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How firm a foundation
Meter: 11.11.11.11 Appears in 2,127 hymnals Topics: The Christian Life Union with Christ First Line: How firm a foundation, ye saints of the Lord Used With Tune: ST DENIO Text Sources: K' in Rippon's Selection
How firm a foundation
Be Thou My Vision
Author: Mary Elizabeth Byrne Meter: 10.10.9.10 Appears in 159 hymnals Topics: Union with God; Union with God First Line: Be thou my vision, O Lord of my heart Lyrics: 1 Be thou my vision, O Lord of my heart;
naught be all else to me, save that thou art.
Thou my best thought, by day or by night,
waking or sleeping, thy presence my light.
2 Be thou my wisdom, be thou my true word;
I ever with thee, and thou with me, Lord.
Born of thy love, thy child may I be,
thou in me dwelling and I one with thee.
3 Be thou my buckler, my sword for the fight.
Be thou my dignity, thou my delight,
thou my soul’s shelter, thou my high tow’r.
Raise thou me heav’nward, O Pow’r of my pow’r.
4 Riches I heed not, nor vain empty praise;
thou mine inheritance, now and always.
Thou and thou only, first in my heart,
Ruler of heaven, my treasure thou art.
5 "*True Light of heaven, when vict’ry is won
may I reach heaven’s joys, O bright heav’n’s Sun!
Heart of my heart, whatever befall,
still be my vision, O Ruler of all.
*Alternate phrase: “High King” Scripture: Psalm 86:11 Used With Tune: SLANE Text Sources: Irish traditional, “Rob tu mo bhoile, a Comdi cride,” ca. 8th c.; trans. Mary Elizabeth Byrne (Ireland), Ériu, Vol. 2, 1905, alt.
Be Thou My Vision
Love Divine, All Loves Excelling
Author: Charles Wesley Meter: 8.7.8.7 D Appears in 1,863 hymnals Topics: Union With God/Christ Lyrics: 1 Love divine, all loves excelling,
joy of heaven, to earth come down,
fix in us thy humble dwelling,
all thy faithful mercies crown.
Jesus, thou art all compassion,
pure, unbounded love thou art;
visit us with thy salvation,
enter every trembling heart.
2 Come, almighty to deliver,
let us all thy life receive;
suddenly return, and never,
nevermore thy temples leave.
Thee we would be always blessing,
serve thee as thy hosts above,
pray, and praise thee, without ceasing,
glory in thy perfect love.
3 Finish then thy new creation;
pure and spotless let us be;
let us see thy great salvation
perfectly restored in thee,
changed from glory into glory,
till in heaven we take our place,
till we cast our crowns before thee,
lost in wonder, love, and praise.
Used With Tune: HYFRYDOL
Love Divine, All Loves Excelling
SCHMÜCKE DICH
Meter: 8.8.8.8 D Appears in 136 hymnals Composer and/or Arranger: Johann Crüger Topics: Union with Christ Tune Key: D Major Incipit: 32123 54353 43213 Used With Text: Soul, Adorn Yourself with Gladness
SCHMÜCKE DICH
Union with Thee
Author: Jeremiah Montgomery Hymnal: Trinity Psalter Hymnal #448 (2018) Meter: 10.10.10.10 Topics: Union with Christ First Line: Grace of the Father before there was time Scripture: Ephesians 1:3-14 Languages: English Tune Title: SLANE
Union with Thee
From whence doth this union arise
Hymnal: Hymns and Spiritual Songs, Original and Selected, for the Use of Christians. (5th ed.) #B205 (1838) Topics: The Heavenly Union Languages: English
From whence doth this union arise
From whence does the union arise
Hymnal: Social and Camp-meeting Songs, for the Pious (9th ed. enl.) #73 (1827) Meter: 6.6.8.6 Topics: Union Hymn
From whence does the union arise
John Greenleaf Whittier
1807 - 1892 Person Name: John Greenleaf Whittier, 1807-1892 Topics: The Christian Life Union with Christ Author of "Dear Lord and Father of mankind" in The Book of Praise Whittier, John Greenleaf, the American Quaker poet, was born at Haverhill, Massachusetts, Dec. 17, 1807. He began life as a farm-boy and shoemaker, and subsequently became a successful journalist, editor and poet. In 1828 he became editor of the American Manufacturer (Boston), in 1830 of the New England Review, and an 1836 (on becoming Secretary to the American Anti-Slavery Society) of the Pennsylvania Freeman. He was also for some time, beginning with 1847, the corresponding editor of the National Era. In 1840 he removed to Amesbury, Massachusetts, where most of his later works have been written. At the present time [1890] he lives alternately at Amesbury and Boston. His first poetical piece was printed in the Newburyport Free Press in 1824. Since then his publications have been numerous, including:—
Voices of Freedom, 1833; Songs of Labour, and other Poems, 1850; Ballads and other Poems, London, 1844; The Panorama, and other Poems, 1856; In War Time, 1863; Occasional Poems, 1865; Poetical Works, 1869; Complete Poetical Works, 1876; The Bay of the Seven Islands, and other Poems, 1883, &c.
