beauties of Harmony]]'', 1814 – When I can read my title clear | |||
::Also in ''[[The Pittsburgh Selection (John Armstrong)|The Pittsburgh Selection]]'', 1816 – When I can read my title clear | |||
::Also in ''[[Kentucky Harmony (Ananias Davisson)|Kentucky Harmony]]'', 1816 – When I can read my title clear | |||
::Also in ''[[Kentucky Harmony (Ananias Davisson)|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 (Samuel Metcalf)|Kentucky Harmonist]]'', 1818 – When I can read my title clear | |||
::Also in ''[[Kentucky Harmony (Ananias Davisson)|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 ''[[Columbian Harmony (William Moore)|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)|The Sacred Harp]]'', 1844 – 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 | |||
{{mdl|-3}} | |||
*Attributed to [[Lucius Chapin]] by Hamm (1960). Uncertain to what ''Ninety-Fifth'' refers. | |||
{{btm}} | |||
{{top}} | |||
*'''Ninety-Third''' (HTI 10990a). First published as '''Delay''' in ''[[The Christian Harmony (Jeremiah Ingalls)|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 (Robert Patterson)|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 (Freeman Lewis)|The Beauties of Harmony]]'', 1814 – Come, all harmonious tongues (4 vo.) | |||
::Also (10990b) in ''[[The Pittsburgh Selection (John Armstrong)|The Pittsburgh Selection]]'', 1816 – Come, all harmonious tongues (4 vo.) | |||
::Also (10990b) in ''[[Kentucky Harmony (Ananias Davisson)|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 (Samuel Metcalf)|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 ''[[Columbian Harmony (William Moore)|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 (Joshua Leavitt)|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 (William Hauser)|The Hesperian Harp]]'', 1848 – We lift our hearts to thee (4 vo.) | |||
{{mdl|-3}} | |||
*Scholten (1976) and Steel (2010)<br>say 1812-1813 arrangement<br>made by [[Lucius Chapin]].<br>Uncertain to what<br>''Ninety-Third'' refers. | |||
{{btm}} | |||
{{top}} | |||
*'''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 (Ananias Davisson)|Supplement to the Kentucky Harmony]]'', 1820 – Come, thou fount of every blessing | |||
::Also Ebenezer in ''[[Songs of Zion (James P. Carrell)|Songs of Zion]]'', 1821 – Come, thou fount of every blessing (87.87.D.) | |||
::Also in ''[[Columbian Harmony (William Moore)|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)|The Sacred Harp]]'', 1844 – Come, thou fount of every blessing (87.87.D.3 vo.) | |||
::Also in ''[[The Hesperian Harp (William Hauser)|The Hesperian Harp]]'', 1848 – Come, thou fount of every blessing (87.87.D.) | |||
{{mdl|-3}} | |||
*Scholten (1976) attributes<br>this to [[Amzi Chapin]]. | |||
{{btm}} | |||
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*'''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 (Robert Patterson)|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 (Freeman Lewis)|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{{flat}}2 vo.) | |||
::Also Twenty-Fourth in ''[[The Pittsburgh Selection (John Armstrong)|The Pittsburgh Selection]]'', 1816 – Salvation! Oh, the joyful sound | |||
::Also in ''[[Kentucky Harmony (Ananias Davisson)|Kentucky Harmony]]'', 1816 – Salvation! Oh, the joyful sound | |||
::Also in ''[[Kentucky Harmony (Ananias Davisson)|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 (Samuel Metcalf)|Kentucky Harmonist]]'', 1818 – Salvation! Oh, the joyful sound | |||
::Also in ''[[Kentucky Harmony (Ananias Davisson)|Kentucky Harmony, Ed. 3]]'', 1819 – Salvation! Oh, the joyful sound | |||
::Also in ''[[The Missouri Harmony]]'', 1820 – Salvation! Oh, the joyful sound | |||
