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Frederick William Faber

1814 - 1863 Person Name: Frederick William Faber 1814-63 Meter: 8.8.6 D Author of "Spirit of wisdom, turn our eyes" in The Methodist Hymn-Book with Tunes Raised in the Church of England, Frederick W. Faber (b. Calverly, Yorkshire, England, 1814; d. Kensington, London, England, 1863) came from a Huguenot and strict Calvinistic family background. He was educated at Balliol College, Oxford, and ordained in the Church of England in 1839. Influenced by the teaching of John Henry Newman, Faber followed Newman into the Roman Catholic Church in 1845 and served under Newman's supervision in the Oratory of St. Philip Neri. Because he believed that Roman Catholics should sing hymns like those written by John Newton, Charles Wesley, and William Cowpe, Faber wrote 150 hymns himself. One of his best known, "Faith of Our Fathers," originally had these words in its third stanza: "Faith of Our Fathers! Mary's prayers/Shall win our country back to thee." He published his hymns in various volumes and finally collected all of them in Hymns (1862). Bert Polman ================= Faber, Frederick William, D.D., son of Mr. T. H. Faber, was born at Calverley Vicarage, Yorkshire, June 28, 1814, and educated at Balliol College, Oxford, graduating B.A. in 1836. He was for some time a Fellow of University College, in the same University. Taking Holy Orders in 1837, he became Rector of Elton, Huntingdonshire, in 1843, but in 1846 he seceded to the Church of Rome. After residing for some time at St. Wilfrid's, Staffordshire, he went to London in 1849, and established the London "Oratorians," or, "Priests of the Congregation of St. Philip Neri," in King William Street, Strand. In 1854 the Oratory was removed to Brompton. Dr. Faber died Sept. 26, 1863. Before his secession he published several prose works, some of which were in defence of the Church of England; and afterwards several followed as Spiritual Conferences, All for Jesus, &c. Although he published his Cherwell Waterlily and Other Poems, 1840; The Styrian Lake, and Other Poems, 1842; Sir Lancelot, 1844; and The Rosary and Other Poems, 1845; and his Lives of the Saints, in verse, before he joined the Church of Rome, all his hymns were published after he joined that communion. They were included in his:— (1) A small book of eleven Hymns1849, for the School at St. Wilfrid's, Staffordshire. (2) Jesus and Mary: or, Catholic Hymns for Singing and Reading, London 1849. In 1852 the 2nd edition was published with an addition of 20 new hymns. (3) Oratory Hymns, 1854; and (4) Hymns, 1862, being a collected edition of what he had written and published from time to time. Dr. Faber's account of the origin of his hymn-writing is given in his Preface to Jesus & Mary. After dwelling on the influence, respectively, of St. Theresa, of St. Ignatius, and of St. Philip Neri, on Catholicism; and of the last that "sanctity in the world, perfection at home, high attainments in common earthly callings…was the principal end of his apostolate," he says:— “It was natural then that an English son of St. Philip should feel the want of a collection of English Catholic hymns fitted for singing. The few in the Garden of the Soul were all that were at hand, and of course they were not numerous enough to furnish the requisite variety. As to translations they do not express Saxon thought and feelings, and consequently the poor do not seem to take to them. The domestic wants of the Oratory, too, keep alive the feeling that something of the sort was needed: though at the same time the author's ignorance of music appeared in some measure to disqualify him for the work of supplying the defect. Eleven, however, of the hymns were written, most of them, for particular tunes and on particular occasions, and became very popular with a country congregation. They were afterwards printed for the Schools at St. Wilfrid's, and the very numerous applications to the printer for them seemed to show that, in spite of very glaring literary defects, such as careless grammar and slipshod metre, people were anxious to have Catholic hymns of any sort. The manuscript of the present volume was submitted to a musical friend, who replied that certain verses of all or nearly all of the hymns would do for singing; and this encouragement has led to the publication of the volume." In the same Preface he clearly points to the Olney Hymns and those of the Wesleys as being the models which for simplicity and intense fervour he would endeavour to emulate. From the small book of eleven hymns printed for the schools at St. Wilfrid's, his hymn-writing resulted in a total of 150 pieces, all of which are in his Hymns, 1862, and many of them in various Roman Catholic collections for missions and schools. Few hymns are more popular than his "My God, how wonderful Thou art," "O come and mourn with me awhile," and "Sweet Saviour, bless us ere we go." They excel in directness, simplicity, and pathos. "Hark, hark, my soul, angelic songs are swelling," and "O Paradise, O Paradise," are also widely known. These possess, however, an element of unreality which is against their permanent popularity. Many of Faber's hymns are annotated under their respective first lines; the rest in common use include:— i. From his Jesus and Mary, 1849 and 1852. 1. Fountain of love, Thyself true God. The Holy Ghost. 2. How shalt thou bear the Cross, that now. The Eternal Years. 3. I come to Thee, once more, O God. Returning to God. 4. Joy, joy, the Mother comes. The Purification. 5. My soul, what hast thou done for God? Self-Examination 6. O how the thought of God attract. Holiness Desired. 7. O soul of Jesus, sick to death. Passiontide. Sometimes this is divided into two parts, Pt. ii. beginning, “My God, my God, and can it be." ii. From his Oratory Hymns, 1854. 8. Christians, to the war! Gather from afar. The Christian Warfare. 9. O come to the merciful Saviour that calls you. Divine Invitation. In many collections. 10. O God, Thy power is wonderful. Power and Eternity of God. 11. O it is sweet to think, Of those that are departed. Memory of the Dead. 12. O what are the wages of sin? The Wages of Sin. 13. O what is this splendour that beams on me now? Heaven. 