decided to become a musician. Though he had little formal musical
training, he became a great organist, composer, and conductor. He became
totally blind by 1865, but, being a capable improviser, and possessing a
keen memory, he was able to continue as an organist. He did much for the
cause of good music in the church.
For further comments on Smart see Hymn 46.
82. Angels we have heard on high _Bishop Chadwick_
A popular carol of French origin, sung first in England by the
Westminster Abbey Choir and for that reason it is sometimes called the
“Westminster Carol.”
No information has been traced concerning Bishop Chadwick.
_MUSIC._ GLORIA is a traditional melody of anonymous composition. The
tune has been variously harmonized. This version is found in the _St.
Basil’s Hymnal_, compiled by the Basilian Fathers, and published in
Chicago, 1918 (Revised Ed.).
83. Silent night, holy night _Joseph Mohr_, 1792-1848
The most loved and most widely used of all Christmas carols.
It was composed December 24, 1818, by Joseph Mohr, 1792-1848, assistant
Catholic priest in an obscure German village, Oberndorf, near Salzburg,
Austria. At a Christmas celebration in the schoolhouse Mohr withdrew for
a time, then returned with a folded sheet of paper on which this carol
was written. He handed it to his friend, Franz Gruber, 1787-1863,
schoolmaster, song writer, and organist, as a Christmas gift. Gruber
composed the tune for it the same evening. The author and composer sang
it together, the latter accompanying on the guitar, and a choir of girls
from the village joining in the melody. The hymn and the tune became
immensely popular in Germany and Austria even before they appeared in
print, through their use by wandering Tyrolese singers. Today the carol
is sung in all Christian lands. It was a favorite of the great opera
singer Madame Ernestine Schumann-Heink, and she sang it on many of her
concert appearances.
_MUSIC._ STILLE NACHT. In keeping with German custom, the tune is named
after the first line of the hymn for which it was written.
A plaque in the schoolhouse at Oberndorf bears the following
inscription:
Stille Nacht, heilige Nacht!
Wer hat dich, O Lied, gemacht?
Mohr hat dich so schoen erdacht,
Gruber zu Gehoer gebracht,
Priester und Lehrer vereint.
84. O little town of Bethlehem _Phillips Brooks_, 1835-93
This carol was written for children, but it has become popular
everywhere with adults as well.
Phillips Brooks, one of America’s greatest preachers, grew up in a
musical home where memorizing and reciting of hymns was a part of the
children’s education. By the time he was ready for college he had
committed over 200 hymns to memory. He graduated from Harvard and from
the Episcopal Theological Seminary, Alexandria, Virginia, and served as
rector at the Church of the Advent, Philadelphia, and at Trinity Church,
Boston, where his preaching powers came to full and fruitful fruition.
In 1891, he became Bishop of Massachusetts. While in Philadelphia, he
was given a year’s leave of absence to travel in Europe and the Near
East. In Christmas Week in 1865, he rode on horseback from Jerusalem to
Bethlehem. The view of the little town is thought to have inspired this
hymn which he wrote several years later for the Christmas service of the
Sunday school in his church.
_MUSIC._ ST. LOUIS. Brooks asked his church organist, Lewis Redner, who
was also Sunday school superintendent, to set the carol to music. This
was done in great haste on the Saturday night before Christmas, 1868.
The words and tune, printed on leaflets, were sung by six teachers and
36 Sunday school children, and then practically forgotten until 1892
when they were published in the _Hymnal of the Episcopal Church_. The
hymn has become popular since, not only in America but also in England.
The tune generally used in England, however, is not “St. Louis,” but
“Forest Green.” (See 290.)
85. Hark the herald angels sing _Charles Wesley_, 1707-88
One of the most popular English hymns. Julian listed four hymns as
standing at the head of all in the English language: “When I survey”
(105-6), “Rock of Ages” (148), “Awake my soul” (25), and this one.
It is taken from Wesley’s _Hymns and Sacred Poems_, 1739. The original
had 10 four-line stanzas and no refrain. The hymn has been altered in
various ways and improved. For example, the lines,
With the angelic host proclaim,
Christ is born in Bethlehem,
originally read
Universal nature say
Christ the Lord is born today.
And for our familiar first lines,
Hark! the herald angels sing!
Glory to the new-born King,
Wesley had
Hark! how all the welkin rings,
Glory to the King of Kings.
These, and other changes, disprove the common assertion that hymns
should always be sung just as the authors left them. As a rule, however,
it still remains true that “the _professional_ hymn mender is an odious
creature.”
For comments on Charles Wesley see Hymn 6.
_MUSIC._ MENDELSSOHN, also called “Bethlehem” and “St. Vincent,” is from
Mendelssohn’s _Festgesang_ for Male Chorus and Orchestra, composed in
1840 to celebrate the invention of printing. The tune is adapted from
chorus No. 2 of that work. Dr. W. H. Cummings, organist at Waltham
Abbey, set the tune to the words of this hymn and had it sung by the
Abbey Choir. It was so well received that he published it in 1856 and it
has since found its way into the hymn books of all denominations.
It is interesting to note Mendelssohn’s own estimate of the tune, as he
expressed it in a letter to his English publishers.
I am sure that piece will be liked very much by the singers and
hearers, but it will never do to sacred words. There must be a
national and merry subject found out, something to which the
soldier-like and buxom motion of the piece has some relation, and the
words must express something gay and popular as the music tries to do.
86. O holy night
The night of the Saviour’s birth is the subject of Christmas carols in
every land, of which this and “Silent Night” are outstanding examples.
The words are anonymous.
The omitted third stanza reads as follows:
Truly He taught us to love one another;
His law is love and His gospel is peace.
Chains shall he break for the slave is our brother,
And in His name all oppression shall cease.
Sweet hymn of joy in grateful chorus raise we,
Let all within us praise His holy name;
Christ is the Lord, Oh, praise His name forever!
His power and glory evermore proclaim.
His power and glory evermore proclaim.
_MUSIC._ The tune, HOLY NIGHT, is by Adolphe Adam, 1803-56,
distinguished French composer of comic operas and teacher of
composition. He became a professor in the Conservatory of Music in Paris
in 1849.
HIS EPIPHANY
87. What star is this _C. Coffin_, 1676-1749
A Latin hymn, _Quae stella sole pulchrior_, was included in the _Paris
Breviary_, 1736, and, again, in Coffin’s _Hymni Sacri_, 1736. Charles
Coffin, rector of the University of Paris, wrote a large number of
hymns, “not so much,” he says, “to gratify the poetic Spirit as to
achieve elegance and piety.”
The translation is by John Chandler, 1806-76, in his _Hymns of the
Primitive Church_, 1837. Chandler was educated at Oxford and became a
minister in the Church of England. Besides making a collection of hymns,
he is the author of several biographies and volumes of devotional
literature. His translation of this hymn has passed into many English
hymn books but invariably with some alterations.
_MUSIC._ PUER NOBIS is an arrangement of a German folk tune published by
the German composer, Michael Praetorius, 1571-1621, which he wrote in
1609. It was harmonized in 1904 by G. R. Woodward, an English musician.
It is a spirited tune and should be sung briskly and merrily.
88. Bethlehem, of noblest cities _Prudentius_, 348-_c._ 413
_Tr. E. Caswall_, 1814-78
Based on Matt. 2:6: “And thou, Bethlehem, in the land of Judah, art not
the least among the princes of Judah: for out of thee shall come a
governor, that shall rule my people Israel,” and the story of the three
wise men bringing their gifts to Jesus.
The author, Prudentius, 348-c. 413, a Spaniard, was one of the best and
most prolific of early Latin Christian poets. He received legal training
and served as lawyer and judge in several cities. At the age of 57 he
entered a monastery and for the rest of his life was a writer of poetry
in defense of and in praise of the Christian faith. He is regarded by
some as the first really great Christian poet and was widely read in
Europe throughout the Middle Ages, Erasmus being one of his admirers.
The translation is by Edward Caswall who shortly before had left the
Church of England to become a priest in the Roman Catholic Church.
Caswall was a Latin scholar and did much translating of Latin hymns. For
further comments on Caswall see Hymn 19.
_MUSIC._ STUTTGART is adapted from a melody by Christian F. Witt in his
_Psalmodia Sacra_, published in Gotha, 1715, where it is set to the
hymn, “_Sollt es gleich bisweilen scheinen_.” It is a stately,
straightforward tune of simple, rhythmic pattern and is singable by any
average congregation.
Christian F. Witt, 1660-1716, was a court organist and later
_Kapellmeister_ at Gotha. He composed a number of hymn tunes.
89. From the eastern mountains _Godfrey Thring_, 1823-1903
Based on Matt. 2:2: “We have seen his star in the east and are come to
worship Him.” Its reference to the guiding star and its missionary
emphasis fit it ideally for the Epiphany season, but the hymn may be
used appropriately on more general occasions.
Godfrey Thring was educated at Shrewsbury and Balliol College, Oxford,
and held various positions as minister in the Church of England. In
1859, he succeeded his father as rector of Alford-with-Hornblotton and
in 1876, became prebendary of East Harptree in Wells Cathedral. He
published various hymn books of a high literary standard.
_MUSIC._ PRINCETHORPE. This tune, by William Pitts, 1824-1903, was taken
from _The Hymnary_ of the United Church of Canada. No information is at
hand concerning the composer or the origin of the tune.
90. We three kings of Orient are _John H. Hopkins, Jr._, 1820-91
A popular carol giving the story of the wise men seeing the star and
bringing gifts to the Christ child.
John Henry Hopkins, Jr., was born at Pittsburgh, Pa. His father was an
Episcopalian minister who became the Bishop of Vermont. John was
educated at the University of Vermont and later was minister at
Williamsport, Pa. He is the author of several books of poems.
_MUSIC._ KINGS OF ORIENT was composed for this hymn by the author.
91. Brightest and best of the sons _Reginald Heber_, 1783-1826
A lovely hymn of great beauty and simplicity of form and characterized
by robust faith—“richer by far is the heart’s adoration.” It was written
for the feast of Epiphany and was entitled, “Star of the East.” The hymn
was first published in the _Christian Observer_, 1811.
Heber, a hymnist of the first order, ranking with Wesley and Watts, was
governed by three ideas in his hymn writing: (1) the hymn is liturgical
and should follow the church year; (2) the hymn should follow and
supplement the sermon; (3) the hymn should be literary art.
For further comments on Reginald Heber see Hymn 1.
_MUSIC._ BRIGHTEST AND BEST was composed by Rev. Joseph Francis Thrupp,
1827-67, fellow of Cambridge College and minister in the Church of
England. He is the author of several books on Biblical subjects and
wrote a number of hymns of merit, none of which have come into general
use.
HIS LIFE AND MINISTRY
92. O sing a song of Bethlehem _Louis F. Benson_, 1855-1930
Written as a Christmas carol but sings also of the later life of Jesus
in Nazareth, Galilee, and at Calvary. It was contributed to _The School
Hymnal_ (Presbyterian), edited by Dr. Benson in 1899.
Louis Fitzgerald Benson was born in Philadelphia and educated for the
bar. After seven years of practice, he gave up law to enter Princeton
Theological Seminary and was ordained a Presbyterian minister. He became
minister of the Church of the Redeemer, Germantown, Pa., but resigned
his charge after six years, to begin his great work as editor of hymn
books and writer and lecturer on hymnology. His book, _The English
Hymn_, unfortunately out of print, has no rival as a source of accurate
information about the development and use of English and American hymns.
His _Studies in Familiar Hymns_ (2 vols.) is unexcelled. For forty years
Dr. Benson rendered outstanding service to all students of hymnology
through his writings and lectures on the subject. He composed 32
original hymns and made 16 translations from the Latin which were
published as _Hymns, Original and Translated_, Philadelphia, 1925, in
which the present hymn appears.
_MUSIC._ BETHLEHEM, also called “Evangel,” was composed by Gottfried W.
Fink, 1783-1846, German minister, musician, music critic, and editor,
who was appointed in 1842 to a Professorship of Music at Leipzig. It is
a joyful tune in popular style, especially suitable for large choruses
or congregations.
93. O Master Workman of the race _Jay T. Stocking_, 1870-1936
A hymn entitled, “The Carpenter of Nazareth,” written for young people
while the author was watching some carpenters at work in an Adirondack
Camp. It is one of a number of excellent modern hymns concerned with the
earthly life of Jesus and connecting Him with our daily life and labor.
Others are “O Master let me walk with Thee” (223), “Where cross the
crowded ways” (222), and “O Son of Man, Thou madest known” (373).
Jay T. Stocking was educated at Amherst, Yale Divinity School, and at
the University of Berlin. He was ordained in 1901, held a number of
prominent pastorates in the Congregational Church, and was made
moderator of the Congregational Council in 1934. He is the author of
several books and was a member of the Commission on International
Justice and Good Will of the Federal Council of Churches.
