Gospel Songs
437. We praise Thee, O God _Wm. Paton Mackay_, 1839-85
A popular song in the Moody and Sankey revivals. It has few equals as a
“rouser” in a revival or prayer meeting. To create interest and add
variety in a special song service, Rodeheaver suggests that the leader
try having the choir sing the chorus all the way through, the
congregation joining only in the “Hallelujah,” and the last phrase,
“Revive us again.”
The author, Wm. Paton Mackay, received his education in the University
of Edinburgh. For some time he was interested in medicine but gave that
up to become the minister of the Prospect Street Presbyterian Church,
Hull, England. He came to an untimely death through an accident.
Seventeen of his hymns appeared in W. Reid’s _Praise Book_, 1872. Among
these was the present hymn, the author’s most widely known work.
_MUSIC._ REVIVE US AGAIN is well suited to the text, though it is also
used with Horatio Bonar’s hymn:
Rejoice and be glad! for our King is on high;
He pleadeth for us on his throne in the sky.
Rejoice and be glad! for He cometh again;
He cometh in glory, the Lamb that was slain.
Refrain: Sound His praises! tell the story of Him who was slain!
Sound His praises! tell with gladness, “He liveth again.”
The composer, John Jenkins Husband, 1760-1825, born in Plymouth,
England, was clerk at Surrey Chapel. In 1809, he came to the United
States and settled in Philadelphia, where he taught music and served as
clerk of St. Paul’s Protestant Episcopal Church. Husband is the
composer, also, of several anthems.
438. Praise Him! Praise Him! _Fanny J. Crosby_, 1820-1915
One of the many fine lyrics by the blind poet, Fanny Crosby, first
published in Bigelow and Main’s _Bright Jewels_, 1869. A useful and
popular praise song.
For comments on Fanny Crosby, see Hymn 313.
_MUSIC._ ALLEN, a favorite tune wherever gospel songs are in use, was
composed by Chester Allen, 1812-77, who belongs to an American group of
popular hymn-tune writers composed of Lowry, Bliss, Webb, H. P. Main,
and others. No biographical information concerning him is at hand.
439. Come, let us all unite to sing _Anonymous_
A hymn built around the theme “God is love,” I John 4:8, 16.
The author is unknown.
_MUSIC._ GOD IS LOVE. This tune was composed by Rev. Edmund S. Lorenz, a
prolific writer of gospel hymn-tunes, and founder and president of the
Lorenz Publishing Company, Dayton, Ohio. Lorenz was born in Stark
County, Ohio, July 13, 1854, and received his education at Otterbein
University, Union Theological Seminary, Yale Divinity School, and the
University of Leipzig. He was a pastor in the United Brethren Church for
a time and then became president of Lebanon Valley College, a post he
was compelled to resign on account of illness. Regaining his health, he
went into the publishing business. He prepared _The Church Hymnal_ for
the United Brethren in Christ in 1935. His publications include
_Practical Church Music_, _The Singing Church_, 1937, and other volumes
on sacred music.
440. There is no name so sweet on earth _George W. Bethune_, 1805-62
A hymn honoring the name of Jesus. John Wesley always objected to words
like “dear” and “sweet” applied to Jesus, as being too sentimental, and
the terms are never so used in the New Testament. But the gospel song
writers have employed them frequently and many good Christians have no
hesitancy in singing them.
George W. Bethune was the son of a prominent merchant, philanthropist,
and churchman in New York City. On the day of his birth he was dedicated
to God by his godly parents, their prayer being that the child may “be
made a faithful, honored and zealous minister of the everlasting
gospel.” The son was given many educational advantages and made good use
of them. He was admitted to college at 14 and graduated from Princeton
Theological Seminary when only 20 years of age. After serving for a year
as chaplain to the seamen in the port of Savannah, he returned north to
accept the pastorate of a Dutch Reformed Church and later served
churches in Philadelphia, Brooklyn, and elsewhere. A man of fine
literary taste and good scholarship, he was offered, but declined, the
Provostship of the University of Pennsylvania and the Chancellorship of
New York University. He preferred to be a preacher of the Gospel. To his
son and sons-in-law, he gave this dying charge: “My sons, preach the
Gospel. Tell dying sinners of a Saviour. All the rest is but folly.” He
went to Florence, Italy, for his health and died there on a Sunday night
after having preached in the Scottish Church in the morning on the text,
“Be of good cheer: thy sins be forgiven thee.” The following poem, found
in his portfolio, was written on the Saturday before his death:
When time seems short and death is near,
And I am pressed by doubt and fear,
And sins, an overflowing tide,
Assail my peace on every side,
This thought my refuge still shall be,
I know the Saviour died for me.
His name is Jesus, and he died,
For guilty sinners crucified;
Content to die that he might win
Their ransom from the death of sin:
No sinner worse than I can be,
Therefore I know he died for me.
If grace were bought, I could not buy;
If grace were coined, no wealth have I;
By grace alone I draw my breath,
Held up from everlasting death;
Yet, since I know his grace is free,
I know the Saviour died for me.
I read God’s holy Word, and find
Great truths which far transcend my mind;
And little do I know beside
Of thoughts so high, so deep, so wide:
This is my best theology,
I know the Saviour died for me.
My faith is weak, but ’tis Thy gift;
Thou canst my helpless soul uplift,
And say, “Thy bonds of death are riven,
Thy sins by Me are all forgiven;
And thou shalt live from guilt set free,
For I, thy Saviour, died for thee.”
His body was brought to New York for burial. Among the directions he had
left for his funeral was this: “Sing my own hymn, ‘It is not death to
die,’ to a cheerful tune.” The request was carried out. The hymn
referred to is a translation he had made of a poem by the distinguished
Swiss preacher, César Malan.
_MUSIC._ SWEETEST NAME. The name of the tune is obviously derived from
the words for which it was composed. For comments on the composer, Wm.
B. Bradbury, see Hymn 103.
441. Take my heart, O Father, take it _Anonymous_
A simple hymn of consecration and devotion whose author evidently
preferred to remain anonymous.
_MUSIC._ DORRNANCE. The tune is simplicity itself. Concerning his tunes,
Woodbury wrote in the preface to his _New Lute of Zion_, 1856:
The music is not designed for the fastidious and scientific musician
whose highest delight, and perhaps sole worship, is music as an art,
but for those who love to worship God in the simple song of praise.
For comments on the composer, Isaac B. Woodbury, 1819-58, see Hymn 261.
442. ’Tis the promise of God, full salvation to give _Philip P.
Bliss_, 1838-76
A hymn with a curious origin which became popular in revival meetings.
It voices the spontaneous thanksgivings that break out at the
announcement of a conversion. Bliss wanted to include “Hallelujah! Thine
the glory” (No. 437) in his _Gospel Songs_, 1874. The owner of the
copyright refused permission whereupon Bliss wrote “Hallelujah! ’tis
done”—both words and music—as a substitute.
Philip P. Bliss, a Congregationalist, born in Rome, Pa., was reared in
the country. He had only the meagerest early advantages for the
development of his musical talents but he made the most of them and
became one of the greatest leaders and writers of evangelistic songs.
Combining the gift of poet and musician, he succeeded in putting gospel
truths in poetic and singable form, usually writing both words and
music. In his early career he conducted musical conventions throughout
the Middle West, served as director of music for the First
Congregational Church in Chicago, and was connected with the music
publishing house of Root and Cady in Chicago. Through the influence of
D. L. Moody, he gave up his business and professional pursuits and
entered the evangelistic field. He assisted Sankey in the editing of the
series called _Gospel Hymns_, in which some of his own celebrated hymns
and songs first appeared. His rare gifts as a singer and leader,
combined with an impressive personality, made him one of the outstanding
leaders in the evangelistic movement. His life came to an early and
tragic end December 29, 1876, in a railroad disaster near Ashtabula,
Ohio, while he and Mrs. Bliss were returning to Chicago from Rome, Pa.,
where the two had spent Christmas. A railroad bridge gave way, resulting
in a wreck which took the lives of one hundred passengers. Bliss had
escaped unhurt, but going back to rescue his wife, he was evidently
overcome by the flames which had spread and was not seen again. His
premature death at the age of 38 was widely lamented.
443. Come, we that love the Lord _Isaac Watts_, 1674-1748
This hymn, entitled by Watts, “Heavenly Joy on Earth,” appeared in his
_Hymns and Sacred Songs_, 1707.
For comments on Isaac Watts, see Hymn 11.
_MUSIC._ The tune is by Robert Lowry, 1826-99, a Baptist minister who
held a pastorate in Brooklyn, N. Y., and did much to promote the gospel
song movement. He edited a series of eight books for Bigelow and Main,
with such titles as _Bright Jewels_ and _Pure Gold_, to which he added a
large number of tunes of his own composition. The public bought these
books by the hundreds of thousands. Lowry had no serious training in
music and did not take up composition until middle life. He was
concerned mostly with the production of music which was popularly
effective.
Watts’ hymn appears in many hymn books with the more dignified tune,
“St. Thomas,” by Williams (No. 269).
444. I lay my sins on Jesus _Horatius Bonar_, 1808-89
The hymn, entitled “The Fulness of Jesus,” was written for children in a
desire to provide something which children could sing and appreciate in
divine worship. It is generally supposed to be the first hymn Bonar
wrote. He used to say of this hymn that it might be good gospel but that
it was not good poetry. Bonar loved children and for them his first
hymns were written.
For further comments on Horatius Bonar see Hymn 129.
_MUSIC._ PRYSGOL, composed by W. Owen, 1814-93, was taken from the
_Hymnary_ of the United Church of Canada. No information regarding the
composer or the origin of the hymn has been traced.
445. I’ve found a Friend, O such a Friend _James G. Small_, 1817-88
This hymn was written by a minister of the Free Church of Scotland and
appeared in _The Revival Hymn Book_, 2d series, 1863, and later in the
author’s _Psalms and Sacred Songs_, 1866.
James Grindlay Small was educated at Edinburgh University where Dr.
Thomas Chalmers was one of his professors. He became minister of a
church in 1847, but owing to peculiarities of voice and manner, he never
succeeded well as a preacher. However, he was a man of fine Christian
character and had the confidence of his brethren. Small was interested
in hymnology and is the author of a number of hymns and poems.
_MUSIC._ FRIEND. The tune was written by Stebbins while he and Dr.
Pentecost were conducting an evangelistic campaign in Providence, R. I.
It was first published in _Gospel Hymns No. 3_, one of a series of
popular books with which the composer’s name was associated as
co-editor.
For comments on George Stebbins see Hymn 38.
446. I have found a Friend in Jesus _C. W. Fry_
A song of the friendship of Jesus and its meaning to one who experiences
it. The words are based on Song of Songs 2:1-2:
“I am the rose of Sharon, and the lily of the valleys. As the lily
among the thorns, so is my love among the daughters.” Also on
Revelation 22:16: “I am the root and offspring of David, and the
bright and morning star.”
The author, C. W. Fry, was prominent in Salvation Army circles in
London.
_MUSIC._ LILY OF THE VALLEY is an English melody of anonymous
composition.
447. One is kind above all others _Marianne Nunn_, 1778-1847
A hymn on the love of Jesus, which has been used extensively as a song
for children, especially in England. It was originally written to adapt
John Newton’s hymn:
“One there is above all others,
Well deserves the name of friend,”
to the Welsh air, “Ar hyd y nos” (No. 35), and the hymn may well be sung
to this tune.
Marianne Nunn was an English woman of refinement and culture. She is the
author of _The Benevolent Merchant_, and of several hymns. The latter
were published in _Psalms and Hymns_, 1817, a collection compiled by her
brother, Rev. John Nunn, who also contributed some of his own hymns to
the same volume.
_MUSIC._ CARITAS. No information has been traced concerning Richard W.
Beaty, 1799-1883, composer of the tune. The editors of the _Hymnary_
found the tune and words in the _Hymnary_ of the United Church of
Canada.
448. Brightly beams our Father’s mercy _Philip P. Bliss_, 1838-76
A song which is best understood by people living on the sea-coast or
lakeshore, or whose lives are spent in work which keeps them upon the
water.
The words were suggested by an illustration given by D. L. Moody in one
of his sermons:
On a dark, stormy night, when the waves rolled like mountains and not
a star was to be seen, a boat, rocking and plunging, neared the
Cleveland harbor. “Are you sure this is Cleveland?” asked the captain,
seeing only one light from the lighthouse. “Quite sure, sir,” replied
the pilot. “Where are the lower lights?” “Gone out, sir.” “Can you
make the harbor?” “We must, or perish, sir!” With a strong hand and a
brave heart the old pilot turned the wheel. But, alas, in the darkness
he missed the channel, and with a crash upon the rocks the boat was
shivered, and many a life lost in a watery grave. Brethren, the Master
will take care of the great lighthouse; let us keep the lower lights
burning.
_MUSIC._ LOWER LIGHTS. There is awakening power in the tune and
congregations love to sing it. It is especially effective when sung by a
large number of voices. The chorus lends itself to interesting
antiphonal effects in a special song service. Let the whole congregation
sing the first phrase, a smaller group the second; the whole
congregation again the third phrase, and the smaller group the last.
For comments on the author and composer, Philip P. Bliss, see Hymn 442.
449. Lead me gently home, Father _Will L. Thompson_, 1847-1909
Written by the author of “Softly and tenderly, Jesus is calling.”
For comments on Will L. Thompson, who wrote both words and music, see
Hymn 456.
450. I know whom I have believed _Daniel W. Whittle_, 1840-1901
The hymn is built around the verse: “I know whom I have believed, and am
persuaded that he is able to keep that which I have committed to him
against that day” (II Tim. 1:12), which serves as a refrain. The general
structure of the hymn is similar to Farrington’s “I know not how that
Bethlehem’s Babe” (No. 99).
Daniel W. Whittle was born in Chicopee Falls, Mass. At the age of 15, he
went to Chicago to work in a bank, but at the outbreak of the Civil War
he became attached to the Illinois Infantry and served for the duration,
going with Sherman, as a lieutenant, on his “March to the Sea.” At the
close of the war he was promoted to the rank of major. He was the
treasurer of a business firm, when, in 1873, he heeded the call of God
to enter the evangelistic field where he became associated with D. L.
Moody. He was a powerful speaker and lecturer; and frequently, with the
assistance of singers like P. P. Bliss, James McGranahan, and George
Stebbins, continued evangelistic campaigns begun by Moody, under the
latter’s direction. Whittle was a great friend of children and knew how
to put evangelical truth in words they understood, supplementing his
talks with wall maps, illustrations, and chemical experiments. His
daughter, Mary, became the wife of Will L. Moody, son of the evangelist.
He was a member of the Congregational Church. His hymns, written after
1877, mostly for McGranahan, reveal true poetic talent, though he made
no claim to be a poet. Among his best known hymns are: “I know whom I
have believed,” “Dying with Jesus,” “Moment by moment,” “Fierce and
wild.” The latter was translated into German by Ernst Gebhardt,
translator of “_Ich weiss einen Strom_.”
_MUSIC._ The tune is by James W. McGranahan, 1840-1907, who succeeded
the lamented P. P. Bliss as song leader in the evangelistic campaigns
conducted by Major Whittle. Between 1881 and 1885, Whittle and
McGranahan made two successful tours of England, Scotland, and Ireland,
and the chief cities of America. McGranahan, born at Adamsville, Pa.,
received only an elementary-school education. His native musical talent
and some assistance from men like Bassini, Webb, Root, and Zerrahn
enabled him to make rapid progress in music; and he soon taught music
classes of his own. He was gifted with a beautiful tenor voice and an
impressive personality to add to his power as a song leader.
451. O Christ, in Thee my soul hath found _Anonymous_
The authorship of this hymn remains unknown. That “gospel songs” are
often appreciated by highly educated and cultured people is illustrated
by the fact that this hymn was a favorite of Professor Henry Drummond,
who used it frequently at meetings for university students in Edinburgh,
1885-89.
_Music._ NONE BUT CHRIST was composed for this hymn and published in
McGranahan’s _Sacred Songs and Solos_, 1883.
For comments on James McGranahan see Hymn 450.
452. Low in the grave He lay _Robert Lowry_, 1826-99
The words and music of this Easter song are by Rev. Robert Lowry,
written while he was pastor of a Baptist church in Brooklyn, N. Y.
Lowry was a faithful and successful minister of the Gospel, but is more
widely known as a composer of sacred music. “I felt a sort of meanness
when I began to be known as a composer,” he said. His first love was
preaching. Music was to him a “side issue,” and the making and delivery
of a sermon ranked far above the writing of a hymn. He is the author of
the popular song, “Where is my wandering boy tonight,” and wrote the
tune to “I need Thee every hour,” and edited many successful Sunday
school and evangelistic hymn books.
For further comments on Lowry see Hymn 187.
453. I know that my Redeemer liveth _Jessie H. Brown_, 1861-1921
A popular Easter song based on Job 19:25: “I know that my redeemer
liveth, and that he shall stand at the latter day upon the earth.”
Jessie H. Brown was born in Hiram, a college suburb of Cleveland, Ohio.
Due to ill health in childhood, she gained most of her education at
home. At 15 years of age, she began to write for Cleveland newspapers
and religious weeklies and for many years wrote hymns for Fillmore Bros.
In 1896 she married Rev. John E. Pounds, at that time pastor of the
Central Christian Church in Indianapolis, and later college pastor at
Hiram. Her early poems bear her maiden name, while the later ones (No.
498, for example) are signed “Jessie B. Pounds.” She is the author of 9
books, 50 librettos for cantatas and operettas, and nearly 400 hymns.
Her best known song poems are “Anywhere with Jesus, I can safely go,”
“The way of the Cross leads home,” “Beautiful Isle of Somewhere,” and
the present, “I know that my Redeemer liveth.” The latter appeared first
in an Easter cantata entitled, _Hope’s Messenger_.
_MUSIC._ FILLMORE was composed by James H. Fillmore who was born June 1,
1849, in Cincinnati, Ohio, into a musical family. After his father’s
death, James headed the Fillmore music publishing business in Cincinnati
for many years. His compositions include numerous popular titles: “I am
resolved,” “I know that my Redeemer liveth,” “Only waiting,” and many
more.
454. O the unsearchable riches of Christ _Fanny J. Crosby_, 1820-1915
The well-known fact that Fanny Crosby was blind all her life adds pathos
to the power of her songs. The hymn reveals the spiritual riches in her
life notwithstanding the cross of affliction laid on her through the
loss of her eyesight. Frances Ridley Havergal (See Hymn 126), the gifted
English poet and hymn writer, paid her tribute to Fanny Crosby in the
following lines:
How can she sing in the dark like this?
What is her fountain of light and bliss?
With never the light of a loving face
Must not the world be a desolate place?
O, her heart can see, her heart can see!
And its sight is strong and swift and free.
Never the ken of mortal eye
Could pierce so deep and far and high
As the eagle vision of hearts that dwell
In that lofty, sunlit citadel.
For the King himself, in his tender grace,
Hath shown her the brightness of his face;
She can read his law as a shining chart,
For his finger hath written it on her heart;
And she reads his love, for on all her way
His hand is writing it every day.
O, this is why she sings so free:
Her heart can see, her heart can see!
_MUSIC._ For comments on the composer, John R. Sweney, 1837-99, see Hymn
342.
455. It may be at morn, when the day is awaking _H. L. Turner_
A song of the imminent return of our Lord, based on I Thess. 5:2: “The
day of the Lord so cometh as a thief in the night,”—and the lengthier
passage in I Thess. 4:15-18.
Information concerning the author, H. L. Turner, has not been traced.
_MUSIC._ CHRIST RETURNETH. For comments on the composer, James
McGranahan, see Hymn 450.
456. Softly and tenderly Jesus is calling _Will L. Thompson_,
1847-1909
A song which has wide use as an invitational hymn at revival meetings.
Will Lamartine Thompson was born at East Liverpool, Ohio, and made his
home there all his life. He attended Mt. Union College, Alliance, Ohio,
and studied music at the Boston Conservatory of Music. His greatest
interest was in sacred song, but he also wrote secular songs, among them
the popular, “Come where the lilies bloom.” A successful businessman and
song writer, Thompson was known also as a man of beautiful and sterling
Christian character. “Simplicity, sincerity, humility, and righteousness
marked his life.” He once called to inquire of D. L. Moody at a time
when the latter lay very ill and visitors were forbidden. Moody insisted
that Thompson be admitted and said to him in the course of their brief
conversation: “I would rather have written ‘Softly and tenderly Jesus is
calling’ than anything I have been able to do in my whole life.”
457. Come, every soul by sin oppressed _John H. Stockton_, 1813-77
An invitation hymn that has been a help and blessing to many. The
original refrain:
“Come to Jesus, come to Jesus,
Come to Jesus now.”
was changed by Ira Sankey to
“Only trust Him, only trust Him.”
In leading this song, Sankey sometimes changed the chorus to
“I will trust Him,” or “I do trust Him.”
John H. Stockton, composer of words and music, was born at New Hope,
Pa., and reared in a Presbyterian family. At the age of 19 he was
converted in a Methodist camp meeting and became a Methodist preacher.
After many years of pastoral and evangelistic work, as a member of the
New Jersey Annual Conference, he retired in 1874. He had considerable
musical ability and published two gospel song books, _Salvation
Melodies_, 1874, and _Precious Songs_, 1875. He rendered valuable
assistance in the Moody and Sankey meeting held in Philadelphia, after
which Sankey wrote him:
I thank my Heavenly Father for enabling you to write so much sweet
music, as well as words; and I hope you may long be spared to bless
the world with your “precious songs.” I wish you to accept our regards
for one whose songs have been blessed to tens of thousands in the
lands beyond the seas.
Stockton died suddenly while talking to friends just after having
attended the morning service at Arch Street Church, Philadelphia, on
March 25, 1877.
458. Just as I am, without one plea _Charlotte Elliott_, 1789-1871
An immortal hymn expressing the feelings and needs of all penitent
believers. It has been a source of comfort and help to multitudes of
people.
“You must come to Christ just as you are.” These words, spoken to Miss
Elliott by Dr. César Malan of Geneva, at a time when she was suffering
and spiritually depressed, resulted in a new birth and formed the basis
of her hymn, written twelve years later, in 1834, and now known all over
the world. The hymn was first published in the author’s _Invalids’ Hymn
Book_, 1836, headed with the text, John 6:37: “All that the Father
giveth me shall come to me; and him that cometh to me I shall in no wise
cast out.”
The words were written one day when other members of her family were
busy arranging for a bazaar to be held for a school banquet. The
immediate circumstances are related by Dr. Handley C. G. Moule, Bishop
of Durham, as follows:
The night before the bazaar she was kept wakeful by distressing
thoughts of her apparent uselessness; and these thoughts passed into a
spiritual conflict till she questioned the reality of her whole
spiritual life and wondered whether it were anything better, after
all, than an illusion of the emotions—an illusion ready to be
sorrowfully dispelled. The next day, the busy day of the bazaar, the
troubles of the night came back upon her with such force that she felt
they must be met and conquered in the grace of God. She gathered up in
her soul the grand certainties, not of her emotions, but of her
salvation: her Lord, his power, his promise. And taking pen and paper
from the table, she deliberately set down in writing for her own
comfort the formulae of her faith. So in verse she restated to herself
the gospel of pardon, peace, and heaven. As the day wore on, her
sister-in-law, Mrs. H. V. Elliott, came in to see her and bring news
of the work. She read the hymn and asked (she well might) for a copy.
So it first stole out from that quiet room into the world, where now
for sixty years it has been sowing and reaping till a multitude which
only God can number have been blessed through its message.
Though a helpless invalid, Miss Elliott probably did more that day for
her Lord and the upbuilding of His Kingdom than the rest of the family,
all strong in body.
The hymn was sent to Dora Wordsworth, daughter of the poet, while she
was on her death bed. Her husband, Edward Quillinan, has written of the
incident in a letter to Miss Elliott, dated July 28, 1847. He tells of
Dora’s appreciation of the hymn and her continual use of it during her
last days on earth.
After Miss Elliott died, more than a thousand letters, thanking her for
this hymn, were found.
For further comments on Charlotte Elliott see Hymn 233.
A translation of this hymn has had wide use in Germany where it is sung
to the tune, “Jesus, meine Zuversicht.”
Wie ich bin, komm’ ich zu dir—
Nichts hat mir die Tür erschlossen,
Als dein Ruf: “Kommt her zu mir,”
Und dein Blut, für mich geflossen;
Diesz allein ermutigt mich—
Gotteslamm, hier komme ich!
Wie ich bin, komm’ ich zu dir!
Auch nicht einen meiner Fehle
Auszutilgen, steht bei mir;
Meine schuldbefleckte Seele
Wird gereinigt nur durch dich,
Gotteslamm, hier komme ich!
Wie ich bin, komm’ ich zu dir,
Ob auch Zweifel mich umfangen;
Umgetrieben bin ich hier
Von so manchem Kampf und Bangen,
Trübsal in—und äuszerlich—
Gotteslamm, hier komme ich!
Wie ich bin, tret’ ich herzu—
Elend, arm, am Geist erblindet;
Meinen Mangel stillest du;
Heilung, Reichtum, der nicht schwindet,
Alles finde ich durch dich—
Gotteslamm, hier komme ich!
Wie ich bin, komm’ ich zu dir,
Deine Liebe sonder Gleichen
Ist zu stark geworden mir,
Alle Schranken müssen weichen;
Dir, nur dir verschreib’ ich mich—
Gotteslamm, hier komme ich!
_MUSIC._ WOODWORTH was first published in Hastings’ and Bradbury’s
hymnal, _The Third Book of Psalms_, 1849, set to the words, “The God of
love will surely indulge.” The tune became widely known after its
association with “Just as I am, without one plea.” It is the most
popular of Bradbury’s tunes and appears in nearly all American hymnals.
For comments on Wm. Bradbury see Hymn 103.
459. Come, ye sinners, poor and needy _Joseph Hart_, 1712-68
An evangelistic song, written by a Congregational minister. Hart, born
in London and brought up in a devout Christian home, was well educated
and taught the classics for many years. Early in life he departed from
his religious training and fell into a life of “carnal and spiritual
wickedness, irreligious and profane.” After continuing in this state for
a long period of years, during which he exerted a pernicious influence
upon all with whom he associated, Hart became deeply convicted, in his
fortieth year, and betook himself to daily prayer and Bible reading. He
was finally converted upon hearing a sermon on Rev. 3:10: “Because thou
hast kept the word of my patience, I also will keep thee from the hour
of temptation, which shall come upon all the world, to try them that
dwell upon the earth”—preached in the Moravian Chapel in Fetter Lane,
London. Becoming an earnest and consecrated Christian, and writer of
hymns, he was importuned to become a preacher, which he did, although in
his 48th year. From 1760 till his death in 1768, he preached regularly
as pastor of an Independent Congregation in London, drawing large
crowds. He died in the midst of labors and successes almost
unprecedented, and it is said that 20,000 people came to his funeral. He
is remembered chiefly, however, for his hymns, most of them of the
evangelistic type.
_MUSIC._ GREENVILLE, a beautifully quaint and popular tune, was not
written for sacred use but for a little song in the opera _Le Devin du
Village_, by Rousseau. It was once popular in a piano arrangement known
as “Rousseau’s Dream.”
Jean Jacques Rousseau, 1712-78, philosopher and musician, was born at
Geneva. Though not a religious man, he greatly influenced education in
Europe and became one of the great forces in modern literature. A
political radical, he was forced to leave France and for a time lived in
England. His opera, _Le Devin du Village_, was a success, but none of
his later musical efforts came to anything. He lived an unhappy life and
is thought to have committed suicide. His death occurred near Paris,
July 3, 1778.
460. I have a Savior, He’s pleading in glory _S. O’Maley Cluff_
A favorite prayer-meeting hymn for many years, in many churches.
Sankey came across these words in a printed leaflet while he was on his
first visit with D. L. Moody to Ireland in 1874. It was the second hymn
to which he wrote music and was much used in later Moody-Sankey revival
services.
No definite information has been traced by hymnologists concerning
Samuel O’Malley Clough to whom the words are attributed. He is believed
to have been an Irish clergyman who left the Established Church to unite
with the Plymouth Brethren in Ireland; later (1881) seceding from that
body to lead a “holiness” schism which has since become extinct. Julian
and others spell the name “Clough”; Sankey spells it “Cluff.”
_MUSIC._ CLUFF derives its name from the author of the words to which
Sankey set the tune.
Ira David Sankey, 1840-1908, famous singer of “gospel songs,” was born
in Edinburg, Pa., and was a member of the Methodist Church. For many
years he was associated with D. L. Moody in evangelistic work in America
and England. He composed many gospel tunes, the most popular of which is
his “Ninety and Nine,” and edited numerous songbooks. Concerning his own
gift of singing and songs suited to his purpose, he wrote:
I am no musician, I am no singer; I was never taught to sing.... As to
my singing there is no art or conscious design in it. I never touch a
song that does not speak to me in every word and phrase. Before I sing
I must feel, and the hymn must be of such a kind that I know I can
send home what I feel into the hearts of those who listen. I find it
much more difficult to get good words than good music. Our best words
come from England; the music which best suits our purpose comes from
America. Your composers, apparently, do not care to write simple songs
such as we need. We can get plenty of the grand and solid style, but
though that is useful now and again, our services could not thrive on
it.
Homer Rodeheaver has used this song with antiphonal effects by letting
the choir sing the first phrase of the refrain, the audience responding
with the second; or, if the audience is large, letting one side, then
the other side, then the whole congregation, then the gallery sing,
successively, one phrase each of the refrain.
461. A ruler once came to Jesus by night _W. T. Sleeper_
Based on our Lord’s words to Nicodemus: “Verily, verily, I say unto you,
... ye must be born again” (John 3:3-7).
The hymn was written by Rev. W. T. Sleeper, one of the pastors in the
city of Worcester, Mass., upon the request of Geo. C. Stebbins, who was
assisting Dr. Pentecost in a revivalistic campaign in that city. One of
the latter’s sermon themes was “The New Birth.” As the truth of this
great theme was being enforced and illustrated, it occurred to Stebbins
that a musical setting of this Scripture passage in John 3 would be an
effective means of emphasizing the truth of the new birth. He asked the
Rev. Sleeper to write some verses on the subject and the result was this
hymn. Before the meetings closed, Stebbins had composed this tune for
the words. The song was published in _Gospel Hymns, No. 3_, and has been
widely used as solo, choir number, and congregational song in revival
meetings and otherwise.
_MUSIC._ BORN AGAIN. For comments on George C. Stebbins, 1846-1945, a
composer of the tune, see Hymn 38.
462. I hear the Savior say _Elvina M. Hall_, 1818-?
A much-used and much-loved revival hymn which came into use, especially
in Methodist churches, several years before Moody’s great revivalistic
movement.
Mrs. Elvina M. Hall (later Mrs. Myers), author of the words, was born in
Alexandria, Va., in 1818. She composed this hymn, strangely enough,
while sitting in the choir of the M. E. Church, Baltimore, pencilling
the first draft on a fly-leaf of a hymn book, _The New Lute of Zion_,
during the pastor’s prayer! It is the only hymn known that can be traced
to such an origin. The author’s mind, indeed, wandered from the
immediate service of worship, but it did not stray from God and prayer.
_MUSIC._ ALL TO CHRIST. John T. Grape, born in Baltimore, Md., 1833, was
choir director in his church when he wrote the tune, after having made
it “a matter of prayer and study.” He writes that “it was pronounced
very poor by my choir and my friends, but my dear wife persistently
declared it was a good piece of music and would live.” Mrs. Grape’s
faith was justified by the wide reception and use the tune has enjoyed.
The minister of the church, Rev. Mr. Schrick, liked the tune upon
hearing it and suggested that it be used with the words written by Mrs.
Elvina M. Hall. This was done, and the song started on its career. It
was first published in a volume called, _Sabbath Chords_.
463. Amazing grace! how sweet the sound _John Newton_, 1725-1807
The original has six stanzas and is entitled, “Faith’s Review and
Expectation.”
The hymn reminds one of Newton’s words: “I can never forget two things:
first, that I was a great sinner, and second, that Jesus is a great
Saviour.” It is based on I Chron. 17:16, 17:
Who am I, O Lord God, and what is mine house, that Thou hast brought
me hitherto? And yet this was a small thing in thine eyes, O God; for
thou hast also spoken of thy servant’s house for a great while to
come, and hast regarded me according to the estate of a man of high
degree, O Lord God.
For comments on John Newton, see Hymn 274.
_MUSIC._ MCINTOSH, also known as “Amazing Grace,” is believed to be an
old Southern melody. It appeared in _Southern Harmony_, by William
Walker, 1835, anonymously. Dr. Robert McCutchan thinks it may be a
variant of an old tune called “Loving Lamb.”
For comments on Edwin O. Excell, 1851-1921, who arranged the tune, see
Hymn 420.
464. Down at the cross where my Savior died _Elisha A. Hoffman_,
1839-?
The words are by the Rev. Elisha A. Hoffman who was born of Pennsylvania
German parents. Hoffman became a Congregational minister and served
churches of his denomination in Lebanon, Pa., and other places, and
wrote a number of hymns and tunes.
_MUSIC._ GLORY TO HIS NAME. For comments on the composer of this tune,
Rev. John H. Stockton, see Hymn 457.
465. O happy day, that fixed my choice _Philip Doddridge_, 1702-51
This hymn, reflecting spiritual joy, is often used at baptismal services
and is also one of the best revival hymns. It is based on II Chron.
15:15: “And all Judah rejoiced at the oath; for they had sworn with all
their heart, and sought him with their whole desire; ... and the Lord
gave them rest round about.”
The original title was “Rejoicing in our covenant engagements to God.”
It was published in 1819, by the author’s great-grandson, John Doddridge
Humphreys.
The hymn was chosen by Prince Albert, the consort of Queen Victoria, to
be sung always on occasions when members of the royal family were
confirmed. It reflects a deep and rich experience of God. “Blessed is
the man,” says James Montgomery, “who can take the words of the hymn and
make them his own from similar experience.”
For comments on Philip Doddridge see Hymn 56.
_MUSIC._ HAPPY DAY is an adaptation from a work by E. F. Rimbault,
1816-76, a London scholar, musician and writer. He became organist at
Swiss Church, Soho, London, and was offered, but declined, the chair of
professor of music at Harvard University. The tune was originally a
popular secular melody. The English _Hymnary_ uses this hymn set to a
tune called “Heaton Norris,” with refrain omitted.
466. Sinners Jesus will receive _Arr. from Erdmann Neumeister_,
1671-1756
_Tr. Emma Frances Beaven_, 1827-1909
An English version of a popular German hymn which appeared first in the
author’s _Evangelische Nachklänge_, Hamburg, 1719. The hymn is
appropriate for missionary services. The original in eight stanzas,
written by Neumeister as a conclusion to a sermon on Luke 15:1, “Then
drew near to him all the publicans and sinners for to hear him,” is as
follows:
1.
Jesus nimmt die Sünder an;
Saget doch dies Trostwort allen,
Welche von der rechten Bahn
Auf verkehrten Weg verfallen!
Hier ist, was sie retten kann:
Jesus nimmt die Sünder an.
2.
Keiner Gnade sind wir wert,
Doch hat er in seinem Worte
Eidlich sich dazu erklärt
Sehet nur, die Gnadenpforte
Ist hier völlig aufgetan:
Jesus nimmt die Sünder an.
3.
Wenn ein Schaf verloren ist,
Suchet es ein treuer Hirte;
Jesus, der uns nie vergisst,
Suchet treulich das Verirrte,
Dass es nicht verderben kann:
Jesus nimmt die Sünder an.
4.
Kommet alle, kommet her,
Kommet, ihr betrübten Sünder!
Jesus rufet euch, und er
Macht aus Sündern Gottes Kinder.
Glaubet’s doch und denket dran:
Jesus nimmt die Sünder an.
5.
Ich Betrübter komme hier
Und bekenne meine Sünden.
Lass, mein Heiland, mich bei dir
Gnade zur Vergebung finden,
Dass dies Wort mich trösten kann:
Jesus nimmt die Sünder an.
6.
Ich bin ganz getrostes Muts.
Ob die Sünden blutrot wären,
Müssten sie kraft deines Bluts
Dennoch sich in Schneeweiss kehren
Da ich gläubig sprechen kann:
Jesus nimmt die Sünder an.
7.
Mein Gewissen beisst mich nicht,
Moses darf mich nicht verklagen;
Der mich frei und ledig spricht,
Hat die Schulden abgetragen,
Dass mich nichts verdammen kann:
Jesus nimmt die Sünder an.
8.
Jesus nimmt die Sünder an,
Mich hat er auch angenommen
Und den Himmel aufgetan,
Dass ich selig zu ihm kommen
Und auf den Trost sterben kann:
Jesus nimmt die Sünder an.
The four stanzas of our text correspond to stanzas 1, 4, 7, and 8 of the
original. The translation is by Mrs. Emma Frances Beaven, 1827-1909,
concerning whom no biographical information has been traced. Her work
was altered somewhat to fit McGranahan’s tune.
Erdmann Neumeister was a distinguished student and afterwards lecturer
at Leipzig University. Later he achieved fame as a court preacher and as
pastor of St. James’ Church, Hamburg. An eloquent preacher and a strong
High Lutheran, he opposed the Moravians and the Pietists of his day,
holding that their teachings were too subjective. Besides being a gifted
preacher, he was also a musician of ability and eminence. He originated
the cantata form of church music and composed a number of works in that
form. He is the author of 650 hymns, many of them of the highest rank
and still in general use in Germany though only a few have been
translated into English.
_MUSIC._ NEUMEISTER. For comments on the composer of this popular gospel
tune with its change of rhythm in the refrain, James McGranahan, see
Hymn 450.
The German words are set to the tune, “_Grosser Gott wir loben Dich_” in
the _Gesangbuch mit Noten_.
467. The whole world was lost _Philip P. Bliss_, 1838-76
Based on the incident in John 9, in which Jesus restored the sight to
the man born blind, and the saying of Jesus, “I am the light of the
world” (John 9:5).
For comments on Philip P. Bliss, author and composer, see Hymn 442.
468. Jesus, my all, to heaven is gone _John Cennick_, 1718-55
A hymn which has had wide use in prayer-meeting and camp-meeting
assemblies. A hearty unison “crescendo” on the last stanza is
impressive:
“Then will I tell to sinners round
What a dear Savior I have found;
I’ll point to His redeeming blood,
And say, ‘Behold, the way to God.’”
The author had known the joy of finding Christ and his hymn reflects his
personal experience. While frequenting London, as a youth, in a vain
search for employment,
He became addicted, in consequence, to sight-seeing, song-singing,
play-going, card-playing, horse-racing, ball-frequenting, and the
like. But on an Easter visit to London, in 1735, he was seriously
impressed as he was walking hastily in Cheapside. He became greatly
distressed on account of his sins, broke off from his sinful course,
and walked softly before God; but he found no peace until September 6,
1737, in his nineteenth year, when he was enabled to trust in Christ
alone and find joy and peace in believing.
For further comments on John Cennick, see Hymn 130.
_MUSIC._ DUANE STREET, a stirring revival tune, was composed by Rev.
George Coles, in 1835, for one of James Montgomery’s hymns, but has been
associated with this hymn for many years.
George Coles, 1792-1858, was born in Stewkley, England, and died in New
York City. He came to America as a young man and spent all his life in
the Methodist ministry. He was editor of the _New York Christian
Advocate_ and the _Sunday School Advocate_, for some years, and was a
composer of ability, besides being a good singer.
469. Lord Jesus, I long to be perfectly whole _James Nicholson, 19th
cent._
A hymn that has brought joy and release to many sin-burdened souls,
especially encouraging with its promise in stanza 4:
“To those who have sought Thee
Thou never saidst, No.”
It is built around the verse
“Wash me, and I shall be whiter than snow” (Psalm 51:7).
The hymn appeared in Sankey’s _Songs and Solos_.
The author, James Nicholson, was an American Methodist minister of the
19th century.
_MUSIC._ FISCHER. The composer, William Gustavus Fischer, 1835-1912, was
born in Baltimore, Md. Moving to Philadelphia in early life, he received
a good musical education and became a teacher of piano and singing, and
conductor of choral groups and Welsh singing societies in that city. For
ten years he was Professor of Music at Girard College, and at the same
time became associated with J. E. Gould in a flourishing piano business,
under the firm name of Gould and Fischer. In 1876, he led the Moody and
Sankey choir in the great building at Thirteenth and Market Streets in
Philadelphia.
470. O Thou, in whose presence my soul takes delight _Joseph Swain_,
1761-96
Swain entitled this hymn, “A Description of Christ by His Grace and
Power,” which was suggested to him by the description of the “Shepherd”
in Solomon’s Song 1:7. The original poem has nine stanzas of eight lines
each.
For comments on the author, John Swain, see Hymn 323.
_MUSIC._ MY BELOVED, also called “Beloved” and “Meditation,” is of
uncertain origin. It appeared in a book, _The Beauties of Harmony_,
compiled by Freeman Lewis in 1813 and was arranged by Hubert P. Main in
1869. Lewis, 1780-1859, was by profession a surveyor at Uniontown, Pa.
Music was his avocation.
For comments on Hubert P. Main see Hymn 426.
471. I do not ask, O Lord, that life may be _Adelaide A. Proctor_,
1825-64
A hymn reflecting the quiet strength resulting from faith and trust in
God. It is the most admired of Miss Proctor’s hymns.
For comments on Adelaide Anne Proctor, see Hymn 177.
_MUSIC._ SUBMISSION, a tune well suited to the meaning and spirit of the
poem, was composed for this hymn.
For comments on the composer, Albert L. Peace, see Hymn 175.
472. More love to Thee, O Christ _Elizabeth Prentiss_, 1818-78
A simple prayer put into verse, written hastily, as many hymns have
been, and, after some years, printed as a leaflet. It was then included
by Dr. Doane in his _Songs of Devotion_, in four stanzas, the third
being omitted here. In form and sentiment, the hymn is an echo of
“Nearer, my God, to Thee,” and is more explicitly Christian, for the
latter omits the name of Christ completely.
Elizabeth Payson Prentiss was born in Portland, Maine, the daughter of
the famous minister, Rev. Edward Payson. After teaching school for some
years, she married Dr. George L. Prentiss, eminent Presbyterian
clergyman, and professor at Union Theological Seminary in New York City,
who published her _Life and Letters_ soon after her death. Mrs. Prentiss
wrote poetry and prose for the _Youths’ Companion_ and published several
volumes of poems.
_MUSIC._ MORE LOVE TO THEE was written for this hymn and published in
Dr. Doane’s _Songs of Devotion_, 1870.
For comments on Wm. Howard Doane see Hymn 313.
473. What a wonderful Savior _Elisha A. Hoffman_
A hymn on the atonement.
Words and music are by the Rev. Elisha A. Hoffman.
For comments on Hoffman, see Hymn 464.
474. Pass me not, O gentle Savior _Fanny J. Crosby_, 1820-1915
One of Fanny Crosby’s best and most popular songs. Ira D. Sankey says of
it: “No hymn in our collection was more popular than this at our
meetings in London in 1874.” Miss Crosby wrote it in 1868 at the request
of Dr. W. H. Doane, who gave her the first line as a theme. Doane
published the hymn in his _Songs of Devotion_, 1870.
For comments on Fanny Crosby see Hymn 313.
_MUSIC._ PASS ME NOT was written for this hymn. For comments on the
composer, W. H. Doane, see Hymn 313.
475. I am Thine, O Lord _Fanny J. Crosby_, 1820-1915
A song of consecration, based on Heb. 10:22, “Let us draw near with a
true heart.” It was written one evening while Miss Crosby was visiting
in the home of Dr. William H. Doane in Cincinnati, Ohio. The latter
composed for it the tune by which the song has become familiar to a
multitude of worshippers.
For comments on Fanny Crosby and W. H. Doane see Hymn 313.
476. Are you weary, are you heavy-hearted _Jeremiah E. Rankin_,
1828-1904
A song that has touched many a burdened heart, written by the author of
“God be with you till we meet again.” For comments on Jeremiah E.
Rankin, see Hymn 365.
_MUSIC._ TELL IT TO JESUS. For comments on the composer, E. S. Lorenz,
see Hymn 439.
477. Yield not to temptation _Horatio R. Palmer_, 1834-1907
A song that has been a source of strength to many in time of temptation.
The words and tune are by Horatio Richmond Palmer, Mus. Doc., an
American musician born at Sherburne, New York. He studied music in
Berlin and Florence and became the director of the Rushford Academy of
Music, New York, in 1857. In 1884, he took charge of the Church Choral
Union in New York, an organization which grew to a membership of 4,000
singers devoted to the improvement of church music. He was dean, for a
time, of the school of music at Chautauqua, N. Y., and compiled a number
of popular choral collections. He is the author of _A Theory of Music_
and _A Manual for Teachers_.
Concerning the composition of this hymn and tune, Dr. Palmer wrote:
This song is an inspiration. I was at work on the dry subject of
“Theory” when the complete idea flashed upon me, and I laid aside the
theoretical work and hurriedly penned both words and music as fast as
I could write them. I submitted them to the criticism of a friend
afterward, and some changes were made in the third stanza, but the
first two are exactly as they came to me. The music was first written
in A flat; but I soon saw that B flat was better, and for many years
it has appeared in that key. I am reverently thankful it has been a
power for good.
_MUSIC._ YIELD NOT TO TEMPTATION. The tune, composed for the hymn by Dr.
Palmer himself, appeared in _Sabbath School Songs_ (1868). It is also
named “Fortitude.”
478. He leadeth me, O blessed thought _Joseph H. Gilmore_, 1834-1918
A widely used hymn, based on Psalm 23:2: “He leadeth me beside the still
waters.” “It has the true hymn quality, combining all the simplicity of
spontaneous thought and feeling with perfect accent and liquid rhythm”
(Brown and Butterworth).
Joseph Henry Gilmore, a Baptist minister, was born in Boston, the son of
Joseph A. Gilmore. He graduated from Brown University in 1858 and from
Newton Theological Seminary in 1861. In 1863-64 he served as private
secretary to his father, then governor of New Hampshire. From 1865 to
1867, he was pastor of the Second Baptist Church at Rochester, N. Y.,
and Acting Professor of Hebrew in Rochester Theological Seminary,
1867-68. In 1868, he became Professor of Logic, Rhetoric, and English
Literature in the University of Rochester, a position he held for about
forty years. One of his published volumes is _Outlines of English and
American Literature_, 1905.
The hymn was written after Dr. Gilmore had conducted the Wednesday
evening service at the First Baptist Church, Philadelphia, where he
expounded the twenty-third Psalm. After the service, the discussion of
the subject was continued in the home where he was stopping. The author
says:
During the conversation, the blessedness of God’s leadership so grew
upon me that I took out my pencil, wrote the hymn just as it stands
today, handed it to my wife, and thought no more about it. She sent
it, without my knowledge, to the _Watchman and Reflector_. Three years
later, I went to Rochester to preach for the Second Baptist Church. On
entering the chapel, I took up a hymn book, thinking: “I wonder what
they sing.” The book opened at “He Leadeth Me,” and that was the first
I knew my hymn had found a place among the songs of the Church.
_MUSIC._ HE LEADETH ME. Finding the hymn in a Christian periodical,
Bradbury composed for it this popular tune with which it has since been
associated. In singing the tune, holds should be observed at the end of
lines 2, 3, and 4 of the stanzas, and at the end of lines 2 and 4 of the
refrain. “Few composers have so exactly caught the tone and spirit of
their text as Bradbury did when he vocalized the gliding measures of ‘He
Leadeth Me.’”
For comments on the composer, Wm. Bradbury, see Hymn 103.
479. Joys are flowing like a river _M. P. Ferguson_
A song of comfort and joy useful for the quiet hour. The presence of
Jesus brings to the trusting soul a blessed quietness as it did to the
disciples on the stormy lake when He awoke and spoke the word of peace
(Mark 4:37-41).
No information has been traced concerning the author of the words, M. P.
Ferguson, or the composer, W. S. Marshall, from whose work the tune is
an arrangement.
480. Blessed assurance, Jesus is mine _Fanny J. Crosby_, 1820-1915
Another of Fanny Crosby’s fine lyrics, sung the world over, in which is
revealed the secret of the author’s own serene trust and cheerful faith.
In her _Memories of Eighty Years_, Miss Crosby makes the following
reference to this hymn:
Often I take in my mind some tune already well known as a model or,
perhaps, more accurately speaking, as a guide, and work to it. This,
however, does not imply that the tune will ultimately be chosen as the
companion of the words; for it has probably already its own true and
lawful mate, with which it is to be happy and useful. Sometimes a tune
is furnished me for which to write the words. The hymn titled “Blessed
Assurance” was made in this manner. My dear friend, Mrs. Joseph F.
Knapp, so well-known as a writer and singer of most excellent music
and as an aid and inspiration to all who knew her, had composed the
tune; and it seemed to me one of the sweetest I had heard for a long
time. She asked me to write a hymn for it, and I felt while bringing
the words and tones together that the air and the hymn were intended
for each other. In the many hundred times that I have heard it sung,
this opinion has been more and more confirmed.
For comments on Fanny Crosby, see Hymn 313.
_MUSIC._ ASSURANCE was written by Mrs. Joseph Fairchild Knapp,
1839-1908, the daughter of Dr. Walter and Mrs. Phoebe Palmer. Her
husband was the founder of the Metropolitan Life Insurance Company in
New York City. Both Mr. and Mrs. Knapp were members of the Methodist
Episcopal church and gave much of their wealth to charitable and
religious work. Mrs. Knapp, a close friend of Fanny Crosby, was an
excellent singer, an accomplished organist, and an earnest Christian
worker.
481. Sweet are the promises _Wm. A. Ogden_, 1841-97
The third stanza is based on Matt. 11:28: “Come unto me, all ye that
labor and are heavy laden, and I will give you rest,” but the author has
substituted “weary” for the word “labor.”
Wm. A. Ogden, who wrote the words and music of this song, was born in
Franklin County, Ohio. At the age of six, he moved with his parents to
Indiana where he enlisted, at the outbreak of the Civil War, in the 13th
Indiana Volunteer Infantry. After the close of the war, he resumed his
musical studies under Lowell Mason, Thomas Hastings, E. E. Bailey, and
B. F. Baker, President of the Boston School of Music. In 1870, he
published _Silver Song_ which reached the enormous sale of 500,000
copies. Ogden won distinction as a teacher and conductor of large
convention choruses. For six years he was director of music at Iowa
Normal School but his greatest musical work was done at Toledo, Ohio,
where he moved in 1881 and served as superintendent of public school
music from 1887 until his death. He loved children and enjoyed teaching
them. His training of 3,000 children in 1894 was the distinct triumph of
the great _Saengerfest_ held that year in Toledo. Ogden wrote scores of
popular songs, always composing both the words and music.
482. Will your anchor hold _Priscilla J. Owens_, 1829-_c._ 99
A hymn setting forth life in terms of the sea and its billowing waves,
and the confidence one may have if anchored to the Rock, which is
Christ.
For comments on the author, Priscilla Jane Owens, and the composer of
the tune, William J. Kirkpatrick, 1838-1921, see Hymn 334.
483. Hide me, O my Savior, hide me _Fanny J. Crosby_, 1820-1915
For comments on Fanny Crosby and Wm. H. Doane who wrote tunes for many
of Miss Crosby’s hymns, see Hymn 313.
484. When peace, like a river, attendeth my way _Horatio G.
Spafford_, 1828-88
A hymn of resignation and submission, written out of bitter experiences
of loss and suffering.
Horatio Gates Spafford, born in New York State, was a lawyer who had
established himself in Chicago. He lost most of his fortune during the
great fire in that city. Then on November 22, 1873, to add to his
trials, he lost four of his children when the French steamer, “Villa de
Havre,” on which Mrs. Spafford and the children were sailing for Europe,
sank in mid-ocean, half an hour after colliding with a large sailing
vessel. Mrs. Spafford was rescued and, landing at Cardiff, Wales, ten
days later, cabled her husband, “Saved Alone.” Spafford started
immediately for Europe to bring his wife to Chicago. D. L. Moody, under
whose preaching the Spafford children had been converted in North
Chicago shortly before sailing, travelled from Edinburgh to Liverpool to
comfort the bereaved parents and was pleased to hear them say, “It is
well: the will of God be done.”
Mr. and Mrs. Spafford later became much interested in the second coming
of Christ, becoming so enthusiastic that in 1881 they went to Jerusalem
with their remaining daughter, to witness the coming of the Lord. After
seven years in Palestine, Spafford died there, September 5, 1888, his
widow continuing to live there as the head of a communistic society with
headquarters in a building outside of Jerusalem. The daughter, very
popular among the natives, became the teacher of a large body of
children, instructing them in English and in American ways.
_MUSIC._ IT IS WELL WITH MY SOUL. The music, “a gentle, gliding melody
that suits the mood of the words,” was written especially for Spafford’s
words and published in _Gospel Hymns No. 3_. The hymn and tune
immediately became popular.
For comments on the composer, P. P. Bliss, see Hymn 442.
485. Take the name of Jesus with you _Lydia Baxter_, 1809-74
A popular gospel song widely used in the Moody and Sankey revivals.
Lydia Baxter, born in Petersburg, New York, was converted under the
preaching of a Baptist missionary, the Rev. Eben Tucker, and, with her
sister, became a leader in the organization of a Baptist Church in her
native town. After her marriage she moved to New York City. Though an
invalid for many years, she was known for her astonishing cheerfulness
and to her home came many a Christian worker for inspiration and advice.
A volume of her poems, _Gems by the Wayside_, was published in 1855.
_MUSIC._ PRECIOUS NAME was written for this hymn. It is inseparably
associated with these words and has done much to give the hymn the
widespread popularity which it enjoys.
For comments on the composer, W. H. Doane, also a Baptist, see Hymn 313.
486. When we walk with the Lord _James H. Sammis_, d. 1919
The origin of this hymn is related in Ira Sankey’s _Story of the Gospel
Hymns_:
“Some years ago,” says Professor Towner, musical director of Moody
Bible Institute, “Mr. Moody was conducting a series of meetings in
Brockton, Mass., and I had the pleasure of singing for him there. One
night a young man rose in a testimony meeting and said, ‘I am not
quite sure—but I am going to trust and obey.’ I just jotted that
sentence down, and sent it with the little story to the Rev. J. H.
Sammis, a Presbyterian minister. He wrote the hymn and the tune was
born. The chorus,
‘Trust and obey
For there’s no other way
To be happy in Jesus
But to trust and obey.’
was written before the hymn was.”
James H. Sammis was born in Brooklyn, N. Y., and became a business man
in Logansport, Indiana. As an active Christian layman, he was much
interested in the Young Men’s Christian Association, and finally gave up
his business connections to serve as a General Secretary in the “Y”.
After further education at Lane and McCormick Seminaries, he entered the
ministry and served as pastor of Presbyterian churches in Indiana,
Michigan, and Minnesota. In 1909, he went to California as a teacher in
the Bible Institute of Los Angeles, continuing there until his death,
June 12, 1919.
_MUSIC._ TRUST AND OBEY. The composer of this tune, D. W. Towner,
1850-1919, was born in Rome, Pa., and became a member of a group of
singers and evangelists associated with D. L. Moody. He was a capable
leader of choirs and large assemblies. In 1893, he became director of
the musical department of Moody Bible Institute in Chicago, a position
he held until his death. In recognition of his services, the University
of Tennessee honored him with the degree of Doctor of Music, in 1900.
487. My hope is built on nothing less _Edward Mote_, 1797-1874
“A grand hymn of faith” is the characterization given by Bishop
Bickersteth of this poem. Written in 1834, and printed as a leaflet, it
was later included in the author’s _Hymns of Praise_, 1836, entitled,
“The Immutable Basis of a Sinner’s Hope.” The hymn is reminiscent of the
words of Paul: “Other foundation can no man lay than that is laid, which
is Jesus Christ” (I Cor. 3:11).
Edward Mote, born in London, worked as a cabinet-maker for some years
but at length entered the ministry and from 1852 until his death in 1874
served the Baptist Church at Horsham, Essex.
The refrain of this hymn came into his mind one morning as he was
walking up Holborn Hill on his way to work. Four stanzas were completed
that day and two more were added the following Sunday.
_MUSIC._ SOLID ROCK. For comments on the composer of this tune, Wm. B.
Bradbury, see Hymn 103.
488. ’Tis so sweet to trust in Jesus _Louisa M. R. Stead_
A hymn of simple trust. Information concerning the author, Louisa M. R.
Stead, has not been traced.
_MUSIC._ TRUSTING was composed for these words by the gospel singer and
composer, Wm. J. Kirkpatrick, 1838-1921.
For comments on Kirkpatrick see Hymn 334.
489. What a fellowship, what a joy divine _Elisha A. Hoffman_
For comments on the author, Elisha A. Hoffman, see Hymn 464.
_MUSIC._ LEANING ON JESUS was composed by Anthony J. Schowalter, who was
born at Cherry Grove, Pa., May 1, 1858. The following from his pen tells
the story of the origin of this hymn and tune:
While I was conducting a singing-school at Hartsells, Alabama, I
received a letter from two of my former pupils in South Carolina,
conveying the sad intelligence that on the same day each of them had
buried a wife. I tried to console them by writing a letter that might
prove helpful in their hour of sadness. Among other Scriptures, I
quoted this passage, “Underneath are the everlasting arms.” Before
completing the writing of the sentence, the thought came to me that
the fact that we may lean on these everlasting arms and find comfort
and strength, ought to be put in a song; and before finishing that
letter, the words and music of the refrain were written. The
manuscript was sent to Elisha Hoffman ... in a few days his completion
of the poem was received.
490. Jesus, keep me near the cross _Fanny J. Crosby_, 1820-1915
A hymn on “the cross.” The refrain suggests the words of Paul: “God
forbid that I should glory save in the cross of our Lord Jesus Christ”
(Gal. 6:14). This is another instance in which the words of the blind
hymn writer and the music of Mr. Doane were combined to make a popular
gospel song.
For comments on Fanny Crosby and Wm. H. Doane, composer of the tune, see
Hymn 313.
491. Nearer the cross _Fanny Crosby_, 1820-1915
For comments on the author of these words, Fanny Crosby, see Hymn 313.
For Mrs. J. F. Knapp, composer of the tune, see Hymn 480.
492. There is a fountain filled with blood _William Cowper_, 1731-1800
The imagery in the first verse is drawn from Zechariah 13:1: “In that
day there shall be a fountain opened to the house of David and to the
inhabitants of Jerusalem for sin and for uncleanness.” The dislike which
some have for this Old Testament phraseology has given rise to much
dispute concerning the hymn, but all attempts to revise it have been
without success. It is excellent poetry and should be left as Cowper
wrote it.
The hymn was published in Conger’s _Collection of Psalms and Hymns_,
1772, and later in the _Olney Hymns_ (See Hymn 60).
For comments on William Cowper see Hymn 60.
_MUSIC._ CLEANSING FOUNTAIN, also called “Western Melody” in some of the
older books, is a stirring tune reminiscent of the early American camp
meeting songs. It is attributed here to Lowell Mason, but it is not
certain whether he wrote it or whether it is an adaptation from his
tune, “Cowper,” which it resembles and to which the hymn is set in _The
Hymnal_, 1933 (Presbyterian).
For comments on Lowell Mason see Hymn 12.
493. I love to tell the story _Katherine Hankey_, 1834-1911
A simple song which became popular and has been translated into several
different languages, because it expresses what is in the hearts of
multitudes of people.
The words are from a long poem of 50 stanzas, in two parts, on the life
of Jesus. Part I, dated January 29, 1866, is entitled, “The Story
Wanted.” Part II, dated November 18, 1866, is entitled, “The Story
Told.” The author composed the poem during a long period of convalescing
after a serious illness. This hymn and “Tell me the old, old story” (No.
495) are selections from Part II and Part I, respectively, of the
above-mentioned poem.
Katherine Hankey, born in Clapham, England, was the daughter of a
banker. She was a refined, consecrated woman, a Sunday school teacher,
and organizer of Bible classes among working girls. She travelled in
South Africa to look after an invalid brother and became so interested
in mission work that she devoted thereto the income from her writings.
_MUSIC._ HANKEY was composed for these words. For comments on the
composer, Wm. G. Fischer, see Hymn 469. The melody, written in 1869, was
harmonized by Hubert P. Main (No. 426) and became popular at revival
meetings. It is one of the gospel song tunes that is included in the
more dignified church hymnals.
494. Sing them over again to me _Philip P. Bliss_, 1838-76
Written especially for use in the first issue of _Words of Life_, a
Sunday school paper published by Fleming H. Revell. Two years later,
George Stebbins introduced the song in an evangelistic campaign which he
and Dr. Pentecost were conducting in New Haven, Conn., the two men
singing the song as a duet. The song was received with enthusiasm and
immediately became popular. It was published in _Gospel Hymns, No. 3_
and has had a wide use in evangelistic services and in the Sunday
schools throughout the country.
For comments on Philip P. Bliss, author and composer, see Hymn 442.
495. Tell me the old, old story _Katherine Hankey_, 1834-1911
For comments on the author, Katherine Hankey, and an account of the
origin of this hymn, see Hymn 493.
_MUSIC._ Dr. W. H. Doane heard the poem read at a Y.M.C.A. Conference at
Montreal in 1867 and was so impressed by it that he copied it and later
set it to music while riding on a stage coach during a vacation in the
White Mountains.
For comments on W. H. Doane, see Hymn 313.
496. There is a Name I love to hear _Frederick Whitfield_, 1829-1904
A hymn on the name of Jesus which was published in 1855 in hymn-sheets
and leaflets in various languages. In 1861, it appeared in the author’s
_Sacred Poems and Prose_, a volume containing twenty-six hymns.
Frederick Whitfield, born at Threapwood, Shropshire, was a minister in
the Anglican Church. Educated at Trinity College, Dublin, where he took
his B.A. degree in 1859, he became, successively, curate of Otley, vicar
of Kirby-Ravensworth, senior curate of Greenwich, and vicar of St.
John’s, Bexley. He is the author of nearly thirty volumes of prose and
poetry.
_MUSIC._ O HOW I LOVE JESUS is a traditional melody of unknown
authorship.
497. Rescue the perishing _Fanny J. Crosby_, 1820-1915
A rallying song for Christian workers in all parts of the world. This is
the only one of Fanny Crosby’s hymns to be included in the famous
English publication, _Hymns Ancient and Modern_. It was a great favorite
of Frances E. Willard and Frances Murphy, temperance crusaders, and D.
L. Moody was very fond of it.
The hymn had its origin in a visit which the blind poet made to one of
the worst slum districts in New York City. When she addressed the men at
a rescue mission, Miss Crosby heard harrowing tales of lost and
perishing people. She wrote:
“While I sat there that evening the line came to me, ‘Rescue the
perishing, care for the dying.’ I could think of nothing else that
night. When I arrived at my home, I went to work at once, and before I
retired the entire hymn was ready for a melody.”
For comments on Fanny J. Crosby see Hymn 313.
_MUSIC._ RESCUE was composed by Dr. Doane for this hymn. The hymn and
tune have resounded through many thousands of mission services.
For comments on Wm. H. Doane see Hymn 313.
498. O scatter seeds of loving deeds _Jessie Brown Pounds_, 1861-1921
For comments on Jessie Brown Pounds, see Hymn 453.
Her song poem has gone around the world on the wings of this tune
composed by Fred A. Fillmore, of the musically famous Fillmore brothers.
See comments at Hymn 453. Fred A. was born May 15, 1856, at Paris,
Illinois.
499. Judge me, God of my salvation _Psalm 43_
A metrical version of Psalm 43 which may be compared with the version
from the Scottish Psalter at No. 587. The fifth verse of the Psalm is
made to serve as the refrain. The poet who made the version has not been
identified. The hymn and tune were taken from the _Psalter_ of the
United Presbyterian Church.
_MUSIC._ AMARA was composed by William O. Perkins, concerning whom no
information has been found.
500. I can hear my Savior calling _E. W. Blandy_
An intimate hymn of personal consecration. The repetition of the phrases
and the close harmony of the music have made the use of this song, even
without the aid of an accompanying instrument, easy and enjoyable. No
information has been found concerning the author, E. W. Blandy
(misspelled Blandly in the _Hymnary_).
_MUSIC._ WHERE HE LEADS ME is admirably suited to the words. No
information has come to light concerning the composer, J. S. Norris.
501. And must I be to judgment brought _Charles Wesley_, 1707-88
The hymn, originally in eight stanzas, was entitled “A Thought on
Judgment” and was written for children! Why Wesley wrote such
serious-minded hymns for children is explained in his preface to _Hymns
for Children_, from which this hymn is taken:
There are two ways of writing or speaking to children. The one is to
let ourselves down to them; the other, to lift them up to us. Dr.
Watts wrote in the former way, and has succeeded admirably well,
speaking to children as children and leaving them as he found them.
The following hymns are written on the other plan. They contain strong
and manly sense, yet expressed in such plain and easy language as even
children may understand. But when they do understand them, they will
be children no longer—only in years and in stature.
For comments on Charles Wesley, see Hymn 6.
_MUSIC._ MARLOW was composed by Rev. John Chetham, 1700-63, an English
clergyman, curate of Skipton.
502. Savior, lead me lest I stray _Frank M. Davis_, 1839-96
The words and music were written on the deck of a steamer that plied
between Baltimore and Savannah.
Frank M. Davis was born on a farm near Marcellus, New York, the youngest
of a family of ten children. He began composing tunes at an early age
and became a teacher of vocal and instrumental music. He travelled
extensively through the eastern and southern states, directing chorus
choirs and teaching vocal classes. He compiled several Sunday school
collections, among them _New Pearls of Song_, 1877, and _Notes of
Praise_, of which more than 100,000 copies were sold. Davis is the
author of over 100 vocal and instrumental compositions. He died suddenly
of heart failure at Chesterfield, Indiana, where he was attending a camp
meeting.
503. My days are gliding swiftly by _David Nelson_, 1793-1844
A hymn written by a preacher while hiding from pursuing slave-holders
whose anger and violence were aroused by Nelson’s aggressive
anti-slavery views.
David Nelson, a surgeon in the U. S. Army during the war of 1812, left
his profession to become a minister, meanwhile owning and operating a
plantation in Missouri. After listening to an address on slavery, he
declared himself in favor of freeing the slaves and advocated the plan
of colonizing them in Africa. This so enraged some of the slave-holders
that they drove Nelson from his home. To avoid mob violence, he escaped,
reaching, after three days and nights of wandering, the Mississippi
River opposite Quincy, Illinois. Hiding there in the bushes, with his
pursuers near but unable to find him, the river gliding swiftly before
him, he wrote this hymn on the back of old letters he had in his pocket.
He was finally rescued by members of the Quincy Congregational Church
who, having learned of his plight, took him on a fishing canoe and rowed
him across the river, still pursued, to safety and friends, on the
hospitable shore of a free state.
_MUSIC._ SHINING SHORE, one of the composer’s most popular tunes, has
been given various arrangements for voice and instruments. Root has
written concerning the origin of the tune:
One day, I remember, as I was working at a set of graded part-songs
for singing classes, mother passed through the room and laid a slip
from one of the religious newspapers before me, saying, “George, I
think that would be good for music.” I looked at the poem which began,
“My days are gliding swiftly by,” and a simple melody sang itself in
my mind as I read. I jotted it down and went on with my work. That was
the origin of the music of “The Shining Shore.” Later, when I took up
the melody to harmonize it, it seemed so very simple and commonplace,
that I hesitated about setting the other parts to it. I finally
decided that it might be useful to somebody, and I completed it,
though it was not printed until some months afterward. In after years
I examined it in an endeavor to account for its great popularity—but
in vain. To the musician there is not one reason in melody or harmony
scientifically regarded, for such a fact. To him hundreds of others,
now forgotten, were better.
For comments on George F. Root, 1820-95, see Hymn 418.
504. There’s a land that is fairer than day _S. F. Bennett_, 1836-98
“It’ll be all right _by and by_.” This trivial remark by Webster, when
one morning, seemingly depressed, he was asked by his partner, Bennett,
what was wrong with him, was the occasion for the writing of this hymn.
The author and composer were friends and partners in the music
publishing business in the village of Elkhorn, Wis. Webster, the
musician of the firm, was inclined to be nervous and subject to periods
of depression. His partner understood this and often effected a cure, as
on this occasion, by putting him to work on a new song. Upon Bennett’s
suggestion, the two agreed that morning to make a hymn out of the idea,
“The sweet by and by.” Bennett penned the words and handed them to
Webster, who promptly wrote the music. Words and music were thus
produced in the incredibly short time of about thirty minutes. The song
was published soon afterward in a Sunday school song book, _The Signet
Ring_, which the two men were compiling. From there it found its way
into numerous collections of songs until today “it is translated into
various foreign languages and sung in every land under the sun.”
Sanford Filmore Bennett was a native of the West. He settled in Elkhorn,
Wis., in 1861, to devote himself to music but later studied medicine and
practiced in Richmond, Ill.
_MUSIC._ SWEET BY AND BY. Joseph Philbrick Webster, 1819-75, composer of
this tune, was born in New Hampshire. He was an active member of the
Handel and Haydn Society and various other musical organizations. He
lived in Madison, Indiana, and Racine, Wisconsin, before finally moving
to Elkhorn, in 1857.