who wrote i come to the garden alone hymn
2529451
"In the Garden" (sometimes rendered by its first line "I Come to the Garden Alone" is a gospel song written by American songwriter C. Austin Miles (1868–1946), a former pharmacist who served as editor and manager at Hall-Mack publishers for 37 years. According to Miles' great-granddaughter, the song was written "in a cold, dreary and leaky basement in Pitman, New Jersey that didn't even have a window in it let alone a view of a garden." The song was first published in 1912 and popularized during the Billy Sunday evangelistic campaigns of the early twentieth century by two members of his staff, Homer Rodeheaver and Virginia Asher. Recorded versions Roy Rogers and Dale Evans recorded the song with vocal quartet and orchestra on March 3, 1950. Tennessee Ernie Ford performed the song on his 1956 platinum album Hymns. A June 18, 1958 recording by Perry Como was part of his album When You Come to the End of the Day. Rosemary Clooney included it on her 1959 MGM Records album Hymns from the Heart. It is also used in juxtaposition to "Blue Tail Fly" near the beginning of the Merchant Ivory film The Ballad of the Sad Cafe. The book of poetry Tea by D. A. Powell also refers to the song. Doris Day recorded the song on her 1962 album You'll Never Walk Alone. Elvis Presley recorded the song on his gospel album How Great Thou Art (1967). Willie Nelson recorded the song on his 1976 gospel album The Troublemaker. The Statler Brothers' 1981 version reached #35 on the US Country chart. Glen Campbell recorded the song on his 1989 gospel album Favorite Hymns. The gospel song is sung throughout Wild River (1960). It’s also sung in the closing scene of the film Places in the Heart (1984) and by Ronee Blakley in the Robert Altman film Nashville (1975). Brad Paisley recorded a cover of the song on his debut album Who Needs Pictures (1999). Garrison Keillor & Meryl Streep recorded a version on the 2006 CD A Prairie Home Companion: Duets. The song also appears on John Prine and Mac Wiseman's 2007 Standard Songs for Average People. The song is included on Johnny Cash's 5-CD box set Cash Unearthed, released posthumously in November, 2003, and featured on disc 4, My Mother's Hymn Book. This collection of gospel songs was released as a stand-alone disc six months later. The Avett Brothers regularly sing this song as an encore at their concerts. Lyrics I come to the garden alone, While the dew is still on the roses; And the voice I hear, falling on my ear, The Son of God discloses. Refrain: And He walks with me, and He talks with me, And He tells me I am His own, And the joy we share as we tarry there, None other has ever known. He speaks, and the sound of His voice Is so sweet the birds hush their singing; And the melody that He gave to me Within my
In the Garden (1912 song)
17691877
Sir Edward Denny, 4th Baronet (2 October 1796 – 13 June 1889) was an Anglo-Irish baronet and composer of hymns. Life He was the eldest son of Sir Edward Denny, 3rd Baronet and Elizabeth Day, daughter of the Hon. Robert Day, judge of the Court of King's Bench (Ireland) and his first wife Mary (Polly) Potts. In 1827, Denny became High Sheriff of Kerry. In 1831, he succeeded his father as baronet and inherited a substantial portion of Tralee. Denny remained unmarried throughout his life. His family motto was "Act Mea Messis Erit" — "in age my harvest shall be". The following obituary appeared in the 19 June 1889 Leeds Mercury edited by Thomas Blackburn Baines: Denny lived in later years at Bolton Gardens, Kensington and at another time at Islington, being then connected with the Brethren's Priory Meeting Room. He was associated with numerous principal men of the Plymouth Brethren movement including William Kelly, J.G. Bellett, John Nelson Darby, George Wigram. He also participated in the conferences held at Powerscourt House. Denny studied the subject of biblical prophecy and assisted by John Jewell Penstone (1817–1902) prepared valuable charts to illustrate dispensational teaching. The best-known publication was "A Prophetical Stream of Time". Hymn writer Denny published his own hymns, in 1839 "A Selection of Hymns" and in 1848, "Hymns and Poems", with new editions in 1870 and 1889. Some of his hymns appeared in "Hymns for the Poor of the Flock" (1840) hymn book. He did not like other editors amending his compositions to suit their tastes or doctrinal foibles. In the preface to "Hymns and Poems" Sir Edward Denny wrote, "I have been much grieved, I confess, to observe how the practice of needlessly altering some even of our well-known favourite hymns has lately prevailed ... should any of these poems or hymns be deemed worthy of a place in any further collections, may they be left as they are without alteration or abridgement". Death Denny died aged 93. He was buried at the Paddington Cemetery by the side of George Wigram who had died ten years before. His sister Dianna Denny survived her brother by six months, attaining the age of 85, and was buried with him. On their headstone was engraved the following inscription, "In joyful assurance of rising to an endless day". Today a modern replacement headstone does not have this inscription. The title passed to Edward's nephew Robert, son of the Reverend Robert Denny. Arms References Sources Chief Men among the Brethren, Hy Pickering. Chapter Two Archive, London External links 1796 births 1889 deaths 19th-century evangelicals Baronets in the Baronetage of Ireland Christian hymnwriters Members of the Parliament of the United Kingdom for County Kerry constituencies (1801–1922) Writers from County Kerry British Plymouth Brethren UK MPs 1818–1820 High Sheriffs of Kerry Irish Plymouth Brethren 19th-century Anglo-Irish people Musicians from County Kerry Politicians from County Kerry
Sir Edward Denny, 4th Baronet
7862400
Robert Robinson (27 September 1735 – 9 June 1790) was an English Dissenter, influential Baptist and scholar who made a lifelong study of the antiquity and history of Christian Baptism. He was also author of the hymns "Come Thou Fount of Every Blessing" and "Mighty God, while angels bless Thee", the former of which he wrote at age 22 after converting to Methodism. The latter was later set to music by Dr John Randall, Music Professor at Cambridge University. Early life Robert Robinson was born in Swaffham in Norfolk, on 27 September 1735, to Michael Robinson, a customs officer, and Mary Wilkin, who had married by license at Lakenheath, Suffolk, 28 March 1723. His father died when he was aged five, but his maternal grandfather, Robert Wilkin, a wealthy gentleman of Mildenhall, who had never reconciled himself to his daughter’s lowly marriage, disinherited his grandson, with an inheritance of ten shillings and sixpence. Robinson’s uncle, a farmer, had sponsored Robinson’s attendance at a school at Scarning, near Dereham, Norfolk, under Rev. Joseph Brett. When he was fourteen, Robinson was sent to London as apprentice to Joseph Anderson, a hairdresser of Crutched Friars; though Robinson continued an avid reader. Robinson pursued a detailed study of the Scriptures and early Christian authors, which soon convinced him of the inefficacy of infant baptism, compared with the baptism of believing adults. This caused him some difficulty after he settled in Cambridge, and where he had a large family of twelve unbaptized children. In 1752, Robinson was briefly converted to Evangelical Methodism on hearing the Calvinist George Whitefield, and in 1758 he spent a few months at a Calvinistic Methodist Chapel in Mildenhall. He was then invited to assist William Cudworth at the Calvinistic Methodist Norwich Tabernacle, but after a matter of weeks seceded to form a new Congregational Chapel in St Paul's parish, Norwich. In January 1759, he moved again, to Stone-Yard Baptist Chapel, Cambridge (St Andrew's Street Baptist Church), where he remained the rest of his life, first as Lecturer and then, from 1762, as Pastor. A new chapel was built for him in 1764. His congregation came to number more than a thousand. Robinson was able to buy an eighty-acre farm by the river at Chesterton, where he kept cattle and sheep, grew barley and wheat, and dealt as a corn and coal merchant with barges plying the Cam. Ministry and later life Robinson's friends and occasional hearers at Cambridge included the Professor of Music, Dr John Randall (1715–99); Thomas Fyshe Palmer (1747–1802); John Hammond; Robert Tyrwhitt; and William Frend (1757–1841). Samuel Woolcock Christophers (Hymn-writers and Their Hymns, 1870) relates the story how a woman in a coach drew Robinson's attention to the hymn "Come Thou Fount of Every Blessing" and Robinson replied, "Madam, I am the poor unhappy man who wrote that hymn many years ago, and I would give a thousand worlds, if I had them, to enjoy the feelings I had then." Robinson was anxious to meet Joseph Priestley
Robert Robinson (Baptist)
16595343
Chet Atkins Plays Back Home Hymns is the seventeenth studio album of instrumental gospel hymns by guitarist Chet Atkins. Reception Writing for Allmusic, critic Jason Ankeny wrote that the album is "simply too brief to stand as a definitive collection of the guitarist's spiritual recordings; his instrumental work is impeccable of course, but performances of favorites like "Amazing Grace," "Just a Closer Walk with Thee" and "The Old Rugged Cross" pass by too quickly to properly whet the listener's appetite." Reissues Chet Atkins Plays Back Home Hymns was re-released by BMG in 1998. Track listing Side one "Take My Hand, Precious Lord" (Thomas A. Dorsey) – 2:43 "Amazing Grace" (John Newton) – 2:36 "Will the Circle Be Unbroken" (Traditional) – 2"07 "In the Garden" (C. Austin Miles) – 2:31 "When They Ring the Golden Bells" (Traditional) – 2:30 "Just As I Am" (William B. Bradbury, Charlotte Elliott) – 1:43 Side two "Further Along" (Traditional) – 3:03 "Just a Closer Walk with Thee" (Traditional) – 2:05 "The Old Rugged Cross" (George Bennard) – 2:25 "Lonesome Valley" (Carter) – 2:02 "God Be With You" (Traditional) – 2:33 "Were You There" (Traditional) – 2:11 Personnel Chet Atkins – guitar References 1962 albums Chet Atkins albums Albums produced by Anita Kerr RCA Victor albums Gospel albums by American artists