_MUSIC._ ST. MICHEL’S appeared in a collection of _Psalms and Hymns_,
compiled by William Gawler, and published in London around 1784 to 1789,
for use of the children of an orphan asylum at Lambeth. It was set to
“Creator Spirit, by whose aid,” a long-meter hymn. Later the tune was
changed to common meter double. It is also known by the names “St.
Maria,” “Beulah,” and “Woolrich Common.” The composer of the tune is not
known. _The Hymnary_ of the United Church of Canada attributes it to
Haydn. At No. 125 of the _Hymnary_ it appears as “Jerusalem, Jerusalem,”
where it is erroneously attributed, in the earlier editions, to Thomas
Hastings—an error carried over from the _Gesangbuch mit Noten_. Hastings
was born at about the same time the tune was already in print! It is
possible, of course, that he made an arrangement of the tune, and
thereby getting his name associated, inadvertently, with its
composition.
Wm. Gawler, c. 1750-1809, was a London musician and music publisher. In
1785, while organist at the Lambeth “Asylum,” a home, the first of its
kind in England, for fatherless girls, he published the book _Psalms and
Hymns_, referred to, later adding a supplement. Gawler made other
compilations of music books and also did some composing.
94. Ye fair green hills of Galilee _Eustace R. Conder_, 1820-92
A fine hymn, setting forth obedience to duty and love to God and man as
the marks of Christ’s followers. It was contributed by the author to the
_Congregational Church Hymnal_, London, 1887.
Eustace Rogers Conder studied for the Congregational ministry in
Birmingham and later graduated with high honors in philosophy at London
University. For 17 years, he was minister of a Congregational Church at
Poole, where he trained students for missionary work, besides attending
to his regular duties as pastor. In 1873, he was elected chairman of the
Congregational Union of England and Wales. He wrote several books,
including _Outlines of the Life of Christ_ and _Sleepy Forest_, a book
of fairy tales for children.
_MUSIC._ STELLA is from an old English melody in 6-8 time which the
children sang to “Sweet Mary, sweet Mary, my age is sixteen.” About
1850, it was arranged by Henri F. Hemy, 1818-88, English organist, for
use in Catholic churches as an easy choir number. In 1875, the tune
appeared (almost note for note as in the _Hymnary_) in the Appendix of
_St. Alban’s Tune Book_, a book of pre-Reformation hymns set to
plainsong melodies. The Appendix of the book is a treasure house of
arrangements and adaptations of singable tunes from sacred and secular
sources.
95. Thine arm, O Lord, in days of old _Edward H. Plumptre_, 1821-91
A hymn on the healing ministry of Christ, written in 1864 for use in the
Chapel of King’s College Hospital, London. Suitable for Hospital Day and
other occasions.
Edward Hayes Plumptre, an English scholar and church man, was educated
at King’s College, London, and at Oxford. He was minister in various
churches (Anglican) and became Professor of New Testament Exegesis at
King’s College. He wrote many excellent books, including the standard
_Life of Bishop Ken_, and several volumes of poems. He was appointed a
member of the Old Testament Company of Revisers of the Bible. This hymn
was included in the 2d edition of his _Lazarus, and other Poems_, from
which it made its way into the hymnals.
_MUSIC._ ST. MATTHEW, a psalm tune, appeared in the 6th ed. (1708) of _A
Supplement to the New Version of Psalms_, by Tate and Brady, where it
was set, in two parts, treble and bass, to Psalm 33. In slightly altered
form, it became one of the great hymn tunes but is more popular in
England than in America.
For comments on William Croft, 1678-1727, an important name in English
church music, see Hymn 6.
96. Who is he in yonder stall _Benj. R. Hanby_, 1833-67
A hymn on the birth, ministry, passion, resurrection, and exaltation of
Christ, the refrain answering the question asked in each stanza. It may
be used effectively for antiphonal singing between choir and
congregation.
The author, Benjamin Russel Hanby, was a minister in the United Brethren
Church but was strongly inclined to music and decided to make that his
life work. An interesting and talented man, he became associated with
George F. Root in the publication of sacred and secular song books in
Chicago. He was the author of a number of Sunday school songs and of
“Darling Nellie Gray,” “Old Shady,” and other popular numbers. His
untimely death ended his career almost before it was well begun. His
father, the Rev. William Hanby, was a bishop in the church of the United
Brethren in Christ and editor, for a number of years, of _The
Telescope_, the church’s official paper published at Circleville, Ohio.
_MUSIC._ LOWLINESSS was composed by the author of the words.
97. Fairest Lord Jesus _Münster_, 1677
_Translated_, _c._ 1850
Called the “Crusader’s Hymn,” but there is no foundation for the
tradition that it was sung by the German knights of the 12th century on
their way to Jerusalem. The text and tune are modern. The German text
was published in _Münster Gesangbuch_, 1677 (Catholic). Our translation,
the oldest English version, is by an unknown author, about 1850. A later
translation, beginning “Beautiful Savior,” was made by J. A. Seiss in
1873. The original is as follows:
Schönster Herr Jesu,
Herrscher aller Herren,
Gottes und Mariä Sohn!
Dich will ich lieben,
Dich will ich ehren.
Meiner Seelen Freund’ und Kron’.
Schön leucht’t der Monden,
Schöner die Sonne
Als die Sternlein allzumal.
Jesus leucht’t schöner,
Jesus leucht’t reiner,
Als all die Engel im Himmelssaal.
Schön sind die Wälder,
Schöner die Felder
In der schönen Frühlingszeit.
Jesus ist schöner,
Jesus ist reiner,
Der unser traurigs Herz erfreut.
Alle die Schönheit
Himmels und der Erde
Ist nur gegen ihn als Schein.
Keiner soll nimmer
Lieber uns werden
Als er, der schönste Jesus mein!
_MUSIC._ CRUSADER’S HYMN, also known as _Schönster Herr Jesu_, appeared
in a book of Silesian folk songs, _Schlesische Volkslieder_, Leipzig,
1842. The hymn with this tune was first published in America in _Church
Carols and Choir Studies_ by the American composer Richard Storrs
Willis, 1850. F. Melius Christiansen, director of the St. Olaf Choir,
has arranged an exquisite anthem on this melody with the words
“Beautiful Savior.”
It is a useful and charming melody. Its popularity in Germany ranks with
Paul Gerhardt’s “_Befiehl du deine Wege_.”
98. Not always on the mount _Frederick L. Hosmer_, 1840-1929
Based on the story of the transfiguration in Matthew 17, the lesson
enforced by the hymn is that the mount is necessary for vision; we
cannot abide there, yet our work in the valley will be nobler for the
pattern shown us on the mount.
For comments on Frederick L. Hosmer see Hymn 72.
The hymn, written in 1882, was first published in _Unity_, Chicago,
April 1, 1884. A year later it was included, in revised form, in the
author’s first series of _The Thought of God_.
_MUSIC._ TRANSYLVANIA is from a 16th century Hungarian chorale, arranged
by Robert L. Sanders, F. A. A. R., Chicago, for _Hymns of the Spirit_,
Beacon Press, 1938.
99. I know not how that Bethlehem’s Babe _Harry W. Farrington_,
1880-1931
A Christmas song written in 1910, while the author was a graduate
student at Harvard University. It was awarded the prize which had been
offered for the best Christmas hymn written by a student. Though simple
and unpretentious, Professor George Herbert Palmer declared it “a
perfect poem.” The few lines encompass a vast body of Christian truth.
The author, Harry W. Farrington, 1880-1931 (date of death printed
erroneously as 1911 in earlier editions of the _Hymnary_), was educated
at Harvard and then became a Methodist minister. He was greatly
interested in work among children and inaugurated the Week Day Church
School at Gary, Ind., in 1914. After returning from service in World War
I, he became widely known as a speaker for children and it is estimated
that he addressed more than two million children in the public schools
of America. He is the author of several volumes of poems and has written
books on Franklin, Washington, Lincoln, and Theodore Roosevelt.
_MUSIC._ ES IST EIN BORN, also named “I Do Believe,” and “Camp-meeting,”
is an early American camp-meeting chorus sung to:
I do believe, I now believe,
I can hold out no more;
I sink by dying love compelled
And own Thee Conqueror.
It is used in the _Gesangbuch mit Noten_ to the words “_Es ist ein Born,
d’raus heil’ges Blut_.”
HIS TRIUMPHAL ENTRY
100. All glory laud and honor _St. Theodulph of Orleans_, _c._ 820
_Tr. John M. Neale_, 1854
From a long Latin hymn of 39 couplets, based on Psalm 24:7-10; Psalm
118:25-26; Matthew 21:1-17; and Luke 19:37-38.
Gloria, laus et honor tibi sit, rex, Christe, redemptor,
cui puerile decus prompsit hosanna pium.
Israel tu rex, Davidis et inclyta proles,
nomine qui in Domini, rex benedicte, venis.
Coetus in excelsis te laudat caelicus omnis
et mortalis homo, cuncta creata simul.
Plebs Hebraea tibi cum palmis obvia venit;
cum prece, voto, hymnis adsumus ecce tibi.
Hi tibi passuro solvebant munia laudis;
nos tibi regnanti pangimus ecce melos.
Hi placuere tibi; placeat devotio nostra,
rex pie, rex clemens, cui bona cuncta placent. Amen.
The hymn was used as the processional in the Palm Sunday service of the
medieval church.
St. Theodulph of Orleans composed the words about A.D. 820. He was
probably born in Italy, though neither the date nor place of his birth
are definitely known. Theodulph became the abbot of a monastery in
Florence but was later brought to France and made bishop of Orleans.
Emperor Louis the Pious imprisoned him on a false charge of conspiracy
in 818. There is a legend, but only a legend, that this hymn was
composed during the author’s confinement, and that St. Theodulph sang it
at the window of his cell as the King passed the prison on the way to
church and that the latter was so moved by it that he ordered the
release of Theodulph and his restoration to his office as bishop.
The translation was made by the learned John M. Neale (See 67) who wrote
that “another verse was usually sung, until the 17th century, at the
pious quaintness of which we can scarcely avoid a smile:
“Be thou, O Lord, the rider,
And we the little ass;
That to God’s holy city
Together we may pass.”
_MUSIC._ ST. THEODULPH was composed by Melchior Teschner (c. 1615), a
Lutheran pastor and musician. It was originally sung to the German
chorale, _Valet will ich dir geben_ (“Farewell, I gladly bid thee”), a
hymn for the dying. That the same tune is used to carry a cheerful,
festive hymn, as well as a hymn for the dying, illustrates the
plasticity of hymn tunes. Bach used the tune in his _St. John’s
Passion_, and it is also associated with Gerhardt’s “_Wie soll ich dich
empfangen_.” It is widely used as a Palm Sunday processional with St.
Theodulph’s words. The refrain may be sung by the congregation,
answering to the verses sung by the choir. Processional hymns were
almost invariably sung that way in the medieval church and Canon
Douglass suggests that “we should put this plan into far wider practice
if we really desire to improve our congregational singing.”
101. Ride on, ride on in majesty _Henry H. Milman_, 1791-1868
A popular Palm Sunday hymn and incidentally one of the finest poems in
our hymn books. It was written by Henry H. Milman at the age of 30, the
year he was elected Professor of Poetry at Oxford University—1821.
Henry H. Milman was born in London, the son of Sir Francis Milman,
physician to the King. After a brilliant career at Oxford, he was
ordained at 25, appointed Professor of Poetry at Oxford at 30. Later he
became canon of Westminster and finally dean of St. Paul’s Cathedral in
London, which high office he filled with distinction. He is the author
of thirteen hymns. Milman was interested, too, in drama and wrote
several plays and translated Greek plays. He is best known, however, as
a historian, having published _The History of the Jews_ in 1829, and the
_History of Latin Christianity_ in 1855, both of them classics.
_MUSIC._ ST. DROSTANE was written for the words “Ride on, ride on” for
the _Congregational Hymn and Tune Book_, London, 1862. It has since come
into wide use with this hymn. Other tunes also used with this text are
“Winchester New” (369) and “Park Street” (272).
For comments on the composer, J. B. Dykes, see Hymn 1.
HIS PASSION
102. When my love to God grows weak _John R. Wreford_, 1800-81
A useful hymn, true to the Gospel record, and free from the emotional
morbidity that is found in many passion hymns.
John Wreford, an Englishman trained for the Unitarian ministry, was
compelled to give up his ministry on account of a failing voice. He then
opened a school at Edgbaston. The later years of his life were spent in
retirement at Bristol. The original of this hymn written in 1837,
received little notice until it was rewritten and improved by Samuel
Longfellow, brother of the more famous Henry Wadsworth. In this revised
form it has been included in a number of the best English hymnals.
