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Bread of Heav'n! on Thee I feed
Author: Josiah Conder (1789-1855) Meter: 7.7.7.7 Appears in 336 hymnals Used With Tune: Corsica
Bread of Heav'n! on Thee I feed
Jesus, we Thy promise claim
Appears in 33 hymnals Used With Tune: [Jesus, we Thy promise claim]
Jesus, we Thy promise claim
Bread of Heav'n! on Thee I feed
Author: Josiah Conder (1789-1855) Hymnal: The Evangelical Hymnal with Tunes #434 (1880) Meter: 7.7.7.7 Tune Title: Corsica
Bread of Heav'n! on Thee I feed
Jesus, we Thy promise claim
Hymnal: Pilgrim Songs #25 (1886) Languages: English Tune Title: [Jesus, we Thy promise claim]
Jesus, we Thy promise claim
Johann Daniel Sander
1759 - 1825 Person Name: J. D. Sander Author of "Hymne" in Sammlung Kirchlicher Lieder
Johann Daniel Sander
Josiah Conder
1789 - 1855 Person Name: Josiah Conder (1789-1855) Author of "Bread of Heav'n! on Thee I feed" in The Evangelical Hymnal with Tunes Josiah Conder was born in London, in 1789. He became a publisher, and in 1814 became proprietor of "The Eclectic Review." Subsequently to 1824, he composed a series of descriptive works, called the "Modern Traveller," which appeared in thirty volumes. He also published several volumes of poems and hymns. He was the author of the first "Congregational Hymn Book" (1836). He died in 1855.
--Annotations of the Hymnal, Charles Hutchins, M.A. 1872.
==========================
Conder, Josiah, fourth son of Thomas Conder, engraver and bookseller, and grandson of the Rev. John Conder, D.D., first Theological Tutor of Homerton College, was born in Falcon Street (City); London, Sept. 17, 1789, and died Dec. 27, 1855. As author, editor and publisher he was widely known. For some years he was the proprietor and editor of the Eclectic Review, and also editor of the Patriot newspaper. His prose works were numerous, and include:—
The Modern Traveller, 1830; Italy, 1831; Dictionary of Ancient and Modern Geography, 1834; Life of Bunyan, 1835; Protestant Nonconformity, 1818-19; The Law of the Sabbath, 1830; Epistle to the Hebrews (a translation), 1834; Literary History of the New Testament, 1845, Harmony of History with Prophecy, 1849, and others.
His poetical works are:—
(1) The Withered Oak,1805; this appeared in the Athenceum. (2) The Reverie, 1811. (3) Star in the East, 1824. (4) Sacred Poems, Domestic Poems, and Miscellaneous Poems, 1824. (5) The Choir and the Oratory; or, Praise and Prayer, 1837. Preface dated Nov. 8, 1836. (6) Hymns of Praise, Prayer, and Devout Meditation, 1856. This last work was in the press at the time of his death, and was revised and published by his son, the Rev. E. R. Conder, M.A. He also contributed many pieces to the magazines and to the Associated Minstrels, 1810, under the signature of " C." In 1838, selections from The Choir and Oratory were published with music by Edgar Sanderson, as Harmonia Sacra. A second volume was added in 1839. To Dr. Collyer’s (q.v.) Hymns, &c, he contributed 3 pieces signed "C"; and to Dr. Leifchild's Original Hymns, 1843, 8 hymns.
As a hymn-book editor he was also well known. In 1836 he edited The Congregational Hymn Book: a Supplement to Dr. Watts’s Psalms and Hymns (2nd ed. 1844). To this collection he contributed fifty-six of his own hymns, some of which had previously appeared in The Star in the East, &c. He also published in 1851 a revised edition of Dr. Watts's Psalms and Hymns, and in the game year a special paper on Dr. Watte as The Poet of the Sanctuary, which was read before the Congregational Union at Southampton. The value of his work as Editor of the Congregational Hymn Book is seen in the fact that eight out of every ten of the hymns in that collection are still in use either in Great Britain or America.