Chet Atkins Plays Back Home Hymns
75584094
Julia Anne Elliott ( Marshall; 1809–1841) was an English poet and hymnwriter. Elliott wrote little, but wrote well. With rarely an exception, Elliott's hymns bear the stamp of refined poetic taste, and all of them possess a deep religious feeling. Biography Julia Anne Marshall was born at Hallsteads, Watermillock, Ullswater, England, in 1809. She was a daughter of the industrialist, John Marshall, Esq. He married Jane Pollard, daughter of William Pollard, a Halifax wool-stapler and linen-merchant. Her three spinster sisters (Ann, Catharine and Eleanor) moved to a house named Old Church, near Hallsteads, by 1829. Jane had met Dorothy Wordsworth while Dorothy was at school in Halifax, and there are references to visits to Hallsteads and Old Church in Dorothy and William Wordsworth's correspondence. Marshall and Jane had eleven children. Their eldest son William was MP for Beverley, Carlisle and East Cumberland Their second son John was MP for Leeds 1832–1835, and third son James Garth held the same seat 1847–1852. The fourth son, Henry Cowper, was Mayor of Leeds 1842–1843. In 1827, being on a visit with her father to Brighton, she worshipped at St. Mary's, of which the Rev. Henry Venn Elliott, the brother of Charlotte Elliott, was the Perpetual Curate. An acquaintance between the two was thus formed, resulting in their marriage, October 31, 1833. She greatly endeared herself, in this happy relationship, to the people of the parish, and especially to her husband's family. Charlotte Elliott, in particular, became ardently attached to her. She published Poems (with: Poems on Sacred Subjects.) in 1832. Her poetic taste and skill were evinced in several hymns contributed (1835) to a volume of Psalms and Hymns for Public Worship, compiled, by her husband, which included "We love Thee, Lord, yet not alone." She was not acknowledged until the third printing (1839) when her initials were added in the index. Some of her religious poems are given in Lord Selborne's Book of Praise. Two hymns are included in Hymns and Songs of Praise for Public and Social Worship, edited by Roswell Dwight Hitchcock, Zachary Eddy, Philip Schaff, 1874. "Hail, thou bright and sacred morn" was a Sunday morning hymn addressed to Father, Son, and Holy Spirit. According to Brownlie (1899), Elliott's reputation rested upon it as her one good hymn. Smith (1903) and Hatfield (1884) remarked that it was Hyde's most familiar hymn in the U.S. Smith (1903) remarked that Elliot's best hymn -fine in the attractiveness of its theme, and great in its poetic strength- is that on "The Love of Christ", beginning with the line, "We love Thee, Lord, yet not alone." She also wrote a very beautiful evening hymn: "On the Dewy Breath of Even", which was popular in England, but was little known in the U.S. According to Benson (1915), Elliott is best-remembered for her "Great Creator, who this day." Julia Anne Elliott died of scarlet fever on 3 November 1841, her fifth child, Julius, having been born on 24 October 1841. Her death was followed by
Julia Anne Elliott
3781464
"Just as I Am" is a Christian hymn, written by Charlotte Elliott in 1835, first appearing in the Christian Remembrancer, of which Elliott became the editor in 1836. The final verse is taken from Elliott's Hours of Sorrow Cheered and Comforted (1836). Music It has been set to at least four hymn tunes: The original, "Woodworth", was written by William B. Bradbury, and was first published in the Third Book of Psalmody in 1849. The "Woodworth" tune was first used for the hymn "The God of Love Will Soon Indulge". Thomas Hastings adapted Bradbury's tune for "Just as I Am" years later. In 1890, Arthur H. Brown wrote "Saffron Walden" which was published in The Hymnal Companion. It can also be sung to Gwylfa by D. Lloyd Evans. John Rogers Thomas wrote a setting for his Hymns of the Church series. It is also sung to the Henry Thomas Smart tune "Misericordia". History John Brownlie described the hymn's story in his book The Hymns and Hymn Writers of the Church Hymnary: Charlotte's brother, the Rev. H. V. Elliott planned to hold a charity bazaar designed to give, at a nominal cost, a high education to the daughters of clergymen supported by St Mary Church: The night before the bazaar she was kept wakeful by distressing thoughts of her apparent uselessness; and these thoughts passed by a transition easy to imagine into a spiritual conflict, till she questioned the reality of her whole spiritual life, and wondered whether it were anything better after all than an illusion of the emotions, an illusion ready to be sorrowfully dispelled. The next day, the busy day of the bazaar, she lay upon her sofa in that most pleasant boudoir set apart for her in Westfield Lodge, ever a dear resort to her friends." The troubles of the night came back upon her with such force that she felt they must be met and conquered in the grace of God. She gathered up in her soul the great certainties, not of her emotions, but of her salvation: her Lord, His power, His promise. And taking pen and paper from the table she deliberately set down in writing, for her own comfort, "the formulae of her faith." Hers was a heart which always tended to express its depths in verse. So in verse she restated to herself the Gospel of pardon, peace, and heaven. "Probably without difficulty or long pause" she wrote the hymn, getting comfort by thus definitely "recollecting" the eternity of the Rock beneath her feet. There, then, always, not only for some past moment, but " even now " she was accepted in the Beloved "Just as I am". Original poem Just as I am - without one plea, But that Thy blood was shed for me, And that Thou bidst me come to Thee, -O Lamb of God, I come! Just as I am - and waiting not To rid my soul of one dark blot, To Thee, whose blood can cleanse
Just as I Am (hymn)
71820235
Music for the New Millennium is an two-CD album by drummer Cindy Blackman. It was recorded at The Music Palace Studio in West Hempstead, New York, and was released in 2004 by Sacred Sound Records. On the album, Blackman is joined by saxophonist J. D. Allen, keyboardist Carlton Holmes, and bassist George Mitchell. The album is dedicated to the memory of Blackman's grandmother Martha Blackman-Higby. Reception In a review for AllMusic, Ken Dryden wrote: "Blackman leans a bit toward fusion without entirely giving up her more mainstream roots... Blackman obviously wanted to expand her musical horizons, but only time will tell if she remains with this instrumentation or returns to her roots." In a review for All About Jazz, Mark F. Turner called the album "thoroughly engaging," and stated: "Touching mainstream swing, urban grooves and progressive music, this is a fine showing for Blackman's skills and band that pushes the edges yet remains accessible... A stupendous and inspiring release." AAJ'''s Troy Collins commented: "A welcome return to her jazz roots, Music For The New Millennium is a powerful and passionate effort from one of the finest drummers on the scene. It's good to have her back." Writing for Jazz Times'', Bill Milkowski remarked: "Blackman comes out hitting hard in the tradition of her role model Tony Williams and barely lets up on her muscular attack throughout the course of this throbbing two-CD set. Maybe being out on tour with Lennie Kravitz for so long, holding her jazz chops in check, made Blackman so pent-up that she just had to record this material or explode." Track listing "Letter To Theo" and "Sam Pei" composed by J. D. Allen. "Theme to Ginger's Rise" composed by Carlton Holmes. "I Come to the Garden Alone" composed by C. Austin Miles. Remaining tracks by Cindy Blackman. Disc 1 "Abracadabra" – 4:25 "Seven" – 5:26 "Insight (Past Wisdom)" – 4:52 "Letter to Theo" – 6:27 "Black Town (For Harlem)" – 8:29 "Insight (Right Now)" – 2:50 "For Wayne (Shorter That Is)" – 6:36 "The Infinite (For My Grandmother)" – 4:11 "The One (For God)" – 4:55 Disc 2 "Sam Pei" – 4:27 "The Drums and Me" – 1:59 "Stars in Eyes" – 7:57 "Insight (From My Father)" – 2:32 "Theme to Ginger's Rise" – 8:44 "All I Want" – 4:45 "Insight (From My Mother)" – 5:47 "Insight (The Future)" – 7:18 "I Come to the Garden Alone (As Played by Martha Blackman-Higby)" – 1:16 Personnel Cindy Blackman – drums J. D. Allen – tenor saxophone Carlton Holmes – electric piano, synthesizer George Mitchell – bass References 2004 albums Cindy Blackman albums
Music for the New Millennium
48701108
William Henry Draper (19 December 1855 – 9 August 1933) was an English hymnodist and clergyman who composed about sixty hymns. He is most famous for "All Creatures of Our God and King", his translation of "Canticle of the Sun" by Francis of Assisi. Biography Draper was born in Kenilworth, Warwickshire on 19 December 1855, the fifth son of Henry and Lucy Mary Draper. He attended Cheltenham College, and went up to Keble College, Oxford as an exhibitioner. He was ordained in 1880. He was then Curate of St Mary's, Shrewsbury, and became successively Vicar of Alfreton in 1883 and Vicar of the Abbey Church, Shrewsbury in 1889. In 1899, he became Rector of Adel Church, Leeds, a position he retained for twenty-one years. During the First World War, he also acted as deputy for the Professor of English Literature at the University of Leeds, who was absent on war service. In 1918, Draper was appointed as a member of the council for the revision of the Anglican communion service. In 1919, he became Master of the Temple in London. In 1930, contending that he had spent too long in one place, he left the Temple to become Vicar of Weare, retiring in 1933 shortly before his death. Throughout his career, he contributed hymns to periodicals such as The Guardian and the Church Monthly. He also wrote a book of Poems of the Love of England, a biography of Sir Nathan Bodington, a survey of the University extension movement in 1923, and A Picture of Religion in England in 1927. He also developed a scheme for the establishment of church lectures in the universities. He died in Clifton, Bristol on 9 August 1933. Personal life Draper married Edith, daughter of the High Court judge and Liberal politician George Denman, in 1883. She died in 1884, shortly after childbirth. He then married Emilie Augusta FitzHerbert Wright in 1889, who died in 1913. In 1920, he took a third wife, Silvia Mary Richards, daughter of the Rev. G. C. Richards who was then Canon of Durham and Professor of Greek and Classical Literature in the University of Durham. In addition to losing two wives, several of Draper's children predeceased him. One daughter, Angela Lucy, died in February 1903 in unknown circumstances, and three of his sons died in the First World War. Another daughter married the notable musician Thomas Armstrong. Well-known hymns All Creatures of Our God and King Come Forth, Ye Sick and Poor From Homes of Quiet Peace How Blest the Land Where God Is Known How Fair Was the Land of God’s People of Old Hush, All Ye Sounds of War In Our Day of Thanksgiving Lord, Through This Holy Week of Our Salvation Man Shall Not Live by Bread Alone Rejoice, Ye Angels in the Sky Righteous Father, We Have Wronged Thee We Love God’s Acre Round the Church What Can I Do for England? Ye Sons of God, Arise Published hymnals The Victoria Book of Hymns (1897)