_MUSIC._ ORIENTIS PARTIBUS, the so-called “Donkey Festival Tune,” has a
most peculiar origin. During the Middle Ages, the church in some parts
of France celebrated January 14 as the “Feast of the Ass,” to
commemorate the flight into Egypt. A beautiful young woman holding a
child in her arms rode a donkey through the streets of the town and then
into the principal church. The donkey, with its burden, stood beside the
high altar while mass was celebrated, during which the hymn beginning
with the line “_Orientis partibus adventatis asinus_” was sung. The
melody of this hymn is the basis for our tune which was adapted by
Richard Redhead and published in his _Church Hymn Tunes_, 1853. The
original was the work of Pierre De Corbeil, Archbishop of Sens, who died
in 1222. It is a virile tune worthy of its increasing place in modern
hymn books.
For Richard Redhead see Hymn 109.
103. ’Tis midnight and on Olive’s brow _William Bingham Tappan_,
1794-1849
A midnight hymn, depicting the darkness and sadness of Gethsemane. It is
often sung at communion services held on Thursday evening before Good
Friday.
William Bingham Tappan, a clock maker, was an influential leader in
Sunday school work in the Congregational Church in America. In early
manhood he taught school in Philadelphia, and then from 1826 until his
death he was in the employ of the American Sunday School Union as
manager and superintendent at Philadelphia, Cincinnati, and Boston. He
wrote and published eight or ten volumes of poetry of no special
significance.
_MUSIC._ OLIVET’S BROW was composed for this hymn and was first
published in _The Shawm_, 1853, by Bradbury and Root.
William Batchelder Bradbury, 1816-68, was born in York, Maine. After
many struggles, due to poverty, he learned music from Lowell Mason and
G. J. Webb and began conducting singing classes. He did outstanding work
in New York City in teaching music to children. His Juvenile Music
Festivals at the Baptist Tabernacle became an important feature of New
York’s musical life and gave a powerful stimulus to the introduction of
music into the public schools. In 1847, he went abroad for further study
in music. Upon returning to America, he became associated with Geo. F.
Root, Thos. Hastings, and Lowell Mason in musical Normal Institute work.
The group collaborated in the production of a new type of church music,
known as gospel songs, which swept the country during the revivalistic
work of Moody and Sankey.
104. There is a green hill far away _Mrs. Cecil Frances Alexander_,
1823-95
A popular hymn on the atonement, written for children but appropriated
for general use with all ages. It was first published in the author’s
_Hymns for Little Children_, 1848, her most famous book which ran into
100 editions. The accuracy of the first line may well be questioned for
the Gospels do not state that Jesus was crucified on a hill, only that
it was a place called “the skull” (Lk. 23:33). In any case, the
sun-baked Judean hills are seldom green.
Cecil Frances Humphrey, daughter of Major John Humphrey, was a native of
Ireland. Her father was an Englishman who, as a landowner and government
agent, went to reside in Ireland. In 1850, she married the Rev. Wm.
Alexander who, after spending many years in obscure parish work, was
elected Archbishop of Armagh and later Primate of all Ireland. Mrs.
Alexander was preëminently a writer for little children, her verses
being characterized by simplicity and tenderness and poetic beauty; but
she also contributed some notable church songs, e.g., “Jesus calls us
o’er the tumult” (140).
To make the truths of the church catechism interesting and intelligible
to little children, Mrs. Alexander wrote a series of poems to illustrate
the Apostle’s Creed. This hymn is on the clause “suffered under Pontius
Pilate, was crucified, dead, and buried.” “All things bright and
beautiful” (410) was written for the first clause, “I believe in God the
Father Almighty, maker of heaven and earth.” For the second clause, “And
in Jesus Christ His Son, born of the virgin Mary” she wrote “Once in
royal David’s city” (412).
_MUSIC._ MEDITATION appeared in _Original Tunes_, 1890, by John H.
Gower, where it is set to “There is a land of pure delight.” The tune
has since become closely associated with Mrs. Alexander’s hymn for which
it forms an appropriate setting.
John Henry Gower, 1855-1922, English organist and concert artist, became
professor of music at Trent College, Nottingham. Later he came to
America on account of mining interests in Colorado but maintained his
activity in music. He served as organist and choirmaster of St. John’s
Cathedral, Denver, and during the World’s Fair in Chicago, 1893, became
organist of the Church of the Epiphany in that city.
105-106. When I survey the wondrous cross _Isaac Watts_, 1674-1748
One of the twenty-five hymns prepared by Watts to be sung at the Lord’s
Supper. Matthew Arnold, the famous literary critic, called it the “most
majestic hymn in the English language.” It is one of four hymns which
have been printed in more collections, translated into more tongues, and
used in more congregations, than any other. The three hymns classed with
this in popularity are “Rock of Ages,” “Jesus, Lover of my soul,” and
“All hail the power of Jesus’ name.”
Watts gave this hymn the title “Crucifixion to the World by the Cross of
Christ.” It is based on Galatians 6:14: “God forbid that I should glory
save in the Cross of our Lord Jesus Christ, by whom the world is
crucified to me, and I unto the world.” In the first stanza there is a
reference to Phil. 3:7: “Howbeit what things were gain to me, these have
I counted loss for Christ.” The whole hymn, and especially the closing
stanza, reflects the thought of Galatians 2:20: “I have been crucified
with Christ ... who loved me and gave himself for me.” The third stanza,
a sublime picture of the suffering Saviour, should always be sung
softly.
For comments on Isaac Watts, see Hymn 11.
_MUSIC._ ROCKINGHAM OLD is a famous tune always used with this hymn in
England. It was named after the Marquis of Rockingham, a Whig statesman
who was thrice prime minister of England, and a friend of the composer.
Edward Miller, 1731-1807, was born at Norwich, England, the son of a
stone mason. He was a man of great literary attainments and considerable
musical ability. For 56 years he was organist of the parish church at
Doncaster, receiving the appointment in 1751 and retaining the post
until his death in 1807. Miller played the flute in Handel’s orchestra
in London and had many a story to tell of the great composer’s
eccentricities. Dissatisfied with the church music of his time, he was
led to publish a book, _Psalms of David_, which turned out to be a great
success. The book contained such tunes as “Burford” (228), “St. Magnes”
(582), “St. Anne” (61), “Surrey” (44), and others of a similar style
from the early part of the 18th century. It also contained some of his
original tunes, including ROCKINGHAM OLD, destined to become one of the
most popular English tunes ever written. This tune was not identified at
first with any particular words. Miller had set it to 9 different
psalms, using 3 keys—F, E flat, and E. It became associated with Watts’
“When I survey the wondrous cross,” in 1854, the combination appearing
in _Mercer’s Church Psalter_, and again in 1861, in _Hymns Ancient and
Modern_. The words and tune have now become inseparable in England.
HAMBURG (106), an arrangement by Lowell Mason from a Gregorian Chant,
illustrates the greatness of simplicity. The tune employs only five
tones of the scale and yet breathes the dignity and solemnity of the
great hymn to which it is set.
For comments on Lowell Mason see Hymn 12.
107. Go to dark Gethsemane _James Montgomery_, 1771-1854
A song of the sufferings and death of Christ.
Gethsemane, the Judgment Hall, and Calvary are successively brought to
mind and at each stage there is found in the example of Christ a lesson
for his disciples to learn.
The fourth verse in the original poem reads:
Early hasten to the tomb
Where they laid his breathless clay;
All is solitude and gloom;
Who hath taken him away?
Christ is risen! he meets our eyes:
Saviour, teach us so to rise.
For comments on James Montgomery see Hymn 62.
_MUSIC._ GETHSEMANE is a dignified tune in the minor mode, well adapted
to carry the words of this hymn. It was composed by Christopher Tye (c.
1508-72), a musician and minister in the Anglican Church, of whom a
contemporary document says that he is “a doctor of music but not skilful
at preaching.” He has been called the “father of the anthem,” having
given it a model for others to follow.
For comments on W. H. Monk, who adapted the tune, see Hymn 40.
108. Alas! and did my Savior bleed _Isaac Watts_, 1674-1748
A fine hymn of consecration, published by Watts in his _Hymns and
Spiritual Songs_, 1707, under the title “Godly Sorrow Arising from the
Sufferings of Christ.” Dr. Charles S. Robinson states that “more
conversions in Christian biography are credited to this hymn than to any
other.” Fanny Crosby, the blind poet, ten of whose lyrics are found in
the _Hymnary_, credits this hymn with a share in her conversion. In
telling the story she says that during a revival in the old Thirtieth
Street Church, New York, in 1850, several times she sought the Saviour
at the altar; but not until one evening, November 20, did the light
come. “After a prayer was offered they began to sing the good old
consecration hymn, ‘Alas! and did my Saviour bleed,’ and when they had
reached the third line of the fourth stanza, ‘Here, Lord, I give myself
away,’ my very soul flooded with celestial light.”
For comments on Isaac Watts see Hymn 11.
_MUSIC._ MARTYRDOM. The original form of this melody is in common time
(4/4). It appeared in triple time in R. A. Smith’s _Sacred Music sung in
St. George’s Church_, Edinburgh, 1825, where it was designated “Old
Scottish Melody.” In 1827, it appeared in _The Seraph, Selection of
Psalms and Hymns_, edited by J. Robertson and published at Glasgow. In a
footnote to the tune it is stated that “the above tune ‘Fennich,’ or
‘Martyrdom,’ and by some called ‘Drumclog,’ was composed by Hugh Wilson,
a native of Fennick.” A legal dispute arose between Smith and Wilson
over the ownership of the tune. The evidence was abundant to show that
Wilson composed it. It is an effective tune. When it was first sung in
St. George’s, Edinburgh, the minister, Dr. Thomson, said, “O man! I
could not sing for weeping.”
Hugh Wilson, 1766-1824, the composer of the tune, learned his father’s
trade of shoemaking, studied and taught mathematics, and made sun-dials
as a hobby. He then held positions of responsibility in certain mills
and afterwards became a draftsman. He was interested in Sunday school
work and wrote a number of psalm tunes but MARTYRDOM is the only one
found in modern hymnals.
109. Throned upon the awful tree _John Ellerton_, 1826-93
A solemn dirge of the Passion, written in 1875 in the seclusion of a
quiet rural parish and regarded as the author’s best composition. It
appeared in _Hymns Ancient and Modern_, 1875.
For comments on John Ellerton see Hymn 43.
_MUSIC._ REDHEAD NO. 76, also called “Petra,” and “Gethsemane,” was
composed by Richard Redhead, 1820-1901, English chorister and organist,
and proponent of the Oxford Movement (not to be confused with the modern
Oxford movement headed by Buchman). The tune, without name, appeared in
his _Church Hymns and Tunes, Ancient and Modern_, 1853, as No. 76. In
England it has long been sung to the hymn “Rock of Ages, cleft for me.”
110. In the Cross of Christ I glory _John Bowring_, 1792-1872
The most popular of John Bowring’s _Hymns_, published in 1825, and a
classic among the hymns of the cross. It is based on Gal. 6:14: “But God
forbid that I should glory save in the cross of our Lord Jesus Christ,
by whom the world is crucified unto me, and I unto the world.” Bowring
died on November 23, 1872, and the words, “In the cross of Christ I
glory,” were placed on his tombstone.
It is remarkable that so great a hymn on the cross should be written by
a Unitarian, a communion which denies the deity of Jesus and the
evangelical doctrine of the atonement. Yet the hymn can be sung
whole-heartedly by every evangelical Christian for it magnifies the
cross and makes it the center of the Christian faith. Bowring, in spite
of his Unitarian connection, was a devout, evangelical believer.
For further comments on John Bowring see Hymn 55.
_MUSIC._ RATHBUN was composed by Ithamar Conkey, 1815-67, an organist
and prominent bass soloist who took part in many oratorio performances
in New York City. The tune was composed one Sunday afternoon after the
minister, Dr. Hiscox, of the Central Baptist Church, Norwich, Conn., had
preached one of a series of sermons on the “Words of the Cross.” Conkey
named the tune after the leading soprano in his choir, Mrs. Beriah S.
Rathbun.
111. Cross of Jesus, Cross of sorrow _William J. Sparrow Simpson_
From Stainer’s oratorio, _The Crucifixion_, where it appears as No. 4
under the title, “The Mystery of Divine Humiliation.” The original has
10 stanzas.
The libretto of _The Crucifixion_ was written by Wm. J. Sparrow Simpson,
Church of England clergyman. He was educated at Cambridge, ordained in
1882, and became chaplain of St. Mary’s Hospital, Great Alford. His
theological works include the _Catholic Conception of the Church_ and
the _History of the Anglo-Catholic Movement_.
_MUSIC._ CROSS OF JESUS in Stainer’s _Crucifixion_ is intended among
other numbers in the oratorio, “to be sung by the congregation.” Its
depth of feeling is best realized if sung in rather slow tempo.