As a hymn writer Conder ranks with some of the best of the first half of the present century. His finest hymns are marked by much elevation of thought expressed in language combining both force and beauty. They generally excel in unity, and in some the gradual unfolding of the leading idea is masterly. The outcome of a deeply spiritual mind, they deal chiefly with the enduring elements of religion. Their variety in metre, in style, and in treatment saves them from the monotonous mannerism which mars the work of many hymn writers. Their theology, though decidedly Evangelical, is yet of a broad and liberal kind. Doubtless Conder's intercourse with many phases of theological thought as Editor of the Eclectic Review did much to produce this catholicity, which was strikingly shewn by his embodying many of the collects of the Book of Common Prayer, rendered into verse, in his Choir and Oratory. Of his versions of the Psalms the most popular are "How honoured, how dear" (84th), and "O be joyful in the Lord" (100th). His hymns in most extensive use are," Bread of heaven, on Thee I feed; " “Beyond, beyond that boundless sea;" "The Lord is King, lift up thy voice" (this last is one of his best); "Day by day the manna fell;" "How shall I follow him I serve;" "Heavenly Father, to whose eye" (all good specimens of his subdued and pathetic style); and "O shew me not my Saviour dying." This last is full of lyric feeling, and expresses the too often forgotten fact that the Church has a living though once crucified Lord. The popularity of Conder's hymns may be gathered from the fact that at the present time more of them are in common use in Great Britain and America than those of any other writer of the Congregational body, Watts and Doddridge alone excepted. [Rev. W. Garrett Horder]
In addition to the hymns named above and others which are annotated under their respective first lines, the following, including two already named (4,16), are also in common use:—
i. From Dr. Collyer's Hymns, &c, 1812.
1. When in the hours of lonely woe. Lent.
ii. From The Star in the East, &c, 1824.
2. Be merciful, O God of grace. Ps. lxvii.
3. For ever will I bless the Lord. Ps. xxxiv.
4. How honoured, how dear. Ps. lxxxiv.
5. Now with angels round the throne. Doxology.
6. O Thou God, Who hearest prayer. Lent. Dated Sept. 1820. Usually abbreviated.
iii. From The Congregational Hymn Book, 1836.
7. Blessed be God, He is not strict. Longsuffering of God.
8. Followers of Christ of every name. Communion of Saints.
9. Grant me, heavenly Lord, to feel. Zeal in Missions desired.
10. Grant, 0 Saviour, to our prayers. Collect 5th S. after Trinity.
11. Head of the Church, our risen Lord. Church Meetings.
12. Holy, holy, holy Lord, in the highest heaven, &c. Praise to the Father.
13. Jehovah's praise sublime. Praise.
14. Leave us not comfortless. Holy Communion.
15. Lord, for Thv Name's sake! such the plea. In National Danger.
16. O be joyful in the Lord. Ps. c.
17. 0 breathe upon this languid frame. Baptism of Holy Spirit desired.
18. 0 give thanks to Him Who made. Thanksgiving for Daily Mercies.
19. 0 God, Protector of the lowly. New Year.
20. 0 God, to whom the happy dead. Burial.
21. 0 God, Who didst an equal mate. Holy Matrimony.
22. 0 God, Who didst Thy will unfold. Holy Scriptures.
23. 0 God, Who dost Thy sovereign might. Prayer Meetings.
24. 0 how shall feeble flesh and blood. Salvation through Christ.
25. 0 how should those be clean who bear. Purity desired for God's Ministers.
26. 0 say not, think not in thy heart. Pressing Onward.
27. 0 Thou divine High Priest. Holy Communion.
28. 0 Thou Who givest all their food. Harvest.
29. 0 Thou Whose covenant is sure. Holy Baptism.
30. Praise on Thee, in Zion-gates. Sunday.
31. Praise the God of all creation. Doxology
32. See the ransomed millions stand. Praise to Christ.
33. The heavens declare His glory. Ps. xix.
34. Thou art the Everlasting Word. Praise to Christ.
35. Thy hands have made and fashioned me. Thanks for Daily Mercies.
36. To all Thy faithful people, Lord. For Pardon.
37. To His own world He came. Ascension.
38. To our God loud praises give. Ps. cxxxvi.
39. Upon a world of guilt and night. Purification of B.V.M.
40. Welcome, welcome, sinner, hear. Invitation to Christ.
41. Wheresoever two or three. Continued Presence of Christ desired.
iv. From The Choir and the Oratory, 1837.
42. Baptised into our Saviour's death. Holy Baptism.
43. In the day of my [thy] distress. Ps. xx.
44. 0 comfort to the dreary. Christ the Comforter.
v. From Leifchild's Original Hymns, 1843.
45. I am Thy workmanship, 0 Lord. God the Maker and Guardian.
46. 0 Lord, hadst Thou been here! But when. The Resurrection of Lazarus.