William Henry Draper (hymnwriter)
13183747
The King's Heralds is a male gospel music quartet that began in 1927 and have recorded over 100 albums encompassing 30 languages. They are primarily known for their a cappella singing and close harmony. History The King's Heralds began in 1927 by four college students; brothers Louis, Waldo and Wesley Crane and Ray Turner (1908-2008) in Keene, Texas who began singing gospel music, under the name Lone Star Four. They soon appeared with Pastor R. L. Benton on his radio program on KFPL from Waco, Texas. In 1936, they were invited by H.M.S. Richards to join the Voice of Prophecy in California, and were renamed the King's Heralds after a radio naming contest. This association continued until 1982, when they became a self-supporting ministry. The King's Heralds are also known by the name The Heralds, in Portuguese as the Arautos do Rei and in Spanish as Los Heraldos del Rey. Purported to be the oldest continuous gospel quartet in America, they have been singing for over 80 years. Throughout the years they have performed in over 50 countries and continue to tour extensively. They were the first gospel music group from the West to tour The People’s Republic of China since 1949, singing for the "First Invitational Symposium on the Christian Church in China" sponsored by the US/China Education Foundation. Long associated with the Seventh-day Adventist Voice of Prophecy radio broadcast, the Heralds are now promoted as trans-denominational and are regular guests on Praise The Lord on TBN and It Is Written. Recordings Most of their recordings have been released by Chapel Records. "O Little Town of Bethlehem" (Chapel 100, 10", 1950) also on 78rpm and 45rpm set "Favorite Hymns and Songs" (Chapel 101, 10", 1950) also on 78rpm set "Deep River" (Chapel 102, 10", 1950) "King's Heralds & Del Delker" (Chapel 103, 10", 1951-53?) "Garden of Prayer" (Chapel 1211, 10", 1953) "Old Hymns of Faith vol.1" (Chapel 1220, 10", 1953) "Old Hymns of Faith vol.2" (Chapel 1221, 10", 1953) "That One Lost Sheep" (Chapel 1233, 10", 1953-54?) "Song of Heaven & Homeland" (Chapel 1240, 10", 1954-55?) "Jesus Is Coming Again" with Del Delker (Chapel 1509, 10", 1955) "Radio Favorites" (Chapel 1510, 10", 1955) "Songs for Sabbath" (Chapel 1517, 10", 1956) "Silent Night" (Chapel 1518, 10", 1956) "Songs of Thanksgiving" (Chapel 1526, 1956-1961?) "The Golden Moment" (Chapel 5007, 1956-1961?) "A Boy Named David" (Chapel 7001, 1956-1961?) "Our Prayer" (Chapel 5012, 1957-1961?) "Birthday of a King" (Chapel 5016, 1957-1961?) "Out of the Deep" (Chapel 5023, 1957-1961?) "I Believe" (Chapel 5031, 1957-1961?) "Lost in the Night" (Chapel 5052, 1957-1961?) "Camp-Meeting Favorites" (Chapel 5057, 1962) "Garden of Prayer" (Chapel 5067, 1962) "That Great Gettin'-Up Morning" (Chapel 5070, 1963) "There's A Wideness In God's Mercy" (Chapel 5052, 1963-4) "Come Children Join To Sing" (Chapel 7005, 1965) "We'll All Praise God" with Faith For Today Quartet (Chapel 5092, 1966) "King's Heralds Favorites Through 25 Years" (Chapel 5105, 1966) "Wheel In A Wheel" (Chapel 5127, 1967) "Near To The Heart Of God" (Chapel 5144, 1968) "Precious
King's Heralds
22320545
Joseph John Daynes (April 2, 1851 – January 15, 1920) was the first organist at the Salt Lake Tabernacle and for the Mormon Tabernacle Choir. Daynes was born in Norwich, England, to John Daynes and Eliza Miller. The Daynes family later joined the Church of Jesus Christ of Latter-day Saints (LDS Church) and then immigrated to Utah Territory in 1862. Upon their arrival in the Salt Lake Valley, Brigham Young met the group of Latter-day Saints with whom the Daynes family had traveled. Young heard the eleven-year-old Joseph playing the melodeon and declared: "There is our organist for the great Tabernacle organ." This declaration came true in 1867, when Joseph H. Ridges completed the building of the organ in the Salt Lake Tabernacle. Daynes had been sent to study music in New York. Upon the organ's completion, he became the first Tabernacle organist at age sixteen, a position which he held until 1900. Daynes also served as the music conductor of the 20th Ward Choir in Salt Lake City. Daynes came from a very musical family. Though his father, John, was a watchmaker by trade, his hobby was music. The piano which John purchased in England is the instrument Daynes learned to play on. Daynes learned quickly—and largely on his own—and by age six participated in an organ recital. When the Daynes family left England for the United States, they brought several instruments with them, including the melodeon Young heard Daynes playing to entertain the other pioneers. John Daynes continued to develop his love of music and founded Daynes Music in 1862, in Salt Lake City, a company which is still in business today. Joseph Daynes married Mary Jane Sharp on November 18, 1872, in Salt Lake City. They had seven children. Daynes was one of the main editors of the Latter-day Saints' Psalmody. He also wrote the music for many of the hymns of the LDS Church. The 1985 English-language hymnal of the church contains five hymns with music composed by Daynes, while the previous edition of the hymnal contained 27 hymns with music by him. Daynes also wrote several anthems. Among the hymns Daynes composed the music for are "Come Listen to a Prophet's Voice," "Now We'll Sing with One Accord," and "As the Dew from Heaven Distilling," which is the traditional closing hymn for the Tabernacle Choir's weekly Music and the Spoken Word broadcasts. Daynes's son Joseph J. Daynes Jr. served as the first president of the Grant Stake in Salt Lake City. Daynes Jr. was also the president of the Western States Mission of the church, based in Colorado, and was married to one of Wilford Woodruff's daughters. Evan Stephens, who conducted the Mormon Tabernacle Choir for many years while Daynes accompanied them, said of Daynes: "He was, without doubt, one of the greatest organists of his time. In my experience I never heard his equal as an accompanist for the choir and soloists and he was the very best sight reader I ever knew." Notes
Joseph J. Daynes
47746690
Charles Austin Miles (January 7, 1868March 10, 1946) was a prolific American writer of gospel songs, who is best known for his 1912 hymn "In the Garden". He studied at the Philadelphia College of Pharmacy and the University of Pennsylvania. In 1892, he ceased to practice as a pharmacist. His first gospel song, "List! ’Tis Jesus’ Voice", was published by the Hall-Mack Company. He worked as editor and manager at Hall-Mack for 37 years. A resident of Pitman, New Jersey, Miles died on March 10, 1946, at Hahnemann Hospital in Philadelphia. He is buried in Hillcrest Memorial Park, Sewell, NJ. He said, "It is as a writer of gospel songs I am proud to be known, for in that way I may be of the most use to my Master, whom I serve willingly although not as efficiently as is my desire". He wrote at least 398 songs, and the music to at least 8 more. His best-known song may be "In the Garden" (1912); sometimes known by its first line, "I Come to the Garden Alone". It has been included in 210 hymnals, and recorded numerous times. Songs "Dwelling in Beulah Land" ( "God Bless Fiji") (1911) "List! ’Tis Jesus’ Voice" (a.k.a. "He's Watching and Waiting") (1894) "In the Garden" (a.k.a. "I Come to the Garden Alone") (1912) "Sweeter as the Years Roll By" (1914) References 1868 births 1946 deaths People from Lakehurst, New Jersey People from Pitman, New Jersey Gospel music composers 19th-century composers 20th-century composers American Protestant hymnwriters National anthem writers
C. Austin Miles
57765273
"Awake, our drowsy souls" was a Christian hymn by Elizabeth Scott. History It was first published in the Baptist Collections of Ash and Evans, Bristol, 1769, No. 307, in 5 stanzas of 6 1., and appointed as "A hymn for Lord's Day Morning." From that collection it passed into several later hymnals, including John Rippon, John Dobell, and others. By the early 20th-century, it was almost entirely unknown to modern hymn-books except in the United States, having been superseded by "Awake, ye saints, awake, And hail", and others as a recast of the same in 4 stanzas (stanza iii. being the original with "and" for "while," 1. 3) made by Thomas Cotterill, and given in the first edition of his Selection, 1810. This form of the hymn had somewhat extensive use in Great Britain and the U.S., and is usually ascribed correctly to "Elizabeth Scott and Thomas Cotterill." Alternate versions In many of the modern American hymnals, stanza iv. is omitted; but the English generally give the text from Cotterill as in Baptist Psalms and Hymns, 1858. In this case, the only alteration is "blest " for "bless'd " in stanza i., line 5. Another form of the hymn is:— "Servants of God, awake." It consists of st. i.—iii- of Cotterill's recast, slightly altered. It appeared in the Harrow School Hymn Book, 1855, and from then on passed into Church Hymns, 1871, No. 39. In the Hymn-Book of the Evangelical Association, Cleveland, Ohio, 1881, No. 604, stanzas i., ii. are given as "Children of God, awake "; and in the Marlborough College Hymns, 1869, stanzas i.—iii. as " Come, sons of God, awake." The authorship of "Awake, ye saints, awake" is ascribed to Cotterill, on the ground that he wrote the most of what is its present form. In Caleb Evans's Collection, fifth edition, 1786, it appears in five stanzas, commencing, “Awake, our drowsy souls." Rippon has it with the same text and the same title: “A Hymn for the Lord’s Day Morning." Evans credits it to “D,” that is, Dr. Philip Doddridge, but Dobell, who reprints it in six stanzas, has assigned it to “Scott”. It was altered about the year 1810 by Cotterill, for his Sheffield collection. The original was discovered in manuscript, in the library of Yale College, where it remained. Professor Frederic Mayer Bird gave much care to Scott's biography and hymns, and elaborately annotated this manuscript volume in the columns of the New York Independent. References Bibliography American Christian hymns 1769 songs 1769 in Christianity Literature by women 18th-century hymns