From his numerous poems the following hymns have been compiled, and have come into common use, more especially amongst the American Unitarians:—
1. All as God wills, Who wisely heeds. Trust. This begins with stanza xi. of Whittier's poem, "My Psalm." in his workThe Panorama, and other Poems, 1856 (Complete Poetical Works, Boston, 1876, p. 179), and is given in Lyra Sacra Americana , 1868; Border's Congregational Hymns, 1884, &c.
2. All things are Thine: no gift have we. Opening of a Place of Worship. Written for the Opening of Plymouth Church, Minnesota, 1872 ( Complete Poetical Works , p. 281). In Horder's Congregational Hymns, 1884.
3. Another hand is beckoning us. Bereavement. From his poem " Gone," written in 1845 (Complete Poetical Works, p. 106). In Horder's Congregational Hymns, 1884.
4. Dear Lord and Father of mankind. Calmness in God desired. From his poem “The Brewing of Soma," beginning with stanza xii. (Complete Poetical Works p. 266). In Horder's Congregational Hymns, 1884.
5. God giveth quietness at last. Death and Burial. This begins with stanza xvii. of his poem, “The Singer," written in 1871 (Author's MS.), and included in the Complete Poetical Works, 1876, p. 265. In Martineau's Hymns, 1875.
6. Hast thou, 'midst life's empty noises. The Purpose of Life. Written in 1842. It is in Longfellow and Johnson's Unitarian Book of Hymns, Boston, 1846, and several other later American collections. Also in Lyra Sacra Americana, 1864.
7. I ask not now for gold to gild. Resignation. From his poem "The Wish of To-Day." Written in 1848 (Author's MS.). In Hedge and Huntingdon's Unitarian Hymns for the Church of Christ, Boston, 1853; the Laudes Domini, 1884, and other collections.
8. Immortal love, for ever full. The Love of Jesus. This poem, entitled “Our Master," appeared in Whittier's work, The Panorama, and other Poems, 1856, in 35 stanzas of 4 lines; in Schaff’s Christ in Song, 1869-70, p. 117; and in the Complete Poetical Works, 1876, p. 231, and others. From this poem the following centos have come into common use:—
(1) Immortal love for ever full. In the 1890 edition of the Hymnal Companion and others.
(2) 0 Lord and Master of us all. Begins with stanza xvi.
(3) 0 Love! O Life! our faith and sight. Begins with stanza xxiv. In several American hymnals, including the Unitarian Hymn [and Tune Book ], Boston, 1868, and others.
(4) Our Friend, our Brother, and our Lord. Begins with stanza xxxiv. In Horder's Congregational Hymns, 1884, &c.
(5) We faintly hear, we dimly see. Begins with stanza xxvi. In Barrett's Congregational Church Hymnal, 1887.
(6) We may not climb the heavenly steeps. Begins with stanza v. In Laudes Domini, 1884; the Primitive Methodist Hymnal, 1887, &c.
