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Author: Augustus M. Toplady, 1740-1778 Meter: 7.7.7.7.7.7 Appears in 2,901 hymnals Topics: Hope and Comfort Lyrics: 1 Rock of Ages, cleft for me, let me hide myself in thee; let the water and the blood, from thy riven side which flowed, be of sin the double cure: cleanse me from its guilt and pow'r. 2 Not the labors of my hands can fulfill thy law's demands; could my zeal no respite know, could my tears forever flow, all for sin could not atone; thou must save, and thou alone. 3 Nothing in my hand I bring, simply to thy cross I cling; naked, come to thee for dress, helpless, look to thee for grace; foul, I to the fountain fly; wash me, Savior, or I die. 4 While I draw this fleeting breath, when mine eyes shall close in death, when I soar to worlds unknown, see thee on thy judgment throne, Rock of Ages, cleft for me, let me hide myself in thee. Scripture: Exodus 33:22 Used With Tune: TOPLADY

It Is Well with My Soul

Author: Horatio G. Spafford, 1829-1888 Meter: 11.8.11.9 with refrain Appears in 478 hymnals Topics: Hope and Comfort First Line: When peace like a river attendeth my way Lyrics: 1 When peace like a river attendeth my way, when sorrows like sea billows roll– whatever my lot, thou hast taught me to say, it is well, it is well with my soul. Refrain: It is well with my soul, it is well, it is well with my soul. 2 Though Satan should buffet, though trials should come, let this blest assurance control, that Christ hath regarded my helpless estate and hath shed his own blood for my soul. [Refrain] 3 My sin– oh, the bliss of this glorious thought— my sin, not in part, but the whole, is nailed to the cross, and I bear it no more: praise the Lord, praise the Lord, O my soul! [Refrain] 4 And, Lord, haste the day when my faith shall be sight, the clouds be rolled back as a scroll; the trump shall resound, and the Lord shall descend; even so, it is well with my soul. [Refrain] Scripture: John 14:27 Used With Tune: VILLE DU HAVRE

Why Should Cross and Trial Grieve Me

Author: Paul Gerhardt, 1607-1676; Stephen P. Starke, b. 1955; Harlyn J. Kuschel, b. 1945 Meter: 8.3.3.6 D Appears in 22 hymnals Topics: Hope and Comfort First Line: Why should cross and trial grieve me? Scripture: 1 Peter 1:3-9 Used With Tune: WARUM SOLLT ICH MICH DEN GRÄMEN Text Sources: Tr. sts. 1-3: Christian Worship, 1993

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Tunes

Tune authorities

SWEET HOUR

Meter: 8.8.8.8 Appears in 525 hymnals Composer and/or Arranger: William B. Bradbury Topics: Sanctifiying and Perfecting Grace Prayer, Trust, Hope; Comfort; Hope; Prayer Tune Key: D Major Incipit: 13455 67165 33212 Used With Text: Sweet Hour of Prayer

EIN FESTE BURG

Meter: 8.7.8.7.6.6.6.6.7 Appears in 642 hymnals Composer and/or Arranger: Martin Luther, 1483-1546; J. S. Bach, 1685-1750 Topics: Comfort; Courage; Ecuminism; Faith; God the Father/Creator; Hope; Jesus Christ; Kingdom/Reign of God; Majesty and Power; Praise; Providence; Struggle; Trust; Word of God Tune Key: C Major Incipit: 11156 71765 17656 Used With Text: A Mighty Fortress Is Our God

PRECIOUS LORD

Meter: Irregular Appears in 86 hymnals Composer and/or Arranger: Thomas A. Dorsey Topics: Sanctifiying and Perfecting Grace Prayer, Trust, Hope; Affliction and Tribulation; Comfort; Eternal Life; Funerals and Memorial Services; Grief; Hope Tune Key: G Major Incipit: 34555 13321 16166 Used With Text: Precious Lord, Take My Hand

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Instances

Published text-tune combinations (hymns) from specific hymnals

Take the Name of Jesus With You

Author: Lillian Baxter (1809-1874) Hymnal: Seventh-day Adventist Hymnal #474 (1985) Meter: 8.7.8.7 with refrain Topics: Christan Life Hope and Comfort Refrain First Line: Precious Name, O how sweet! Hope of earth and joy of Heav’n. Lyrics: 1 Take the Name of Jesus with you, Child of sorrow and of woe, It will joy and comfort give you; Take it then, where’er you go. Refrain Precious Name, O how sweet! Hope of earth and joy of Heav’n. Precious Name, O how sweet! Hope of earth and joy of Heav’n. 2 Take the Name of Jesus ever, As a shield from every snare; If temptations round you gather, Breathe that holy Name in prayer. [Refrain] 3 O the precious Name of Jesus! How it thrills our souls with joy, When His loving arms receive us, And His songs our tongues employ! [Refrain] 4 At the Name of Jesus bowing, Falling prostrate at His feet, King of kings in heav’n we’ll crown Him, When our journey is complete. [Refrain] Tune Title: [Take the name of Jesus with you]