14. Saint of the Sacred Heart. St. John the Evangelist. iii. From his Hymns, 1862. 15. Father, the sweetest, dearest Name. The Eternal Father. 16. Full of glory, full of wonders, Majesty Divine. Holy Trinity. 17. Hark ! the sound of the fight. Processions. 18. How pleasant are thy paths, 0 death. Death Contemplated. 19. O God, Whose thoughts are brightest light. Thinking no Evil. 20. O why art thou sorrowful, servant of God? Trust in God. 21. Souls of men, why will ye scatter? The Divine Call. 22. The land beyond the sea. Heaven Contemplated. 23. The thought of God, the thought of thee. Thoughts of God. 24. We come to Thee, sweet Saviour. Jesus, our Rest. In addition to these there are also several hymns in common use in Roman Catholic hymn-books which are confined to those collections. In the Hymns for the Year, by Dr. Rawes, Nos. 77, 110, 112, 117, 120, 121, 122, 125, 127, 128, 131, 140, 152, 154,169, 170, 174, 179, 180, 192, 222, 226, 230, 271, 272, are also by Faber, and relate principally to the Blessed Virgin Mary. Several of these are repeated in other Roman Catholic collections. --John Julian, Dictionary of Hymnology (1907 ================== Faber, Frederick William, p. 361, i. To this article the following additions have to be made:— 1. Blood is the price of heaven. Good Friday. (1862.) 2. Exceeding sorrowful to death. Gethsemane. This in the Scottish Ibrox Hymnal, 1871, is a cento from "O soul of Jesus, sick to death," p. 362, i., 7. 3. From pain to pain, from woe to woe. Good Friday. (1854.) 4. I wish to have no wishes left. Wishes about death. (1862.) 5. Why is thy face so lit with smiles? Ascension. (1849.) The dates here given are those of Faber's works in which the hymns appeared. In addition to these hymns there are also the following in common use:— 6. Dear God of orphans, hear our prayer. On behalf of Orphans. This appeared in a miscellaneous collection entitled A May Garland, John Philip, n.d. [1863], No. 1, in 7 stanzas of 4 lines. In the Roman Catholic Parochial Hymn Book, 1880, it begins, "O God of orphans, hear our prayer." 7. Sleep, sleep my beautiful babe. Christmas Carol. This carol we have failed to trace. 8. By the Archangel's word of love. Pt. i. Life of our Lord. This, and Pt. ii., “By the blood that flowed from Thee"; Pt. iii., "By the first bright Easter day"; also, "By the word to Mary given"; "By the name which Thou didst take"; in The Crown Hymn Book and other Roman Catholic collections, we have seen ascribed to Dr. Faber, but in the Rev. H. Formby's Catholic Hymns, 1853, they are all signed "C. M. C," i.e. Cecilia M. Caddell (p. 200, i.). --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) ====================== Faber, F. W., pp. 361, i.; 1562, ii. We are informed by members of Dr. Faber's family that his father was Mr. Thomas Henry Faber, sometime Lay Secretary of the Bishop of Durham. In addition to his hymns already noted in this Dictionary, the following are found in various Roman Catholic collections, viz.:— i. From St. Wilfrid's Hymns, 1849:— 1. Dear Father Philip, holy Sire. S. Philip Neri. 2. Hail, holy Joseph, hail. S. Joseph. 3. Mother of Mercy, day by day. Blessed Virgin Mary. ii. Jesus and Mary, 1849:— 4. Ah ! dearest Lord! I cannot pray. Prayer. 5. Dear Husband of Mary. S. Joseph. 6. Dear Little One, how sweet Thou art. Christmas. 7. Father and God! my endless doom. Predestination. 8. Hail, holy Wilfrid, hail. S. Wilfrid. 9. O Jesus, if in days gone by. Love of the World. 10. O turn to Jesus, Mother, turn. B. V. M. 11. Sing, sing, ye angel bands. Assum. B. V. M. iii. Jesus and Mary, 1852:— 12. All ye who love the ways of sin. S. Philip Neri. 13. Day set on Rome! its golden morn. S. Philip Neri. 14. Hail, bright Archangel! Prince of heaven. S. Michael. 15. Hail, Gabriel, hail. S. Gabriel. 16. O Flower of Grace, divinest Flower. B. V. M. 17. Saint Philip! 1 have never known. S. Philip Neri. 18. Sweet Saint Philip, thou hast won us. S. Philip Neri. Previously in the Rambler, May, 1850, p. 425. iv. Oratory Hymns, 1854:— 19. Day breaks on temple roofs and towers. Expect. of B. V. M. 20. How gently flow the silent years. S. Martin and S. Philip. 21. How the light of Heaven is stealing. Grace. 22. Like the dawning of the morning. Expect. of B. V. M. 23. Mother Mary ! at thine altar. For Orphans. 24. My God! Who art nothing but mercy and kindness. Repentance. 25. O blessed Father! sent by God. S. Vincent of Paul. 26. O do you hear that voice from heaven? Forgiveness. 27. The chains that have bound me. Absolution. 28. The day, the happy day, is dawning. B. V. M. 29. The moon is in the heavens above. B. V. M. 30. Why art thou sorrowful, servant of God? Mercy. v. Hymns, 1862:— 31. At last Thou art come, little Saviour. Christmas. 32. By the spring of God's compassions. S. Raphael. 33. Fair are the portals of the day. B. V. M. 34. Father of many children. S. Benedict. 35. From the highest heights of glory. S. Mary Magdalene. 36. Like the voiceless starlight falling. B. V. M. 37. Mary! dearest mother. B. V. M. 38. Mother of God, we hail thy heart. B. V. M. 39. O Anne! thou hadst lived through those long dreary years. S. Anne. Previously in Holy Family Hymns, 1860. 40. O balmy and bright as moonlit night. B. V. M. 41. O Blessed Trinity! Thy children. Holy Trinity. 42. O dear Saint Martha, busy saint. S. Martha 43. O Mother, will it always be. B. V. M. 44. O vision bright. B. V. M. 45. Summer suns for ever shining. B. V. M. 46. There are many saints above. S. Joseph. Previously in Holy Family Hymns, 1860. vi. Centos and altered forms:— 47. Confraternity men to the fight. From "Hark the sound of the fight," p. 362, i. 48. Hail, sainted Mungo, hail. From No. 8. 49. I bow to Thee, sweet will of God. From "I worship Thee," p. 559, ii. 50. They whom we loved on earth. From "0 it is sweet to think," p. 362, i. 51. Vincent! like Mother Mary, thou. From No. 25. When Dr. Faber's hymns which are in common use are enumerated, the total falls little short of one hundred. In this respect he outnumbers most of his contemporaries. [Rev. James Mearns] --John Julian, Dictionary of Hymnology, New Supplement (1907) -------------- See also in: Hymn Writers of the Church