John Stainer, 1840-1901, began his career as a choir boy at St. Paul’s
Cathedral, London, at the age of seven, continuing there for nine years.
He early became acquainted with Arthur Sullivan and the two remained
fast friends throughout life. Stainer became one of England’s greatest
organists and succeeded Sir John Goss, at St. Paul’s Cathedral. He was
one of the most prolific and best-loved of the Victorian composers. A
bronze tablet, installed in his honor in St. Paul’s, was dedicated by a
service in which parts of his cantatas were sung, and closed with his
“sevenfold Amen” (623).
112. Beneath the Cross of Jesus _Elizabeth Cecilia Clephane_, 1830-69
A hymn of Scottish origin, especially appropriate for use in Good Friday
services, but it can also be used on more general occasions.
Elizabeth Cecilia Douglas Clephane, daughter of the Sheriff of Fife and
Kinross, was born in Edinburgh. She was a member of the Free Church of
Scotland. Her hymn, “There were ninety and nine,” became widely known
through its use by Moody and Sankey in their famous evangelistic
meetings.
The hymn, “Beneath the Cross of Jesus,” appeared in Scotland, three
years after the death of Miss Clephane, in _The Family Treasure_, a home
magazine, with this explanatory note by the editor:
These lines express the experiences, the hopes, and the longings of a
young Christian lately released. Written on the very edge of this
life, with the better land fully in view of faith, they seem to us
footsteps printed on the sands of Time, where those sands touch the
ocean of Eternity. These footprints of one whom the Good Shepherd led
through the wilderness into rest, may, with God’s blessing, contribute
to comfort and direct succeeding pilgrims.
_MUSIC._ ST. CHRISTOPHER was composed for this hymn by Frederick C.
Maker, 1844-1927, an English organist and composer of numerous hymn
tunes. Maker spent all his life in Bristol, England, thirty years of
which were devoted to the position of organist at the Redland Park
Congregational Church.
HIS RESURRECTION
113. Come ye faithful, raise the strain _John of Damascus_, _c._ 700
_Tr. John M. Neale_
A Greek hymn based on the Song of Moses, Exodus 15.
Αἴσωµεν, πάντες λαοί,
τῶ ἐκ πικρᾶς δουλείας
Φαραὼ τὸν Ἰσραὴλ ἀπαλλάξαντι
καὶ ἐν βυθῷ φαλάσσης
ποδὶ ἀβρόχως ὁδηγήσαντι
ᾠδὴν ἐπινίκιον,
ὅτι δεδόξασται.
Σήµερον ἔαρ ψυχῶν,
ὅτι Χριστὸς ἐκ τάφου,
ὥσπερ ἥλιος, ἐκλάµψας τριήµερος
τον ζοφερὸν χειµῶνα
ἀπήλασε τῆς ἁµαρτίας ἡµῶν,
αὐτὸν ἀνυµνήσωµεν,
ὅτι δεδόξασται.
Ἡ βασιλὶς τῶν ὡρῶν
τῆ λαµπροφόρῳ ἡµέρᾳ
ἡµερῶν τε βασιλίδι φανότατα
δωροφοροῦσα, τέρπει
τὸν ἔγκριτον τῆς ἐκκλησίας λαόν,
ἀπαύστως ἀνυµνοῦσα
τὸν ἀναστάτα Χριστόν.
Πύλαι θανάτου, Χριστέ,
οὐδὲ τοῦ τάφου σφραγῖδες,
οὐδὲ κλεῖθρα τῶν θυρῶν Σοι ἀντέστησαν,
ἀλλ’ ἀναστὰς ἐπέστης
τοῖς φίλοις σου εἰρήνην, Δέσποτα,
δωρούµενος τὴν πάντα
νοῦν ὑπερέχουσαν.
It was written by John of Damascus about the middle of the 8th century.
John of Damascus, Greek theologian and distinguished hymnist, as well as
the greatest scholar and poet of his time, was born in Damascus of a
prominent family, about A.D. 700. He was educated by an Italian monk
named Cosmas, and retired to the monastery of St. Sabas in the Holy
Land. He died between 754 and 787. He wrote a number of canons. A canon
in Greek hymnology was a series of odes, usually eight or nine, threaded
on an acrostic. This hymn is from his canon for the Sunday after Easter.
For comments on the translator, John M. Neale, see Hymn 67.
_MUSIC._ ST. KEVIN. The composer, Arthur Sullivan, 1842-1900, was born
in London, the son of an Irish band-master. He received a thorough
musical education in London and on the continent and became a famous
choir leader, hymn book editor, conductor, and composer. In
collaboration with W. S. Gilbert, he composed light operas for which he
is best known.
114. Jesus Christ is ris’n today _Latin_
_Charles Wesley_, 1707-88
This hymn, which Percy Dearmer called “the Easter hymn par excellence,”
is based upon some Latin verses of an Easter carol of the 14th century,
except verse 4, which is attributed to Charles Wesley. It is of unknown
authorship, appearing with the tune “Easter Hymn” in a now rare book,
_Lyra Davidica_.
“Allelujah” is “Hallelujah” with the “H” omitted to soften it.
For comments on Wesley see Hymn 6.
_MUSIC._ EASTER HYMN, one of the most famous of all hymn tunes, is from
_Lyra Davidica, or a Collection of Divine Songs and Hymns, partly New
Composed, partly Translated from the High German and Latin Hymns; and
set to easy and pleasant Tunes_, published in London, 1708. The composer
is unknown. The hymn and tune were headed, “The Resurrection.”
115. The day of Resurrection _John of Damascus_, _c._ 700
_Tr. John M. Neale_
Ἀναστάσεως ἡµέρα,
λαµπρυνθῶµεν λαοί.
Πάσχα Κυρίου, πάσχα.
Ἐκ γὰρ θανάτου πρὸς ζωήν,
καὶ ἐκ γῆς πρὸς οὐρανόν,
Χριστὸς ὁ θεὸς
ἡµᾶς διεβίβασεν,
ἐπινίκιον ᾄδοντας.
Another resurrection hymn from the Eastern Church by John of Damascus.
(See 113.) It is sung after midnight on Easter morning to set forth the
fact of the resurrection. Julian describes the service in his
_Dictionary of Hymnology_ (p. 62). The people assemble in the church
with unlighted tapers in their hands. While the priest chants in a half
whisper, they await the signal that Easter Day has begun. A cannon is
fired when the moment comes, the Cross is raised, and the people cry,
“_Christos anesti_” (Christ is risen.) The tapers are lighted and the
church is set ablaze with light. Outside there is the sound of drums and
trumpets, the people embrace and congratulate each other, and salute one
another with “_Christos anesti_.”
The reference in stanza 2 is to Matt. 28:9: “Jesus met them, saying,
‘All Hail!’”
For comments on the translator, John M. Neale, see Hymn 67.
_MUSIC._ LANCASHIRE, a thrilling tune of steady swing, was composed for
“From Greenland’s icy mountains,” to be used at a missionary meeting at
Blackburn, England. It is also, in some hymn books, used with “Lead on,
O King Eternal” (399).
For comments on the composer, Henry Smart, 1813-79, see Hymn 46.
116. The strife is o’er, the battle done _Latin_
_Tr. Francis Pott_, 1832-1909
Alleluia, Alleluia, Alleluia.
Finita iam sunt praelia,
Est parta iam victoria;
Gaudeamus et canamus:
Alleluia!
Post fata mortis barbara
Devicit Iesus tartara;
Applaudamus et psallamus:
Alleluia!
Surrexit die tertia
Caelesti clarus gratia
Insonemus et cantemus:
Alleluia!
Sunt clausa stygis ostia.
Et caeli patent atria;
Gaudeamus et canamus:
Alleluia!
Per tua, Iesu, vulnera
Nos mala morte libera,
Ut vivamus et canamus:
Alleluia! Amen.
One of the most celebrated of Easter hymns. It comes from an anonymous
medieval Latin poem which appeared in the Jesuit _Symphonia Sirenum_,
Cologne, 1695.
The translation is by Francis Pott, an Englishman. He was educated at
Oxford University and after serving a long number of years as curate and
rector in various churches, he retired on account of increasing
deafness. Pott published several volumes of hymns and wrote a book on
the “_Te Deum_.” He was a member of the original committee which
produced _Hymns Ancient and Modern_.
_MUSIC._ VICTORY, also called “Palestrina,” is an adaptation from the
“Gloria Patri” of a work called, _Magnificat Tertii Toni_, 1591, by the
eminent Italian composer, Giovanni Pierluigi Sante Da Palestrina,
1525-94.
The present arrangement was made by Wm. H. Monk for this hymn.
Palestrina, foremost composer of the Roman Catholic Church and supreme
master of polyphonic music, was born at Palestrina, Italy, the son of a
wealthy peasant, Pierluigi Sante. He was named “Da Palestrina” after his
birthplace, a common custom in his time. He received his musical
training at Rome where he came under the powerful influence of Orlando
di Lasso, the great master from the Netherlands. Palestrina served as
chapelmaster in his home town, master of the boys in the Julian Chapel
in Rome, and in 1555 was appointed one of the pontifical singers in the
Sistine Chapel but was dismissed a few months later when he became
guilty of the “crime” of matrimony. He then became chapelmaster at St.
John Lateran and later of the Liberian Chapel of Santa Maria Maggiore,
during which time he became known as “the saviour of church music.” Many
abuses had crept into the music of the church, particularly in the use
of secular airs grafted on stately church themes, and improvizations by
the singers who sometimes departed from the solemn words of the service
and substituted profane and lewd words in Italian and French. To correct
this scandal, the Ecumenical Council of Trent, in 1552, asked Palestrina
to prepare a mass free from the admixture of alien words and secular
melodies, and suitable for church use. The result was the composition of
three 6-part services, one of which, _Missa Papae Marcelli_, has been
regarded as one of the most sublime creations of all music and the model
of what church music should be. As a reward for this service, Palestrina
was granted a stipend by papal decree which was not large but gave him a
sufficient income. In 1571 he was re-elected to his old post as
Chapelmaster of St. Peter’s, where he remained for life. His fame as
teacher and composer extended throughout Europe, but his happiness was
clouded by the loss of two sons and the death of his wife in 1580, while
the remaining son, Igino, became a source of grief to him. Palestrina’s
compositions were many and of great variety, including 93 masses, 179
motets, hymns, prayers, responses, madrigals, etc.
For comments on Monk see Hymn 40.
HIS ASCENSION
117. Hail the day that sees Him rise _Charles Wesley_, 1707-88
This hymn, originally in ten stanzas, appeared in Wesley’s _Hymns and
Sacred Poems_, 1739, under the caption “For Ascension Day.” The
Hallelujah was added later in White’s _Introits and Hymns_, 1852.
For comments on Charles Wesley see Hymn 6.
_MUSIC._ LLANFAIR, also named “Bethel,” is a Welsh hymn tune by Robert
Williams, c. 1781-1821, a basket maker. He was born blind, but became a
skilled craftsman and a musician of considerable ability.
118. Crown Him with many crowns _Matthew Bridges_, 1800-94
Based on Rev. 19:12: “On his head were many crowns.” The hymn mentions a
four-fold crowning of Christ, as: (1) Lamb upon His throne; (2) Son of
God; (3) Lord of life; (4) Lord of heaven. Two omitted stanzas mention
“Lord of peace,” and “Lord of years.”
Matthew Bridges was brought up in the church of England but became
interested in the Oxford Movement and entered the Roman Catholic Church
in 1848. He was a student of history and wrote _The Roman Empire under
Constantine the Great_. He is also the author of several books of poems.
The latter part of his life was spent in the Province of Quebec, Canada.
The hymn was recast by Godfrey Thring to eliminate several obvious Roman
tendencies in it.
_MUSIC._ DIADEMATA, a solid, dignified tune which organists like to play
and congregations enjoy singing, was written for this hymn and named
after the Latin title given the hymn.
The composer, George Job Elvey, 1816-93, was a gifted organist and
composer and a devout Christian. He received the Bachelor of Music and
Doctorate in Music from Oxford University and was organist of St.
George’s Chapel, Windsor, for 47 years.
119. Look, ye saints, the sight is glorious _Thomas Kelly_, 1769-1854
A majestic coronation hymn ranking with the best hymns of Watts and
Wesley. It is based on Rev. 11:15: “The kingdoms of this world are
become the kingdoms of our Lord and of his Christ. And he shall reign
forever and ever.”
Thomas Kelly was born in Dublin, the son of an Irish judge. He at first
intended to follow his father into the legal profession, but his
profound religious convictions led him to train for the ministry. As a
young clergyman, he was summoned, with others, to appear before the
Archbishop of Dublin to answer for his evangelistic zeal. He was rebuked
and prohibited from preaching in Dublin pulpits. He then withdrew from
the Church of England and started a number of independent churches. He
was much interested in the hymnody of the church and wrote 736 hymns in
all. They are characterized by loyalty to Jesus Christ and a deep
evangelical glow.