The use of these centos shows that the hymnic element in the original poem is of a high and enduring order.
9. It may not be our lot to wield. Duty and its Reward. This begins with stanza iv. of his poem "Seedtime and Harvest." Written circa 1850 (Author's MS.). Given in his Complete Poetical Works, p. 114. The hymn is in Laudes Domini, 1884, and other American collections.
10. May freedom speed onward, wherever the blood. Freedom. In the 1848 Supplement to the Boston Book of Hymns, Boston, No. 582, Hymns of the Spirit, 1864, and other collections. In Whittier's Poetical Works, Boston, 1869, p. 68, it is given as, “Right onward, O speed it! Wherever the blood”.
11. Now is the seed-time; God alone. Self-Sacrifice. In the Boston Hymns of the Spirit, 1864, No. 683.
12. 0 backward-looking son of time. New and Old. This begins with stanza xix. of his poem "The Reformer," and is given in this form in the Boston Hymns for the Church of Christ, Boston, 1853, No. 835, and again in later collections. In full in the Complete Poetical Works, p. 78.
13. 0 beauty, old yet ever new. The Law of Love. This in the Boston Hymns of the Spirit, 1864, begins with stanza xxi. of his poem on “The Shadow and the Light,” given in full in the Complete Poetical Works , p. 173.
14. 0 fairest-born of love and light. American National Hymn. This is from his poem "Democracy," which is dated "Election Day, 1843," and is in his Ballads and other Poems, London, 1844, p. 214, and his Complete Poetical Works, p. 82.
15. 0, he whom Jesus loves has truly spoken. True Worship. This in the 1848 Supplement to the Boston Book of Hymns, 1848, No. 578, begins with stanza xi. of his poem on “Worship," given in full in his Complete Poetical Works, p. 96. The poem is dated by the Author, 1848 (Author's MS.).
16. 0 holy Father, just and true. Freedom. "Lines written for the Celebration of the third Anniversary of British Emancipation at the Broadway Tabernacle, N. Y., First of August, 1837." (Complete Poetical Works, p. 47.) It was included in the Unitarian Christian Hymns, Boston, 1844, and has been repeated in later collections.
17. 0 Maker of the Fruits and Flowers. Flower Services. This begins with stanza iv. of his "Lines for the Agricultural and Horticultural Exhibition at Amesbury and Salisbury, Sep. 28, 1858," as given in his Complete Poetical Works , p. 183. It is in the Boston Hymns of the Spirit, 1864, and as "O Painter of the fruits and flowers," in Horder's Congregational Hymns, 1884.
18. O not alone with outward sign. Divine Invitation. This begins with stanza ii. of his poem, "The Call of the Christian," given in his Ballads and other Poems, London, 1844, p. 185, and his Complete Poetical Works, p. 73. The hymn appeared in the Boston Book of Hymns, 1846, and again in later collections.
19. O pure Reformers, not in vain. Freedom. This begins with stanza xii. of his poem "To the Reformers of England," as given in his Complete Poetical Works, p. 77. The hymn was included in the Boston Book of Hymns, 1846, and has been repeated in later collections.
20. O sometimes gleams upon our sight. Old and New. This is taken from his poem "The Chapel of the Hermits," 1852 (in 94 stanzas of 4 lines), and begins with stanza xi. (Comp. Poetical Works, p. 115.) The cento was given in the Boston Hymns of the Spirit, 1864, and repeated in later collections.
21. O Thou, at Whose rebuke the grave. Mercy. This was given in the Boston Book of Hymns, 1848, No. 44l.
22. O [God] Thou, Whose presence went before. National Hymn. This hymn is dated by the author 1834 (Author's MS.), and was written for the Anti-slavery Meeting at Chatham Street Chapel, New York, "on the 4th of the 7th month, 1831." It is No. 750 in the Unitarian Christian Hymns, 1844. It is sometimes given as “0 God, whose presence went before."