Samuel Sebastian Wesley

1810 - 1876 Person Name: Samuel Sebastian Wesley, 1810 - 1876 Meter: 8.8.6 D Composer (adapted from) of "CORNWALL" in The Hymn Book of the Anglican Church of Canada and the United Church of Canada Samuel Sebastian Wesley (b. London, England, 1810; d. Gloucester, England, 1876) was an English organist and composer. The grandson of Charles Wesley, he was born in London, and sang in the choir of the Chapel Royal as a boy. He learned composition and organ from his father, Samuel, completed a doctorate in music at Oxford, and composed for piano, organ, and choir. He was organist at Hereford Cathedral (1832-1835), Exeter Cathedral (1835-1842), Leeds Parish Church (1842­-1849), Winchester Cathedral (1849-1865), and Gloucester Cathedral (1865-1876). Wesley strove to improve the standards of church music and the status of church musicians; his observations and plans for reform were published as A Few Words on Cathedral Music and the Music System of the Church (1849). He was the musical editor of Charles Kemble's A Selection of Psalms and Hymns (1864) and of the Wellburn Appendix of Original Hymns and Tunes (1875) but is best known as the compiler of The European Psalmist (1872), in which some 130 of the 733 hymn tunes were written by him. Bert Polman

John Bacchus Dykes

1823 - 1876 Person Name: John Bacchus Dykes, 1823-1876 Meter: 8.8.6 D Composer of "MANNA" in The Irish Presbyterian Hymbook As a young child John Bacchus Dykes (b. Kingston-upon-Hull' England, 1823; d. Ticehurst, Sussex, England, 1876) took violin and piano lessons. At the age of ten he became the organist of St. John's in Hull, where his grandfather was vicar. After receiving a classics degree from St. Catherine College, Cambridge, England, he was ordained in the Church of England in 1847. In 1849 he became the precentor and choir director at Durham Cathedral, where he introduced reforms in the choir by insisting on consistent attendance, increasing rehearsals, and initiating music festivals. He served the parish of St. Oswald in Durham from 1862 until the year of his death. To the chagrin of his bishop, Dykes favored the high church practices associated with the Oxford Movement (choir robes, incense, and the like). A number of his three hundred hymn tunes are still respected as durable examples of Victorian hymnody. Most of his tunes were first published in Chope's Congregational Hymn and Tune Book (1857) and in early editions of the famous British hymnal, Hymns Ancient and Modern. Bert Polman

Arthur Henry Brown

1830 - 1926 Meter: 8.8.6 D Composer of "PURLEIGH" in The Hymnal and Order of Service Born: Ju­ly 24, 1830, Brent­wood, Es­sex, Eng­land. Died: Feb­ru­a­ry 15, 1926, Brent­wood, Es­sex, Eng­land. Almost com­plete­ly self taught, Brown be­gan play­ing the or­gan at the age 10. He was or­gan­ist of the Brent­wood Par­ish Church, Es­sex (1842-53); St. Ed­ward’s, Rom­ford (1853-58); Brent­wood Par­ish Church (1858-88); St. Pe­ter’s Church, South Weald (from 1889); and Sir An­tho­ny Browne’s School (to 1926). A mem­ber of the Lon­don Gre­gor­i­an As­so­ci­a­tion, he helped as­sem­ble the Ser­vice Book for the an­nu­al fes­tiv­al in St. Paul’s Ca­thed­ral. He sup­port­ed the Ox­ford Move­ment, and pi­o­neered the res­tor­a­tion of plain­chant and Gre­gor­i­an mu­sic in Ang­li­can wor­ship. Brown ed­it­ed var­i­ous pub­li­ca­tions, in­clud­ing the Al­tar Hym­nal. His other works in­clude set­tings of the Can­ti­cles and the Ho­ly Com­mun­ion Ser­vice, a Child­ren’s Fes­tiv­al Serv­ice, an­thems, songs, part songs, and over 800 hymn tunes and car­ols. Music: Alleluia! Sing the Tri­umph Arthur Dale Ab­bey Fields of Gold Are Glow­ing Gerran Holy Church Holy Rood If An­gels Sang Our Sav­ior’s Birth Lammas O, Sing We a Car­ol Purleigh Redemptor Mun­di Ring On, Ye Joy­ous Christ­mas Bells Saffron Wal­den St. An­a­tol­i­us St. Aus­tell St. John Dam­as­cene St. Ma­byn St. So­phro­ni­us Story of the Cross Sweet Child Di­vine --www.hymntime.com/tch