Awake, our drowsy souls
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"Geh aus, mein Herz, und suche Freud" ("Go forth, my heart, and seek delight") is a summer hymn with a text in German by the theologian Paul Gerhardt, written in 1653. It was first published in the same year in the fifth edition of Johann Crüger's hymnal, Praxis pietatis melica. The hymn was sung to several melodies, with the most popular one composed by August Harder. Later, it became a Volkslied in an abridged version. The song was rendered into several English-language versions. A Swedish version became a popular graduation song. History Gerhardt wrote the poem in 1653, five years after the end of the Thirty Years' War. The original text consists of fifteen stanzas, each comprising six lines. It commences with admiration for God's creation, as observed in gardens and nature. The second part, starting from stanza 9, depicts paradise as an even grander garden. The final two stanzas contain prayers: "... dass ich dir werd ein guter Baum" ("... that I become a good tree for you"); "Verleihe, daß zu deinem Ruhm ich deines Gartens schöne Blum und Pflanze möge bleiben" ("Grant that I may remain a beautiful flower and plant of your garden"); and "laß mich bis zur letzten Reis an Leib und Seele grünen" ("let me be green in body and soul until the final journey"). The song was first published the same year (1653) in the fifth edition of Johann Crüger's hymnal Praxis pietatis melica. Many publications contain only stanzas 1 to 3 and 8. In the abridged version, the hymn became a Volkslied. Translations Among several other versions, Catherine Winkworth translated it as "Go forth, my heart, and seek delight". This hymn has not become part of hymnals, possibly because it is not focused on Jesus. In Sweden, as "I denna ljuva sommartid", it has become a popular graduation song together with "Den blomstertid nu kommer". Text 1. Geh aus, mein Herz, und suche Freud in dieser lieben Sommerzeit an deines Gottes Gaben; Schau an der schönen Gärten Zier, und siehe, wie sie mir und dir sich ausgeschmücket haben. 2. Die Bäume stehen voller Laub, das Erdreich decket seinen Staub mit einem grünen Kleide; Narzissus und die Tulipan, die ziehen sich viel schöner an als Salomonis Seide. 3. Die Lerche schwingt sich in die Luft, das Täublein fliegt aus seiner Kluft und macht sich in die Wälder; die hochbegabte Nachtigall ergötzt und füllt mit ihrem Schall Berg, Hügel, Tal und Felder. 4. Die Glucke führt ihr Völklein aus, der Storch baut und bewohnt sein Haus, das Schwälblein speist die Jungen, der schnelle Hirsch, das leichte Reh ist froh und kommt aus seiner Höh ins tiefe Gras gesprungen. 5. Die Bächlein rauschen in dem Sand und malen sich an ihrem Rand mit schattenreichen Myrten; die Wiesen liegen hart dabei und klingen ganz vom Lustgeschrei der Schaf und ihrer Hirten. 6. Die unverdrossne Bienenschar fliegt hin und her, sucht hier und da ihr edle Honigspeise; des süßen Weinstocks starker Saft bringt täglich neue Stärk und Kraft
Geh aus, mein Herz, und suche Freud
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"Come, Thou Long Expected Jesus" is a 1744 Advent and Christmas carol common in Protestant hymnals. The text was written by Charles Wesley. It is performed to one of several tunes, including "Stuttgart" (attr. to Christian Friedrich Witt), "Hyfrydol" (by Rowland Prichard), and "Cross of Jesus" (by John Stainer). The hymn is considered an enduring classic in Christian hymnody. History In 1744, Charles Wesley considered Haggai 2:7 and looked at the situation of orphans in the areas around him. He also looked at the class divide in Great Britain. Through this train of thought, he wrote "Come, Thou long expected Jesus" based upon Haggai 2:7 and a published prayer at the time which had the words: "Born Your people to deliver, born a child and yet a King, born to reign in us forever, now Your gracious kingdom bring. By Your own eternal Spirit, rule in all our hearts alone; by Your all sufficient merit, raise us to Your glorious throne. Amen." Wesley adapted this prayer into a hymn in 1744 and published it in his "Hymns for the Nativity of our Lord" hymnal. Wesley wrote "Come, Thou Long Expected Jesus" with the intent for people to remember Advent and Christmas as commemorating the Nativity of Jesus and preparing for the Second Coming. "Come, Thou Long Expected Jesus" was the first of a number of Wesley's hymns that became known as the "Festival hymns". These "Festival hymns" were published outside of Methodism by German, John Frederick Lampe in 1746. The hymn came into popular knowledge across Christian denominations in England via popular Baptist preacher, Charles Spurgeon. Spurgeon made a Christmas sermon in London in 1855 when he was 21 and included sections of "Come thou long expected Jesus" in it. He did this to illustrate his point that very few are "born king" and that Jesus was the only one who had been born king without being a prince. As a result of its growing popularity, including in the Church of England and American hymnals, it was first published in the Methodist Wesleyan Hymn Book in 1875 after having previously been excluded. The original reason for exclusion was that there had been no officially suitable music intended for it before then. In recent times, "Come, Thou Long Expected Jesus" has not been as well known as a Christmas Carol as others written around the same time. "Joy to the World" being one such example but "Come, Thou Long Expected Jesus" is still used to focus on the hope of the Second Coming of Jesus. The lyrics of "Come, Thou Long Expected Jesus" focus on God choosing to give a Messiah to the world in the form of Jesus. It also focusses on the Old Testament Israelites longing for the Messiah to come and take the burden of sins from them to take them upon himself. The last line of the first verse may have come from Wesley being inspired by 17th century philosopher; Blaise Pascal's claim that "There is a
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"" ("It is enough") is a German Lutheran hymn, with text by Franz Joachim Burmeister, written in 1662. The melody, Zahn No. 7173, was written by Johann Rudolph Ahle who collaborated with the poet. It begins with a sequence of three consecutive rising whole tone intervals. The hymn's last stanza was used by Johann Sebastian Bach as the closing chorale of his cantata O Ewigkeit, du Donnerwort, BWV 60. His setting has been quoted in music, notably in Alban Berg's Violin Concerto. History Franz Joachim Burmeister wrote "" in 1662. The topic is a yearning for death. It is inspired by the sentiment the prophet Elijah expresses in the First Book of Kings: "It is enough; now, O Lord, take away my life; for I am not better than my fathers" (). All seven stanzas begin and end with the line "". It was printed in 1844 in the hymnal Gesangbuch zum gottesdienstlichen Gebrauche in den Stadtkirchen zu Leipzig (Hymnal for Use in the Service of the Town Churches of Leipzig), in the section "Vorbereitung auf den Tod" ("Of the preparation for death"). Melody and settings The melody, also from 1662, is by Johann Rudolph Ahle, who collaborated with Burmeister on several hymns. He was church musician at Divi Blasii in Mühlhausen, a position Bach later also held. The tune begins with an unusual motif of three upward whole tone intervals, the first half of a whole tone scale and also the first three notes of the diatonic Lydian mode. The interval from the first to the fourth note is a tritone, sometimes called diabolus in musica (devil in music). Alfred Dürr writes that the opening "might have been felt outrageous" at the time of its composition, "only justified as a musical figure depicting the soul's crossing over from life into death". Bach used the hymn's last stanza to conclude his cantata O Ewigkeit, du Donnerwort, BWV 60, and it has often been quoted, notably in Alban Berg's Violin Concerto. Berg wrote variations on the chorale in the concerto's last movement. It was his last finished work. Otto Klemperer wrote in the newspaper Wiener Tag on 21 October 1936: "The second movement begins with the J. S. Bach chorale 'Es ist genug': 'It is enough! Lord, if it please Thee, my Jesus, come! World, good night. I go to the heavenly house, with a heart full of joy. My sorrows remain below.' The variations on this chorale, the sounds that emanate from the violin, that bring into being a completely new world for the instrument, the way in which at the conclusion the music seems to span the cosmos, from the lowest depths to the sublime heights". References External links BWV 60.5 bach-chorales.com Es ist genug / Text and Translation of Chorale Bach Cantatas Website Chorale Melodies used in Bach's Vocal Works / Es ist genung, so nimm, Herr, meinen Geist Bach Cantatas Website Es ist genug; so nimm nun meinen Geist // Es ist genug Volksmusik-Forschung Lutheran hymns 17th-century
Es ist genug