23. 0, what though our feet may not tread where Christ trod. Presence of Christ's Spirit. The author dates this 1837 (Author's MS.). It is No. 150 in the Boston Book of Hymns, 1846. In their Hymns of the Spirit, 1864, No. 652, it begins: "0, wherefore the dream of the earthly abode." Both centos are from his poem “Poledom."
24. Shall we grow weary in our watch? Patience, or Resignation. This begins with stanza x. of his poem "The Cypress-Tree of Ceylon." (Complete Poetical Works, p. 84.) This form of the text was given in the Boston Book of Hymns, 1846, No. 278, in 7 stanzas of 4 lines, and again in Horder's Congregational Hymns, 1884, in 3 stanzas.
25. Sport of the changeful multitude. Persecution. This begins with line 6 of stanza x. of his poem "Ezekiel," and was given in the Boston Hymns of the Spirit, 1864, No. 65lines In full in Complete Poetical Works, p. 67.
26. The green earth sends its incense up. Worship of Nature. The author dates this 1845 (Author's MS.). It is from his poem “The Worship of Nature," and was given in this form in the Boston Hymns for the Church of Christ, 1853, No. 193. The cento "The harp at Nature's advent strung," in the Unitarian Hymn [and Tune] Book, Boston, 1868, No. 195, is from the same poem. The cento No. 321 in the Boston Hymns of the Spirit, 1864, is also (altered) from this poem.
27. The path of life we walk today. The Shadowing Rock. This in the Boston Hys. of the Spirit, 1864, begins with stanza i. of his poem on "The Rock in El Gh'or," which the author dates 1859 (Author's MS.). In full in Complete Poetical Works, p. 180.
28. Thine are all the gifts, 0 God. Children's Missions, or Ragged Schools. Written for the Anniversary of the Children's Mission, Boston, 1878. It is given in Horder's Congregational Hymns, 1884.
29. Thou hast fallen in thine armour. Death. From his poem "To the memory of Charles B. Storrs, late President of Western Reserve College," published in his Ballads and other Poems, London, 1844, p. 84. Dated by the author 1835 (Author's MS.). Abridged form in the Hymns of the Spirit, 1864.
30. To-day, beneath Thy chastening eye. Seeking Rest. This begins with stanza iv. of his poem, "The Wish of To-Day," dated by the author 1847 (Author's MS.), and given in full in his Complete Poetical Works, p. 114. The cento is in Martineau's Hymns, 1873, and others.
31. We see not, know not; all our way. Resignation. "Written at the opening of the Civil War, 1861" (Author's MS.), and included in his In War Time, 1863, and his Complete Poetical Works, p. 190. In full in the Prim. Methodist Hymnal, 1887.
32. When on my day of life the night is falling. Old Age. Written in 1882 (Author's MS.), and included in his work The Bay of the Seven Islands, and other Poems, 1883. In Horder's Congregational Hymns, 1884.
33. With silence only as their benediction. Death. 1845. "Written on the death of Sophia Sturge, sister of Joseph Sturge, of Birmingham, England" (Author's MS.). It is in several collections, including Martineau's Hymns, &c, 1873; Horder's Congregational Hymns, 1884, and others.
Notwithstanding this extensive use of portions of Mr. Whittier's poems as hymns for congregational use, he modestly says concerning himself: "I am really not a hymn-writer, for the good reason that I know nothing of music. Only a very few of my pieces were written for singing. A good hymn is the best use to which poetry can be devoted, but I do not claim that I have succeeded in composing one." (Author's MS.) We must add, however, that these pieces are characterized by rich poetic beauty, sweet tenderness, and deep sympathy with human kind.