_MUSIC._ CORONAE is a virile tune, written in 1871, and well adapted by
its voice range for congregational singing.
For comments on the composer, Wm. H. Monk, see Hymn 40.
120. Majestic sweetness sits enthroned _Samuel Stennett_, _c._ 1727-95
This hymn was published in John Rippon’s _Selection_, 1787, with the
title, “Chief among Ten Thousand: or the Excellencies of Christ.” It is
based on Song of Solomon 5:10-16. The original has 9 stanzas.
The author, Samuel Stennett, prominent non-conformist and champion of
religious freedom, was a Baptist clergyman who in 1741 became his
father’s assistant in Little Wild Street Church, London, and then
succeeded his father in 1758, continuing in the pastorate of the church
until his death in 1795.
_MUSIC._ ORTONVILLE has been a favorite hymn tune for over a century. It
is associated with these words now, but at first it was set to “O for a
closer walk with God.” Among Hastings’ tunes, this is second in
popularity to “Toplady” (148), the tune he made for “Rock of Ages.”
Thos. Hastings, 1784-1872, was born in Connecticut, moved to New York
state to farm but left the farm at the age of 33 to devote himself to
music. In 1831 he moved to New York City to serve the musical interests
of a group of churches. He wrote 600 hymns and about 1,000 hymn tunes.
He published 50 books of music and collaborated with Lowell Mason in
_Spiritual Songs for Social Worship_. The University of the City of New
York gave him the degree of Doctor of Music in 1858.
121. Rejoice, the Lord is King _Charles Wesley_, 1707-88
A jubilant song of Christ’s exaltation and coming in power, based on
Phil. 4:4: “Rejoice in the Lord alway, and again I say, rejoice.”
The hymn, in seven stanzas, appeared first in John Wesley’s _Sacred and
Moral Poems_, 1744, and later in Wesley’s _Hymns for our Lord’s
Resurrection_, 1746. Though the resurrection note is in the hymn, it is
appropriate also for general occasions.
Charles Wesley wrote four great festival hymns: (1) “Hark! the herald
angels sing” for Christmas; (2) “Christ the Lord is risen today” for
Easter; (3) “Hail the day that sees Him rise” for Ascension; and (4)
“Rejoice, the Lord is king” for Whitsuntide.
For comments on Charles Wesley see Hymn 6.
_MUSIC._ ARTHUR’S SEAT appeared in _Hymns and Songs of Praise_ 1874, by
John K. Paine and Uzziah C. Burnap. The tune is believed to be an
arrangement by Burnap from a melody composed by Sir John Goss, 1800-80,
English organist and composer of church choir music. Handel composed a
tune, “Gopsal,” especially for this hymn, but it is not well known and
has not found its way into many of the hymn books.
For comments on Paine and Burnap see Hymn 134.
122. Hail, Thou once despisèd Jesus! _John Bakewell_, 1721-1819
A worshipful and strongly doctrinal hymn, bringing out plainly the
doctrine of the atonement as well as the Saviour’s enthronement and
glorification.
The authorship is traditionally assigned to John Bakewell, one of John
Wesley’s lay preachers. But it is not clear that he wrote all of it. It
appeared in 1760 in a collection by M. Madan, and later, in 1776, it was
included in _Psalms and Hymns_ by Augustus M. Toplady. Both editors
apparently made some changes and omissions in the hymn, resulting in our
present version.
_MUSIC._ IN BABILONE is a Dutch traditional melody, its present
arrangement having been made by Professor Julius Röntgen, 1855-1933, of
Amsterdam. It appeared in _The English Hymnal_ in 1906 and has since won
its way into many American hymn books. It is a joyous, robust melody
well suited to carry this hymn.
123. Hark, ten thousand harps and voices _Thomas Kelly_, 1769-1854
Based on Heb. 1:6: “Let all the angels of God worship Him.”
The original poem has 7 stanzas. Lowell Mason added the “Hallelujahs”
and the “Amen” when he set the hymn to music. Some hymn books have
softened the “Hallelujah” to “Allelujah.” The last stanza is a prayer
for the hastening of the day when heaven and earth shall pass away,
which some may not be able to sing heartily and sincerely.
For comments on Thomas Kelly see Hymn 119.
_MUSIC._ HARWELL was written for this hymn in 1840. The original version
had the men’s voices introduce lines 5 and 6 with a dotted eighth and a
sixteenth note, in unison, while the soprano and altos observed a
quarter rest. Later editing changed the tune so all the parts observed
the quarter rest.
For comments on the composer, Lowell Mason, see Hymn 12.
124. Alleluia! sing to Jesus! _William C. Dix_, 1837-98
Based on Rev. 5:9: “Thou hast redeemed us to God by thy blood out of
every nation.”
The original poem of five stanzas appeared in Dix’s _Altar Songs_, 1867,
and was entitled “Redemption by the Precious Blood.” The hymn was linked
to the sacrament of the Lord’s Supper. The third and fourth stanzas,
omitted here, are as follows:
Alleluia! Bread of Heaven,
Thou on earth our food, our stay!
Alleluia! here the sinful
Flee to thee from day to day:
Intercessor, friend of sinners,
Earth’s Redeemer, plead for me,
Where the songs of all the sinless,
Sweep across the crystal sea.
Alleluia! King eternal,
Thee the Lord of lords we own:
Alleluia! born of Mary,
Earth thy footstool, heav’n thy throne:
Thou within the veil hast entered,
Robed in flesh, our great High Priest:
Thou on earth both Priest and Victim
In the eucharistic feast.
For comments on William C. Dix see Hymn 78.
_MUSIC._ The tune was taken from _St. Basil’s Hymnal_, Chicago, 1918,
where it appears unnamed. It is a traditional Dutch melody. The present
arrangement of it is anonymous.
HIS COMING AGAIN
125. The King shall come when morning dawns _From the Greek_
_Tr. by John Brownlie_, 1859-1925
This hymn, setting forth the hope of Christ’s Second Coming in triumph,
comes from the Greek, but no information is at hand concerning the
original poem. It is not included in Julian’s _Dictionary_.
The translation is by John Brownlie, a Scottish minister, born in
Glasgow. He published several books of original hymns and translations
from the Greek.
_MUSIC._ JERUSALEM, JERUSALEM is wrongly attributed here to Thomas
Hastings though it is possible that the arrangement is his. The same
tune, named “St. Michel’s,” appears at No. 93, which see for comments.
For comments on Thomas Hastings see Hymn 120.
126. Thou art coming, O my Savior _Frances R. Havergal_, 1836-79
The first hymn Miss Havergal wrote after Advent Sunday, December 2,
1873, when she “first saw clearly the blessedness of true consecration.”
Frances Ridley Havergal was the daughter of Rev. Wm. H. Havergal, an
Anglican clergyman who was greatly interested in the hymns and music of
the church and composed a number of tunes still in use. His tune,
“Evan,” is used in the _Hymnary_ (153 and 253). Frances thus grew up in
a cultured religious environment in which hymns and church music held a
prominent place. She was handicapped by a frail body and died at the
early age of forty-three. But throughout her short life, from the time
of her confirmation at seventeen until the end, she had an unbounded joy
in Christian service. No suffering could diminish her faith in the grace
of God through Jesus Christ. Despite her poor health, she was a devoted
student of the Bible and was able to repeat from memory the four
Gospels, the Epistles, Revelations, all the Psalms, Isaiah, and the
Minor Prophets. Besides writing many letters counselling those who
sought her advice, she wrote devotional books and composed sacred hymns
and poems, always emphasizing consecration and service. She made a
considerable contribution to the hymnody of the church. Six of her
compositions are to be found in the _Hymnary_ (126, 190, 215, 219, 296,
380).
_MUSIC._ BEVERLEY was composed for this hymn for use in _Hymns Ancient
and Modern_, Rev. ed., 1875.
For comments on W. H. Monk see Hymn 40.
127. Christ is coming, let creation _John R. Macduff_, 1818-95
A Scottish hymn setting forth the glowing hope and expectation of the
coming of Christ in glory. It is based on Rev. 22:20: “He which
testifieth these things saith, Surely, I come quickly. Amen. Even so,
come, Lord Jesus.”
John R. Macduff was minister of the Sandyford Parish, Glasgow. He is the
author of several books of devotions and wrote numerous hymns. His
ministry at Sandyford was singularly fruitful. George Mattheson, blind
Scottish preacher, then a boy in Macduff’s congregation, afterwards said
of him: “Dr. Macduff gave me my first real conviction of the beauty of
Christianity.” Macduff held strongly to the premillennial view of the
coming of Christ.
_MUSIC._ NEANDER. This famous tune has been associated with various
words. The composer first published it in 1680 set to the hymn, “_Unser
Herrscher, unser König_.” It is also used with Schmolk’s “Open now the
gates of beauty” (505), and in England it is almost invariably
associated with “Come, ye saints, and raise an anthem,” by J. Hupton and
others.
Joachim Neander, 1650-80, whose real name was Neumann, was born at
Bremen, where he spent most of his life. As a youth he was somewhat wild
but in time became converted and associated himself with the Pietists of
Germany. He was a friend of Spener, the leader of the Pietists. His
unconventional zeal brought him into conflict with the authorities of
the Reformed Church of which he was a member, and he was dismissed for a
time from his office as teacher in the Düsseldorf schools. Being obliged
to leave town, he lived for some months in a cave in the region of the
Rhine, where he composed many of his hymns. He is the foremost hymn
writer of the German Reformed Church and is called “the Paul Gerhardt of
the Calvinists.” Neander, like Luther, was a man of scholarship and
accomplishment in poetry and music, as well as theology. He wrote more
than 60 hymns and composed tunes for them.
128. Ye servants of the Lord _Philip Doddridge_, 1702-51
“The Active Christian” is the author’s title of this hymn. It appeared
first in Job Orton’s posthumous edition of _Hymns founded on Various
Texts_, 1755. It is founded on Luke 12:35-37:
Let your loins be girded about, and your lights burning;
And ye yourselves like unto men that wait for their lord, when he will
return from the wedding; that when he cometh and knocketh, they may
open unto him immediately.
Blessed are those servants, whom the lord when he cometh shall find
watching: verily I say unto you, that he shall gird himself, and make
them to sit down to meat, and will come forth and serve them.
Doddridge, known for his sound learning and genuine Christian character,
was a first-rate hymn writer. He taught Hebrew, Greek, algebra,
trigonometry, logic, philosophy, and theology to classes of candidates
for the Congregational ministry.
For further comments on Doddridge see Hymn 56.
_MUSIC._ OLD 134TH (ST. MICHAEL) is one of the greatest of short-meter
tunes, derived from the tune composed by L. Bourgeois for Psalm 101 in
the _Genevan Psalter_ of 1551.
For comments on L. Bourgeois see Hymn 34.
129. Come, Lord, and tarry not _Horatius Bonar_, 1808-89
A plaintive, sad hymn bordering almost on pessimism, by an able, pious
author who held the doctrine of the premillenarian coming of Christ. All
his life, Bonar’s mind was occupied with the subject of the second
advent, an interest which inspired much of his writing.
Horatius Bonar, born in Edinburgh, was the prince of Scottish hymn
writers. Educated at the University of Edinburgh, he was ordained in
1837 and became a minister in the Established Church of Scotland at
Kelso. At the Disruption in 1843, Bonar “came out” and was one of the
founders of the Free Church of Scotland (Presbyterian). Leaving Kelso,
he became the minister of Chalmer’s Memorial Church in Edinburgh, where
he served, a greatly beloved man, until his death. He was known as a man
of wide scholarship and culture. His mind was saturated with Scripture
and his heart possessed by a broad and generous faith.
His son, Rev. H. N. Bonar, wrote his father’s _Life_ which gives some
interesting information concerning his hymn writing. Bonar carried
notebooks with him in which he jotted thoughts, verses, and hymns as
they came to his mind.
“These notebooks,” writes the son, “contain most of the better-known
hymns, hastily written down in pencil in his spare moments. They are
full of contractions, with an occasional word or phrase in shorthand;
sometimes a line is struck out and another substituted, yet in nearly
every case the complete hymn, almost as it was afterwards published, can
be gleaned from this rough draft.”
_MUSIC._ SHIRLAND was composed by Samuel Stanley, 1767-1822, English
composer and precentor of Carr’s Lane Congregational Chapel, in
Birmingham. Through his skilled leadership the music of this church
became famous. The hymn singing attracted attention and resulted in a
great growth in the congregation.
For further comments on Stanley see Hymn 20.
130. Lo, He comes, with clouds descending _John Cennick_, 1718-55
A hymn on the Second Advent, based on Rev. 1:7: “Behold He cometh with
clouds; and every eye shall see him, and they also which pierced him:
and all kindreds of the earth shall wail because of him. Even so, Amen.”