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"Es ist das Heil uns kommen her" (originally: "Es ist das heyl vns kommen her", English: "Salvation now has come for all" or more literally: It is our salvation come here to us) is a Lutheran hymn in 14 stanzas by Paul Speratus. It was first published as one of eight songs in 1524 in the first Lutheran hymnal, the Achtliederbuch, which contained four songs by Luther, three by Speratus, and one by Justus Jonas. The same year it appeared in Erfurt in Eyn Enchiridion. Its hymn tune, Zahn No. 4430, was already known in the 15th century. History According to tradition, Speratus wrote this hymn while he was in prison in Olomouc, condemned for his evangelical beliefs to death by fire. Only by the intercession of friends was he released, on condition that he leave Moravia. The text by Speratus is based on Paul's Epistle to the Romans, . and expresses Luther's teaching about salvation. According to Scott Hendrix, "It not only emphasizes justification by faith alone but it also underlines the vitality of that faith manifested in service to others. A modern English version of the hymn's first stanza, which appears on the back cover of Hendrix's book Early Protestant Spirituality, is as follows: Salvation unto us has come by God's free grace and favor; Good works cannot avert our doom, they help and save us never. Faith looks to Jesus Christ alone, who did for all the world atone, He is our mediator. Speratus set his words to the tune of an Easter chorale from the 15th century, "Freu dich, du werte Christenheit". Influence The story of Luther's being moved to tears when he first heard this hymn, from a beggar outside his window in Wittenberg, has been retold by many authors. The 11th edition of the Encyclopædia Britannica, lists "Salvation now has come for all" as one of the Lutheran hymns "which at the time produced the greatest effect, and are still best remembered." It has been translated into English by many authors, including Miles Coverdale ("Now is our health come from above," 1539), Henry Mills ("Our whole salvation doth depend On God's free grace and Spirit," 1845), and Catherine Winkworth ("Salvation hath come down to us," 1869). Musical settings The hymn, focused on essential Lutheran teaching, was frequently set for organ and for voices. Organ settings Jan Pieterszoon Sweelinck composed Prelude and Chorale Variations (two variations). Samuel Scheidt composed four parts as No. 46 of Das Görlitzer Tabulaturbuch (1650). Matthias Weckmann wrote Chorale Variations. Dieterich Buxtehude composed a chorale prelude, BuxWV 186, in C major. Chorale Preludes were further composed by Friedrich Wilhelm Zachow and Johann Gottfried Walther (LV 84). Between 1708 and 1714, while Johann Sebastian Bach was court organist at the ducal court in Weimar, he compiled chorale preludes for the liturgical year in his Orgelbüchlein and included it as a catechism hymn, BWV 638. Georg Friedrich Kauffmann published a Chorale Prelude in Leipzig in 1733. Johann Ludwig Krebs also wrote a Chorale
Es ist das Heil uns kommen her
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The Passíusálmar or Passion Hymns are a collection of 50 poetic texts written by the Icelandic minister and poet, Hallgrímur Pétursson. The texts explore the Passion narrative, as traditionally presented, from the point where Christ enters the Garden of Gethsemane to his death and burial. Hallgrímur began composing the work in 1656, while serving as pastor of Saurbær in Hvalfjörður. It took him three years to complete, the final poem being written in May 1659; the first edition was published seven years later, in 1666. By the end of the century they had become so popular in Iceland that five editions had been published. Since that time, they have been reprinted more than 75 times, a unique achievement in Icelandic literature. The poems were translated into many other languages, including Latin, English, Chinese and Danish. The first English edition was published in 1913. In the 1950s a new translation was made by Arthur Charles Gook. This new translation received the imprimatur of the Bishop of Iceland, Sigurbjörn Einarsson, and is published by Hallgrímskirkja. In addition, a selection of texts were translated by Anglican Bishop Charles Venn Pilcher and published in a pamphlet entitled "Thirty-One Meditations on Christ's Passion"; this translation, although incomplete, is regarded as more faithful to Hallgrímur's Lutheran theology. The Passíusálmar quickly became an important part of Icelandic religious expression, being sung or read during Lent in every Icelandic home; today, they are broadcast on the radio during that time of year. They have been set to music by many composers of Icelandic church music, including Þorkell Sigurbjörnsson and Jón Hlöðver Áskelsson, but use outside Iceland is rare. Titles of the 50 hymns Hymn I. Christ goes to the Garden Hymn II. Christ's Suffering in the Garden Hymn III. “Sorrowful, even unto Death” Hymn IV. Christ's Appeals to His Disciples Hymn V. The Jews arrive in the Garden Hymn VI. Judas' Kiss and Christ's Arrest Hymn VII. Peter's Defence and Malchus' Wounded Ear Hymn VIII. Christ's Address to the Jews Hymn IX. The Flight of the Disciples Hymn X. The First Enquiry before Caiaphas Hymn XI. Peter's Denial Hymn XII. Peter's Repentance Hymn XIII. The False Witnesses and Caiaphas' Judgment Hymn XIV. The Soldiers mock Christ Hymn XV. The Priests' Conference Hymn XVI. The Remorse of Judas Hymn XVII. The Potter's Field Hymn XVIII. The Jews' First Charge before Pilate Hymn XIX. Christ's Confession before Pilate Hymn XX. The Jews' Second Charge before Pilate Hymn XXI. Herod's Curiosity and the Gorgeous Robe Hymn XXII. The Demand for Crucifixion Hymn XXIII. The Scourging of Christ Hymn XXIV. The Scarlet Robe and Crown of Thorns Hymn XXV. Christ led from the Judgment Hall Hymn XXVI. Christ and Pilate Hymn XXVII. Pilate and the Jews Hymn XXVIII. Pilate's unjust Judgment Hymn XXIX. Release of Barabbas Hymn XXX. Christ bears His Cross Hymn XXXI. Christ's Address to the Women Hymn XXXII. The Green and the Dry Tree Hymn XXXIII. The Crucifixion of Christ Hymn XXXIV. The First Cry from the Cross Hymn
Passion Hymns
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"God Moves in a Mysterious Way" is a Christian hymn, written in 1773 by William Cowper from England. It was written by Cowper in 1773 as a poem entitled "Light Shining out of Darkness". The poem was the last hymn text that Cowper wrote. It was written following his attempted suicide while living at Olney in Buckinghamshire. John Newton published the poem the next year in his Twenty-six Letters on Religious Subjects; to which are added Hymns (1774). Words The words were composed by William Cowper (1731–1800). Constituting six verses, they were written in 1773, just before the onset of a depressive illness, during which Cowper attempted suicide by drowning. The text was first published by Cowper's friend, John Newton, in his Twenty-six Letters on Religious Subjects; to which are added Hymns in 1774. The hymn was later published in Olney Hymns which Cowper co-wrote with Newton. Entitled Conflict: Light Shining out of Darkness, it was accompanied by a text from Saint John's Gospel, Chapter 13: Verse 7, which quotes Jesus saying to his disciples; "What I do thou knowest not now; but thou shalt know hereafter." The first line of the hymn has become a proverb in modern times, usually phrased as "God moves in mysterious ways" or "the Lord moves in mysterious ways." Music The hymn tune London New comes from The Psalmes of David in Prose and Meeter of 1635. In Common Praise, it is in D major. A popular alternative and rather similar tune is Dundee, which comes from the Scottish Psalter of 1615; the harmony was arranged by Thomas Ravenscroft (1592–1635) in 1621. Other traditional tunes include: Manoah, first published by Henry Wellington Greatorex in Boston, Massachusetts in 1843 but sometimes attributed to Joseph Haydn, and Irish by Charles Wesley, first published in 1749. St. Anne, by Chapel Royal composer William Croft (1708) Union, from Select Number of Plain Tunes, by Andrew Law (1781). Much of the hymn became the lyrics of the theme song for the award-winning 2017 Danish television series Ride upon the Storm. Inclusion in other works Variation (4) on Old Psalm Tunes, Book 1, George Dyson Saint Nicolas by Benjamin Britten (1948 cantata) – the final movement IX, The Death of Nicolas Joy Beyond the Sorrow: Indelible Grace VI, a 2012 album by Nashville, Tennessee based artist collective, Indelible Grace "Pity and Shame", a short story by Ursula K. Le Guin published in Tin House, June 7, 2018. https://tinhouse.com/pity-and-shame/ References External links Audio clips St Nicholas – IX movement by Benjamin Britten Video clips St Nicolas IX movement 1773 songs 1773 poems English Christian hymns Poetry by William Cowper 18th-century hymns
God Moves in a Mysterious Way
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"Adam-ondi-Ahman" (originally "This Earth Was Once a Garden Place") is an LDS hymn and was included in the first Latter Day Saint hymnal and quickly became one of the most popular songs of the early church. It was published in 1835 in Messenger and Advocate and is hymn number 49 in the current LDS Church hymnal. The hymn was written by W. W. Phelps, an early church member and poet. The music comes from the 1835 Southern Appalachian folk hymn "Prospect of Heaven". The Latter Day Saint term, Adam-ondi-Ahman, refers to the place that Adam and Eve went after they were evicted from the Garden of Eden. Lyrics and explanation Stanza one This earth was once a garden place, With all her glories common; And men did live a holy race, And worship Jesus face to face, In Adam-ondi-Ahman. Stanza two We read that Enoch walk[e]d with God, Above the pow[e]r of Mammon: While Zion spread herself abroad, And saints and angels sung aloud In Adam-ondi-Ahman. "Enoch walked with God" is a quote from the Book of Genesis, "And Enoch walked with God: and he was [no more]; for God took him" (). The Epistle to the Hebrews expands on this: "By faith Enoch was translated that he should not see death; and was not found, because God had translated him: for before his translation he had this testimony, that he pleased God" (). In Latter Day Saint theology, Enoch founded the city of Zion on earth, which God eventually took up into heaven because of the righteousness of its inhabitants. "I am the same which have taken the Zion of Enoch into mine own bosom" (D&C (LDS), 38:1b (RLDS/CofC) ). Stanza three Her land was good and greatly blest, Beyond old Israel's Canaan: Her fame was known from east to west; Her peace was great, and pure the rest Of Adam-ondi-Ahman. "Old Israel's Cannaan" changed to "All Israel's Canaan" in current Latter-day Saint hymnal. Stanza four Hosanna to such days to come— The Savior's second comin[g]— When all the earth in glorious bloom, Affords the saints a holy home Like Adam-ondi-Ahman. References External links Adam-ondi-Ahman - Online LDS hymnal This earth was once a garden place at Hymnary.org Free MP3 download Cultural depictions of Adam and Eve Latter Day Saint hymns 1835 poems Works originally published in Messenger and Advocate Songs with lyrics by W. W. Phelps (Mormon) 1835 in Christianity