-- John Julian, Dictionary of Hymnology (1907)
========================
Whittier, J. G, p. 1277, i. In addition to the large number of this author's hymns already annotated from his own manuscript, the following have also come into use, mainly in the form of centos from his poems, during the past ten years:—
i. From Poems, 1850:—
1. O brother man! Fold to thy heart thy brother. [Brotherly Love.] From his poem, “Worship." Written in 1848, and published in Poems, 1850.
ii. From Songs of Labour, and Other Poems, 1850;—
2. Bowed down in lowliness of min. [Resignation.] From the poem “The Wish of To-day."
iii. From The Chapel of the Hermits, and Other Poems, 1853:—
3. O, sometimes glimpses on our sight. [Light in Darkness.] First published in The National Era, 1851, and again as above, 1853. In The Pilgrim Hymnal, N.Y. 1904, it begins " 0 sometimes gleams upon our sight," and in Hymns of the Ages, 1904, "Yet sometimes glimpses on my sight"; see p. 1277, ii. 20.
iv. From The Panorama, and Other Poems, 1856:—
4. Thou, 0 most compassionate. [Divine Compassion.] This cento is from the poem "My Dream," and is dated 1855.
v. From Home Ballads and Poems, 1860:—
5. I mourn no more my vanished years. [Life's Review.] A cento from "My Psalm," dated 1859, opening with st. i.
6. No longer forward nor behind. This begins with st. iii. of "My Psalm."
7. O hearts of love, O souls that turn. [Life from, Christ.] A cento from the poem, "The Overheart."
8. O Love Divine, Whose constant beam. [Divine Love Universal.] From the poem, "The Shadow and the Light." The form in which it is given in The Pilgrim Hymnal, 1904, first appeared in The Independent, Nov. 1860.
9. Once more the liberal year laughs out. [Autumn.] From his "For an Autumn Festival," 1859.
vi. From In War Time, and Other Poems, 1864:—
10. I can only urge the plea. [Cry for Mercy.] A cento from “Andrew Rykman’s Prayer,” dated 1863.
11. What Thou wilt, O Father, give. Also from “Andrew Kykman's Prayer."
vii. From The Tent on the Beach, and Other Poems, 1867:—
12. I bow my forehead to [in] the dust. St. ix., &c.
13. I know not what the future hath. St. xvi., &c.
14. I long for household voices gone. St. xv., &c.
15. I see the wrong that round me lies. St. x., &c.
16. Who fathoms the Eternal Thought. St. iv., &c.
17. Yet, in the maddening maze of things. St. xi., &c.
These centos are taken from the poem, "The Eternal Goodness," which is dated 1865.
viii. From Among the Hills, and Other Poems, 1869:—
18. For ever round the mercy-seat. [God's Love and Man's Unfaithfulness.] From the poem, “The Answer."
ix. From The Pennsylvania Pilgrim, and Other Poems, 1873:—
19. Best for the weary hands is good. [Daily Renewal.] This is from "My Birthday," which appeared in the Atlantic Monthly, 1871, and again as above, 1873.
x. From Hazel Blossoms, 1875:—
20. All things [gifts] are Thine, p. 1277, i. 2. The church for which this was written, in 1873, was Plymouth Church, St. Paul, Minn. The hymn was included in Hazel Blossoms, 1875.
21. We need love's tender lessons taught. [Love.] From Child-Songs," in Hazel Blossoms, opening with st. ix.
xi. From The Bay of the Seven Islands, 1883:—
22. As from the lighted hearths behind me. [Anticipation of the Future.] This begins with st. iii. of the poem, "What the Traveller said at Sunset."
xii. Additional Notes:—
23. Lord, for the things we see. [Public Gatherings.] This hymn is from "Poledom," 1837.
24. Not always as the whirlwind's rush. [Call to the Ministry.] Published in The Poetical Writings, 1857, Vol. i., p. 254, and again in the Oxford edition of his Poetical Works, 1904, p. 455. It is dated 1833.
25. Sound over all waters, [The Coming Kingdom.)
This, in Horder's Worship Song, 1905, is from Whittier's Complete Poetical Works, Boston, 1876, p. 280, where it is dated 1873.
26. Take courage, Temperance workers. [Temperance.] Mr. Pickard, Whittier's literary executor, cannot trace this hymn in any of the author's writings, and we also are at fault.