Thomas H. Gill

1819 - 1906 Person Name: Thomas Hornblower Gill, 1819-1906 Meter: 8.8.6 D Author of "Lord God, by whom all change is wrought" in The Methodist Hymn-Book with Tunes Gill, Thomas Hornblower, was born at Bristol Road, Birmingham, Feb. 10th, 1819. His parents belonged to English Presbyterian families which, like many others, had become Unitarian in their doctrine. He was educated at King Edward's Grammar School under Dr. Jeune, afterwards Bishop of Peterborough. He left the school in 1838, and would have proceeded to the University of Oxford, but was prevented by his hereditary Unitarianism (long since given up), which forbade subscription to the Articles of the Church of England then necessary for entrance to the University. This constrained him to lead the life of an isolated student, in which he gave himself chiefly to historical and theological subjects. Hence his life has been singularly devoid of outward incident; and its interest gathers about his hymns, and the seasons of overmastering thought and feeling which gave them birth. The only events that can be chronicled are the publications of his books (see below). It is in the singular combination of influences which has formed his character and determined his thinking that the real interest of his life consists. Here is to be found the true key to the understanding of his hymns. To his Puritan ancestry may be traced their deep religiousness; to his Unitarian training their ethical earnestness; and to his poetical temperament their freeness from conventionality. Delight in the divine songs of Watts was his earliest intellectual enjoyment; and in after years the contrast between their native force and fulness and their dwindled presentation in Unitarian hymnbooks began that estrangement from his hereditary faith which gradually became complete. These various influences mingled in his own hymns and have conspired to render him what Dr. Freeman Clarke calls him, "a more intellectual Charles Wesley." He belongs to the small company of really original hymnists. His hymns are marked by a remarkable absence of, and even opposition to, all antiquarian and sacerdotal ideas of Christianity, a keen discernment of the spirit rather than the mere letter of the Gospel; and profound thought on Scripture themes, so that some of his hymns are too subtle for use in the ordinary worship of the Church. Their style is characterized by a certain quaintness of expression reminding one of George Wither or John Mason, but modified by the influence of Watts's warmth of feeling. They have great sweetness of melody, purity of diction, and happy adaptation of metre and of style to the subject of each hymn. They are almost exclusively used by Nonconformists. Dale's English Hymnbook contains 39; the Baptist Hymnal, 19; Horder's Congregational Hymns, 11; Martineau's Hymns of Praise & Prayer, 11; and the Congregational Church Hymnal, 14. The following are Mr. Gill's published works:— (1) The Fortunes of Faith, 1841; (2) The Anniversaries (Poems in commemoration of great Men and great Events), 1858; (3) The Papal Drama (an historical essay), 1866; (4) The Golden Chain of Praise Hymns by Thomas H. Gill, 1869; (5) Luther's Birthday (Hymns), 1883; (6) The Triumph of Christ (Memorials of Franklin Howard), 1883. Mr. Gill's hymns number nearly 200. Of these, over 80 are in common use in Great Britain and America. The most widely used of these:— "Everlasting, changing never"; "O mean may seem this house of clay"; "O wherefore, Lord, doth Thy dear praise"; “Our God, our God, Thou shinest here"; "The glory of the spring, how sweet"; and "Thou biddest, Lord, Thy sons be bold"; are annotated under their respective first lines, the rest are noted below. [Rev. W. Garrett Horder] The 75 hymns which follow are all annotated from the author's manuscript notes, kindly supplied for use in this work:— 1. Ah tremblers, fainting and forlorn. Eternal Youth. Written in 1868, and first published in his Golden Chain, &c, 1869, p. 149, in 9 stanzas of 4 lines. In 1873 Martineau gave stanzas iv.-ix. in his Hymns, &c, No. 256, as, "Young souls, so strong the race to run." These were repeated in the Baptist Hymnal, 1879, as No. 862. 2. Alas the outer emptiness. Consecration of the Heart. Contributed to G. Dawson's Psalms & Hymns, 1846, No. 121, in 7 stanzas of 4 lines. It was introduced to the American Unitarian collections through Hedge & Huntington's Hymns for the Church of Christ, 1853, No. 619. 3. Alas these pilgrims faint and worn. Whitsuntide. Written in 1853, and first published in his Anniversaries, 1858, p. 73, in 11 stanzas of 4 lines, then in G. Dawson's Psalms & Hymns, 1862, the Golden Chain, &c, 1869, p. 107, &c. 4. Alone with Thee, with Thee alone. Worship in Solitude. Written in 1856, and first published in his Golden Chain , &c, 1869, p. 26, in 8 stanzas of 4 lines. 5. And didst thou, Lord, our sorrows take? Passiontide. Written in 1849, and published in his Golden Chain, &c, 1869, p. 45, in 6 stanzas of 4 lines. It is in several English collections. 6. Behold the everlasting Son. Ascension. Written in 1862, and first printed in the Hagley Magazine, and then in G. Dawson's Psalms & Hymns, 1862, and the Golden Chain, 1869, p. 47, in 8 stanzas of 4 lines. 7. Break, newborn year, on glad eyes break. New Year. Written in 1855, and first published in his Golden Chain, &c, 1869, p. 144, in 6 stanzas of 4 lines. It is one of the most popular of the author's hymns, and is found in many collections. 8. Bright Presence! may my soul have part. Witness of the Spirit. Written in 1849, and first published in his Golden Chain, &c, 1869, p. 100, in 8 stanzas of 8 lines. It is repeated in The Songs of the Spirit, N. Y., 1871. 9. Bright Thy presence when it breaketh. Public Worship. Written in 1856, and first publised in his Golden Chain, &c, 1869, p. 27, in 6 stanzas of 6 lines. In the Baptist Hymnal, 1879, and in Dale's English Hymnbook it is in an abridged form. 10. Day divine! when sudden streaming. Whit-Sunday. Written on Whit-Sunday, 1850, and first published in G. Dawson's Psalms & Hymns, 1859, and again in the Golden Chain, &c, 1869, p. 97, in 3 stanzas of 8 lines. In some American collections, as the Dutch Reformed Hymns of the Church, 1869, it is given as "Day divine, when in the temple." 11. Dear Lord and Master mine. Resignation. Written in 1868, and first published in his Golden Chain, &c, 1869, p. 162, in 7 stanzas of 4 lines. It is in somewhat extensive use both in Great Britain and America. 12. Dear Lord, Thou art not sorry. Passiontide. Written in 1866, and first published in his Golden Chain, &c, 1869, p. 58, in 5 stanzas of 8 lines. 13. Dear Lord, Thy light Thou dost not hide . Christian Labours . No. 125 in the Golden Chain, &c, 1869, p. 178, in 8 stanzas of 4 lines on the text, "Let your light so shine before men," &c, and was written in 1855. 14. Do we only give Thee heed . Jesus the Gladdener of Life. Written in 1849, and first published in G. Dawson's Psalms & Hymns, 1853; and again in the Golden Chain, &c, No. 145, in 6 stanzas of 6 lines. In use in Great Britain and America. 15. Embrace your full Salvation. Heaven. Written in 1870, and first printed in The Congregationalist, 1873, in 9 stanzas of 8 lines. On including it in his English Hymnbook, 1874, Dr. Dale transposed some of the stanzas. 16. Farewell, delightful day. Sunday Evening . Written in 1867, and published in his Golden Chain, &c, 1869, No. 19, in 9 stanzas of 4 lines. In the Church Praise Book, N. Y., 1882, st. i., viii., ix., are given with the alteration of the opening line as, "Holy, delightful day." Dr. Hatfield, in his Church Hymnbook, N. Y., 1872, has the same opening, but he omits stanzas iv.-vi. of the original. 17. Father, glorious with all splendour. Holy Trinity. This hymn of great merit was written in 1860, and published in the Golden Chain, &c, in 1869, No. 4, in 7 stanzas of 8 lines. In some American collections, including Hymns & Songs of Praise, N. Y., 1874, No. 17, stanzas iv., vi., vii., are given as "Father, Thine elect who lovest." 18. Father, hast Thou not on me. Eternal Love . A Trinitarian hymn on eternal love, composed in 1867, and published in his Golden Chain, &c, 1869, No. 139, in 7 stanzas of 8 lines. In 1869, stanzas v.-vii. were given in the Supplement to the New Congregational Hymn Book, as "Mighty Quickener, Spirit blest." 