Adam-ondi-Ahman (hymn)
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Jaya Ho Jaya ho (Victory) We come before thee, O Great and Holy. We bow our heads to thee, Great and Holy. Low at thy feet we bow in quiet reverence, then sing thy praises, evermore repeating. "Jaya Ho" is a Christian hymn written in the Hindi language by an unknown author. The song's Hindi title, more frequently transliterated "Jai ho" in other contexts, means "may there be victory" and is frequently used interjectively to praise God. The hymn's English title is often given as "Victory Hymn" or "Victory Be to You [i.e., God]". The hymn was popularized in the United States by Indian-born composer Victor C. Sherring. He led the group Centennial Choir of India, which performed the song in concerts and prayer services in 70 American cities from 1955–1956 to celebrate the centennial of Methodist missions in the United States. "Jaya Ho" was translated into English by Katherine R. Rohrbough in 1958. Scholars of sacred music have considered the hymn to be a praising of God and a celebration of victory in Jesus Christ. History Victor C. Sherring, a composer who popularized the song, was born in 1919 in Kanpur, Uttar Pradesh, India, and attended Methodist schools in his youth. As the Centennial Choir of India director, he delivered "Jaya Ho" to the United States. From 1955–1956, in commemoration of the centennial of Methodist missions in the United States, the Centennial Choir sang the hymn during their tour of 70 cities, where they performed at prayer assemblies and concerts. "Jaya Ho", Sherring wrote, was "first included in" Songs of Joy from India, an anthology of songs printed by The Centenary Music Committee in 1955–1956 in both Indian and Western musical notation. Composed in the Hindi language by an anonymous author, the hymn was translated into English by Katherine R. Rohrbough in 1958. I-to Loh performed the phonetic transcription in 1988. "Jaya Ho"'s Hindi title is translated as "Victory Hymn" or "Victory be to you". Translated into English, it appears as hymn number 478 in the 1989 edition of The United Methodist Hymnal and as hymn number 252 in the 1996 edition of Voices United, the hymn and worship book of the United Church of Canada. Textual analysis "Jaya Ho" originated from folk music in northern India. Taiwanese ethnomusicologist I-to Loh, whom Perkins School of Theology professor C. Michael Hawn called the "foremost scholar on Asian hymnody", said the first phrase of the song, "Jaya ho", is the "most common phrase for praising God in the Indian subcontinent, with only slight variations". The Linguistic Association of Canada and the United States called "Jaya ho" an "exotic melody line". The association noted that while the song's beginning refrain is in Hindi, the song's remaining verses are in English. Loh interpreted "Low at thy feet we bow in quiet reverence", the song's second stanza, to be "a contextual expression of utmost reverence in front of the Holy One". It urges God to grant the worshiper "forgiveness, vision, and protection". Professor of
Jaya Ho
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Mary Anne Hearn (17 December 1834 – 16 March 1909) who wrote under the nom de plumes Marianne Farningham in The Christian World and for A Working Woman's Life, Eva Hope, and Marianne Hearn, was a British religious writer of poetry, biographies, prose and hymns. She was one of the few female writers in the Victorian period to emerge from the lower classes. Life Mary Anne Hearn was born in Farningham in Kent in 1834 to Joseph Hearn and Rebecca Bowers, a religious Nonconformist couple in the Baptist denomination. In her memoir, she describes her thankfulness at having been raised in the country in a loving, devout, and amusing family. She tells the following anecdote about her father, a deacon and teetotaler who worked as a merchant:My father was very fond of his bees, and he and they were good friends. I remember once he took me up with him to perform a curious little ceremony. He had lost a cousin, and he told me he was going to inform the bees, and they would say they were sorry. He tapped the hive, and then said in a low, quiet voice, "My cousin is dead," and I felt a cold shiver pass over me, as I distinctly heard a wailing response like a buzzing moan from the bees.According to Hearn, her first piece of poetry was "an epitaph on a dead toad which we found in the garden, and which we put in a match-box and buried with great solemnity." Faced with their daughter's increasing desperation to learn how to read, Joseph and Rebecca allowed her to visit the pastor's daughter, Isabella, for basic lessons. Besides this, she was home-schooled, taught to perform domestic chores at home and to reflect on Bible stories to gain wisdom, as her family did not approve of the National School. Hearn credits the poetry of Felicia Hemans as her inspiration for pursuing a poetic career, her first reading of "A Better Land" causing Hearn to feel faint and overcome with "strange, sweet emotions." Coming after the death of her little brother, the unexpected loss of her mother to what may have been consumption made Hearn the woman of the house at 12 years of age, forced to care for the home and her younger siblings. In the 1851 England Census, when she was 16 years of age, she is listed as "housekeeper" for her father's family. Hearn's further education was possible when the British and Foreign Bible Society opened a British School nearby, with Miss Eliza Hearn of Eynesford (no relation) as headmistress. With no time for reading and utterly despondent, Hearn was saved from a life of drudgery by this woman, who took an interest in the angry young girl after noticing her situation at church with "infinite compassion"; she consequently promoted Mary Anne's interest in education. Teaching and writing career An apt pupil, Hearn eventually became a teacher at the British Schools in Bristol, then Gravesend and finally Northampton. In the 1861
Marianne Farningham
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Julian Keith Getty (born 16 December 1974) is a Northern Irish Christian singer and songwriter, best known for writing the modern hymn "In Christ Alone" in 2001 with veteran songwriter and worship leader Stuart Townend. Getty and his wife Kristyn also release music under the musical duo Keith & Kristyn Getty Early life Getty was born in Lisburn, Northern Ireland, to Helen Getty (née Irwin) and John Getty. He is the eldest of four children. Getty began making music at age 11, learning to play the classical guitar; at 12 years old he began playing the flute. During school, Getty was influenced by classical music, Irish music, and church music of all kinds. As a young adult, he studied music at St Chad's College, Durham University, graduating with his Bachelor of Arts in 1995. As a student, Getty completed special conducting opportunities at the Canford Summer School of Music and the Tanglewood Music Center in Massachusetts. Getty participated in a summer master class under Irish flautist Sir James Galway. Personal life Kristyn met Keith Getty in 2002 after being introduced by Kristyn's uncle, John Lennox. Kristyn was attending a nearby university and asked Getty for some musical advice. After dating for two years, the couple married on 16 June 2004. The couple have four children. Getty and his wife live between Portstewart, Northern Ireland and Nashville, Tennessee with their four daughters. Career Keith and Kristyn Getty Keith and his wife Kristyn write and release hymns together. Children's albums Keith and Kristyn together have written and produced a number of children's worship albums. 2005: Songs That Jesus Said, a collection of songs for children 2016: Getty Kids Hymnal: In Christ Alone 2017: Getty Kids Hymnal: For the Cause 2018: Getty Kids Hymnal: Family Hymn Sing 2019: Getty Kids Hymnal: Family Carol Sing 2020: Evensong: Hymns and Lullabies at the Close of Day Evensong: Hymns and Lullabies at the Close of Day went to Billboard number 1 in 2020. Orchestrator In addition to his work with his wife as Keith & Kristyn Getty, Getty has also orchestrated or produced music for a number of other projects. These include orchestrations for Michael W. Smith's 2004 Healing Rain album, McDonald's television commercials, and Silvascreen label movie soundtrack recordings Music from the Lord of the Rings Trilogy and Once upon a Time: The Essential Ennio Morricone. He wrote and produced the music for the 1998 C. S. Lewis International Centenary Celebrations. "In Christ Alone" song In 2001, Getty and Stuart Townend wrote the song "In Christ Alone" with the purpose of creating a modern hymn that would explain the life of Christ. They released it on the Kingsway album New Irish Hymns, featuring vocalists Máire Brennan, Margaret Becker, and Joanne Hogg. The song gained popularity, and by 2005 it was named by a BBC Songs of Praise survey as the ninth best loved hymn of all time, and in their 2010 survey was named second best hymn of all time. The British Hymn Society nominated
