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There is a fountain filled with blood
Author: William Cowper Appears in 2,473 hymnals Topics: Faith Justification by Lyrics: 1 There is a fountain filled with blood
Drawn from Immanuel's veins,
And sinners plunged beneath that flood
Lose all their guilty stains,
Lose all their guilty stains.
2 The dying thief rejoiced to see
That fountain in his day;
And there have I, though vile as he,
Washed all my sins away,
Washed all my sins away.
3 Dear dying Lamb, Thy precious blood
Shall never lose its power,
Till all the ransomed church of God
Be saved, to sin no more,
Be saved to sin no more.
4 E'er since by faith, I saw the stream
Thy flowing wounds supply,
Redeeming love has been my theme,
And shall be till I die,
And shall be till I die.
5 Then in a nobler, sweeter song,
I'll sing Thy power to save,
When this poor lisping, stammering tongue
Lies silent in the grave,
Lies silent in the grave.
Amen.
Used With Tune: COWPER
There is a fountain filled with blood
Christ, the solid rock
Author: Edward Mote Appears in 1,085 hymnals Topics: Justification By faith First Line: My hope is built on nothing less Scripture: Hebrews 13:5
Christ, the solid rock
Just as I am, without one plea
Author: Charlotte Elliott Meter: 8.8.8.6 Appears in 2,115 hymnals Topics: Faith Justification by Used With Tune: JUST AS I AM
Just as I am, without one plea
NEW CITY FELLOWSHIP
Meter: 7.7.7.7.7.7 Appears in 1 hymnal Composer and/or Arranger: James Ward Topics: Faith Justification by Tune Key: A Major Used With Text: Rock of Ages, Cleft for Me
NEW CITY FELLOWSHIP
Blest is the man, for ever blest
Hymnal: Book of Worship (Rev. ed.) #316 (1870) Meter: 8.8.8.8 Topics: Faith Justification by; Justification by Faith Lyrics: 1 Blest is the man, for ever blest,
Whose guilt is pardon'd by his God,
Whose sins with sorrow are confess'd,
And coverd with his Saviour's blood.
2 Blest is the man to whom the Lord
Imputes not his iniquities;
He pleads no merit of reward,
And not on works, but grace relies.
3 From guile his heart and lips are free,
His humble joy, his holy fear,
With deep repentance well agree,
And join to prove his faith sincere.
4 How glorious is that righteousness
That hides and cancels all his sins!
While a bright evidence of grace
Through his whole life appears and shines. Languages: English
Blest is the man, for ever blest
Jesus, Thou art my Righteousness
Hymnal: Book of Worship (Rev. ed.) #319 (1870) Meter: 8.6.8.6 Topics: Faith Justification by; Justification by Faith Lyrics: 1 Jesus, Thou art my Righteousness,
For all my sins were Thine:
Thy death hath bought of God my peace,
Thy life hath made Him mine.
2 Now justified in Thee I am;
My sins are all forgiven:
I taste salvation in Thy Name,
And antedate my heaven.
3 Believing on my Lord, I find
A sure and present aid:
On Thee alone my constant mind
Be every moment stay'd.
4 Whate'er in me seems wise, or good,
Or strong, I here disclaim:
I wash my garments in the blood
Of the atoning Lamb.
5 Jesus, my Strength, my Life, my Rest,
On Thee will I depend,
Till summoned to the marriage-feast,
Where faith in sight shall end. Languages: English
Jesus, Thou art my Righteousness
I heard the voice of Jesus say
Hymnal: Book of Worship (Rev. ed.) #320 (1870) Meter: 8.6.8.6 D Topics: Faith Justification by; Justification by Faith Lyrics: 1 I heard the voice of Jesus say,
“Come unto Me and rest;
Lay down, thou weary one, lay down
Thy head upon My breast!”
I came to Jesus as I was,
Weary, and worn, and sad;
I found in Him a resting-place,
And He has made me glad.
2 I heard the voice of Jesus say,
“Behold, I freely give
The living water; thirsty one,
Stoop down, and drink, and live!”
I came to Jesus, and I drank
Of that life-giving stream;
My thirst was quench'd, my soul revived,
And now I live in Him.
3 I heard the voice of Jesus say,
“I am this dark world’s Light;
Look unto Me, thy morn shall rise,
And all thy day be bright!”
I looked to Jesus, and I found
In Him my Star, my Sun;
And in that Light of life I’ll walk,
Till all my journey's done. Languages: English
I heard the voice of Jesus say
Edward Mote
1797 - 1874 Topics: Faith Justification by Author of "On Christ the solid rock I stand" in Book of Worship with Hymns and Tunes Mote, Edward, was born in Upper Thames Street, London, Jan. 21, 1797. Through the preaching of the Rev. J. Hyatt, of Tottenham Court Road Chapel, he underwent a great spiritual change; and ultimately he became a Baptist minister. For the last 26 years of his life he was pastor at Horsham, Sussex, where he died Nov. 13, 1874. Mr. Mote published several small pamphlets; and also:-
Hymns of Praise. A New Selection of Gospel Hymns, combining all the Excellencies of our spiritual Poets, with many Originals. By E. Mote. London. J. Nichols, 1836. The Originals number nearly 100.