19. Full many a smile, full many a song. Joy in God the Father. Written in 1854, and first published in his Golden Chain, &c, 1869, No. 8, in 9 stanzas of 4 lines. In Dale's English Hymn Book, 1874, No. 21, st. ii., which applied personally to the author alone, was omitted. 20. How can I, Lord, abide with Thee? Prayer. “Produced in 1856. Struck with the didactic character of Cowper's and Montgomery's hymns, ‘What various hindrances we meet,’ and ‘Prayer is the soul's sincere desire,’ I greatly wished to set forth the soul's view of prayer, simply, naturally, poetically, and achieved this hymn with much aspiration and satisfaction." Printed in the Golden Chain, &c, 1869, No. 119, in 8 stanzas of 4 lines, and headed "Pray without ceasing." 21. How, Lord, shall vows of ours be sweet? Public Worship. The author's earliest hymn. It was written in 1845, and first published in G. Dawson's Psalms & Hymns, 1846, No. 114, in 6 stanzas of 4 lines, and again in the Golden Chain, &c, 1869, No. 2. It is in several American hymnbooks. 22. Is earth too fair, is youth too bright? Consecration of Youth to God. Written in 1848, and first pub. in his Golden Chain, &c, 1869, No. 102, in 13 stanzas of 4 lines, and entitled "The Hymn of Youth." 23. Is not my spirit filled with Thine. God glorious in His works. "Written in the summer of 1846 among the hills and streams of Derbyshire," and first published in the Golden Chain, &c, 1869, No. 15, in 9 stanzas of 4 lines, and entitled "God glorious in His works." 24. Let bolder hearts the strife require. Prayer against Temptation. No. 218 in Martineau's Hymns of Praise and Prayer, 1873. It was written in 1851, and first published in the Golden Chain, &c, 1869, in 7 stanzas of 4 lines. 25. Lift thy song among the nations. National Hymn. Written in 1853, and first published in G. Dawson's Psalms & Hymns, 1853, in 4 stanzas of 8 lines. When repeated in the Golden Chain, &c, 1869, No. 62, an additional stanza (iii.) was given, and it was entitled "England's Hymn." It is a spirited hymn and worthy of greater circulation than it now has. The 1869 text is given in Dale's English Hymn Book, 1874, No. 1239. 26. Lord, am I precious in Thy sight. Grieve not the Holy Spirit. Composed in 1850, and first published in G. Dawson's Psalms & Hymns, 1853. In 1869 it was included in the Golden Chain , &c, No. 70, in 7 stanzas of 4 lines. It is in common in America. A cento is also in the Supplement to the New Congregational, 1869, No. 1095. It is composed of stanzas iii., v., vi. much altered, and not improved, and begins, "O Holy Spirit, dost thou mourn?" 27. Lord, comes this bidding strange to us ? Invitation to Rejoice. Written in 1849, and first published in his Golden Chain, &c, 1869, No. 144, in 11 stanzas of 4 lines. 28. Lord, dost Thou ne'er Thy servants bless? Free Grace. Written in 1855, on the words of Oliver Cromwell as used by him in a letter to his "beloved cousin Mrs. St. John," dated "Ely, 13th October, 1638. "Truly no poor creature hath more cause to put him self forth in the cause of his God than I. I have had plentiful wages beforehand; and I am sure I shall never earn the least mite." (Carlyle's Oliver Cromwell's Letters and Speeches, &c, Letter ii.) The hymn was first published in the Golden Chain, &c, 1869, in 9 stanzas of 4 lines. 29. Lord, from Thee, what grace and glory. National Hymn. This cento in Vince's Collection, 1870, No. 450, is from the poem, on St. George's Day, written in 1853, and published in the author'sAnniversaries, 1858, p. 47. 30. Lord, from these trembling souls of ours. Praise. Composed in 1859, and first published in his Golden Chain, &c, 1869, No. 3, in 10 stanzas of 4 lines. 31. Lord God, by Whom all change is wrought. God Eternal. Written in 1869, the keynote being the words of St. Augustine, "Immutabilis mutans omnia," and first printed in the Songs of the Spirit, N. Y., 1871. In 1874 it was included in Dale's English Hymn Book; and, in 4 stanzas, in the Baptist Hymnal, 1879. 32. Lord God of old, who wentest. Public Worship. Composed in 1868, and first published in his Golden Chain, &c, 1869, No. 30, in 5 stanzas of 8 lines. 33. Lord, if our dwelling place thou art Communion of Saints. Written in 1856, and first published in his Golden Chain, &c, 1869, No. 150, in 8 stanzas of 4 lines. The hymn, "Death has no bidding to divide," in Dale's English Hymn Book, 1874, begins with stanzas ii., and omits stanzas i., iv. of this hymn. 34. Lord, in this awful fight with sin. Victory through Christ. Written in 1857, and first published in his Golden Chain, &c., 1869, No. 128, in 7 stanzas of 8 lines. 35. Lord, in Thy people Thou dost dwell. Unity of Christ and His people. Written in 1864, and first published in his Golden Chain, &c, 1869, in 12 stanzas of 4 lines. 36. Lord, Thou hast been our dwelling place. National Hymn. "Begun among the Waldenses, 1864," and first published in his Golden Chain, &c, 1869, No. 59, in 8 stanzas of 7 lines, entitled, "The hymn of the Waldenses," and supplemented with the note, "This hymn as a whole belongs to the Waldenses only, among whom it was begun, but all the people of God have an interest in the first two and the last verses." Acting upon this suggestion of the author, these stanzas were given in the Supplement to the New Congregational, 1869, as No. 1025. 37. Lord, Thou wouldst have us like to Thee. Holiness desired. Written in 1846, and first published in G. Dawson's Psalms & Hymns, 1846, No. 120, in 8 stanzas of 4 lines. It is in several American collections. 38. Lord, Thy gracious voice hath spoken. Christ our Caesar. Written in 1849, and first published in G. Dawson's Psalms & Hymns, 1853; and again in the Golden Chain, &c, 1869, in 3 stanzas of 8 lines. 39. Lord, when I all things would possess. Humility. Written in 1850, and first published in his Golden Chain, &c, 1869, No. 111, in 8 stanzas of 4 lines. In Martineau's Hymns, &c, 1873, No. 304, stanzas ii., iv., vii. are omitted. This hymn is also in common use in America. 40. Lord, when we come at Thy dear call. The Holy Ghost, the Sanctifier. No. 72 in his Golden Chain, 1869, in 7 stanzas of 4 lines, was written in 1856, and is given in the Songs of the Spirit, N. Y., 1871. 41. May we not, Father, meetly mourn? Burial. No. 151 in his Golden Chain, &c, 1869, in 9 st. of 4 lines, was written in 1855. 42. Methought my soul had learned to love. Resignation. "Composed in 1852 and first printed in Golden Chain, 1869. It came from the very depths of my own heart, was inspired by a suppressed trouble which turned out one of the greatest blessings of my life." In the Golden Chain, &c, No. 114, it is given in 7 st. of 4 lines, and is headed, "Not my will but Thine be done." 43. My God, I do not flee from Thee. Joy. Written in 1849, and first published in his Golden Chain, &c., 1869, No. 10, in 7 stanzas of 4 lines. The New Congregational, 1369, No. 1119, begins with stanza ii., "Father, Redeemer, Quickener mine," and also omits stanza iv. 44. My God, my Majesty divine. Child of God. Written in 1845, and first published in G. Dawson's Psalms & Hymns, 1846, No. 116, in 8 stanzas of 4 lines, and again, after revision, in the Golden Chain, &c, 1869, No. 135. The original text is in common use in America. 45. Not, Lord, Thine ancient works alone. Public Worship. Written in 1874, and first printed in The Congregational, in 6 stanzas of 6 lines, and entitled, "The Living God." In Dale's English Hymn Book, 1874, st. iii. is omitted. 46. Not yet I love my Lord. Lent. Written in 1868, and first published in his Golden Chain, &c, 1869, No. 86, in 9 stanzas of 4 lines. It is in several collections, including Martineau's Hymns, &c, 1873, No. 199. 47. Not yet, ye people of His grace. Here and Hereafter. A hymn on the "The Vision Beatific," No. 165, in his Golden Chain, &c, 1869, in 11 stanzas of 4 lines. It was written in 1866, and is in American common use. 48. 0 height that doth all height excel. Written in 1853, and "was born of the words of Augustine in the outset of the Confessions, ‘Secretissime et Praesentissime,' and was the first of several hymns inspired by his wonderful antitheses about God." It was first published in G. Dawson's Psalms & Hymns, 1853, and again in the Golden Chain, &c, 1869, No. 13, in 9 stanzasof 4 lines. It is in English and American common use. 49. 0 Holy Ghost, Who down dost come. Whitsuntide. "Written at Malvern on Whitsunday, 1863; a day of singular spiritual enjoyment, and outward loveliness." It was first published in the Golden Chain, &c, 1869, No. 74, in 1 stanza of 4 lines, and headed, "A Breathing after the Holy Spirit," and is in several collections. In Martineau's Hymns, &c, 1873, No. 251, it begins with st. ii., "Spirit of Truth, Who makest bright," st. i. and vi. being omitted. 