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Orville Stoeber (born June 20, 1947) is an American singer/songwriter, actor and artist. He is primarily known for his 1971 album Songs on UNI records (MCA), his work as score composer for the horror film Let's Scare Jessica to Death (1971), and his collaboration with author Margaret Atwood on Hymns of the God's Gardeners (2009), utilizing lyrics from The Year of the Flood (2009), the second book of her science fiction trilogy MaddAddam. Music and acting career After leaving the University of Nebraska for New York in the late 1960s, Stoeber, an Army brat, found work in the off-Broadway theater scene. One of his first jobs was as a singer in Robert Joffrey's 1967 multimedia ballet, Astarte. He also wrote music for A.R. Gurney Jr.'s Tonight! In Living Color! (1969) and Andy Warhol collaborator Ronald Tavel's Obie award winning play Boy on the Straight-Back Chair (1969), staged at the American Place Theatre. In 1970, Stoeber wrote music for John D. Hancock's short film Sticky My Fingers, Fleet My Feet, adapted by John Lahr from a New Yorker story, which was nominated for an Oscar. The following year, Stoeber released his debut album, Songs, and wrote the music for Hancock's horror film Let's Scare Jessica to Death. Stoeber continued to work with director Hancock as a composer and actor in several of his films, including Bang the Drum Slowly (1973), starring Robert DeNiro, and Weeds (1987), starring Nick Nolte. In 1997, he acted in the thriller film Switchback, starring Dennis Quaid and Danny Glover, and the Nathan Lane comedy Mouse Hunt. That same year, following a long hiatus, Stoeber began recording music again, after meeting literary agent Phoebe Larmore, who went on to produce his self-recorded album Whispering Roots in 2000. Subsequent albums My Fatal Flaw and Necessary Imagination were produced with record producer Ted Perlman. In 2009, author Margaret Atwood commissioned Stoeber to compose music for the lyrics from her novel The Year of the Flood, released that year on a CD titled Hymns of the God's Gardeners, simultaneous with the publication of the best-selling novel. Stoeber accompanied Atwood and performed selected hymns in an international musical presentation of the novel tour across the US, UK and Wales, as well as in Tokyo and Toronto. In the summer of 2014, HBO optioned Atwood's MaddAddam trilogy, for a series to be directed by Darren Aronofsky. Stoeber continues to record music and act, serving in both capacities for Hancock's 2014 film, Swan Song, and he released a CD titled In the Cloud of Unknowing in the fall of that year. In the 2000s, Stoeber, also a multimedia artist and art teacher in Venice, CA, had his art in several galleries, including Altered Space and Koplin Del Rio. Discography 1971: Songs 2005: My Fatal Flaw 2006: Whispering Roots 2009: Hymns of the God's Gardeners 2010: Necessary Imagination 2012: 8 2015: The Cloud of Unknowing Filmography Soundtracks Sticky My Fingers, Fleet My Feet (1970) - Oscar nominated short Bang the Drum Slowly (1973) A
Orville Stoeber
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The Good Man of Nanking: The Diaries of John Rabe is a collection of the personal journals of John Rabe, a German businessman who lived in Nanjing at the time of the Nanjing Massacre in 1937–1938. The book contains the diaries that Rabe kept during the Nanjing Massacre, writing from his personal experience and observation of the events that took place. It also excerpts Rabe's experience in immediate post-war Berlin, then occupied by Soviet troops. Rabe's diaries were made known and quoted by author Iris Chang during the research for her book, The Rape of Nanking; they were subsequently translated from German to English by John E. Woods and published in the United States in 1998. The diaries of Rabe could only provide witnesses of a small corner of the Nanjing Massacre, because of the limitation of his activity in the safe zone. Diary entries In his diary kept during the aggression to the city and its occupation by the Imperial Japanese Army, John Rabe wrote many comments about Japanese atrocities. For example, on 13 December 1937, he wrote: "It is not until we tour the city that we learn the extent of destruction. We come across corpses every 100 to 200 yards. The bodies of civilians that I examined had bullet holes in their backs. These people had presumably been fleeing and were shot from behind. The Japanese march through the city in groups of ten to twenty soldiers and loot the shops ... I watched with my own eyes as they looted the café of our German baker Herr Kiessling. Hempel's hotel was broken into as well, as almost every shop on Chung Shang and Taiping Road." For 17 December: "Two Japanese soldiers have climbed over the garden wall and are about to break into our house. When I appear they give the excuse that they saw two Chinese soldiers climb over the wall. When I show them my party badge, they return the same way. In one of the houses in the narrow street behind my garden wall, a woman was raped, and then wounded in the neck with a bayonet. I managed to get an ambulance so we can take her to Kulou Hospital. ... Last night up to 1,000 women and girls are said to have been raped, about 100 girls at Ginling Girls' College alone. You hear nothing but rape. If husbands or brothers intervene, they're shot. What you hear and see on all sides is the brutality and bestiality of the Japanese soldiers." While, on the next day of the fall of Nanjing, Rabe handed a letter of thanks to the Japanese army commander concerning that the people in the Safety Zone could stay without one fire and were all safe. The following is a part of his letter of thanks. "Dec. 14, 1937, Dear commander of the Japanese army in Nanking, We appreciate that the artillerymen of your army didn't attack the Safety Zone. And we hope to contact with you to
The Good Man of Nanking
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Marie Goodman Hunter (born October 16, 1929; adopted and named Florence Marie Goodman) is an American actor, singer, and educator. She was adopted when young and grew up in Petersburg and Richmond, Virginia. She taught Music and Speech for 30 years at John Marshall High School. A mezzo soprano, she also performed as a soloist in Richmond churches. Beginning in the late 1950s, she began to act in the Virginia Museum Theater, a community theater. When it became an Equity/LORT in 1969, she was among those invited to join as an Equity actor and become a professional in the company. From 1976 to 2001 she won six Phoebe awards from Richmond newspapers for her acting, a record in the city. She also had the opportunity to act with other companies, including at the McCarter Theatre in Princeton, New Jersey; the Alabama Shakespeare Festival; and in Caux, Switzerland. While retired from full seasons, Goodman Hunter continues to perform in special concerts or events. Early life Adopted when young by Fred and Florence Goodman, she was named Florence Marie Goodman and known as Marie. She attended public schools in Petersburg and Richmond, Virginia, where her family lived as she was growing up. She discovered her innate musical ability when her parents took her as a child of six to a Palm Sunday service at a family member's school. The festivities were to include a vocal recital, but the singer did not show up. Young Marie, thinking that singing was everyone's natural gift, volunteered to entertain. With no prior lessons, she sang the familiar hymn, "I Come to the Garden Alone", to great acclaim. Singing and acting Goodman Hunter was a mezzo-soprano and she performed as a soloist at numerous Richmond churches, including First Baptist Church of South Richmond and Garland Avenue Baptist. As she performed more, she also discovered a talent and desire for acting. "An Actress Who Happens to be Black" With combined singing and acting talents, Goodman Hunter was hired as the first African American in the cast of Paul Green's The Common Glory, the annual patriotic pageant in Williamsburg, Virginia. She also acted at the Barter Theater in Abingdon and Swift Creek Mill Theater in Colonial Heights. Asked about the casting odds she faced, Goodman Hunter said, "I appreciate directors who hire you as an actress who happens to be black and not as a black actress." When VMT attained full professional repertory status, Goodman Hunter was one of the local actors who received an Equity contract. She gained professional rank in the VMT Rep company, produced under the artistic direction of Keith Fowler, which included Ken Letner, E.G. Marshall, Alfred Drake, Janet Bell, Lynda Myles, and dramaturg M. Elizabeth Osborn. Fowler produced both new American plays and world premieres of works by European playwrights, in addition to some American classics. In 1974 Goodman Hunter got to use all her performance skills as the Innkeeper's Wife in Man With a Load of Mischief. Among major roles she played at
Marie Goodman Hunter
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Pange lingua may refer to either of two Mediaeval Latin hymns: Pange lingua gloriosi proelium certaminis by Venantius Fortunatus, a.D. 570, extolling the triumph of the Cross (the Passion of Jesus Christ) and thus used during Holy Week. Fortunatus wrote it for a procession that brought a part of the true Cross to Queen Radegunda that year. The last stanza was not written by Fortunatus but was added later. When the hymn is used in the Liturgy of the Hours during Holy Week, it may be broken into smaller units: Lustra sex qui iam peregit; En acetum, fel, arundo; Crux fidelis inter omnes. This hymn is also sometimes found as Pange lingua gloriosi lauream certaminis Pange lingua gloriosi corporis mysterium by Thomas Aquinas, inspired by the above and written c. 1260, celebrating the Eucharist and used during Corpus Christi. This hymn has often been set to music There is a charming legend that is hinted at in both hymns: the wood of the Cross upon which Jesus was crucified was taken from that tree which was the source of the fruit of the fall in the Garden of Eden, and when Adam died, according to the legend, Seth obtained from the Cherubim guarding the Garden a branch of the tree from which Eve ate the forbidden fruit, and then planted it at Golgotha, being so named because Adam was buried there. As time went on, the Ark of the Covenant, the pole upon which the bronze serpent was lifted, and other items were made from this tree. Musical settings There are dozens of musical settings of the Aquinas, including a Josquin Mass (1514), a Bruckner motet (1868) and a Kodály hymn (1929). Charpentier alone wrote five settings: Pange lingua, motet for 3 voices, 2 treble instruments and bc H.58 (? mid-1670s) Pange lingua, motet for 3 voices, 2 treble instruments and bc H.61 (1680–81) Pange lingua, motet for soloists, chorus, flutes, strings and bc H.64 (? late 1680s) Pange lingua, motet for 4 voices and bc H.68 (? late 1680s) Pange lingua, motet pour des religieuses / Pour le Port-Royal, for soloists, union chorus and bc H.62 (1681) See also Adoro te devote Veni Creator Spiritus Lauda Sion Sacris solemniis Verbum supernum prodiens References Christian hymns
