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How Great the Wisdom
Author: Benjamin Beddome Meter: 8.6.8.6 Appears in 57 hymnals Hymnal Title: The Cyber Hymnal First Line: How great the wisdom, power and grace Lyrics: 1. How great the wisdom, power and grace,
Which in redemption shine!
The heavenly host with joy confess
The work is all divine.
2. Before His feet they cast their crowns,
Those crowns which Jesus gave,
And, with ten thousand tongues,
Proclaim His power to save.
3. They tell the triumphs of His cross,
The sufferings which He bore;
How low He stooped, how high He rose,
And rose to stoop no more.
4. With them let us our voices raise,
And still the song renew;
Salvation well deserves the praise
Of men, and angels, too. Used With Tune: MARLOW Text Sources: Appeared posthumously in Hymns Adapted to Public Worship, 1817
How Great the Wisdom
CORONATION
Appears in 1,241 hymnals Composer and/or Arranger: Oliver Holden Hymnal Title: Hymn and Tune Book of the Methodist Episcopal Church, South (Round Note Ed.) Incipit: 51133 21232 13212 Used With Text: How great the wisdom, power, and grace
CORONATION
[How great the wisdom, pow'r, and grace]
Appears in 1 hymnal Composer and/or Arranger: Alex. van Alstyne Hymnal Title: Our Song Book Incipit: 51532 15555 43512 Used With Text: Lord, the Mighty Work is Thine
[How great the wisdom, pow'r, and grace]
ORTONVILLE
Appears in 726 hymnals Composer and/or Arranger: Thomas Hastings Hymnal Title: Songs of Joy and Gladness No. 2 Incipit: 51122 32156 61655 Used With Text: How great the wisdom, power, and grace
ORTONVILLE
How great the wisdom, power, and grace
Author: Benjamin Beddome Hymnal: A Collection of Hymns for Public, Social and Domestic Worship #d331 (1847) Hymnal Title: A Collection of Hymns for Public, Social and Domestic Worship
How great the wisdom, power, and grace
How great the wisdom, power, and grace
Author: Benjamin Beddome Hymnal: A Collection of Hymns for Public, Social and Domestic Worship #d332 (1853) Hymnal Title: A Collection of Hymns for Public, Social and Domestic Worship Languages: English
How great the wisdom, power, and grace
How great the wisdom, power, and grace
Author: Benjamin Beddome Hymnal: A Collection of Hymns for Public, Social, and Domestic Worship #160 (1875) Hymnal Title: A Collection of Hymns for Public, Social, and Domestic Worship Languages: English
How great the wisdom, power, and grace
John Randall
1717 - 1799 Person Name: Randall Hymnal Title: A. M. E. C. Hymnal Composer of "CAMBRIDGE" in A. M. E. C. Hymnal
John Randall
Oliver Holden
1765 - 1844 Hymnal Title: Hymn and Tune Book of the Methodist Episcopal Church, South (Round Note Ed.) Composer of "CORONATION" in Hymn and Tune Book of the Methodist Episcopal Church, South (Round Note Ed.) Holden, Oliver, one of the pioneers of American psalmody, was born in 1765, and was brought up as a carpenter. Subsequently he became a teacher and music-seller. He died at Charlestown, Massachusetts, 1844. His published works are American Harmony, 1793; the Worcester Collection, 1797; and other Tune books. One of his most popular tunes is "Coronation." It is thought that he edited a small hymn-book, published at Boston before 1808, in which are 21 of his hymns with the signature "H." A single copy only of this book is known, and that is without title-page. Of his hymns the following are in common use:—
1. All those who seek a throne of grace. [God present where prayer is offered.] Was given in Peabody's Springfield Collection, 1835, No. 92, in a recast form as, “They who seek the throne of grace." This form is in extensive use in America, and is also in a few collections in Great Britain.
2. With conscious guilt, and bleeding heart. [Lent.] This, although one of the best of Holden's hymns, has passed out of use. It appeared, with two others, each bearing bis signature, in the Boston Collection (Baptist), 1808.
3. Within these doors assembled now. [Divine Worship.] [Rev. F. M. Bird, M.A.]
-- John Julian, Dictionary of Hymnology
Oliver Holden
Lowell Mason
1792 - 1872 Hymnal Title: Joyful Songs of Salvation Composer of "AZMON" in Joyful Songs of Salvation Dr. Lowell Mason (the degree was conferred by the University of New York) is justly called the father of American church music; and by his labors were founded the germinating principles of national musical intelligence and knowledge, which afforded a soil upon which all higher musical culture has been founded. To him we owe some of our best ideas in religious church music, elementary musical education, music in the schools, the popularization of classical chorus singing, and the art of teaching music upon the Inductive or Pestalozzian plan. More than that, we owe him no small share of the respect which the profession of music enjoys at the present time as contrasted with the contempt in which it was held a century or more ago. In fact, the entire art of music, as now understood and practiced in America, has derived advantage from the work of this great man.