::Also Orange in ''[[Columbian Harmony (William Moore)|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 (Joshua Leavitt)|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)|The Sacred Harp]]'', 1844 – Salvation! Oh, the joyful sound (3 vo.) | |||
::Also in ''[[The Hesperian Harp (William Hauser)|The Hesperian Harp]]'', 1848 – Salvation! Oh, the joyful sound | |||
{{mdl|-3}} | |||
*Attributed to [[Lucius Chapin]] by Temperley*,<br>but Lucius himself, Scholten (1976),<br>and Steel (2010) attribute to<br>[[Amzi Chapin]]. Uncertain to<br>what ''Twenty-Fourth'' refers. | |||
{{btm}} | |||
{{top}} | |||
*'''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 (Robert Patterson)|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 (Freeman Lewis)|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 (John Armstrong)|The Pittsburgh Selection]]'', 1816 – Far from my thoughts, vain world, be gone | |||
::Also in ''[[Kentucky Harmony (Ananias Davisson)|Kentucky Harmony]]'', 1816 – Sweet is the work, my God, my king | |||
::Also in ''[[Kentucky Harmony (Ananias Davisson)|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 (Samuel Metcalf)|Kentucky Harmonist]]'', 1818 – Far from my thoughts, vain world, be gone | |||
::Also in ''[[Kentucky Harmony (Ananias Davisson)|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 ''[[Columbian Harmony (William Moore)|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 (William Hauser)|The Hesperian Harp]]'', 1848 – Sweet is the work, my God, my king | |||
{{mdl|-3}} | |||
*Law (1812), Hamm (1960),<br>Scholten (1976), and Temperley*<br>all attribute this<br>to [[Lucius Chapin]]. | |||
{{btm}} | |||
{{top}} | |||
*'''Rockingham''' (HTI 14593). First published in ''[[Patterson's Church Music (Robert Patterson)|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 (Freeman Lewis)|The Beauties of Harmony]]'', 1814 – My God, what endless pleasures dwell | |||
::Also in ''[[The Pittsburgh Selection (John Armstrong)|The Pittsburgh Selection]]'', 1816 – My God, what endless pleasures dwell | |||
::Also in ''[[Kentucky Harmony (Ananias Davisson)|Kentucky Harmony, Ed. 2]]'', 1817 – Thus saith the mercy of the Lord | |||
::Also in ''[[Kentucky Harmonist (Samuel Metcalf)|Kentucky Harmonist]]'', 1818 – My God, what endless pleasures dwell | |||
::Also in ''[[Kentucky Harmony (Ananias Davisson)|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 ''[[Columbian Harmony (William Moore)|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 (William Hauser)|The Hesperian Harp]]'', 1848 – Thus saith the mercy of the Lord | |||
::Also in ''[[The Sacred Harp (1844)|The Sacred Harp]]'', 1850 – Salvation! Oh, the joyful sound (3 vo.) | |||
{{mdl|-3}} | |||
*Hamm (1960) and Scholten (1976)<br>attribute this to [[Lucius Chapin]],<br>but Temperley* to [[Amzi Chapin]]. | |||
{{btm}} | |||
{{top}} | |||
*'''Thirtieth'''. First published (HTI 11003) as '''The General Doom''' in ''[[The Christian Harmony (Jeremiah Ingalls)|Ingalls' Christian Harmony]]'' (1805): Behold, with awful pomp (S.M., A, 3 vo.) | |||
::Also (14590) in ''[[Patterson's Church Music (Robert Patterson)|Patterson's Church Music]]'', 1813 – And am I born to die (in G, 4 vo.) | |||
::Also (14590) in ''[[The Pittsburgh Selection (John Armstrong)|The Pittsburgh Selection]]'', 1816 – And am I born to die (in G, 4 vo.) | |||
::Also (14590) in ''[[Kentucky Harmonist (Samuel Metcalf)|Kentucky Harmonist]]'', 1818 – And am I born to die (in G, 4 vo.) | |||
::Also in ''[[The Sacred Harp (1844)|The Sacred Harp]]'', 1844 – And am I born to die (in G) | |||
{{mdl|-3}} | |||
*Temperley* says 1813 arrangement<br>is by Lucius or Amzi Chapin;<br>Steel (2010) says 1844 arrangement<br>is by [[Elisha J. King]].<br>Uncertain to what ''Thirtieth'' refers. | |||