47. 'Tis not that I did choose Thee. Chosen of God. This is altered in the Church Praise Book, N. Y., 1882, to “Lord, 'tis not that I did choose Thee," thereby changing the metre from 7.6 to 8.5.
vi. From Hymns of Praise, Prayer, &c, 1856.
48. Comrades of the heavenly calling. The Christian race.
When to these 48 hymns those annotated under their respective first lines are added, Conder’s hymns in common use number about 60 in all.
--John Julian, Dictionary of Hymnology (1907)
===================
Conder, Josiah, p. 256, i. Other hymns are:—
1. O love beyond the reach of thought. The love of God.
2. O Thou, our Head, enthroned on high. Missions.
3. Son of David, throned in light. Divine Enlightenment desired.
4. Thou Lamb of God for sinners slain. Christ the Head of the Church. From "Substantial Truth, 0 Christ, Thou art."
These hymns are all from his Hymns of Praise, &c, 1856.
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
Josiah Conder
Christoph Willibald, Ritter von Gluck
1714 - 1787 Person Name: Christoph Willibald von Gluck (1714-1787) Composer of "Corsica" in The Evangelical Hymnal with Tunes Born: July 2, 1714, near Neumarkt, Upper Palatinate.
Died: November 15, 1787, Vienna, Austria.
Christoph Willibald Ritter von Gluck (German pronunciation: [ˈkʁɪstɔf ˈvɪlɪbalt ˈɡlʊk]; 2 July 1714 – 15 November 1787) was an opera composer of the early classical period. After many years at the Habsburg court at Vienna, Gluck brought about the practical reform of opera's dramaturgical practices that many intellectuals had been campaigning for over the years. With a series of radical new works in the 1760s, among them Orfeo ed Euridice and Alceste, he broke the stranglehold that Metastasian opera seria had enjoyed for much of the century.
The strong influence of French opera in these works encouraged Gluck to move to Paris, which he did in November 1773. Fusing the traditions of Italian opera and the French national genre into a new synthesis, Gluck wrote eight operas for the Parisian stages. One of the last of these, Iphigénie en Tauride, was a great success and is generally acknowledged to be his finest work. Though he was extremely popular and widely credited with bringing about a revolution in French opera, Gluck's mastery of the Parisian operatic scene was never absolute, and after the poor reception of his Echo et Narcisse he left Paris in disgust and returned to Vienna to live out the remainder of his life.
Gluck was born in Erasbach (now a district of Berching, Bavaria) the first of six surviving children. His father, Alexander Johannes, came from a long line of foresters, and married Gluck's mother, Maria Walburga, in about 1711. During 1717 the family moved to Bohemia, where the father became head forester in the service of Prince Philipp Hyazinth von Lobkowitz in 1727. According to J. C. von Mannlich, who shared rooms with Gluck in Paris, it was as a Bohemian schoolboy that Gluck received his first musical training, both as a singer in the church choir and by learning. Gluck later wrote:
My father was a head forester in [Eisenberg] in Bohemia and he had brought me up to follow in his footsteps. At that time music was all the rage. Unfortunately, inflamed with a passion for this art, I soon made astounding progress and was able to play several instruments. My whole being became obsessed with music and I left all thoughts of a forester's life behind."
A childhood flight from home to Vienna is included in several contemporary accounts of Gluck's life, including Mannlich's, but recent scholarship has cast doubt on Gluck's picturesque tales of earning food and shelter by his singing as he travelled. Most now claim that, if this incident happened at all, it occurred later, and the object of Gluck's journeying was not Vienna but Prague, and connected to his studies at the University of Prague, where according to early biographies he began studying logic and mathematics in 1731. At that time the University boasted a flourishing musical scene that included performances of both Italian opera and oratorio. Gluck eventually left Prague without taking a degree, and vanishes from the historical record until 1737, a possible year (likely to have been 1736) in Vienna apart.
Italy
In 1737 Gluck arrived in Milan, where he studied under G. B. Sammartini, who, according to Carpani, taught Gluck "practical knowledge of all the instruments." Apparently this relationship lasted for several years. Sammartini was not, primarily, a composer of opera, his main output being of sacred music and symphonies, but Milan boasted a vibrant opera scene, and Gluck soon formed an association with one of the city's up-and-coming opera houses, the Teatro Regio Ducal, where his first opera, Artaserse, was performed on 26 December 1741. Set to a libretto by Metastasio, the opera opened the Milanese Carnival of 1742. According to one anecdote, the public would not accept Gluck's style until he inserted an aria in the lighter Milanese manner for contrast.