50. 0 not alone in saddest plight. Divine Guidance desired. Composed in 1856, and first published in his Golden Chain, &c, 1869, No. 120, in 9 stanzas of 4 lines. 51. 0 not to fill the mouth of fame. A Servant of Christ. "Composed in 1849, and printed first in a small collection of poems entitled, I think, “The Violet." In 1853 it was given in G. Dawson's Psalms & Hymns; and in 1869, in the Golden Chain, &c, No. 121, in 6 stanzas of 4 lines. Its use is mainly confined to America. 52. 0 not upon our waiting eyes. Divine Love. Written in 1849, and first published in his Golden Chain, &c, 1869, No. 29, in 5 stanzas of 4 lines. 53. 0 saints of old, not yours alone. Seeking God. Written in 1848, and first published in G. Dawson's Psalms & Hymns, 1853; and again, after revision, in the Golden Chain, &c, 1869, No. 126, in 10 stanzas of 4 lines. The American hymnbooks have usually the original text, but in Dale's English Hymn Book , 1875, and Holder's Congregational Hymn Book1884, the text is abridged from the Golden Chain. 54. 0 smitten soul that cares and conflicts wring. Heaven desired. Written in 1854, and first published in his Golden Chain, &c, 1869. No. 75, in 8 stanzas of 4 lines. 55. 0 Spirit, sweet and pure. Constant Presence of the Holy Spirit desired. Written in 1868, and given in his Golden Chain, &c, 1869, as No. 127, in 7 stanzas of 8 lines. 56. 0 time, ne'er resteth thy swift wing. Worth of Time. Written in 1855, and first published in his Golden Chain, &c, 1869, No. 98, in 9 stanzas of 4 lines. 57. 0 wherefore hath my spirit leave? Spiritual Changes. "Composed with great ardour and stir of soul in 1847, and first printed in the Golden Chain, 1869," No. 85, in 7 stanzas of 4 lines. 58. O'er fulness of grace, blest Britain rejoice. National Hymn. Composed in 1868, and first published in his Golden Chain, &c, 1869, No. 61, in 11 stanzas of 4 lines, and entitled, "The Thanksgiving Song of Protestant Britain”; to which was added the words of Milton: "Let us all go, every true Protestant Briton, throughout the three kingdoms, and render thanks to God the Father of Light, and to His Son, Jesus Christ our Lord." 59. Saviour, needs the world no longer! Christ All in All. "Written in 1847... it was inspired partly by my contemplation of Shelley's hapless, Christless life." It was first published in G. Dawson's Psalms & Hymns 1853, and again in the Golden Chain, &c, 1869, No. 35, in 7 stanzas of 6 lines, and headed, "Lord, to whom shall we go." Its use is limited, and far less than its merits deserve. 60. Saviour, Who from death didst take. The Resurrection of Christ, a cause of Confidence. Written in 1856, and first published in his Golden Chain, &c, 1869, No. 96, in 5 stanzas of 6 lines. 61. Sweet Spirit, would Thy breath divine. The Holy Ghost, the Purifier, desired. Written in 1856, and given as No. 71 in his Golden Chain, &c, 1869, in 10 stanzas of 4 lines. 62. The happy fields, the heavenly host. Heaven. Written in 1848, first published in G. Dawson's Psalms & Hymns, 1853, and again in the Golden Chain, &c, 1869, No. 157, in 10 stanzas of 4 lines. 63. Thy happy ones a strain begin. Joy in God. Written in 1846, and published in G. Dawson's Psalms & Hymns, 1846, No. 118, in 5 stanzas of 4 lines. In the Golden Chain, &c, 1869, No. 146, the text is slightly changed. The text in common use in Great Britain and America is from the original. 64. Too dearly, Lord, hast Thou redeemed. Lent. Written in 1855, and first published in his Golden Chain, &c, 1869, No. 97, in 9 stanzas of 4 lines. 65. Unto thy rest return. Lent. Written in 1866, and first published in his Golden Chain, &c, 1869, No. 92, in 6 stanzas of 8 lines. 66. We come unto our fathers'God. God our Abode. "The birthday of this hymn, November 22nd, 1868 (St. Cecilia's Day), was almost the most delightful day of my life. Its production employed the whole day and was a prolonged rapture.....It was produced while the Golden Chain was being printed, just in time to be a link therein, and was the latest, as ‘How, Lord, shall vows of ours be sweet?' was the earliest song included therein." In the Golden Chain, &c, 1869, it is No. 129, in 7 stanzas of 7 lines, and is entitled, "The People of God." 67. We triumph in the glorious grace. Citizens of Heaven. Written in 1855, and first published in his Anniversaries, 1858, and again in his Golden Chain, &c, 1869, No. 153, in 12 stanzas of 4 lines. 68. What sweetness on Thine earth doth dwell. Nature revealing God. [Summer.] Written in 1850, and first published in his Golden Chain, &c, 1869, in 8 stanzas of 4 lines. 69. When shall I, Lord, a journey take. Lent. Written in 1856, and first published in his Golden Chain, &c, 1869, No. 80, in 8 stanzas of 4 lines. It is in common use in Great Britain and America. 70. Whence this naming joy that maketh! The Prodigal's Return. "Written in 1853 just before the hymn beginning 'Thrice blessed soul, who still hath made,' with the text 'Son, thou art ever with me' (Golden Chain, No. 134), which is its completement; and first printed in the Golden Chain," 1869, No. 81, in 6 stanzas of 6 lines. 71. Would the Spirit more completely? The Gifts of the Spirit. Written in 1849, and first published in G. Dawson's Psalms & Hymns, 1853; and again in the Golden Chain, &c, 1869, No. 67. in 3 stanzas of 8 lines. 72. Ye children of the Father. Spiritual Worship. Written in 1867, and first published in his Golden Chain. &c, 1869, No. 23, in 6 stanzas of 8 lines. 73. Ye of the Father loved. Praise. Written in 1862, and first published in the Golden Chain, &c, 1869, No. 5, in 8 stanzas of 8 lines. 74. Ye people of the Lord, draw near. Holy Communion. Written in 1855, and first published in his Golden Chain, &c, 1869, No. 127, in 7 stanzas of 4 lines. 75. Ye souls, the Father's very own. Holy Diligence. Composed in 1867, and first published in his Golden Chain, &c, 1869, No. 142, in 9 stanzas of 4 lines. These hymns are usually abridged in the hymnbooks, the length of most of them being against their use in their full form. Although they are gradually growing in popular esteem, the extent of their use is much more limited than their merits deserve. -- John Julian, Dictionary of Hymnology (1907) ==================== Gill, T. H. , pp. 421-3. Additional hymns to those annotated are in common use:—(l) "O dreadful glory that doth make," a cento from No. 48, p. 423, ii.; (2) "O mystery of Love Divine " (The Love of Christ); (3) " Ye souls for whom the Saviour died" (Electing Love). These are all from his Golden Chain of Praise, 1869. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) ======================== Gill, T. H. , pp. 421, i.; 1565, ii. &c. During the past ten years Mr. Gill's hymns have been widely used, especially in America, the result being that the following have to be added to the long lists already annotated as above:— 1. Ah! wherefore fall my tears so fast? [The World Overcome.] Published in his Golden Chain of Praise, 1869, p. 167. The hymn, "O Thou for Whom the strife was strong," in the American Hymns for Church and Home, 1895, is composed of sts. iii.-vii. of this hymn. 2. Dear Lord, Thou bringest back the morn. [Morning.] From his Golden Chain of Praise, 1869, p. 145. 3. I would not give the world my heart. This, in the Amer.Baptist Sursum Corda, 1898, No. 379, is a cento from "With sin I would not make abode," p. 1288, ii. 4. Not only when ascends the song. This in the Amer. Hymns of the Ages, 1904, No. 80, is a cento from “0 Saints of old, not yours alone," p. 423, i. 53. 5. Walk with the Lord! along the road. Composed of sts. v., vii.-ix., of "Ah ! tremblers, fainting and for¬lorn," p. 421, ii. 1. Included in the American Unitarian Hymns for Church and Home, 1895. 6. We would not dare their bliss to mourn. This in the Amer.Unit. Hymns for Church and Home, 1895 is composed of sts. v.-viii. of "May we not, Father, meetly mourn?" p. 422, ii. 41. 7. Wherefore faint and fearful ever. [ God is for us.] Published in the 2nd edition of his Golden Chain of Praise, 1894, No. xiii., in 7 stanzas of 6 lines, and dated 1880. In Hymns Ancient & Modern, 1904, in 5 stanzas. The cento "He Who suns and worlds upholdeth," is composed of stanzas ii., iii., and vii. of the original hymn. Mr. Gill died in 1906. --John Julian, Dictionary of Hymnology, New Supplement (1907)