{{btm}} | |||
{{top}} | |||
*'''Tribulation''' (HTI 14594). First published in ''[[Patterson's Church Music (Robert Patterson)|Patterson's Church Music]]'' (1813): Lord, what a wretched land is this (C.M., d, 4 vo.) | |||
::Also in ''[[The Pittsburgh Selection (John Armstrong)|The Pittsburgh Selection]]'', 1816 – Lord, what a wretched land is this | |||
::Also in ''[[Kentucky Harmony (Ananias Davisson)|Kentucky Harmony]]'', 1816 – Death! 'Tis a melancholy day | |||
::Also in ''[[Kentucky Harmonist (Samuel Metcalf)|Kentucky Harmonist]]'', 1818 – Lord, what a wretched land is this | |||
::Also in ''[[The Missouri Harmony]]'', 1820 – Death! 'Tis a melancholy day | |||
::Also in ''[[Columbian Harmony (William Moore)|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)|The Sacred Harp]]'', 1844 – Death! 'Tis a melancholy day (3 vo.) | |||
::Also in ''[[The Hesperian Harp (William Hauser)|The Hesperian Harp]]'', 1848 – Death! 'Tis a melancholy day | |||
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*Temperley* attributed this<br>to [[Amzi Chapin]]; Steel (2010)<br>says it may be by [[Amzi Chapin]]. | |||
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*'''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 (Robert Patterson)|Patterson's Church Music]]'', 1813 – Oh, tell me no more | |||
::Also in ''[[The Beauties of Harmony (Freeman Lewis)|The Beauties of Harmony]]'', 1814 – Oh, tell me no more | |||
::Also in ''[[The Pittsburgh Selection (John Armstrong)|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 (Samuel Metcalf)|Kentucky Harmonist]]'', 1818 – Oh, tell me no more | |||
::Also (17140) in ''[[Supplement to the Kentucky Harmony (Ananias Davisson)|Supplement to the Kentucky Harmony]]'', 1820 – Oh, tell me no more | |||
::Also in ''[[Columbian Harmony (William Moore)|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 (William Hauser)|The Hesperian Harp]]'', 1848 – But this I do find | |||
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*Attributed to [[Lucius Chapin]]<br>in Law (1812) and by Temperley*. | |||
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*'''Vernon''' (HTI 10998a). First published as '''Farewell Hymn''' in ''[[The Christian Harmony (Jeremiah Ingalls)|Ingalls' Christian Harmony]]'' (1805): Give ear to me, ye sons of men (L.M., d, 4 vo.) | |||
::Also (10998b) in ''[[Patterson's Church Music (Robert Patterson)|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 (John Armstrong)|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 (Samuel Metcalf)|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 (Ananias Davisson)|Supplement to the Kentucky Harmony]]'', 1820 – Lord, what a heaven of saving grace (in e) | |||
::Also in ''[[Columbian Harmony (William Moore)|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)|The Sacred Harp]]'', 1844 – Come, O thou traveller unknown (88.88.88.in e) | |||
::Also in ''[[The Hesperian Harp (William Hauser)|The Hesperian Harp]]'', 1848 – Come, O thou traveller unknown (in e) | |||
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*Hamm (1960) says 1813<br>arrangement written by<br>[[Lucius Chapin]];<br>Scholten (1976) and Steel (2010)<br>say written by [[Amzi Chapin]]. | |||
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__________________________________________________________________________ | |||
:{{aster}}. [http://hymntune.library.uiuc.edu/default.asp Nicholas Temperley. ''The Hymn Tune Index''] | :{{aster}}. [http://hymntune.library.uiuc.edu/default.asp Nicholas Temperley. ''The Hymn Tune Index''] | ||
:†. Included in an informal publication (not distributed) by Andrew Law in 1812. | :†. Included in an informal publication (not distributed) by Andrew Law in 1812. | ||