Nevertheless, Gluck composed an opera for each of the next four Carnivals at Milan, with renowned castrato Giovanni Carestini appearing in many of the performances, so the reaction to Artaserse is unlikely to have been completely unfavourable. He also wrote operas for other cities of Northern Italy in between Carnival seasons, including Turin and Venice, where his Ipermestra was given during November 1744 at the Teatro San Giovanni Crisostomo. Nearly all of his operas in this period were, like Artaserse, set to Metastasio's texts, despite the poet's dislike for his style of composition.
In 1745 Gluck accepted an invitation to become house composer at London's King's Theatre, probably travelling to England via Frankfurt and in the company of Georg Christian, Fürst von Lobkowitz. The timing was poor, as the Jacobite Rebellion had caused much panic in London, and for most of the year the King's Theatre was closed. Gluck's two London operas, (La caduta de'giganti and Artamene) eventually performed in 1746, borrowed much from his earlier works, a method that was to re-occur throughout his career. Six trio sonatas were the other immediate fruits of his time in London. A more long-term benefit was exposure to the music of Handel – whom he later credited as a great influence on his style – and the naturalistic acting style of David Garrick. Either Gluck or Lobkowitz bought a copy of Handel's Messiah.[1] Handel's own experience of Gluck pleased that composer less: Charles Burney reports Handel as saying that "he [Gluck] knows no more of contrappunto, as mein cook, Waltz". This statement is very likely true, but misunderstood. Gustavus Waltz was an excellent singer who performed in many of Handel's works and he was an excellent contrapuntist.
The years 1747 and 1748 brought Gluck two highly prestigious engagements. First came a commission to produce an opera for Dresden, performed by Pietro Mingotti's troupe, to celebrate a royal double wedding that would unite the ruling families of Bavaria and Saxony. Le nozze d'Ercole e d'Ebe, a festa teatrale, borrowed heavily from earlier works, and even from Gluck's teacher Sammartini. The success of this work brought Gluck to the attention of the Viennese court, and, ahead of such a figure as Johann Adolph Hasse, he was selected to set Metastasio's Semiramide riconosciuta to celebrate Maria Theresa's birthday. Vittoria Tesi took the title role. On this occasion Gluck's music was completely original, but the displeasure of the court poet, Metastasio, who called the opera "archvandalian music," probably explains why Gluck did not remain long in Vienna despite the work's enormous popular success (it was performed 27 times to great acclaim). For the remainder of 1748 and 1749 Gluck travelled with Mingotti's troupe, contracting a venereal disease from the prima donna and composing the opera La contesa de' numi for the court at Copenhagen.
In 1750 he abandoned Mingotti's group for another company established by a former member of the Mingotti troupe, Giovanni Battista Locatelli. The main effect of this was that Gluck returned to Prague on a more consistent basis. For the Prague Carnival of 1750 Gluck composed a new opera, Ezio (again set to one of Metastasio's works). His Ipermestra was also performed in the same year. The other major event of Gluck's stay in Prague was, on 15 September 1750, his marriage to Maria Anna Bergin, aged 18 years old, the daughter of a rich but long-dead Viennese merchant. Gluck seems to have spent most of 1751 commuting between Prague and Vienna.
The year 1752 brought another major commission to Gluck, when he was asked to set Metastasio's La clemenza di Tito (the specific libretto was the composer's choice) for the nameday celebrations of King Charles VII of Naples (later Charles III of Spain). The opera was performed on 4 November at the Teatro di San Carlo, and the world-famous mezzo-soprano castrato Caffarelli (Gaetano Majorano) took the role of Sextus. For Caffarelli Gluck composed the famous, but notoriously difficult, aria "Se mai senti spirarti sul volto," which provoked admiration and vituperation in equally large measures. Gluck later reworked this aria for his Iphigénie en Tauride. According to one account, the Neapolitan composer Francesco Durante claimed that his fellow composers "should have been proud to have conceived and written [the aria]." Durante simultaneously declined to comment whether or not it was within the boundaries of the accepted compositional rules of the time.
Vienna
Gluck finally settled in Vienna where he became Kapellmeister. He wrote Le Cinesi for a festival in 1754 and La Danza for the birthday of the future Emperor Leopold II the following year. After his opera Antigono was performed in Rome in February, 1756, Gluck was made a Knight of the Golden Spur by Pope Benedict XIV. From that time on, Gluck used the title "Ritter von Gluck" or "Chevalier de Gluck."
