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Nearer, My God, to Thee

Author: Sarah F. Adams Meter: 6.4.6.4.6.6.6.4 Appears in 2,490 hymnals Topics: The Christian Life Hope and Aspiration Used With Tune: BETHANY

O Happy Band of Pilgrims

Author: John M. Neale; Joseph the Hymnographer Meter: 7.6.7.6 Appears in 183 hymnals Topics: The Christian Life Hope and Aspiration Used With Tune: VULPIUS

I'm Pressing on the Upward Way

Author: Johnson Oatman, Jr. Meter: 8.8.8.8 with refrain Appears in 332 hymnals Topics: Sabbath School Hope and Aspiration Refrain First Line: Lord, lift me up, and I shall stand Used With Tune: HIGHER GROUND

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Tunes

Tune authorities

NEED

Meter: 6.4.6.4 with refrain Appears in 540 hymnals Composer and/or Arranger: Robert Lowry Topics: Sanctifiying and Perfecting Grace Personal Holiness; Sanctifiying and Perfecting Grace Prayer, Trust, Hope; Aspiration and Resolve; Calmness and Serenity; Commitment Tune Key: A Flat Major Incipit: 13217 11121 655 Used With Text: I Need Thee Every Hour

SLANE

Meter: 10.10.9.10 Appears in 251 hymnals Composer and/or Arranger: Carlton R. Young Topics: Sanctifiying and Perfecting Grace Prayer, Trust, Hope; Aspiration and Resolve; Funerals and Memorial Services; Guidance; Hope; Integrity; Jesus Christ Presence Tune Key: E Flat Major Incipit: 11216 56112 32222 Used With Text: Be Thou My Vision

MORECAMBE

Meter: 10.10.10.10 Appears in 326 hymnals Composer and/or Arranger: Frederick C. Atkinson Topics: Sanctifiying and Perfecting Grace Prayer, Trust, Hope; Aspiration and Resolve; Christian Year Pentecost; Faith; Holy Spirit; Hope; Prayer Tune Key: B Flat Major Incipit: 33343 65443 17656 Used With Text: Spirit of God, Descend upon My Heart

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Instances

Published text-tune combinations (hymns) from specific hymnals

Christ, of All My Hopes the Ground

Author: Ralph Wardlaw Hymnal: The Hymnbook #314 (1955) Meter: 7.7.7.7 Topics: Life in Christ Hope and Aspiration Lyrics: 1 Christ, of all my hopes the Ground, Christ, the Spring of all my joy, Still in Thee may I be found, Still for Thee my powers employ, Still for Thee my powers employ. 2 Let Thy love my heart inflame; Keep Thy fear before my sight; Be Thy praise my highest aim; Be Thy smile my chief delight, Be Thy smile my chief delight. 3 Fountain of o'erflowing grace, Freely from Thy fullness give; Till I close my earthly race, May I prove it Christ to live, May I prove it Christ to live. 4 Firmly trusting in Thy blood, Nothing shall my heart confound; Safely I shall pass the flood, Safely reach Emmanuel's ground, Safely reach Emmanuel's ground. 5 Thus, O thus, an entrance give To the land of cloudless sky; Having known it Christ to live, Let me know it gain to die, Let me know it gain to die. Amen. Scripture: Philippians 1:21 Tune Title: HENDON

From Thee All Skill and Science Flow

Author: Charles Kingsley Hymnal: The Hymnbook #315 (1955) Meter: 8.6.8.6 Topics: Life in Christ Hope and Aspiration Lyrics: 1 From Thee all skill and science flow, All pity, care, and love, All calm and courage, faith and hope; O pour them from above. 2 And part them, Lord, to each and all, As each and all shall need, To rise like incense, each to Thee, In noble thought and deed. 3 And hasten, Lord, that perfect day When pain and death shall cease, And Thy just rule shall fill the earth With health, and light, and peace; 4 When ever blue the sky shall gleam, And ever green the sod; And man's rude work deface no more The Paradise of God. Amen. Scripture: Proverbs 8:32-35 Tune Title: ST. PETER

