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Take My Life and Let It Be (Que mi vida entera esté)
Author: Frances R. Havergal; Vicente Mendoza, 1875-1955 Meter: 7.7.7.7 with refrain Appears in 1,200 hymnals Topics: Ofrenda; Ofrenda del Corazón, vida y Propio Ser First Line: Take my hands and let them move (Que mis manos pueda guiar) Lyrics: Refrain:
Take my life and let it be
Consecrated, Lord, to thee.
Take my moments and my days;
Let them flow in endless praise.
1 Take my hands and let them move
At the impulse of thy love.
Take my feet and let them be
Swift and beautiful for thee. [Refrain]
2 Take my voice and let me sing
Always, only, for my King.
Take my lips and let them be
Filled with messages from thee. [Refrain]
3 Take my silver and my gold;
Not a mite would I withhold.
Take my intellect and use
Ev'ry pow'r as thou shalt choose. [Refrain]
4 Take my will and make it thine;
It shall be no longer mine.
Take my heart– it is thine own;
It shall be thy royal throne. [Refrain]
5 Take my love; my Lord, I pour
At thy feet its treasure store.
Take myself, and I will be
Ever, only, all for thee. [Refrain]
---
Estribillo:
Que mi vida entera esté
consagrada a ti, Señor;
que mis días al correr
manifiesten tu loor.
1 Que mis manos pueda guiar
el impulso de tu amor;
que mis pies al caminar
lleven siempre bendición. [Estribillo]
2 Que mi voz pueda contar
siempre solo a ti, Señor;
que mis labios puedan dar
testimonio de tu amor. [Estribillo]
3 Que mis bienes ofrendar
sepa siempre a ti, Señor,
que mi mente y su poder
sean usados en tu honor. [Estribillo]
4 Toma, ¡oh Dios, mi voluntad
y hazla tuya, nada más;
toma, sí, mi corazón,
y tu trono en él tendrás. [Estribillo]
5 Y mi amor a ti lo doy,
mi tesoro, lo que soy.
*Todo tuyo quiero ser,
solo en ti permanecer. [Estribillo]
* Toda Scripture: Numbers 6:1-12 Used With Tune: TOMA MI VOLUNTAD
Take My Life and Let It Be (Que mi vida entera esté)
Make Me a Blessing (Usa mi vida)
Author: Ira B. Wilson, 1880-1950; J. F. Swanson Meter: 10.7.10.7 with refrain Appears in 86 hymnals Topics: Ofrenda del Corazón, vida y Propio Ser First Line: Out in the highways and byways of life (Muchos qui viven en tu derredor) Lyrics: 1 Out in the highways and byways of life,
Many are weary and sad;
Carry the sunshine where darkness is rife,
Making the sorrowing glad.
Refrain:
Make me a blessing, Make me a blessing.
Out of my life may Jesus shine;
Make me a blessing, O Savior, I pray.
Make me a blessing to someone today.
2 Tell the sweet story of Christ and his love,
Tell of his pow'r to forgive;
Others will trust him if only you prove
True, ev'ry moment you live. [Refrain]
3 Give as 'twas given to you in your need,
Love as the Master loved you;
Be to the helpless a helper indeed,
Unto your mission be true. [Refrain]
---
1 Muchos qui viven en tu derredor,
tristes, hambrientos están;
tú, por tu vida, les puedes llevar
gozo, luz y bendición.
Estribillo:
Usa mi vida, usa mi vida
para tu gloria, oh Jesús;
todos los días y hoy quiero ser
testigo tuyo, Señor, por doquier.
2 Di a los tristes que Dios es amor;
él quiere dar su perdón
a los que vienen a Cristo Jesús
buscando paz, salvación. [Estribillo]
3 Toda tu vida hoy rinde al Señor,
cada momento sé fiel;
otros que vean en ti su amor,
pronto se rinan a él. [Estribillo]
Scripture: Zechariah 8:13 Used With Tune: SCHULER
Make Me a Blessing (Usa mi vida)
O Jesus, I Have Promised (Jesús, yo he prometido)
Author: John E. Bode, 1816-1874; Juan Bautista Cabrera, 1837-1916 Meter: 7.6.7.6 D Appears in 621 hymnals Topics: Ofrenda del Corazón, vida y Propio Ser Lyrics: 1 O Jesus, I have promised
To serve thee to the end;
Be thou forever near me,
My Master and my friend;
I shall not fear the battle
If thou art by my side,
Nor wander from the pathway
If thou wilt be my guide.
2 O let me feel thee near me!
The world is ever near:
I see the sights that dazzle,
The tempting sounds I hear.
My foes are ever near me,
Around me and within;
But, Jesus, draw thou nearer,
And shield my soul from sin.
3 O let me hear thee speaking
In accents clear and still,
Above the storms of passion,
The murmurs of self-will.
O speak to reassure me,
To hasten or control;
O speak, and make me listen,
Thou guardian of my soul.
4 O Jesus, thou hast promised
To all who follow thee
That where thou art in glory
There shall thy servant be.
And, Jesus, I have promised
To serve thee to the end;
O give me grace to follow,
My Master and my friend.
---
1 Jesús, yo he prometido
servirte con amor;
concédeme tu gracia,
mi amigo y Salvador.
No temeré la lucha
si tú a mi lado estás,
ni perderé el camino
si tú guiando vas.
2 Estamos en el mundo
y abunda tentación;
muy suave es el engaño
Y necia la pasión.
Ven tú, Jesús, muy cerca
en mi necesidad,
y escuda al alma mía
de toda iniquidad.
3 Y si mi mente vaga,
ya incierta, ya veloz,
concédeme que escuche,
Jesús, tu clara voz.
Anímame si dudo;
Inspírame también;
repréndeme si temo
en todo hacer el bien.
4 Jesús, tú has prometido
a todo aquel que va
siguiendo tus pisadas,
que al cielo llegará.
Sosténme en el camino,
y al fin, con dulce amor,
trasládame a tu gloria,
mi amigo y Salvador.
Scripture: 1 Chronicles 29:14 Used With Tune: ANGEL'S STORY
O Jesus, I Have Promised (Jesús, yo he prometido)
KINGS OF ORIENT
Meter: 8.8.4.4.6 with refrain Appears in 192 hymnals Composer and/or Arranger: John H. Hopkins, Jr. 1820-1891 Topics: Ofrenda Tune Key: e minor Incipit: 54312 32154 31232 Used With Text: We Three Kings of Orient Are (Del Oriente Venimos Tres)
KINGS OF ORIENT
Traigamos con gozo (With Joy and Thanksgiving)
Author: Anónima; Martin Tel; Dianne Zandstra, b. 1952 Hymnal: Santo, Santo, Santo #645 (2019) Topics: Ofrenda; Ofrenda del Corazón, vida y Propio Ser First Line: Traigamos con gozo a Dios nuestra ofrenda (With joy and thanksgiving we bring God our off'rings) Scripture: 1 Corinthians 12:4-6 Languages: English; Spanish Tune Title: [Traigamos con gozo a Dios nuestra ofrenda]
Traigamos con gozo (With Joy and Thanksgiving)
¿Con qué pagaremos? (How Can We Repay You)
Author: Anónima; Mary Louise Bringle, n. 1953 Hymnal: Santo, Santo, Santo #630 (2019) Meter: 6.6.6.5.6.6.6.6.5 Topics: Ofrenda del Corazón, vida y Propio Ser First Line: Con qué pagaremos (How can we repay you) Scripture: Psalm 116:12-14 Languages: English; Spanish Tune Title: PAGAREMOS
¿Con qué pagaremos? (How Can We Repay You)
Tal como soy, Señor (Just As I Am, My Lord)
Author: Jesús Adrián Romero, n. 1965; Greg Scheer, n. 1966 Hymnal: Santo, Santo, Santo #631 (2019) Topics: Ofrenda del Corazón, vida y Propio Ser Refrain First Line: Acéptame como ofrenda de amor (Lord, may my life be an off'ring of love) Languages: English; Spanish Tune Title: [Tal como soy, Señor]
Tal como soy, Señor (Just As I Am, My Lord)
Adelaide A. Pollard
1862 - 1934 Person Name: Adelaide A. Pollard, 1862-1934 Topics: Ofrenda del Corazón, vida y Propio Ser Author of "Have Thine Own Way, Lord (Haz lo que quieras)" in Santo, Santo, Santo Not to be confused with Adelaide A. Procter
Adelaide A. Pollard
Lowell Mason
1792 - 1872 Person Name: Lowell Mason, 1792-1872 Topics: Ofrenda del Corazón, vida y Propio Ser Composer of "BOYLSTON" in Santo, Santo, Santo 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
Vicente P. Mendoza
1875 - 1955 Person Name: Vicente Mendoza, 1875-1955 Topics: Ofrenda; Ofrenda del Corazón, vida y Propio Ser Translator of "Take My Life and Let It Be (Que mi vida entera esté)" in Santo, Santo, Santo Vicente Mendoza Born: December 24, 1875, Guadalajara, Mexico. Died: 1955, Mexico City, Mexico. Mendoza studied initially under Don Aurelio Ortega. At age of 11 he went to work in a Protestant print shop in Mexico City and helped produce El Evangelista Mexicano (The Mexican Evangelist) for the Methodist Church of the South; he rose to become its director for 17 years. Looking to improve himself, Mendoza entered a night school for workers, but later feeling the call to preach the Gospel, he entered the Presbyterian Seminary in Mexico City. When the seminary closed temporarily, Mendoza entered the Methodist Institute of Puebla, where he finished the course in theology. In 1898 he became a member of the Annual Conference of the Mexican Methodist Church. From 1915 to 1917, he belonged to the Southern Methodist Conference of California. Mendoza worked on several periodicals, including El Mundo Cristiano (The Christian World), El Abogado Cristiano (The Christian Advocate), and El Evangelista Cristiano (The Christian Evangelist).
© The Cyber Hymnal™ (hymntime.com/tch)
Vicente P. Mendoza