27. The harp at Nature's advent strung. [Nature's acknowledgement of God.] Dr. Charles L. Noyes, one of the editors of The Pilgrim Hymnal, 1904, writes us concerning this hymn: "It was first published in its present form [as in the American hymn-books] in 1867 in The Tent on the Beach." But a hymn almost identical was written when Whittier was in his teens, and published in the Haverhill Gazette, October 5, 1827. The same poem appeared in The Palladium, 1829. It was revised for The Tent on the Beach, 1867 (p. 1278, i. 26).
28. We see not, know not; all our way, p. 1278, i. 31. This hymn, written in 1861, first appeared in the Atlantic Monthly, 1862, vol. 10, p. 235.
29. Wherever through the ages rise. [Love is universal.] Opens with line 1 of a section in the poem "Miriam," in Miriam, and Other Poems, 1871, p. 13.
30. Who calls Thy glorious service hard? [Duty.] This begins with st. iii. of his poem "Seedtime and Harvest," noted on p. 1277, ii. 9.
31. O Lord and Father of mankind. This is a slightly altered form of "Dear Lord and Father of mankind." p. 1277, i. 4.
The poem, “Our Master," stated on p. 1277, i., No. 8, as having appeared in The Panorama, 1856, in error, was given in The Tent on the Beach, and Other Poems, Boston, 1867, pp. 143-152.
In compiling the foregoing, we have been materially assisted by Mr. Pickard, the poet's literary executor, and the Rev. Dr. Charles L. Noyes, of Somerville, Mass. Whittier died at Hampton Falls, New Hampshire, Sep. 7, 1892.
--John Julian, Dictionary of Hymnology, New Supplement (1907)
=======================
See also in:
Hymn Writers of the Church
John Greenleaf Whittier
Jean Sibelius
1865 - 1957 Person Name: Jean Sibelius, 1865 - 1957 Topics: The Christian Life Union with Christ Composer of "FINLANDIA" in The Book of Praise Johann Julius Christian [Jean] Sibelius DM Finland 1865-1957. Born at Hameenlinna, Finland, the son of a Swedish-speaking medical doctor, he lost his father to typhoid in 1868, leaving the family in substantial debt. His mother, again pregnant, had to sell their property and move in with her widowed mother. His aunt Julia gave him piano lessons when he was seven on the family upright piano, wrapping him on the knuckles when he played a wrong note. He learned to improvise as he played. His uncle, Pehr Ferdinand Sibelius, was interested in music, especially the violin, and gave Jean a violin when he was 10. As his musical advisor his uncle encouraged him to play and compose music. He played music with sister on piano, brother on cello, and himself on violin. He attended a Finnish-speaking prep school in 1874 and continued his education at the Hameenlinna Normal Lyceum thereafter. Jean also showed a strong interest in nature, frequently walking around the countryside when the family moved to the Loviisa coast for the summer months. In 1881 he took violin lessons from the local bandmaster, and developed a strong interest in violin. He became an accomplished player, and thought of becoming a virtuoso, but realizing he began study too late in life for that, instead opted to compose. He often played music in quartets with neighboring families, adding to his chamber music experience. He took the French form of his name, Jean. He studied law at the Imperial Alexander University in Finland, but showed far more interest in music. He then studied music at the Helsinki Music Institute (now Sibelius Academy) from 1885-1889. The school’s founder, Martin Wegelius, did much to support education development in Finland and gave Sibelius his first lessons in composition. Another teacher,,Ferruccio Busoni, a pianist-composer, helped him as well and became a life-long friend. Other friends, pianist Adolf Paul, and conductor-to-be, Armas Jarnefelt, also helped him. In 1892 he married Armas ‘s sister, Aino Jarnefelt, daughter of General Alexander Jarnefelt, governor of Vaasa. They had six daughters, Eva, Ruth, Kirsti, Katarina, Margareta, and Heidi. He continued his musical studies in Berlin (1889-1890) with Albert Becker, and in Vienna (1890-1891) with Robert Fuchs and Karl Goldmark. In Berlin he had opportunity to attend concerts and operas. In Vienna he turned to orchestral composition and had much success, although he had gallstone surgery during that period. He also traveled to the UK, France, Germany, and the USA during this time in his life, composing, conducting, and