I Am Thine, O Lord

Author: Fanny Crosby Hymnal: The Hymnbook #320 (1955) Meter: 10.7.10.7 with refrain Topics: Life in Christ Hope and Aspiration First Line: I am Thine, O Lord, I have heard Thy voice Refrain First Line: Draw me nearer, nearer, blessed Lord Lyrics: 1 I am Thine, O Lord, I have heard Thy voice, And it told Thy love to me; But I long to rise in the arms of faith, And be closer drawn to Thee. Refrain: Draw me nearer, nearer, blessed Lord, To the cross where Thou hast died; Draw me nearer, nearer, nearer, blessed Lord, To Thy precious, bleeding side. 2 O the pure delight of a single hour That before Thy throne I spend, When I kneel in prayer, and with Thee, my God, I commune as friend with friend! [Refrain] 3 Consecrate me now to Thy service, Lord, By the power of grace divine; Let my soul look up with a steadfast hope, And my will be lost in Thine. [Refrain] Amen. Scripture: Philippians 3:10 Tune Title: I AM THINE

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People

Authors, composers, editors, etc.

W. G. Fischer

1835 - 1912 Person Name: William G. Fischer (1835-1912) Topics: Sabbath School Hope and Aspiration Composer of "THE ROCK THAT IS HIGHER" in The Church Hymnal William Gustavus Fischer In his youth, William G. Fischer (b. Baltimore, MD, 1835; d. Philadelphia, PA, 1912) developed an interest in music while attending singing schools. His career included working in the book bindery of J. B. Lippencott Publishing Company, teaching music at Girard College, and co-owning a piano business and music store–all in Philadelphia. Fischer eventually became a popular director of music at revival meetings and choral festivals. In 1876 he conducted a thousand-voice choir at the Dwight L. Moody/Ira D. Sankey revival meeting in Philadelphia. Fischer composed some two hundred tunes for Sunday school hymns and gospel songs. Bert Polman

Arthur Sullivan

1842 - 1900 Person Name: Arthur Seymour Sullivan, (1842-1900). Topics: Hope and Aspiration Composer of "ST. EDMUND" in The Hymnal and Order of Service Arthur Seymour Sullivan (b Lambeth, London. England. 1842; d. Westminster, London, 1900) was born of an Italian mother and an Irish father who was an army bandmaster and a professor of music. Sullivan entered the Chapel Royal as a chorister in 1854. He was elected as the first Mendelssohn scholar in 1856, when he began his studies at the Royal Academy of Music in London. He also studied at the Leipzig Conservatory (1858-1861) and in 1866 was appointed professor of composition at the Royal Academy of Music. Early in his career Sullivan composed oratorios and music for some Shakespeare plays. However, he is best known for writing the music for lyrics by William S. Gilbert, which produced popular operettas such as H.M.S. Pinafore (1878), The Pirates of Penzance (1879), The Mikado (1884), and Yeomen of the Guard (1888). These operettas satirized the court and everyday life in Victorian times. Although he composed some anthems, in the area of church music Sullivan is best remembered for his hymn tunes, written between 1867 and 1874 and published in The Hymnary (1872) and Church Hymns (1874), both of which he edited. He contributed hymns to A Hymnal Chiefly from The Book of Praise (1867) and to the Presbyterian collection Psalms and Hymns for Divine Worship (1867). A complete collection of his hymns and arrangements was published posthumously as Hymn Tunes by Arthur Sullivan (1902). Sullivan steadfastly refused to grant permission to those who wished to make hymn tunes from the popular melodies in his operettas. Bert Polman

Lowell Mason

1792 - 1872 Topics: Life in Christ Hope and Aspiration Composer of "BETHANY" in The Hymnbook 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.

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