Edward Osler

1798 - 1863 Meter: 8.8.6 D Author of "May We Thy Precepts, Lord, Fulfill" in Christian Youth Hymnal Osler, Edward, was born at Falmouth in January, 1798, and was educated for the medical profession, first by Dr. Carvosso, at Falmouth, and then at Guy's Hospital, London. From 1819 to 1836 he was house surgeon at the Swansea Infirmary. He then removed to London, and devoted himself to literary pursuits. For some time he was associated with the Society for Promoting Christian Knowledge, both in London and at Bath. In 1841 he became the Editor of the Royal Cornwall Gazette, and took up his residence at Truro. He retained that appointment till his death, at Truro, March 7, 1863. For the Linnaean Society he wrote Burrowing and Boring Marine Animals. He also published Church and Bible; The Voyage: a Poem written at Sea, and in the West Indies, and Illustrated by papers on Natural History, 1830; The Life of Lord Exmouth, 1837, &c. His hymnological work is mainly connected with the Mitre Hymn Book. During 1835-36 he was associated with Prebendary W. J. Hall, the editor, in producing that collection, which was published in 1836 as Psalms and Hymns adapted to The Services of the Church of England. He resided in Mr. Hall's house during the time. From the "hall manuscript" we gather that he contributed 15 versions of the Psalms (5 being rewritten from others), and 50 hymns (a few rewritten). Most of these hymns and Psalm versions, together with others not in the Mitre Hymn Book, were afterwards given in the monthly numbers of his Church and King, from Nov. 1836 to Aug. 1837. The best known of these hymns are, “O God, unseen, yet ever near," and “Worship, honour, glory, blessing." Several of his hymns in common use are:— 1. Father, Whose love and truth fulfil. Holy Baptism. 2. Glory to God! with joyful adoration. Praise to the Father. 3. Great God, o'er earth and heaven supreme. Men the Stewards of God's Bounties. 4. Great God of hosts, our ears have heard. Ps. xliv. Based on the N. Version. 5. Great God, Whose awful mystery. Holy Trinity. 6. I hold the sacred book of God. Martyrs. 7. Jehovah hath spoken, the nations shall hear. Second Advent. 8. Lord, may the inward grace abound. Holy Baptism. 9. May we Thy precepts, Lord, fulfil. Love. 10. Mighty Saviour, gracious King. Advent. 11. 0 God, the help of all Thy Saints. Ps. x. 12. O Thou, the Lord and Life of those. Christ the Life of Men. 13. O Saviour, Who didst come. Easter. 14. Saviour, Whose love could stoop to death. Easter. 15. See, Lord, before Thy mercy seat. For Schools. 16. Set in a high and favoured place. Advent. 17. Wake frem the dead, new life begin. Lent. 18. With trembling awe we come. Lent. Several of these hymns are not in Osier's Church and King. We have ascribed them and others to him on the authority of the "hall MSS." It must be noted also that the text in the Church and King often differs from that in the Mitre. --John Julian, Dictionary of Hymnology (1907) Though not mentioned by Julian, perhaps his most enduring contribution to hymnody is the third stanza of "Praise the Lord! Ye Heavens, Adore Him", whose first two stanzas are of anonymous authorship. --Leland Bryant Ross (2019)

Selina Hastings, Countess of Huntingdon

1707 - 1791 Person Name: Selina, Countess of Huntingdon Meter: 8.8.6 D Author of "When Thou, My Righteous Judge" in The Church Hymnal Born: August 24, 1707, Astwell House, Nottinghamshire, England. Died: June 17, 1791, London, England. Buried: St. Helen’s Church, Ashby-de-la-Zouch, Leicester, England. Selena Huntingdon, née Shirley, Countess of, daughter of Washington, Earl Ferrers, was born Aug. 24, 1707; married to Theophilus Hastings, 9th Earl of Huntindon, June, 1728; and d. in London, June 17, 1701. At an early age she received serious religious impressions, which continued with her, and ruled her conduct through life. She was a member of the first Methodist Society, in Fetter Lane, London, and the first Methodist Conference was held at her house in June, 1744. Her sympathies, however, were with the Calvinism of G. Whitefield, and when the breach took place between Whitefield and Wesley she joined the former. Her money was freely expended in chapel building, in the founding of Trevecca College, South Wales (now Cheshunt), and in the support of her preachers. A short time before her death the Connection which is known by her name was founded; and at her death it numbered more than sixty chapels. For use in these chapels she compiled A Select Collection of Hymns. Her own part in hymn-writing is most uncertain. The hymns, "Come, Thou Fount of every blessing," and "O when my righteous Judge shall come", have been specially claimed for her, but upon insufficient testimony. No mention of these hymns as being by her is made in her Life and Times, 1839. Miller says, "although the Countess was not much known as a hymn-writer, yet it is proved beyond doubt that she was the author of a few hymns of great excellence" (Singers & Songs, 1869, p. 183): but he neither names the hymns, nor submits the evidence. It is most uncertain that she ever wrote a hymn; and it is quite clear that upon reliable evidence not one has yet been ascertained to be of her composing. Her history and that of her Connexion are elaborately set forth in The Life and Times of Selina, Countess of Huntingdon, London, Painter, 1839. --Dictionary of Hymnology, John Julian, 1907.

V. Earle Copes

1921 - 2014 Person Name: V. Earl Copes (1921- 2014) Meter: 8.8.6 D Arranger of "OLD 113th" in Seventh-day Adventist Hymnal