Lowell Mason was born in Medfield, Mass., January 8, 1792. From childhood he had manifested an intense love for music, and had devoted all his spare time and effort to improving himself according to such opportunities as were available to him. At the age of twenty he found himself filling a clerkship in a banking house in Savannah, Ga. Here he lost no opportunity of gratifying his passion for musical advancement, and was fortunate to meet for the first time a thoroughly qualified instructor, in the person of F. L. Abel. Applying his spare hours assiduously to the cultivation of the pursuit to which his passion inclined him, he soon acquired a proficiency that enabled him to enter the field of original composition, and his first work of this kind was embodied in the compilation of a collection of church music, which contained many of his own compositions. The manuscript was offered unavailingly to publishers in Philadelphia and in Boston. Fortunately for our musical advancement it finally secured the attention of the Boston Handel and Haydn Society, and by its committee was submitted to Dr. G. K. Jackson, the severest critic in Boston. Dr. Jackson approved most heartily of the work, and added a few of his own compositions to it. Thus enlarged, it was finally published in 1822 as The Handel and Haydn Society Collection of Church Music. Mason's name was omitted from the publication at his own request, which he thus explains, "I was then a bank officer in Savannah, and did not wish to be known as a musical man, as I had not the least thought of ever making music a profession." President Winchester, of the Handel and Haydn Society, sold the copyright for the young man. Mr. Mason went back to Savannah with probably $500 in his pocket as the preliminary result of his Boston visit.
The book soon sprang into universal popularity, being at once adopted by the singing schools of New England, and through this means entering into the church choirs, to whom it opened up a higher field of harmonic beauty. Its career of success ran through some seventeen editions. On realizing this success, Mason determined to accept an invitation to come to Boston and enter upon a musical career. This was in 1826. He was made an honorary member of the Handel and Haydn Society, but declined to accept this, and entered the ranks as an active member. He had been invited to come to Boston by President Winchester and other musical friends and was guaranteed an income of $2,000 a year. He was also appointed, by the influence of these friends, director of music at the Hanover, Green, and Park Street churches, to alternate six months with each congregation. Finally he made a permanent arrangement with the Bowdoin Street Church, and gave up the guarantee, but again friendly influence stepped in and procured for him the position of teller at the American Bank.
In 1827 Lowell Mason became president and conductor of the Handel and Haydn Society. It was the beginning of a career that was to win for him as has been already stated the title of "The Father of American Church Music." Although this may seem rather a bold claim it is not too much under the circumstances. Mr. Mason might have been in the average ranks of musicianship had he lived in Europe; in America he was well in advance of his surroundings. It was not too high praise (in spite of Mason's very simple style) when Dr. Jackson wrote of his song collection: "It is much the best book I have seen published in this country, and I do not hesitate to give it my most decided approbation," or that the great contrapuntist, Hauptmann, should say the harmonies of the tunes were dignified and churchlike and that the counterpoint was good, plain, singable and melodious.
Charles C. Perkins gives a few of the reasons why Lowell Mason was the very man to lead American music as it then existed. He says, "First and foremost, he was not so very much superior to the members as to be unreasonably impatient at their shortcomings. Second, he was a born teacher, who, by hard work, had fitted himself to give instruction in singing. Third, he was one of themselves, a plain, self-made man, who could understand them and be understood of them."
The personality of Dr. Mason was of great use to the art and appreciation of music in this country. He was of strong mind, dignified manners, sensitive, yet sweet and engaging.
Prof. Horace Mann, one of the great educators of that day, said he would walk fifty miles to see and hear Mr. Mason teach if he could not otherwise have that advantage.
Dr. Mason visited a number of the music schools in Europe, studied their methods, and incorporated the best things in his own work. He founded the Boston Academy of Music. The aim of this institution was to reach the masses and introduce music into the public schools. Dr. Mason resided in Boston from 1826 to 1851, when he removed to New York. Not only Boston benefited directly by this enthusiastic teacher's instruction, but he was constantly traveling to other societies in distant cities and helping their work. He had a notable class at North Reading, Mass., and he went in his later years as far as Rochester, where he trained a chorus of five hundred voices, many of them teachers, and some of them coming long distances to study under him. Before 1810 he had developed his idea of "Teachers' Conventions," and, as in these he had representatives from different states, he made musical missionaries for almost the entire country. He left behind him no less than fifty volumes of musical collections, instruction books, and manuals.
As a composer of solid, enduring church music. Dr. Mason was one of the most successful this country has introduced. He was a deeply pious man, and was a communicant of the Presbyterian Church. Dr. Mason in 1817 married Miss Abigail Gregory, of Leesborough, Mass. The family consisted of four sons, Daniel Gregory, Lowell, William and Henry. The two former founded the publishing house of Mason Bros., dissolved by the death of the former in 19G9. Lowell and Henry were the founders of the great organ manufacturer of Mason & Hamlin. Dr. William Mason was one of the most eminent musicians that America has yet produced.
Dr. Lowell Mason died at "Silverspring," a beautiful residence on the side of Orange Mountain, New Jersey, August 11, 1872, bequeathing his great musical library, much of which had been collected abroad, to Yale College.
--Hall, J. H. (c1914). Biographies of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company.
Lowell Mason