Gluck turned his back on Italian opera seria and began to write opéra comiques. In 1761, Gluck produced the groundbreaking ballet Don Juan in collaboration with the choreographer Gasparo Angiolini. The climax of Gluck's opéra comique writing was La rencontre imprévue of 1764. By that time, Gluck was already engaged in his operatic reforms.
Gluck had long pondered the fundamental problem of form and content in opera. He thought both of the main Italian operatic genres – opera buffa and opera seria – had strayed too far from what opera should really be and seemed unnatural. Opera buffa had long lost its original freshness. Its jokes were threadbare and the repetition of the same characters made them seem no more than stereotypes. In opera seria the singing was devoted to superficial effects and the content was uninteresting and fossilised. As in opera buffa, the singers were effectively absolute masters of the stage and the music, decorating the vocal lines so floridly that audiences could no longer recognise the original melody. Gluck wanted to return opera to its origins, focusing on human drama and passions and making words and music of equal importance.
In Vienna, Gluck met likeminded figures in the operatic world: Count Giacomo Durazzo, the head of the court theatre, who was a passionate admirer of French stage music; the librettist Ranieri de' Calzabigi, who wanted to attack the dominance of Metastasian opera seria; the innovative choreographer Gasparo Angiolini; and the London-trained castrato Gaetano Guadagni.
The first result of the new thinking was Gluck's reformist ballet Don Juan, but a more important work was soon to follow. On 5 October 1762, Orfeo ed Euridice was given its first performance, with music by Gluck to words by Calzabigi. The dances were arranged by Angiolini and the title role was taken by Guadagni. Orfeo, which has never left the standard repertory, showed the beginnings of Gluck's reforms. His idea was to make the drama of the work more important than the star singers who performed it, and to do away with dry recitative (recitativo secco, accompanied only by continuo) that broke up the action. The more flowing and dramatic style which resulted has been seen as a precursor to the music dramas of Richard Wagner.
Gluck then began to spread his ideas to France. Under the patronage of his former music pupil, Marie Antoinette, who had married the future French king Louis XVI in 1770, Gluck signed a contract for six stage works with the management of the Paris Opéra. He began with Iphigénie en Aulide (19 April 1774). The premiere sparked a huge controversy, almost a war, such as had not been seen in the city since the Querelle des Bouffons. Gluck's opponents brought the leading Italian composer, Niccolò Piccinni, to Paris to demonstrate the superiority of Neapolitan opera and the "whole town" engaged in an argument between "Gluckists" and "Piccinnists." The composers themselves took no part in the polemics, but when Piccinni was asked to set the libretto to Roland, on which Gluck was also known to be working, Gluck destroyed everything he had written for that opera up to that point.
On 2 August 1774 the French version of Orfeo ed Euridice was performed, with the title role transposed from the castrato to the tenor voice. This time Gluck's work was better received by the Parisian public. In the same year Gluck returned to Vienna, where he was appointed composer to the imperial court. Over the next few years the now internationally famous composer would travel back and forth between Paris and Vienna. On 23 April 1776, the French version of Alceste was given.
In Vienna Gluck wrote a few more minor works but he generally lived in retirement. In 1781 he brought out a German version of Iphigénie en Tauride and other operas of his enjoyed great popularity in Vienna.
On 15 November 1787, in Vienna, Gluck suffered another stroke and died a few hours later, aged 73. At a formal commemoration on 8 April 1788 his friend and pupil Salieri conducted Gluck's De profundis and a requiem by the Italian composer Niccolò Jommelli was given. Like many other prominent musicians and painters Gluck was buried in the Matzleinsdorfer Friedhof. When this cemetery was turned into a park in 1923, Gluck's remains were transferred to a tomb in the Vienna Zentralfriedhof.
Gluck's musical legacy includes approximately 35 complete full-length operas plus around a dozen shorter operas and operatic introductions, as well as numerous ballets and instrumental works. His reforms influenced Mozart, particularly his opera Idomeneo (1781). Gluck left behind a flourishing school of disciples in Paris, who would dominate the French stage throughout the Revolutionary and Napoleonic period. As well as Salieri, they included Sacchini, Cherubini, Méhul and Spontini. Gluck's greatest French admirer would be Hector Berlioz, whose epic Les Troyens may be seen as the culmination of the Gluckian tradition. Though Gluck wrote no operas in German, his example influenced the German school of opera, particularly Weber and Wagner, whose concept of music drama was not so far removed from Gluck's own.
--en.wikipedia.org/wiki/ (excerpts)
Christoph Willibald, Ritter von Gluck