==References== | |||
*Armstrong, John. 1816. ''The Pittsburgh Selection of Psalm Tunes''. Pittsburgh, Pennsylvania: Cramer, Spear and Eichbaum. 111 pp. | |||
*Boyd, James. 1818. ''The Virginia Sacred Music Repository''. Winchester, Virginia: J. Foster. 112 pp. | |||
*Carden, Allen. 1820. ''The Missouri Harmony, or a Choice Collection of Psalm Tunes, Hymns, and Anthems, Selected from the Most Eminent Authors, and Well Adapted to all Christian Churches, Singing Schools, and Private Societies''. St. Louis, Missouri: Compiler. 200 pp. | |||
*Davisson, Ananias. 1816. ''Kentucky Harmony''. Harrisonburg, Virginia: Author. | |||
*Davisson, Ananias. 1820. ''A Supplement to the Kentucky Harmony''. Harrisonburg, Virginia: Ananias Davisson. 103 pp. | |||
*Funk, Joseph. 1832. ''A Compilation of Genuine Church Music, Comprising a Variety of Meters, All Harmonized for Three Voices, Together with a Copious Elucidation of the Science of Vocal Music''. Winchester, Pennsylvania: Robinson and Hollis. 224 pp. | |||
*Hamm, Charles. 1960. ''The Chapins and Sacred Music in the South and West''. Journal of Research in Music Education 8(2):91-98. | |||
*Hauser, William. 1848. ''The Hesperian Harp: A Collection of Psalm and Hymn Tunes, Odes and Anthems''. Philadelphia: S. C. Collins. 556 pp. | |||
*Johnson, Alexander. 1818. ''Johnson's Tennessee Harmony''. Cincinnati, Ohio: Morgan, Lodge, and Company. 110 pp. | |||
*Law, Andrew. ca. 1812. (A collection of 16 tune settings printed by Andrew Law at the request of John Logan). [Philadelphia?]: [Andrew Law?]. An informal printing, not published. | |||
*Lewis, Freeman. 1814. ''The Beauties of Harmony''. Pittsburgh, Pennsylvania: Cramer, Spear, Eichbaum, and Lewis. 199 pp. | |||
*Metcalf, Samuel. 1818. ''Kentucky Harmonist, Being a Choice Selection of Sacred Music''. Cincinnati, Ohio: Morgan, Lodge, and Company. 128 pp. | |||
*Moore, William. 1825. ''Columbian Harmony: or a Choice Collection of Psalm Tunes, Hymns, and Anthems, Selected from the Most Eminent Authors in America''. Cincinnati, Ohio: Morgan, Lodge, and Fisher. 200 pp. | |||
*Patterson, Robert. 1813. ''Patterson’s Church Music, Containing the Plain Tunes used in Divine Worship, by the Churches of the Western Country''. Cincinnati, Ohio: Browne and Looker. 53 pp. | |||
*Scholten, James W. 1976. ''Lucius Chapin: A New England Singing Master on the Frontier''. Contributions to Music Education (Ohio Music Education Association) No. 4, pp. 64-76. | |||
*Steel, David Warren, and Richard H. Hulan. 2010. ''The Makers of the Sacred Harp''. Urbana, Illinois: University of Illinois Press. 322 pp. | |||
*Temperley, Nicholas. 1998. ''The Hymn Tune Index''. Four volumes. Oxford University Press. Updated edition available [http://hymntune.library.uiuc.edu/SourceCode.asp online]. | |||
*Walker, William. 1835. ''The Southern Harmony, and Musical Companion: Containing a Choice Collection of Tunes, Hymns, Psalms, Odes and Anthems''. Spartansburg, South Carolina: William Walker. 216 pp. | |||
*White, Benjamin, and Elisha King. 1844. ''The Sacred Harp, a Collection of Psalm and Hymn Tunes, Odes, and Anthems''. Philadelphia, Pennsylvania: S. C. Collins. 262 pp. | |||
*Wyeth, John. 1810. ''Wyeth's Repository of Sacred Music''. Harrisburg, Pennsylvania: John Wyeth. 120 pp. | |||
*Wyeth, John. 1813. Wyeth's Repository of Sacred Music, Part Second. Harrisburg, Pennsylvania: John Wyeth. 132 pp. Second Edition 1820, 132 pp. |
Revision as of 15:33, 22 March 2021
General Information
Description: This is a list of all works said to be composed by Lucius Chapin or his brother Amzi Chapin, and known publications of those works up to 1850.
List of Works
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