The author, John Cennick, came from a Quaker family though he grew up in
the Church of England. For some years his religious convictions were
unsettled. Then while engaged in land surveying, he came under the
influence of Wesley and became one of his lay preachers. Later he became
a follower of George Whitefield, and finally he joined the Moravians.
While limited in culture and outlook, he possessed genuine lyric fire;
and his name is of note among the hymnists, even though only a few of
his many hymns survive.
This hymn has been much revised. It owes not a little to Charles Wesley
who changed Cennick’s first line, “Lo! he cometh; countless trumpets,”
to the familiar “Lo, He comes with clouds descending.” Martin Madan, who
issued the hymn in his _Collection of Psalms and Hymns_, also gave it
certain finishing touches. The hymn possesses a scriptural vividness and
impressive treatment of theme which have carried it throughout the
English speaking world, despite the apocalyptic form of the description
it sets forth.
_MUSIC._ HOLYWOOD is attributed to Samuel Webbe, probably the elder,
1740-1816, a London organist and composer and a member of the Roman
Catholic Church. His son, Samuel Webbe, Jr., 1770-1843, following his
father in the musical profession, likewise became an organist and
composer.
Its solidity and triumphant note give this tune a worthy place in the
music of the church.
THE HOLY SPIRIT
131. Come, Holy Ghost, in love _Ray Palmer_, 1808-87
_Tr. from the Latin_
Veni, Sancte Spiritus,
Et emitte caelitus
Lucis tuae radium:
Veni, Pater pauperum;
Veni, Dator munerum;
Veni, Lumen cordium.
Consolator optime,
Dulcis Hospes animae,
Duce Refrigerium,
In labore Requies,
In aestu Temperies,
In fletu Solacium.
O Lux beatissima,
Reple cordis intima
Tuorum fidelium.
Sine tuo numine
Nihil est in homine.
Nihil est innoxium.
Lava, quod est sordidum,
Riga, quod est aridum,
Rege, quod est devium,
Fove, quod est languidum,
Flecte, quod est rigidum,
Sana, quod est saucium.
Da tuis fidelibus
In te confidentibus
Sacrum septenarium;
Da virtutis meritum,
Da salutis exitum,
Da perenne gaudium. Amen.
This truly great Latin hymn, addressed to the Holy Spirit, comes from
the 12th or 13th century. Its authorship is uncertain. Archbishop Trench
characterized it as “the loveliest of all the hymns in the whole cycle
of Sacred Latin Poetry.” Many translations have been made of it, this
one by Ray Palmer.
Ray Palmer, who held pastorates at Bath, Me., and Albany, N. Y., was for
a time corresponding secretary for the American Congregational Union.
His name remains the greatest among hymnists and translators in the
American Congregational church. His hymn, “My faith looks up to Thee”
(150), is known all over the world.
_MUSIC._ MALVERN is from _The Hallelujah_, a series of compilations of
tunes, edited by J. J. Waite and H. J. Gauntlett, first published in
1842. The work was intended to encourage the congregation to sing in
parts, an altogether novel principle in the English churches of that
time. To make the music easy to read, the notes were numbered, the tonic
sol-fa system having, as yet, not been developed. The present
arrangement is by John Roberts, 1822-77, Welsh Methodist pastor and
musician of extraordinary ability. He did much to improve congregational
singing in the church and was an eminent conductor of school music
festivals. Roberts wrote a number of tunes that are high in favor
throughout Wales and was incomparable as an arranger of congregational
hymn tunes.
132. Lord God, the Holy Ghost _James Montgomery_, 1771-1854
One of the few hymns which deals distinctively with the Day of
Pentecost. For this reason, as well as for its inherent quality, it is
especially valuable.
For comments on James Montgomery see Hymn 62.
_MUSIC._ OLD 134TH. For comments on this tune see Hymn 128.
133. Spirit of God, descend upon my heart _George Croly_, 1780-1860
Based on Gal. 5:25: “If we live in the Spirit, let us also walk in the
Spirit.”
George Croly was educated at Trinity College, Dublin. After ministering
in Ireland for a number of years, he went to London to engage in
literary pursuits. He had varied talents and became well known for his
poetry, fiction, plays, and contributed articles to magazines. In 1835,
he entered parish work in London, where he was greatly admired and
loved. His outspoken utterances attracted large congregations of all
ranks to his church. He prepared, at the request of his people, a
collection of _Psalms and Hymns for Public Worship_, of which only one
edition was printed. Dr. Croly dropped dead while walking one day on
Holborn Street. A man of scholarship and culture, and author of many
volumes, he is remembered chiefly through this hymn.
_MUSIC._ MORECAMBE, originally called “Hellespont,” was written to be
sung with “Abide with me,” for use in the church at Mannington, England,
where its composer was serving as organist.
Frederick Cook Atkinson, 1841-97, was an English organist and
choirmaster, having received his musical education at Cambridge.
134. Holy Ghost, dispel our sadness _Paul Gerhardt_, 1607-76
A hymn of entreaty for the indwelling of the Holy Spirit.
The original is as follows:
O Du allersüsste Freude,
O Du allerschönstes Licht,
Der Du uns in Lieb und Leide
Unbesuchet lässest nicht;
Geist des Höchsten, höchster Fürst
Der Du hältst und halten wirst
Ohn’ Aufhören alle Dinge
Höre, höre, was ich singe.
Du bist ja die beste Gabe
Die ein Mensch nur nennen kann;
Wenn ich Dich erwünsch’ und habe,
Geb’ ich alles Wünschen d’ran.
Ach, ergib Dich, komm zu mir,
In mein Herze, das Du Dir,
Eh ich in die Welt geboren
Selbst zum Tempel auserkoren.
Sei mein Retter, führ’ mich eben;
Wenn ich sink’, mein Stab sei Du;
Wenn ich sterbe, sei mein Leben;
Wenn ich lieg’, sei meine Ruh;
Wenn ich wieder aufersteh’,
O so hilf mir, dass ich geh
Hin, da Du in ew’gen Freuden
Wirst die Auserwählten weiden.
The first translation was made by John Christian Jacobi, 1670-1750, for
his _Psalmodia Germanica_. His rendering began
“O Thou sweetest source of gladness”
which Augustus Montague Toplady recast into the familiar
“Holy Ghost, dispel our sadness.”
For comments on Toplady see Hymn 148.
Paul Gerhardt, next to Martin Luther, is the most noteworthy hymn writer
of the Evangelical Church in Germany. Even the hymns of Luther are not
as widely used today in the English speaking world as those of Gerhardt.
He was born March 12, 1607, in Gräfenhynichen, a village near the
celebrated Wittenberg. At 21 he began the study of theology in
Wittenberg, but he received no church position until 45, when he was
ordained and appointed provost at Mittenwalde, a small village. During
his six years there, his hymns were published and he became widely
known. In 1657, he was appointed third assistant pastor of the famous
Church of St. Nicholas in Berlin. From this position he was deposed
because he refused to sign a document promising that all clergymen would
abstain from any references in their sermons to doctrinal differences
between the Lutherans and Calvinists. Though he felt the blow keenly, he
met it with Christian patience and fortitude. “This,” he said, “is only
a small Berlin affliction; but I am also willing and ready to seal with
my blood the evangelical truth, and, like my namesake, St. Paul, to
offer my neck to the sword.” Additional sorrows came into his life with
the death of his wife and four of his children. He was left with a
single child, a boy of six, when he was called to the church at Lübden,
where he labored faithfully and successfully until his death on June 7,
1676. Most of his life being spent in the distractions and disasters of
the Thirty Years War, which left Germany in misery and ruins, Gerhardt
knew the depths of human sorrow. Out of the depths came his hymns of
comfort and hope which have been a source of strength to a multitude of
believers.
_MUSIC._ INVOCATION was composed by Uzziah C. Burnap, 1834-1900,
organist at the Church of the Heights, Brooklyn, and co-editor with John
K. Paine, Professor of Music at Harvard, of _Hymns and Songs of Praise_.
135. Breathe on me, breath of God _Edwin Hatch_, 1835-89
An earnest prayer for an inbreathing of the Holy Spirit and a greater
consecration of life. The hymn was first published in a privately
printed leaflet called, _Between Doubt and Prayer_, 1878. It is based on
John 20:22: “He breathed on them and saith unto them, Receive ye the
Holy Ghost.”
Edwin Hatch, Church of England clergyman and University Reader of
Ecclesiastical History at Oxford, was a scholar of world reputation. His
Bampton Lectures, _The Organization of the Early Christian Church_,
1881, were translated into German by Prof. Adolph Harnack, who wrote of
Hatch: “In his learning that of England’s great old theologians, Ussher
and Pearson, lived to me again. He was a glorious man, whose loss I
shall never cease to mourn.” Though a man of profound learning, his
faith was as simple and unaffected as that of a child.
_MUSIC._ TRENTHAM is a tune of great beauty, well fitted for these words
of devotion. The tenor part is especially melodious.
Robert Jackson, 1840-1914, English composer of many anthems, hymn tunes,
songs and part songs, succeeded his father as organist and choirmaster
at St. Peter’s church, Oldham, the father and son together having a
record of continuous service at the same church for 92 years. His whole
life was devoted to music. He was a member of Sir Charles Halle’s
orchestra and conductor of the Oldham Musical Society.
136. Holy Spirit, Truth divine _Samuel Longfellow_, 1819-92
Entitled a “Prayer for Inspiration,” this superb hymn of the Holy Spirit
appeared in _Hymns of the Spirit_, 1864, edited by Samuel Johnson and
the author. Stanzas 5 and 6 are omitted.
For comments on Samuel Longfellow see Hymn 28.
_MUSIC._ MERCY is an arrangement of a piano composition called, “The
Last Hope,” by Louis Gottschalk, 1829-69, American composer, conductor,
and popular concert pianist. Among Gottschalk’s works are two operas,
two symphonies, and some piano pieces and songs—most of which are
forgotten today. The arrangement of the tune is the work of Dr. Edwin P.
Parker, 1836-1925, hymnologist and distinguished Congregationalist
minister at Hartford, Conn.
137. Holy Spirit, faithful Guide _Marcus M. Wells_, 1815-95
The hymn and tune were written by Marcus M. Wells, a farmer and maker of
farm implements who lived all his life in New York State. Born at
Otsego, N. Y., he was converted in a mission at Buffalo. Regarding the
origin of the hymn and tune he wrote:
On a Saturday afternoon, Oct. 1858, while at work in my cornfield, the
sentiment of the hymn came to me. The next day, Sunday, being a very
stormy day, I finished the hymn and wrote a tune for it and sent it to
Prof. I. B. Woodbury.
The hymn sets forth God as a Presence, near the Christian’s side,
friendly and helpful and true, guiding him through the storms and floods
and desert wastes of his pilgrimage from earth to his heavenly home. It
was first published in the _New York Musical Pioneer_, edited by Isaac
B. Woodbury.
138. Our blest Redeemer, ere He breathed _Harriet Auber_, 1773-1862
One of the finest of our hymns on the Holy Spirit. It was written for
Whitsunday and published in the author’s _The Spirit of the Psalms_,
1829, in seven stanzas, the second and third being omitted here. The
hymn appears in most modern hymnals and has been translated into several
languages.
Harriet Auber, whose grandfather went from Normandy to England in 1685
as a Huguenot refugee, was born in London. She was a woman of refinement
and culture who spent most of her life in the quiet villages of
Broxbourne and Hoddesdon, Hertfordshire. She wrote numerous poems and
hymns, but her name survives as the author of this exquisite lyric.
_MUSIC._ ST. CUTHBERT was composed for these words by J. B. Dykes for
the original edition of _Hymns Ancient and Modern_, 1861.
For comments on Dykes see Hymn 1.
139. Spirit divine, attend our prayer _Andrew Reed_, 1787-1862
_Samuel Longfellow_, 1819-92
This is a revision by Samuel Longfellow of a hymn written by Andrew
Reed, an English Congregational minister. Reed, a philanthropist and
great organizer, and founder of six asylums and orphanages, wrote 21
hymns and published several hymn books. He was an ardent supporter of
missionary work at home and abroad. Writing to his son who suggested
that the father should write his autobiography, Dr. Reed summed up his
own life in these words:
I was born yesterday, I shall die tomorrow, and I must not spend today
in telling what I have done, but in doing what I may for HIM who has
done all for me. I sprang from the people, I have lived for the
people—the most for the most unhappy; and the people when they know it
will not suffer me to die out of loving remembrance.
_MUSIC._ BRECON. The origin of this tune has not been traced. It is a
useful tune as a choir response after the prayer.