Immovable Our Hope Remains

Author: Augustus M. Toplady, 1740-1778; Bob Kauflin, b. 1955; Brittany Born, b. 1989 Hymnal: Christian Worship #832 (2021) Meter: 8.8.8.8.8.6.8.8 with repeat Topics: Hope and Comfort Scripture: Isaiah 49:15-16 Languages: English Tune Title: IMMOVABLE HOPE

Come, Ye Disconsolate

Author: Thomas Moore (1779-1852); Thomas Hastings (1784-1872) Hymnal: Seventh-day Adventist Hymnal #477 (1985) Meter: 11.10.11.10 Topics: Christan Life Hope and Comfort First Line: Come, ye disconsolate, where'er ye languish Lyrics: 1 Come, ye disconsolate, where’er ye languish. come to the mercy seat, fervently kneel. Here bring your wounded hearts, here tell your anguish; earth has no sorrow that heaven cannot heal. 2 Joy of the desolate, light of the straying, hope of the penitent, fadeless and pure! Here speaks the Comforter, tenderly saying, “Earth has no sorrow that heaven cannot cure.” 3 Here see the bread of life; waters flowing forth from the throne of God, pure from above. Come to the feast of love; come, ever knowing earth has no sorrow but heaven can remove. Tune Title: CONSOLATOR

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People

Authors, composers, editors, etc.

Sarah Flower Adams

1805 - 1848 Person Name: Sarah F. Adams (1805-4848) Topics: Christan Life Hope and Comfort Author of "Near My God, to Thee" in Seventh-day Adventist Hymnal Adams, Sarah, nee Flower. born at Harlow, Essex, Feb. 22nd, 1805; died in London, Aug. 14, 1848, and was buried at Harlow, Aug. 21,1848. She was the younger daughter of Mr. Benjamin Flower, editor and proprietor, of The Cambridge Intelligencer; and was married, in 1834, to William B. Adams, a civil engineer. In 1841 she published Vivia Perpetua, a dramatic poem dealing with the conflict of heathenism and Christianity, in which Vivia Perpetua suffered martyrdom; and in 1845, The Flock at the Fountain; a catechism and hymns for children. As a member of the congregation of the Rev. W. J. Fox, an Unitarian minister in London, she contributed 13 hymns to the Hymns and Anthems, published by C. Fox, Lond., in 1841, for use in his chapel. Of these hymns the most widely known are— "Nearer,my God,to Thee," and "He sendeth sun, He sendeth shower." The remaining eleven, most of which have come into common use, more especially in America, are:— Creator Spirit! Thou the first. Holy Spirit. Darkness shrouded Calvary. Good Friday. Gently fall the dews of eve. Evening. Go, and watch the Autumn leaves. Autumn. O hallowed memories of the past. Memories. O human heart! thou hast a song. Praise. O I would sing a song of praise. Praise. O Love! thou makest all things even. Love. Part in Peace! is day before us? Close of Service. Sing to the Lord! for His mercies are sure. Praise. The mourners came at break of day. Easter. Mrs. Adams also contributed to Novello's musical edition of Songs for the Months, n. d. Nearly all of the above hymns are found in the Unitarian collections of Great Britain, and America. In Martineau's Hymns of Praise & Prayer, 1873, No. 389, there is a rendering by her from Fenelon: —" Living or dying, Lord, I would be Thine." It appeared in the Hymns and Anthems, 1841. -John Julian, Dictionary of Hymnology (1907)

Lowell Mason

1792 - 1872 Person Name: Lowell Mason (1792-1872) Topics: Christan Life Hope and Comfort Composer of "BETHANY" in Seventh-day Adventist Hymnal 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 19G9. 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). Biographies of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company.

Thomas Andrew Dorsey

1899 - 1993 Person Name: Thomas A. Dorsey, 1899-1993 Topics: Hope and Comfort Author of "Precious Lord, Take My Hand" in Christian Worship Thomas Andrew Dorsey was born in Villa Rica, a small rural town near Atlanta, Georgia. In 1919 he moved to Chicago. Most of his musical training was in the church, but he also studied and played jazz and blues. He later combined jazz and blues with religious texts, giving birth to gospel music. In 1931, along with Magnolia Lewis-Butts and Theodore Roosevelt Frye, he established the first gospel choir at Ebenezer Baptist Church in Chicago. He went on to lead the gospel choir at Pilgrim Baptist Church, which he led for 60 years. Dorsey was also instrumental in founding the National Convention of Gospel Choirs and Choruses (NCGCC) in 1933. The convention taught choirs all over the country how to sing gospel music. Dianne Shapiro, from "Gospel" in Encyclopedia of Chicago (accessed 8/12/2020)

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