socializing. In 1892 he took on teaching assignments at the Music Institute and at Kajanus’s conducting school, but this left him with little time for composing. Sibelius’ works were more and more appreciated in Helsinki concert halls as he composed and conducted symphonies in the mid-1890s. In 1898 he was awarded a substantial grant, initially for 10 years, and later extended for life, allowing him to concentrate on composition. Much of his music became popular in Finland and in Germany. In 1899 he began work on his first symphony. It went well, but other patriotic music hehad composed did even better, since Russia was trying to restrict the powers of the Grand Duchy of Finland. In 1900 Sibelius went on an international tour with Kajanus and his orchestra, presenting his recent works. In 1901 he wrote his second symphony, which received rave reviews. He continued to compose as he became popular and well-known. In 1903 he had a new home built near Lake Tuusula north of Helsinki, calleed Ainola (after his wife). He gave concerts in and around Finland, spending more and more time away from home, to the chagrin of his wife. After a time he returned home and composed from there. He spent much time wining and dining in Helsinki, and it had a disastrous effect on his wife, who finally entered a sanitorium. He resolved again to give up drinking and concentrate on composing his 3rd symphony. He met Gustav Mahler in Helsinki and they became friends. He performed his 3rd symphony in St Petersburg, Russia. In 1907 he underwent a serious operation for suspected throat cancer, and spent time in the hospital in 1908. His smoking and drinking had now become life-threatening. He cancelled concerts for Rome, Warsaw, and Berlin, but kept one in London. His health deteriorated further, And his brush with death inspired him to compose his 4th symphony. In 1909 his successful throat operation resulted in renewed happiness for him and his wife, Aino. He continued conducting concerts, and met Claude Debussy, who further encouraged his musical efforts. He began working on his 4th symphony in 1910, but had to write other music to compensate for dwindling funds. He finished his 4th symphony in Berlin and conducted concerts in Sweden in 1911. In 1912 he completed short orchestral works. Over the next several years he continued producing a variety of pieces of music, well-received, especially in America. He was given an honorary DM degree from Yale University and also another from the University of Helsinki about the same time. WW1 interrupted his music royalties in 1915, and he was forced to compose smaller works for publication to make ends meet. He completed his 5th symphony at age 50, but he was dissatisfied with it and reworked it three times In 1917 he starting drinking again, triggering arguments with his wife. The Russian Revolution in 1917 caused an improvement in their personal relationship, and he wrote his ‘Jager March’ to celebrate Finnish independence from Russia. The next year the Finnish Civil War began, putting a damper on his march. In 1919, after the war, he completed his 6th symphony. In 1920 George Eastman , of Eastman Kodak, asked him to teach for a year in New York, but he declined. He did enjoy a trip conducting several concerts in England in 1921. He premiered his 6th symphony in 1923. In 1924 he completed his 7th symphony. The next year he composed a number of small pieces. He began drinking again. He did write a few more major works, but for the last thirty years of his life he avoided publicly talking about his music. He tried to write an 8th symphony, but was unsatisfied with it and burned the scores. In fact, he burned a laundry basket full of music he had written, to the chagrin of his wife. But, afterward, he became calmer and gradually had a lighter mood. In 1935 he was awarded the Goethe-Metal, with a certificate signed by Adolf Hitler. A Soviet invasion of Finland in 1939 was repelled, but Finland gave up territory to Russia as a result. In 1941 Sibelius and his wife returned to their Finland home, Ainola, after a long absence. He did not compose much the last few years, and died at Ainola. His wife outlived him by 12 years.
John Perry
Jean Sibelius
Eleanor Hull
1860 - 1935 Person Name: Eleanor H. Hull Topics: Union With God/Christ Versifier of "Be Thou My Vision" in Voices United
Eleanor Hull