THE CHRISTIAN LIFE—THE CALL OF CHRIST
140. Jesus calls us o’er the tumult _Cecil Frances Alexander_, 1823-95
A hymn of consecration which has had far-reaching influence especially
over young people. It is based on Matt. 4:18, 19: “And Jesus, walking by
the sea of Galilee, saw two brethren, Simon, called Peter, and Andrew,
his brother, casting a net into the sea: for they were fishers. And he
saith unto them, Follow me, and I will make you fishers of men.” There
is also a reference to the incident by the lake recorded in John 21:15:
“So when they had dined, Jesus saith to Simon Peter, son of Jonas,
lovest thou me more than these?”
The hymn appeared first in _Hymns_, 1852, published by the Society for
the Promotion of Christian Knowledge. In the Episcopal Church in the
United States and Canada, it has been adopted as the hymn of the
Brotherhood of St. Andrew.
Mrs. Alexander is known principally as a writer of children’s hymns (410
and 412), but she also contributed excellent church songs for adults.
For comments on Mrs. Alexander see Hymn 104.
_MUSIC._ GALILEE was written for this hymn by William H. Jude,
1852-1922, English organist, composer, and lecturer on musical subjects.
The tune becomes waltz-like when sung in quick tempo. Recognizing this
danger, some hymn books are using other tunes with this hymn.
141. Behold a stranger at the door _Joseph Grigg_, 1720-68
A lyric revealing in a remarkable manner the tenderness and love of
Christ. It is based on Rev. 3:20: “Behold, I stand at the door and
knock.” Bishop How’s hymn, “O Jesus Thou art standing” (144), with which
this may be compared, is based on the same passage.
Joseph Grigg, an English Presbyterian minister, began writing hymns when
only ten years old. After a brief pastorate, he retired from the active
ministry to devote himself to literary work. He published about 40
volumes, including several collections of hymns. Only two of his 43
hymns are found in modern hymnals, this one and “Jesus, and shall it
ever be” (192), the latter written when he was only ten years of age.
_MUSIC._ BERA, a very useful tune, was composed by John Edgar Gould,
1822-75, an American musical editor, dealer in musical instruments,
choral conductor, and publisher of music books. He was born in Maine,
but spent most of his adult life in New York City and Philadelphia.
142. I heard the voice of Jesus say _Horatius Bonar_, 1808-89
Based on John 1:16: “Of his fulness have all we received, and grace for
grace,” and originally published with the title, “The Voice from
Galilee.”
The hymn is constructed on three sayings of Jesus: (1) “Come unto me,
all ye that labor and are heavy laden, and I will give you rest,” Mt.
11:28; (2) “Whosoever drinketh of the water that I shall give shall
never thirst,” John 4:14; (3) “I am the light of the world; he that
followeth me shall not walk in darkness, but shall have the light of
life.” John 8:12. In the hymn, these three sayings, blended into a
perfect unity, have sounded down the ages by the “Voice from Galilee.”
The hymn, as C. S. Robinson reminds us, employs the personal pronoun to
emphasize the intimate relationship between Christ and the individual.
“Christ says, ‘Come to _me_,’ and the Christian says, ‘_I_ come.’ Christ
says, ‘_I_ give the living water’; and the listener answers, ‘_My_
thirst was quenched’; Christ says, ‘I am the light’; and the child of
God replies, ‘I found in him _my_ Star, _my_ Sun.’”
For comments on Horatius Bonar see Hymn 129.
_MUSIC._ VOX DELECTI was composed by J. B. Dykes for this hymn in _Hymns
Ancient and Modern_, Appendix, 1868. The musical difficulties of the
tune are more apparent than real. They can be overcome and its
possibilities appreciated by careful study and practice. The first half
is written in the minor key to carry the quiet, invitational words of
Jesus. The second part, the glad acceptance of the invitation, is
written in the strongly contrasting major key.
For comments on J. B. Dykes see Hymn 1.
143. Art thou weary, heavy laden _Stephen the Sabaite_, 725-94
_Tr. John M. Neale_, 1818-66
A restful, appealing lyric on the theme, “Come unto me, all ye that
labor and are heavy laden, and I will give you rest” Matt. 11:28.
It is one of the few dialog hymns. [Others are “Watchman, tell us of the
night” (66), and “Who is He in yonder stall?” (96)]. It may be sung
antiphonally, the choir singing the questions and the congregation the
answers.
Neale published this hymn in his _Hymns of the Eastern Church_, 1862, as
a translation of a Greek hymn by Stephen the Sabaite. It is a
paraphrase, however, rather than a translation.
For comments on John Neale see Hymn 67.
Hymnody in the Eastern Church reached its height in the 8th century.
Stephen was a nephew of John of Damascus. At the age of 10 he was placed
by his uncle in the monastery of Saint Sabas, located on a lofty cliff
overhanging the ravine of the Kidron, between Jerusalem and the Dead
Sea. Here he lived for more than half a century, known as Stephen the
Sabaite. The monastery, many of the cells cut out of solid rock, still
stands. The monks have been subjected to persecution, at various times,
at the hands of Persians, Moslems, and Bedouin Arabs, and the monastery
looks much like a fortress.
_MUSIC._ STEPHANOS was composed for this hymn by Henry W. Baker, and was
first published in the appendix of the original edition of _Hymns
Ancient and Modern_, 1868. The tune was harmonized by W. H. Monk (See
40).
Henry Williams Baker, 1821-77, was educated at Cambridge, ordained in
1844, and served as vicar of Monkland, Herefordshire, from 1851 till his
death in 1877. He was editor-in-chief of the epoch-making book, _Hymns
Ancient and Modern_, to which he contributed several of his own hymns
and tunes. As a High Churchman, he held to the doctrine of the celibacy
of the clergy and was never married.
144. O Jesus, Thou art standing _William W. How_, 1823-97
Based on Rev. 3:20: “Behold, I stand at the door and knock: if any man
hear my voice and open the door, I will come in to him, and sup with
him, and he with me.” It was composed after the author had been reading
the beautiful poem by Jean Ingelow, entitled “Brothers and a Sermon,”
describing two brothers listening to an old parson in a fishing-village
church. A part of the poem is as follows:
The parson knew that he had lost the eyes
And ears of those before him for he made
A pause ...
... then with a sigh
Fronted the folk, lifted his grand gray head,
And said, as one that pondered now the words
He had been preaching on with new surprise,
And found fresh marvel in their sound, “Behold!
Behold!” saith He, “I stand at the door and knock.”
Open the door with shame, if ye have sinned;
If ye be sorry, open it with sighs.
Albeit the place be bare for poverty,
And comfortless for lack of plenishing,
Be not abashed for that, but open it,
And take Him in that comes to sup with thee;
“Behold!” He saith, “I stand at the door and knock!”
Speak, then, O rich and strong:
Open, O happy young, ere yet the hand
Of Him that knocks, wearied at last, forbear;
The patient foot its thankless quest refrain.
The wounded heart forevermore withdraw.
Holman Hunt’s picture, “The Light of the World,” is an exquisite
illustration of the spirit of this hymn.
William Walsham How was born at Shrewsbury, England, educated at Oxford,
and ordained to the ministry in 1846. He served various churches as
pastor and declined offers of positions of more distinction. He refused
the bishopric of Durham, one of the most distinguished posts in the
Anglican Church, with an income more than double what he then had. He
was a man of broad sympathies and apostolical zeal, and was a master of
the pastoral art. He collaborated with Thos. Baker Morrell in editing
_Psalms and Hymns_, 1854, and in 1871 was joint editor of _Church
Hymns_, published by the Society for the Promotion of Christian
Knowledge, the latter becoming the greatest rival of _Hymns Ancient and
Modern_ which that book had had to date. His poems are marked by
simplicity and beauty of diction and constitute some of the richest
treasures of modern hymnody.
_MUSIC._ ST. HILDA, also known as “St. Edith,” is an arrangement by Rev.
Edward Husband of a tune published by Justin H. Knecht in _Vollständige
Sammlung_, Stuttgart, 1799.
For comments on Knecht see Hymn 511.
Edward Husband, 1843-1908, was an English clergyman with a great deal of
musical talent and interest and was a well-known lecturer on the subject
of church music.
PENITENCE AND CONFESSION
145. Savior, when in dust to Thee _Robert Grant_, 1779-1838
A hymn of penitence which has had a wide use. It was published in the
_Christian Observer_, 1815, as a Lenten “Litany.” The last line of each
stanza (five in the original) read, “Hear our solemn litany,” here
changed to “Hear thy people when they cry.” Stanzas 2 and 4 have been
much altered by an unknown hand. Grant’s original hymn of five stanzas
reads as follows:
1.
Savior, when in dust to Thee
Low we bow the adoring knee,
When, repentant, to the skies
Scarce we lift our weeping eyes,
Oh, by all Thy pains and woe
Suffered once for man below,
Bending from Thy throne on high,
Hear our solemn litany!
2.
By Thy helpless infant years,
By Thy life of want and tears,
By Thy days of sore distress
In the savage wilderness,
By the dread, mysterious hour
Of the insulting Tempter’s power,
Turn, O turn, a favoring eye,
Hear our solemn litany!
3.
By the sacred griefs that wept
O’er the grave where Lazarus slept;
By the boding tears that flowed
Over Salem’s loved abode;
By the anguished sigh that told
Treachery lurked within Thy fold;
From Thy seat above the sky
Hear our solemn litany!
4.
By Thine hour of dire despair,
By Thine agony of prayer,
By the cross, the nail, the thorn,
Piercing spear, and torturing scorn,
By the gloom that veiled the skies
O’er the dreadful sacrifice,
Listen to our humble cry,
Hear our solemn litany!
5.
By Thy deep expiring groan,
By the sad sepulchral stone,
By the vault whose dark abode
Held in vain the rising God,
Oh, from earth to heaven restored,
Mighty, reascended Lord,
Listen, listen, to the cry
Of our solemn litany!
For comments on Robert Grant see Hymn 7.
_MUSIC._ SPANISH HYMN, also called “Spanish Chant,” is from an old 17th
century melody of unknown origin.
146. Come, let us to the Lord our God _John Morison_, 1750-98
_Scottish Paraphrase_, 1781
A version, from the Scottish Presbyterian Church, of Hosea 6:1-4:
Come, and let us return unto the Lord: for he hath torn, and he will
heal us; he hath smitten, and he will bind us up. After two days will
he revive us: in the third day he will raise us up, and we shall live
in his sight. Then shall we know, if we follow on to know the Lord:
his going forth is prepared as the morning: and he shall come unto us
as the rain, as the latter and former rain unto the earth.
O Ephraim, what shall I do unto thee? O Judah, what shall I do unto
thee? for your goodness is as a morning cloud, and as the early dew it
goeth away.
Our hymn is one of the 67 “Translations and Paraphrases, in Verse, of
Several Passages of Sacred Scriptures,” together with five hymns, that
are appended to the _Scottish Psalter_ for use in public worship in the
Scotch Presbyterian Church.
John Morison was a Scotch scholar, teacher, and minister. He wrote a
number of paraphrases of scriptural passages, seven of which were
accepted into the authorized collection of _Scottish Paraphrases_, 1781.
_MUSIC._ BALLERMA. For comments on this tune see Hymn 57.
147. Lord, thy mercy now entreating _Mary Ann Sidebotham_, 1833-1913
A hymn of penitence which was contributed to _The Children’s Hymn Book_,
1881, published by the Society for the Promotion of Christian Knowledge,
London.
The author, Mary Ann Sidebotham, was an accomplished musician and a
lifelong friend of Henry Smart, the eminent organist and composer. She
spent much of her life in her brother’s vicarage, St.
Thomas-on-the-Bourne, Surrey, England, where she served as organist. She
composed numerous songs for children and was the music editor of the
above-mentioned _Children’s Hymn Book_.
_MUSIC._ RINGE RECHT. For comments on this tune see Hymn 563.
FAITH AND VISION
148. Rock of Ages, cleft for me _Augustus M. Toplady_, 1740-78
Few hymns are more generally familiar or more treasured in the
affections of all ranks of people than this. It appeared first in the
_Gospel Magazine_, edited by Toplady, March, 1776, at the end of an
article entitled, “A remarkable calculation Introduced here for the sake
of the Spiritual Improvements subjoined. Questions and answers relating
to the National Debt.” The article points out that the national debt is
so large that the government will never be able to pay it off. The
author then proceeds to calculate the number of sins each human being
commits. Figuring the rate to be one per second, he arrives at this:
Our dreadful account stands as follows: At ten years old each of us is
chargeable with 315 millions and 360,000 sins. At twenty, with 630
millions and 720,000. At thirty with 946 millions and 80,000.... At
eighty, with 2,522 millions and 880,000.
The conclusion is that the debt can only be paid by the blood of Christ.
The hymn follows his “calculation,” under the heading, “A living and
dying Prayer for the Holiest Believer in the World.”
For 45 years after its publication, the hymn had little acceptance in
England. Its merits then became recognized, and it became very popular.