Joseph Anstice

1808 - 1836 Person Name: Joseph Anstice, 1808-36 Meter: 8.8.6 D Author of "O Lord, how happy should we be" in The Methodist Hymn-Book with Tunes Anstice, Joseph , M.A., son of William Anstice of Madeley, Shropshire, born 1808, and educated at Enmore, near Bridgwater, Westminster, and Ch. Church, Oxford, where he gained two English prizes and graduated as a double-first. Subsequently, at the ago of 22, he became Professor of Classical Literature at King's College, London; died at Torquay, Feb. 29, 1836, aged 28. His works include Richard Coeur de Lion, a prize poem, 1828; The Influence of the Roman Conquest upon Literature and the Arts in Rome (Oxford prize Essay); Selections from the Choice Poetry of the Greek Dramatic Writers, translated into English Verse, 1832, &c. His hymns were printed a few months after his death, as:— Hymns by the late Joseph Anstice, M.A., formerly Student of Christ Church, Oxford, and Professor of Classical Literature, King’s College, London, Bridgwater, 1836, and thus introduced:— "As none of the following Hymns had the advantage of being corrected and prepared for the press by their lamented Author, his family have not considered themselves at liberty to bring them before the public; but, having reason to believe that a large circle of surviving friends will be gratified by possessing a memorial of the manner in which some of his leisure hours were employed, and of the subjects which chiefly occupied his thoughts, during the last few months of his life, they have consented to their being printed for private distribution.—-Bridgwater, June, 1836." This work contains 52 hymns on various subjects, together with a poem "To my Hymn Book." The circumstances under which they were written are thus detailed by Mrs. Anstice in a communication to the Rev. Josiah Miller, author of Singers and Songs of the Church:— "The hymns were all dictated to his wife during the last few weeks of his life, and were composed just at the period of the day (the afternoon) when he felt the oppression of his illness—all his brighter morning hours being given to pupils up to the very day of his death."-—S. & S., p. 495. A few of the hymns are of a joyful character, but the circumstances under which they were written account for the prevailing tone of sadness by which they are chiefly characterized. About one half of these hymns were included by Mrs. Yonge in her Child's Christian Year, 1841. Being thus brought before the public, many soon came into common use. Those in most extensive use are: "Father, by Thy love and power;" "In all things like “Thy brethren, Thou;" "Lord of the harvest, once again;" and, "O Lord, how happy should we be." -- John Julian, Dictionary of Hymnology (1907)

L. O. Emerson

1820 - 1915 Person Name: Luther O. Emerson Meter: 8.8.6 D Composer of "MALONE" in Psalter Hymnal (Blue) Luther Orlando Emerson was born at Parsonsfield, Maine, August 3, 1820. He descended from distinguished English ancestry. His parents were quite musical, and while the family circle were together, they had a choir and orchestra of their own. The father played the violoncello, the mother was an excellent singer, the flute and violin added their sweet tones, till the quiet homestead rang with melody. Mr. Emerson's education was obtained at the district school, Parsonsfield Seminary and Effingham Academy. He was full of energy, quick and versatile, an apt scholar, and with a view to entering the profession of medicine he entered Dracut Academy, Mass. But his great love for music swerved him from that course, and now, having far better opportunities for cultivating and enjoying this taste and ability, he soon determined upon music as the profession of his choice. He accordingly commenced a course of musical instruction under the late I. B. Woodbury, then a popular teacher of music. After several years of study on the voice, piano, organ and in harmony, Mr. Emerson went to Salem, Mass., began teaching, and took charge of his first choir at a salary of one hundred dollars per year. Here he commenced the composition of music for his own choir, whiich was so popular with its members and the congregation, that Mr. Emerson was encouraged to seek a larger hearing by publishing a collection of church music. Among the tunes was that of Sessions, named after his pastor, which was destined to have a perennial popularity, and is often used in worship in the place of Old Hundred, for the Doxology. At the great Peace Jubilee it was received with applause when sung by a chorus of ten thousand voices, accompanied by an orchestra of two hundred instruments and a great pipe organ. The effect was sublime beyond expression. In 1847 occurred the marriage of Mr. Emerson to Miss Mary Gore, daughter of a prominent Boston merchant. She was a lady of much musical taste and ability. In 1853 he decided to make an effort to put his music before the public, and accordingly went to Boston in search of a publisher. Like most young and unknown authors, he met with but little encouragement, but finally found a publisher in the person of Mr. B. B. Muzzy. Thus was the Romberg Collection published. The book was not pushed — hence it found no market. After a residence of eight years in Salem, Mr. Emerson removed to Boston, accepting the position of organist and musical director at the Bulfinch Street Church, then under the pastoral care of Rev. Wm. R. Alger, which he filled for four years. He eagerly improved the rare means of culture which were once more enjoyed, meanwhile teaching and composing music. In 1857 he formed the connection with Oliver Ditson Company, of Boston, of author and publisher, which has continued to the present time with but one interruption (a single volume brought out by another firm), the Golden Wreath, which at once became popular, and sold forty thousand during the first year, this being the initial volume in the long series since brought out by these publishers. In 1858 came the Golden Harp, which was also a success. These successes gave him not only encouragement, but reputation. Mr. Emerson now entered upon a career of usefulness and popularity for which he had been preparing during the years of self-denying struggle and discipline. He was called to take charge of the music in the Second Congregational Church, Greenfield, Mass., and also of the musical department of Power's Institute, at Bernardston. Amid nature's most beautiful surroundings, he had a quiet retreat for the pursuit of his true vocation, the composition of church music. The first fruit of his genius here was the Sabbath Harmony, in 1860. This book was also a success. In 1863 followed the Harp of Judah, which had the remarkable sale of nearly fifty thousand copies in the first three months. This book probably gave Mr. Emerson his preeminence as a composer of church music, containing as it did his anthem, Guide Me, O Thou Great Jehovah, and many of his finest compositions. Having declined the solicitations of Dr. Lowell Mason to become his associate in music, Mr. Emerson started forth on his own plans, and attained the highest rank among those who loved the pure and beautiful in song. Mr. W. S. B. Mathews, a musical critic, pronounces him the best melodist of all the psalmodic writers. In 1866 the equally successful Jubilate appeared, followed by the Choral Tribute, the Standard and the Leader. In the last two Dr. I. R. Pahner was associated with him. Later on came the Salutation, Voice of Worship, Herald of Praise, etc. The diligence with which Mr. Emerson plied his pen can be estimated when one recalls the fact that he has made seventy-two collections of music, embracing music for churches, singing schools, public schools, choral societies and conventions, instruction books for voice, organ, etc. He has also composed and published scores of songs, quartets and instrumental pieces. The great amount of work this represents can only be appreciated by those who have undertaken similar labors. Some years ago the degree of Doctor of Music was conferred upon Professor Emerson by the Faculty of Findlay College, Findlay, Ohio. For many years past. Dr. Emerson has devoted his energies to the grand purpose of elevating the general character of music in our churches, and thus largely advancing the interests of true worship. He places great stress upon the mission of church music. He regards sacred music as the best expression of devotional feeling that exists. He looks upon sacred song as prayer, and believes that it inspires and intensifies prayer. With this view he has taken an active and prominent part in musical festivals and conventions, of which he has conducted over three hundred throughout the United States and Canada. As a conductor, he stands in the front rank. As a teacher. Dr. Emerson has an exceedingly happy faculty of imparting in a concise manner to his classes. His very pleasing address enables him to command the undivided attention of his pupils. As a singer, he has always held high rank, and has sung much in public. His voice is a baritone of great compass, and quite powerful. As a lecturer upon music, Dr. Emerson has attracted much attention. His most popular lecture is entitled The World of Music, in which he traces its origin and progress, and gives some excellent traits of the lives of the great composers. In this lecture he also shows the design of music, and how it has been prized in every age of the world, among all nations — its power in the Church and State, and the need of its influence in the family — in joy and sorrow — for this life and the life to come. -Biography of Gospel Song and Hymn Writers

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