Concerning the authorship of one of these original hymns much uncertainty has existed. The hymn is:—
1. Nor earth, nor hell my soul can move. [Jesus All in All.] In 6 stanzas of 4 lines, with a refrain. Mr. Mote's explanation, communicated to the Gospel Herald, is:—
"One morning it came into my mind as I went to labour, to write an hymn on the ‘Gracious Experience of a Christian.' As I went up Holborn I had the chorus,
‘On Christ the solid Rock I stand,
All other ground is sinking sand.’
In the day I had four first verses complete, and wrote them off. On the Sabbath following I met brother King as I came out of Lisle Street Meeting . . . who informed me that his wife was very ill, and asked me to call and see her. I had an early tea, and called afterwards. He said that it was his usual custom to sing a hymn, read a portion, and engage in prayer, before he went to meeting. He looked for his hymnbook but could find it nowhere. I said, ‘I have some verses in my pocket; if he liked, we would sing them.' We did; and his wife enjoyed them so much, that after service he asked me, as a favour, to leave a copy of them for his wife. 1 went home, and by the fireside composed the last two verses, wrote the whole off, and took them to sister King. . . As these verses so met the dying woman's case, my attention to them was the more arrested, and I had a thousand printed for distribution. I sent one to the Spiritual Magazine, without my initials, which appeared some time after this. Brother Rees, of Crown Street, Soho, brought out an edition of hymns [1836], and this hymn was in it. David Denham introduced it [1837] with Rees's name, and others after... . Your inserting this brief outline may in future shield me from the charge of stealth, and be a vindication of truthfulness in my connection with the Church of God."
The form in which the hymn is usually found is:—
2. My hope is built on nothing less (st. ii.), sometimes in 4 stanzas, and at others in 5 st., and usually without the refrain. The original in the author's Hymns of Praise, 1836, is No. 465, and entitled, "The immutable Basis of a Sinner's hope." Bishop Bickersteth calls it a "grand hymn of faith." It dates circa 1834, and is in extensive use. [Rev. W. R. Stevenson, M.A.]
--John Julian, Dictionary of Hymnology (1907)
Edward Mote
William B. Bradbury
1816 - 1868 Topics: Faith Justification by Composer of "SOLID ROCK" in Book of Worship with Hymns and Tunes William Bachelder Bradbury USA 1816-1868. Born at York, ME, he was raised on his father's farm, with rainy days spent in a shoe-shop, the custom in those days. He loved music and spent spare hours practicing any music he could find. In 1830 the family moved to Boston, where he first saw and heard an organ and piano, and other instruments. He became an organist at 15. He attended Dr. Lowell Mason's singing classes, and later sang in the Bowdoin Street church choir. Dr. Mason became a good friend. He made $100/yr playing the organ, and was still in Dr. Mason's choir. Dr. Mason gave him a chance to teach singing in Machias, ME, which he accepted. He returned to Boston the following year to marry Adra Esther Fessenden in 1838, then relocated to Saint John, New Brunswick. Where his efforts were not much appreciated, so he returned to Boston. He was offered charge of music and organ at the First Baptist Church of Brooklyn. That led to similar work at the Baptist Tabernacle, New York City, where he also started a singing class. That started singing schools in various parts of the city, and eventually resulted in music festivals, held at the Broadway Tabernacle, a prominent city event. He conducted a 1000 children choir there, which resulted in music being taught as regular study in public schools of the city. He began writing music and publishing it. In 1847 he went with his wife to Europe to study with some of the music masters in London and also Germany. He attended Mendelssohn funeral while there. He went to Switzerland before returning to the states, and upon returning, commenced teaching, conducting conventions, composing, and editing music books. In 1851, with his brother, Edward, he began manufacturring Bradbury pianos, which became popular. Also, he had a small office in one of his warehouses in New York and often went there to spend time in private devotions. As a professor, he edited 59 books of sacred and secular music, much of which he wrote. He attended the Presbyterian church in Bloomfield, NJ, for many years later in life. He contracted tuberculosis the last two years of his life.
John Perry
William B. Bradbury
Lowell Mason
1792 - 1872 Person Name: Lowell Mason (1792-1872) Topics: Faith Justification by Composer of "MERIBAH" in Songs of Praise with Tunes Dr. Lowell Mason (the degree was conferred by the University of New York) is justly called the father of American church music; and by his labors were founded the germinating principles of national musical intelligence and knowledge, which afforded a soil upon which all higher musical culture has been founded. To him we owe some of our best ideas in religious church music, elementary musical education, music in the schools, the popularization of classical chorus singing, and the art of teaching music upon the Inductive or Pestalozzian plan. More than that, we owe him no small share of the respect which the profession of music enjoys at the present time as contrasted with the contempt in which it was held a century or more ago. In fact, the entire art of music, as now understood and practiced in America, has derived advantage from the work of this great man.