In the last century and a quarter it has had world-wide use, in a form
altered somewhat from the original. The hymn has been criticized for its
mixed metaphors (“cleft rock,” “riven side,” “to thy cross I cling,” “to
the fountain fly”), for its false rhymes, and its over-emphasis upon sin
obsession; but it has certain heart-piercing qualities which override
all its faults. Like other hymns of the first rank (e.g., “Jesus Lover
of my soul,” “Lead kindly light,” and “Nearer my God to Thee”) it voices
the universal need of divine help. Professor Saintsbury, a literary
critic, says of this hymn: “Every word, every syllable, in this really
great poem has its place and meaning.”
The central imagery of the hymn is found in the following Scripture
passages: Ex. 33:22: “While my glory passeth by, I will put thee in a
cleft of the rock, and will cover thee with my hand while I pass by”;
Isa. 26:4: “Trust ye in the Lord for ever: for in the Lord Jehovah is
the rock of ages” (margin); I Cor. 10:4: “and that Rock was Christ.”
A picturesque story, which originated about 1850, had it that Toplady
composed the hymn while he was sheltering from a thunder storm in a
great cleft of a limestone rock, some twelve years before the
publication of the hymn. The story is without foundation. Toplady was
fascinated by the thought of Christ as a rock and in a sermon on Isa.
42:11: “Let the inhabitants of the rock sing,” he said: “Chiefly may
they sing who inhabit Christ the spiritual Rock of Ages. He is a Rock in
three ways: as a Foundation to support, a Shelter to screen, and a
Fortress to protect.”
The hymn has had a wide use among German speaking people in a
translation made by Ernst Gebhardt, 1832-99.
Fels des Heils, geöffnet mir,
Birg’ mich, ew’ger Hort in dir!
Lass das Wasser und das Blut,
Deiner Seite heil’ge Flut,
Mir das Heil sein, das frei macht
Von der Sünden Schuld und Macht!
Dem, was dein Gesetze spricht,
Kann mein Werk genügen nicht.
Mag ich ringen wie ich will,
Fliessen auch der Tränen viel,
Tilgt das doch nicht meine Schuld,
Herr, mir hilft nur deine Huld.
Da ich denn nichts bringen kann,
Schmieg’ ich an dein Kreuz mich an
Nackt und bloss—o kleid’ mich doch.
Hülflos—ach erbarm’ dich noch.
Unrein, Herr, flieh’ ich zu dir.
Wasche mich, sonst sterb’ ich hier.
Jetzt, da ich noch leb’ im Licht,
Wenn mein Aug’ im Tode bricht,
Wenn durch’s finst’re Tal ich geh’,
Wenn ich vor dem Richter steh’,
Fels des Heils, geöffnet mir,
Birg’ mich, ew’ger Hort in dir!
Augustus M. Toplady, born at Farnham, England, was educated at Trinity
College, Dublin. His conversion occurred at the age of 16 while on a
visit in Ireland. The service was held in a barn and the text was Eph.
2:13: “But now, in Christ Jesus, ye who sometimes were far off are made
nigh by the blood of Christ.” The preacher was an illiterate but
warm-hearted layman named Morris. Concerning his conversion Toplady
wrote:
Strange that I, who had so long sat under the means of grace in
England, should be brought nigh unto God in an obscure part of
Ireland, amidst a handful of God’s people met together in a barn, and
under the ministry of one who could hardly spell his name. Surely this
is the Lord’s doing, and it is marvelous.
Toplady was ordained to the ministry of the Church of England in 1762
and in 1768 became vicar of Broadhembury. The last years of his life
were passed in London preaching in a chapel of French Calvinists. He was
a powerful preacher, and large congregations came to hear him. A strong
Calvinist, and bitterly opposed to what he considered the reproach of
Arminianism, he became involved in unfortunate controversies with John
Wesley, during which neither disputant showed himself at his best. He
died of consumption at the early age of 38.
_MUSIC._ TOPLADY was composed for this hymn by Thomas Hastings,
1784-1872. It is a popular easily sung tune, and universally used in
America with this hymn. Hastings was not a great musician and this tune,
with its “sentimentality and rocking-chair rhythm,” can hardly be
considered great music. But it has been a blessing to millions of people
and will doubtless continue to be sung for years to come. In England the
hymn is invariably set to other tunes and some American hymn books have
introduced alternative tunes. The tune “Petra” (109) is used with this
hymn, as is also _Grosser Gott wir loben Dich_ (519).
For comments on Thomas Hastings see Hymn 120.
149. Strong Son of God, immortal love _Alfred Tennyson_, 1809-92
From the prologue of Tennyson’s great poem, “In Memoriam,” 1850,
containing eleven stanzas; these are 1, 4, 5, and 7, unaltered.
The story of “In Memoriam” is familiar. At Cambridge University,
Tennyson and Arthur Hallam became intimate friends. Hallam became
engaged to Tennyson’s sister, and, after graduating from the University,
took a trip to the Continent. At Vienna, he became sick and died, which
prompted Tennyson to write the following brief but beautiful words:
“In Vienna’s fatal walls,
God’s finger touched him, and he slept.”
In 1850, seventeen years after Hallam’s death, Tennyson published “In
Memoriam,” a memorial to Hallam, but also to himself as well. Among the
individual verses of the poem which have become immortal are the
familiar lines beginning, “Ring out, wild bells, to the wild sky.” (See
379).
Alfred Tennyson was the son of Rev. George C. Tennyson. He was educated
at Cambridge and wrote poetry while an undergraduate. Upon the death of
Wordsworth in 1850, Tennyson was appointed Poet Laureate. He is regarded
as one of England’s greatest poets. He was not a hymn writer, yet
several of his poems are used as hymns. Tennyson died October 6, 1892,
and was buried in Westminster Abbey.
_MUSIC._ ST. CRISPIN was composed for the hymn “Just as I am, without
one plea.” The tune was used at the funeral of the composer.
For comments on the composer, George Elvey, see Hymn 118.
150. My faith looks up to Thee _Ray Palmer_, 1808-87
This hymn was written when the author had just left Yale at the age of
21 and was looking forward to his lifework in the Congregational
ministry. The origin of the hymn is given in Duffield’s _English Hymns_,
as follows:
The hymn was written in 1830, but not published (as a hymn) until
1882. The author was in New York City, “Between his college and
theological studies,” and was in poor health, and a teacher in a
ladies’ school. Dr. Palmer says: “I gave form to what I felt by
writing, with little effort, the stanzas. I recollect I wrote them
with very tender emotion, and ended the last lines with tears.” The
manuscript was then placed in a pocket-book, where it remained for
some time. Its true discoverer was Lowell Mason, the musician, who
asked young Palmer if he had not some hymn or hymns to contribute to
his new book. The pocket-book was produced and the little hymn, then
between two and three years old, and never previously utilized, though
it had been in print as a poem, was brought to light. Dr. Mason was
attracted by it, and desired a copy. They stepped together into a
store (it was in Boston), and the copy was made and taken away without
further comment. On carefully reading the hymn at home, Dr. Mason was
so interested that he wrote for it the tune “Olivet,” to which it is
usually sung. Two or three days later, he again met the author in the
street, and scarcely waiting to salute him, he said, “Mr. Palmer, you
may live many years, and do many good things, but I think you will be
best known to posterity as the author of ‘My Faith looks up to Thee.’”
The hymn appeared first in _Spiritual Songs for Social Worship_, 1831,
by Thomas Hastings and Lowell Mason. It has been translated into many
languages on the mission fields.
_MUSIC._ OLIVET. For comments on the composer, Lowell Mason, see Hymn
12.
151. How firm a foundation _“K” in Rippon’s Selection_, 1787
A great song of faith, calling to mind such scripture passages as Heb.
13:5: “I will never leave thee nor forsake thee”; Isa. 43:1, 2: “Fear
not, for I have redeemed thee: I have called thee by thy name; thou art
mine. When thou passest through the waters, I will be with thee; and
through the rivers, they shall not overflow thee; when thou walkest
through the fire, thou shalt not be burned; neither shall the flame
kindle upon thee.”
The authorship is uncertain. The hymn appeared in _A Selection of Hymns
from the Best Authors_, 1787, edited by John Rippon, 1751-1836, pastor
of the Baptist Church in Carter’s Lane, London, where it was signed “K.”
Who “K” was remains uncertain. The best guess seems to be that it refers
to Robert Keene, precentor in Dr. Rippon’s church. It is one more
example of a writer sending forth an immortal song to bless and
strengthen the faith of millions, and then hiding himself completely
from public notice.
_MUSIC._ ADESTE FIDELIS. For comments on this tune see Hymn 80.
152. We walk by faith, and not by sight _Henry Alford_, 1810-71
Based on the story of the incredulity of Thomas in John 20:25-29:
“Except I shall see in his hands the print of the nails, and put my
finger into the print of the nails, and thrust my hand into his side, I
will not believe ... blessed are they that have not seen, and yet have
believed.”
Henry Alford was educated at Cambridge for the Anglican ministry. After
serving various churches, he finally, in 1857, became Dean of
Canterbury, the highest post in the church. He was a renowned scholar
and the author of numerous volumes. His _Greek Testament_ was his
greatest work and remained the standard critical commentary of the
latter 19th century. He was a member of the New Testament Revision
Company, whose work resulted in the revised version in 1881. Greatly
interested in hymnology, he himself wrote and translated many hymns, and
published several collections of hymns. Dean Alford was a strenuous
worker, never idle, always broad-minded and throughout his life
maintained cordial relations with non-conformists. A lifelong desire to
visit the Holy Land remained unfilled; which fact suggested the
beautiful inscription on his tombstone: “_Deversorium viatoris
proficiscentis Hierosolymam_”—“the inn of a pilgrim travelling to
Jerusalem.”
_MUSIC._ ARLINGTON is a tune from Thos. A. Arne’s opera _Artaxerxes_,
arranged by Rev. Ralph Harrison, 1748-1810, an English Presbyterian
minister who published it in his _Sacred Harmony_, 1784.
Thos. A. Arne, 1710-1778, was educated for the legal profession. He
turned away from law to become the foremost English composer of the 18th
century. He received his degree of Doctor of Music from Oxford in 1759.
Arne wrote the patriotic air, “Rule Britannia,” besides many other
popular songs. His sister, a famous contralto, was chosen by Handel as
one of the soloists for the first performance of _The Messiah_ in
Dublin, April 13, 1742.
153. O for a faith that will not shrink _Wm. Hiley Bathurst_,
1796-1877
An excellent hymn on “The Power of Faith,” based on I John 5:4: “And
this is the victory that overcometh the world, even our faith.” It
appeared in the author’s _Psalms and Hymns for Public and Private Use_,
1831.
William Hiley Bathurst graduated from Oxford in 1818. During 33 years of
ministry at Barwick-in-Elmet, he endeared himself to his people by his
“eminent piety, his great simplicity of character, his tender love, and
his abundant generosity.” He was a shy and reserved man “and had the
peculiarity of becoming utterly silent if one asked the most trivial
question.” His father was Charles Bragge, a member of Parliament for
Bristol. The son assumed the name of Bathurst on succeeding to the
estate of his uncle, Earl Bathurst, at Lydney Park, Gloucester.
_MUSIC._ EVAN was originally a setting by Wm. H. Havergal for a poem by
Burns, “O Thou dread power who reign’st above.” Lowell Mason took a part
of the melody and arranged it, as here, for a psalm tune, publishing it
in _New Carmina Sacra_, 1850, under the name “Eva.” It might be added
that Havergal disapproved of the arrangement as a “sad estrangement.” In
spite of this, Mason’s arrangement has remained popular.
Rev. W. H. Havergal, 1793-1870, graduated from Oxford and was ordained
in the Church of England. He became the rector of a church, but due to a
carriage accident which resulted in concussion of the brain and injury
to his eyesight, he resigned his church and devoted himself to the study
of church music. In this field, he made a significant contribution by
his compositions and his efforts at purifying and elevating the music
used in the church. His daughter, Frances Ridley Havergal (see 126),
wrote many hymns, six of which are found in the _Hymnary_.
154. Faith of our fathers, living still _Frederick W. Faber_, 1814-63
A stirring hymn of faith bringing to mind the story of the Christian
martyrs and pledging loyalty till death to the faith of our fathers. The
last stanza, suggesting the preaching of the faith through “kindly words
and virtuous life,” is especially fine and Christian in spirit.
By “faith of our fathers” we mean, as we sing the hymn, the truth
contained in the Gospels, taught by the Apostles, and brought again into
clear light at the Reformation. But the hymn originally, written by a
Roman Catholic, had reference to the Roman Catholic faith. The author,
an Englishman, wrote one verse as follows:
Faith of our fathers! Mary’s prayers
Shall win our country back to Thee!
And through the truth that comes from God
England indeed shall then be free.
The lines have been adapted for Protestant services to read: