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There's a Friend for little children
Author: Albert Midlane, 1825-1909 Meter: 8.6.7.6.7.6.7.6 Appears in 246 hymnals Topics: Hymns for the Young The Heavenly Home Used With Tune: IN MEMORIAM
There's a Friend for little children
A crown of glory bright
Author: Phoebe Cary Meter: 6.4.6.4 Appears in 69 hymnals Topics: Hymns for the Young The Heavenly Home Used With Tune: NAIN
A crown of glory bright
Hark! hark, my soul! Angelic songs are swellilng
Author: Frederick W. Faber Meter: 11.10.11.10.9.11 Appears in 604 hymnals Topics: The Last Things The Heavenly Home; The Last Things The Heavenly Home Lyrics: 1 Hark! hark, my soul! Angelic songs are swelling
O’er earth’s green fields, and ocean’s wave-beat shore:
How sweet the truth those blessed strains are telling
Of that new life when sin shall be no more.
Angels of Jesus, Angels of light,
Singing to welcome the pilgrims of the night.
2 Onward we go, for still we hear them singing,
'Come, weary souls, for Jesus bids you come;'
And through the dark, its echoes sweetly ringing,
The music of the gospel leads us home.
Angels of Jesus, Angels of light,
Singing to welcome the pilgrims of the night.
3 Far, far away, like bells at evening pealing,
The voice of Jesus sounds o’er land and sea,
And laden souls, by thousands meekly stealing,
Kind Shepherd, turn their weary steps to Thee.
Angels of Jesus, Angels of light,
Singing to welcome the pilgrims of the night.
4 Rest comes at length: though life be long and dreary,
The day must dawn, and darksome night be past;
Faith’s journeys end in welcome to the weary,
And heaven, the heart’s true home, will come at last.
Angels of Jesus, Angels of light,
Singing to welcome the pilgrims of the night.
5 Angels, sing on! your faithful watches keeping;
Sing us sweet fragments of the songs above;
Till morning’s joy shall end the night of weeping,
And life’s long shadows break in cloudless love.
Angels of Jesus, Angels of light,
Singing to welcome the pilgrims of the night. Used With Tune: [Hark! hark, my soul! Angelic songs are swelling]
Hark! hark, my soul! Angelic songs are swellilng
IN MEMORIAM
Meter: 8.6.7.6.7.6.7.6 Appears in 53 hymnals Composer and/or Arranger: John Stainer, 1840-1901 Topics: Hymns for the Young The Heavenly Home Tune Key: E Flat Major Incipit: 33432 31123 45365 Used With Text: There's a Friend for little children
IN MEMORIAM
HOLY MANNA
Meter: 8.7.8.7 D Appears in 222 hymnals Composer and/or Arranger: William Moore Topics: Heaven Home Tune Key: G Major Incipit: 55611 22132 11656 Used With Text: Brethren, We Have Met to Worship
HOLY MANNA
I'm going home, I'm going home
Author: Wm. Hunter Hymnal: Methodist Hymn-Book #763 (1884) Meter: 8.8.8.8 Topics: Social and Family Worship - Christian Fellowship and Prayer The heavenly home First Line: My heavenly home is bright and fair Languages: English
I'm going home, I'm going home
Jerusalem, my happy home
Author: Anon.; Joseph Bromhead Hymnal: The Lutheran Hymnary #609 (1913) Meter: 8.6.8.6 Topics: The Last Things The Heavenly Home; The Last Things The Heavenly Home Lyrics: 1 Jerusalem, my happy home,
Name ever dear to me!
When shall my labors have an end
In joy, and peace, and thee?
2 When shall these eyes thy heaven built walls
And pearly gates behold?
Thy bulwarks with salvation strong,
And streets of shining gold?
3 O when, thou city of my God,
Shall I thy courts ascend,
Where evermore the angels sing,
Where sabbaths have no end?
4 There happier bowers than Eden’s bloom,
Nor sin nor sorrow know:
Blest seats! through rude and stormy scenes
I onward press to you.
5 Why should I shrink at pain and woe,
Or feel at death dismay?
I’ve Canaan’s goodly land in view,
And realms of endless day.
6 Apostles, martyrs, prophets there
Around my Savior stand;
And soon my friends in Christ below
Will join the glorious band.
7 Jerusalem, my happy home!
My soul still pants for thee;
Then shall my labors have an end,
When I thy joy shall see.
Tune Title: [Jerusalem my happy home]
Jerusalem, my happy home
There is a blessed home
Author: Sir Henry W. Baker Hymnal: The Lutheran Hymnary #615 (1913) Topics: The Last Things The Heavenly Home; The Last Things The Heavenly Home Lyrics: 1 There is a blessed home
Beyond this land of woe,
Where trials never come,
Nor tears of sorrow flow;
Where faith is lost in sight,
And patient hope is crowned,
And everlasting light
Its glory throws around.
2 There is a land of peace,
Good angels know it well:
Glad songs that never cease
Within its portals swell;
Around its glorious throne
Ten thousand saints adore
Christ, with the Father One,
And Spirit, evermore.
3 O joy all joys beyond,
To see the Lamb who died,
And count each sacred wound
In hands, and feet, and side;
To give to Him the praise
Of every triumph won,
And sing through endless days
The great things He hath done!
4 Look up, ye saints of God,
Nor fear to tread below
The path your Savior trod
Of daily toil and woe;
Wait but a little while
In uncomplaining love,
His own most gracious smile
Shall welcome you above. Tune Title: [There is a blessed home]
There is a blessed home
H. W. Baker
1821 - 1877 Person Name: Sir Henry W. Baker Topics: The Last Things The Heavenly Home; The Last Things The Heavenly Home Author of "There is a blessed home" in The Lutheran Hymnary Baker, Sir Henry Williams, Bart., eldest son of Admiral Sir Henry Loraine Baker, born in London, May 27, 1821, and educated at Trinity College, Cambridge, where he graduated, B.A. 1844, M.A. 1847. Taking Holy Orders in 1844, he became, in 1851, Vicar of Monkland, Herefordshire. This benefice he held to his death, on Monday, Feb. 12, 1877. He succeeded to the Baronetcy in 1851. Sir Henry's name is intimately associated with hymnody. One of his earliest compositions was the very beautiful hymn, "Oh! what if we are Christ's," which he contributed to Murray's Hymnal for the Use of the English Church, 1852. His hymns, including metrical litanies and translations, number in the revised edition of Hymns Ancient & Modern, 33 in all. These were contributed at various times to Murray's Hymnal, Hymns Ancient & Modern and the London Mission Hymn Book, 1876-7. The last contains his three latest hymns. These are not included in Hymns Ancient & Modern. Of his hymns four only are in the highest strains of jubilation, another four are bright and cheerful, and the remainder are very tender, but exceedingly plaintive, sometimes even to sadness. Even those which at first seem bright and cheerful have an undertone of plaintiveness, and leave a dreamy sadness upon the spirit of the singer. Poetical figures, far-fetched illustrations, and difficult compound words, he entirely eschewed. In his simplicity of language, smoothness of rhythm, and earnestness of utterance, he reminds one forcibly of the saintly Lyte. In common with Lyte also, if a subject presented itself to his mind with striking contrasts of lights and shadows, he almost invariably sought shelter in the shadows. The last audible words which lingered on his dying lips were the third stanza of his exquisite rendering of the 23rd Psalm, "The King of Love, my Shepherd is:"—
Perverse and foolish, oft I strayed,
But yet in love He sought me,
And on His Shoulder gently laid,
And home, rejoicing, brought me."
This tender sadness, brightened by a soft calm peace, was an epitome of his poetical life.
Sir Henry's labours as the Editor of Hymns Ancient & Modern were very arduous. The trial copy was distributed amongst a few friends in 1859; first ed. published 1861, and the Appendix, in 1868; the trial copy of the revised ed. was issued in 1874, and the publication followed in 1875. In addition he edited Hymns for the London Mission, 1874, and Hymns for Mission Services, n.d., c. 1876-7. He also published Daily Prayers for those who work hard; a Daily Text Book, &c. In Hymns Ancient & Modern there are also four tunes (33, 211, 254, 472) the melodies of which are by Sir Henry, and the harmonies by Dr. Monk. He died Feb. 12, 1877.
--John Julian, Dictionary of Hymnology (1907)
H. W. Baker
Lowell Mason
1792 - 1872 Topics: Hymns for the Young The Heavenly Home Composer of "NAIN" in The Presbyterian Book of Praise 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
Bernard, of Cluny
1100 - 1199 Person Name: Bernard of Cluny Topics: The Last Things The Heavenly Home; The Last Things The Heavenly Home Author of "Jerusalem the golden" in The Lutheran Hymnary Bernard of Morlaix, or of Cluny, for he is equally well known by both titles, was an Englishman by extraction, both his parents being natives of this country. He was b., however, in France very early in the 12th cent, at Morlaix, Bretagne. Little or nothing is known of his life, beyond the fact that he entered the Abbey of Cluny, of which at that time Peter the Venerable, who filled the post from 1122 to 1156, was the head. There, so far as we know, he spent his whole after-life, and there he probably died, though the exact date of his death, as well as of his birth is unrecorded. The Abbey of Cluny was at that period at the zenith of its wealth and fame. Its buildings, especially its church (which was unequalled by any in France); the services therein, renowned for the elaborate order of their ritual; and its community, the most numerous of any like institution, gave it a position and an influence, such as no other monastery, perhaps, ever reached. Everything about it was splendid, almost luxurious. It was amid such surroundings that Bernard of Cluny spent his leisure hours in composing that wondrous satire against the vices and follies of his age, which has supplied—and it is the only satire that ever did so—some of the most widely known and admired hymns to the Church of today. His poem De Contemptu Mundi remains as an imperishable monument of an author of whom we know little besides except his name, and that a name overshadowed in his own day and in ours by his more illustrious contemporary and namesake, the saintly Abbot of Clairvaux.
The poem itself consists of about 3000 lines in a meter which is technically known as Leonini Cristati Trilices Dactylici, or more familiarly—to use Dr. Neale's description in his Mediaeval Hymns, p. 69—" it is a dactylic hexameter, divided into three parts, between which a caesura is inadmissible. The hexameter has a tailed rhyme, and feminine leonine rhyme between the two first clauses, thus :—
" Tune nova gloria, pectora sobria, clarificabit: Solvit enigmata, veraque sabbata, continuabit, Patria luminis, inscia turbinis, inscia litis, Cive replebitur, amplificabitur Israelitis."
The difficulty of writing at all, much more of writing a poem of such length in a metre of this description, will be as apparent to all readers of it, as it was to the writer himself, who attributes his successful accomplishment of his task entirely to the direct inspiration of the Spirit of God. "Non ego arroganter," he says in his preface, "sed omnino humiliter, et ob id audenter affirmaverim, quia nisi spiritus sapicntiae et intellectus mihi affuisset et afftuxisset, tarn difficili metro tarn longum opus con-texere non sustinuissem."
As to the character of the metre, on the other hand, opinions have widely differed, for while Dr. Neale, in his Mediaeval Hymns, speaks of its "majestic sweetness," and in his preface to the Rhythm of Bernard de Morlaix on the Celestial Country, says that it seems to him "one of the loveliest of mediaeval measures;" Archbishop Trench in his Sac. Lat. Poetry, 1873. p. 311, says "it must be confessed that" these dactylic hexameters "present as unattractive a garb for poetry to wear as can well be imagined;" and, a few lines further on, notes "the awkwardness and repulsiveness of the metre." The truth perhaps lies between these two very opposite criticisms. Without seeking to claim for the metre all that Dr. Neale is willing to attribute to it, it may be fairly said to be admirably adapted for the purpose to which it has been applied by Bernard, whose awe-stricken self-abasement as he contemplates in the spirit of the publican, “who would not so much as lift up his eyes unto heaven," the joys and the glory of the celestial country, or sorrowfully reviews the vices of his age, or solemnly denounces God's judgments on the reprobate, it eloquently pourtrays. So much is this the case, that the prevailing sentiment of the poem, that, viz., of an awful apprehension of the joys of heaven, the enormity of sin, and the terrors of hell, seems almost wholly lost in such translations as that of Dr. Neale. Beautiful as they are as hymns, "Brief life is here our portion," "Jerusalem the Golden," and their companion extracts from this great work, are far too jubilant to give any idea of the prevailing tone of the original. (See Hora Novissima.)
In the original poem of Bernard it should be noted that the same fault has been remarked by Archbishop Trench, Dean Stanley, and Dr. Neale, which may be given in the Archbishop's words as excusing at the same time both the want, which still exists, of a very close translation of any part, and of a complete and continuous rendering of the whole poem. "The poet," observes Archbishop Trench, "instead of advancing, eddies round and round his object, recurring again and again to that which he seemed thoroughly to have discussed and dismissed." Sac. Lat. Poetry, 1873, p. 311. On other grounds also, more especially the character of the vices which the author lashes, it is alike impossible to expect, and undesirable to obtain, a literal translation of the whole. We may well be content with what we already owe to it as additions to our stores of church-hymns.
-John Julian, Dictionary of Hymnology (1907)
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Bernard of Cluny, p. 137, i., is best described thus: his place of origin is quite uncertain. See the Catalogue of the Additional MSS. of the B. M. under No. 35091, where it is said that he was perhaps of Morlas in the Basses-Pyrenees, or of Morval in the Jura, but that there is nothing to connect him with Morlaix in Brittany. [Rev. James Mearns, M.A.]
--John Julian, Dictionary of Hymnology, New Supplement (1907)
Bernard, of Cluny