Lowell Mason was born in Medfield, Mass., January 8, 1792. From childhood he had manifested an intense love for music, and had devoted all his spare time and effort to improving himself according to such opportunities as were available to him. At the age of twenty he found himself filling a clerkship in a banking house in Savannah, Ga. Here he lost no opportunity of gratifying his passion for musical advancement, and was fortunate to meet for the first time a thoroughly qualified instructor, in the person of F. L. Abel. Applying his spare hours assiduously to the cultivation of the pursuit to which his passion inclined him, he soon acquired a proficiency that enabled him to enter the field of original composition, and his first work of this kind was embodied in the compilation of a collection of church music, which contained many of his own compositions. The manuscript was offered unavailingly to publishers in Philadelphia and in Boston. Fortunately for our musical advancement it finally secured the attention of the Boston Handel and Haydn Society, and by its committee was submitted to Dr. G. K. Jackson, the severest critic in Boston. Dr. Jackson approved most heartily of the work, and added a few of his own compositions to it. Thus enlarged, it was finally published in 1822 as The Handel and Haydn Society Collection of Church Music. Mason's name was omitted from the publication at his own request, which he thus explains, "I was then a bank officer in Savannah, and did not wish to be known as a musical man, as I had not the least thought of ever making music a profession." President Winchester, of the Handel and Haydn Society, sold the copyright for the young man. Mr. Mason went back to Savannah with probably $500 in his pocket as the preliminary result of his Boston visit.
The book soon sprang into universal popularity, being at once adopted by the singing schools of New England, and through this means entering into the church choirs, to whom it opened up a higher field of harmonic beauty. Its career of success ran through some seventeen editions. On realizing this success, Mason determined to accept an invitation to come to Boston and enter upon a musical career. This was in 1826. He was made an honorary member of the Handel and Haydn Society, but declined to accept this, and entered the ranks as an active member. He had been invited to come to Boston by President Winchester and other musical friends and was guaranteed an income of $2,000 a year. He was also appointed, by the influence of these friends, director of music at the Hanover, Green, and Park Street churches, to alternate six months with each congregation. Finally he made a permanent arrangement with the Bowdoin Street Church, and gave up the guarantee, but again friendly influence stepped in and procured for him the position of teller at the American Bank.
In 1827 Lowell Mason became president and conductor of the Handel and Haydn Society. It was the beginning of a career that was to win for him as has been already stated the title of "The Father of American Church Music." Although this may seem rather a bold claim it is not too much under the circumstances. Mr. Mason might have been in the average ranks of musicianship had he lived in Europe; in America he was well in advance of his surroundings. It was not too high praise (in spite of Mason's very simple style) when Dr. Jackson wrote of his song collection: "It is much the best book I have seen published in this country, and I do not hesitate to give it my most decided approbation," or that the great contrapuntist, Hauptmann, should say the harmonies of the tunes were dignified and churchlike and that the counterpoint was good, plain, singable and melodious.
Charles C. Perkins gives a few of the reasons why Lowell Mason was the very man to lead American music as it then existed. He says, "First and foremost, he was not so very much superior to the members as to be unreasonably impatient at their shortcomings. Second, he was a born teacher, who, by hard work, had fitted himself to give instruction in singing. Third, he was one of themselves, a plain, self-made man, who could understand them and be understood of them."
The personality of Dr. Mason was of great use to the art and appreciation of music in this country. He was of strong mind, dignified manners, sensitive, yet sweet and engaging.
Prof. Horace Mann, one of the great educators of that day, said he would walk fifty miles to see and hear Mr. Mason teach if he could not otherwise have that advantage.
Dr. Mason visited a number of the music schools in Europe, studied their methods, and incorporated the best things in his own work. He founded the Boston Academy of Music. The aim of this institution was to reach the masses and introduce music into the public schools. Dr. Mason resided in Boston from 1826 to 1851, when he removed to New York. Not only Boston benefited directly by this enthusiastic teacher's instruction, but he was constantly traveling to other societies in distant cities and helping their work. He had a notable class at North Reading, Mass., and he went in his later years as far as Rochester, where he trained a chorus of five hundred voices, many of them teachers, and some of them coming long distances to study under him. Before 1810 he had developed his idea of "Teachers' Conventions," and, as in these he had representatives from different states, he made musical missionaries for almost the entire country. He left behind him no less than fifty volumes of musical collections, instruction books, and manuals.
As a composer of solid, enduring church music. Dr. Mason was one of the most successful this country has introduced. He was a deeply pious man, and was a communicant of the Presbyterian Church. Dr. Mason in 1817 married Miss Abigail Gregory, of Leesborough, Mass. The family consisted of four sons, Daniel Gregory, Lowell, William and Henry. The two former founded the publishing house of Mason Bros., dissolved by the death of the former in 1869. Lowell and Henry were the founders of the great organ manufacturer of Mason & Hamlin. Dr. William Mason was one of the most eminent musicians that America has yet produced.
Dr. Lowell Mason died at "Silverspring," a beautiful residence on the side of Orange Mountain, New Jersey, August 11, 1872, bequeathing his great musical library, much of which had been collected abroad, to Yale College.
--Hall, J. H. (c1914). Biography of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company.
Lowell Mason