Pange lingua
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"I Know That My Redeemer Lives" is an English Christian Easter hymn in long metre by Samuel Medley. It was published in 1775 and is written for Easter Sunday. History Medley had been a sailor in the Royal Navy who had been injured with his leg almost needing amputation. He wrote "I Know That My Redeeemer Lives" in 1775 whilst he was a minister at a Baptist church in Liverpool. It was first published in George Whitefield's Psalms and Hymns hymnal in the same year with seven verses though without attribution. He later self-published it in 1800 in the London edition of his Hymns hymnal. It was usually set to the "Duke Street" hymn tune. By the beginning of the 20th century, the hymn was in common use in both Great Britain and America, easily known by the oft-repeated "He lives!". The Church of Jesus Christ of Latter-day Saints also started to use the hymn after it was published in Emma Smith's Collection of Sacred Hymns. The Latter-day Saints version involved the merging of several verses. Tune The hymn is most commonly set to the tune "Duke Street", composed by John Hatton, about whom little is known except his place of residence, on Duke Street in St. Helen's. The following setting appears in the modern hymnal "Complete Anglican Hymns Old and New". Scripture Though the hymn is originally based on the Old Testament verse from the Book of Job, where Job proclaims "I Know That My Redeemer Lives" (), it is mostly used as a hymn for Easter Sunday commemorating the Resurrection of Jesus. Medley was also inspired by Thomas the Apostle coming to believe after having seen Jesus after the Resurrection. References Easter hymns 1775 in England English Christian hymns Resurrection of Jesus Songs about Jesus
I Know That My Redeemer Lives
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The Cowper and Newton Museum is a museum in Olney, north Buckinghamshire, England, around north-east of Central Milton Keynes. Celebrating the work and lives of two famous local residents: William Cowper (1731–1800), a celebrated 18th-century poet; and John Newton (1725–1807), a slave trader and subsequently a prominent abolitionist, who was curate in the local church. Together, Cowper and Newton wrote the Olney Hymns, including one of the world's most popular hymns, "Amazing Grace". The museum is housed in a large red-brick Georgian house, called Orchard Side, on the corner of Market Place in Olney. History The Museum building is original to the Georgian era and is presented as it would have been when William Cowper was its resident in 1768 to 1786. Within the Museum's collections are the literary works and personal effects of William Cowper, showing a detailed insight into Georgian life and a fine collection of lace and local history artefacts. The history of Olney is also presented in the Olney Rooms within the museum. It has two unique gardens of outstanding horticultural interest as they are planted only with specimens introduced to England before 1800. The museum first opened in 1900. The Flower Garden & Summerhouse Garden Originally the Summerhouse Garden belonged to the apothecary who lived next door to Orchard Side. After Thomas Aspray's death, Cowper was allowed the use of this former medicinal and herbal garden. Selected friends were allowed to visit him in the unique building in the centre of the garden, which he described as his "verse manufacturey". After the poet's death in 1800, admirers of his works visited this small "literary shrine" and many inscribed their names and dates on the walls and ceiling - the earliest found being 1802! - all of which can still be seen today. Celebrations In July 2022, following the securing of funding from Milton Keynes City Council, the MK Community Foundation, the National Lottery Heritage Fund and Arts Council England, the town's Cowper and Newton Museum launched the "Amazing Grace 250" project to celebrate the 250th anniversary of the Amazing Grace hymn, featuring a host of exhibitions and special events in Olney, the wider Milton Keynes area, and beyond. Other The vicarage is close by, where Cowper's friend and clergyman John Newton (1725–1807), wrote the hymn Amazing Grace. Newton and his wife are buried in the local churchyard. The museum is promoted by the Campaign to Protect Rural England. and is a charitable trust run almost entirely by volunteers. See also List of museums in Buckinghamshire References External links Museum website Visit Olney information BritainExpress information Olney Chamber information Museums established in 1900 Biographical museums in Buckinghamshire Local museums in Buckinghamshire Buildings and structures in Milton Keynes 1900 establishments in England Olney, Buckinghamshire
Cowper and Newton Museum
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Nelle Richmond Eberhart (August 28, 1871 – November 15, 1944) was an American librettist, poet, and teacher. She is known for her long collaboration with composer Charles Wakefield Cadman. She wrote 200 songs and the librettos for five operas for which he composed the music. Early life Eberhart was born Ellen Loretta McCurdy in 1871 in Detroit, Michigan, daughter of John Thomas and Cora Amelia Newton McCurdy. Her mother remarried. At an early age, Nelle was given her stepfather's surname, Richmond. Her family moved to Nebraska, where she was raised. As a young woman she developed a strong interest in music. She gained certification and taught school. In 1894 Richmond married Oscar Eberhart, a physician. They had a daughter together, Constance Richmond Eberhart. She became an opera singer and teacher of voice. She sang as a member of the Chicago Civic Opera and the American Opera Company. Career The Eberhart family moved to Pittsburgh, Pennsylvania in 1900 for her husband's work. In 1902, Eberhart met a young neighbor Charles Wakefield Cadman. When she learned he was studying and writing music, they began to work together. She wrote the words for a hymn and he the music, for their first song. They began to collaborate - she would write the texts and he the music for songs. She wrote the lyrics for some 200 songs, and the librettos for the five operas that they created together. His "Four American Indian Songs Op. 45" (which included "From the Land of Sky-Blue Water") was his first commercial success in 1909, after the noted soprano Nordica performed the song in Cleveland. Their first opera, Da O Ma (1912), set in Sioux culture, was never produced. But their second opera Shanewis, or The Robin Woman (1918) was premiered by the Metropolitan Opera in New York City; it was also performed there for a second, succeeding season. Eberhart was the first woman librettist to have her work performed by that company. The opera was taken on tour, being produced in Denver in 1924 and Los Angeles in 1926. Eberhart wrote the libretto for Garden of Mystery, music by Cadman, which was performed in 1925 at Carnegie Hall in New York. Later, she wrote The Willow Tree (1932, music by Cadman), one of the first operas commissioned for radio, certainly the first for American radio. In addition to her emphasis on Native American themes, Eberhart also showed interest in Asian and Pacific Island themes. She wrote lyrics for "Sayonara: A Japanese Romance for One or Two Voices, op. 49," and "Idyls of the South Seas" (music by Cadman). Her interest in historical drama inspired their A Witch of Salem: An American Opera (1926), music by Cadman. She also wrote several Christian hymns ("The Dawn of Peace Resplendent Breaks," "Give Praise," "O Come and Adore Him"), and general sentimental art songs ("I Hear a Thrush at Eve," "Lilacs," "Memories," "The Moon Behind the Cottonwood"). Eberhart also published poetry in literary reviews and general interest publications, such as Granite
Nelle Richmond Eberhart
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"They Won't Go When I Go" is a song co-written and performed by Stevie Wonder from his 1974 album Fulfillingness' First Finale. This song is the only one on the album that Wonder did not write by himself. His co-writer was Yvonne Wright, who co-wrote songs with Wonder for other albums. Wonder performed this song, along with "Never Dreamed You'd Leave in Summer", at Michael Jackson's memorial service on July 7, 2009. Composition The song has been considered a "retro composition", where comparisons of the piano part to the style of Chopin and the Baroque passacaglia or chaconne technique—a repeating bassline in a minor key and in triple metre—can be drawn. The song is also noted to have a "funeral march" like tone. There is clear allusion to the 1850 German chorale tune "O mein Jesu," the setting of Thomas Kelly's 1805 Protestant hymn "Stricken, smitten, and afflicted." Critics noted that the song takes a more dramatic tone than most of Wonder's other compositions. The fact that the song specifically says "They won't go when I go" was said to imply the friends Wonder is talking about may get to heaven eventually, just not before he does. Interpreted more broadly as a hymn, the song is the cry not just of Wonder, but the faithful in general, awaiting a second coming where they are taken and others are not. Many consider this song to be a dark consequence of Wonder's 1973 car accident. Covers George Michael covered the song for his second solo album, Listen Without Prejudice Vol. 1 in 1990. Josh Groban covered the song on the Japanese bonus track edition of his fifth studio album, Illuminations (Josh Groban album) in 2010. Kanye West opened his set at the Museum of Modern Art's "Party in the Garden" event with a cover of it on May 10, 2011. Camille recorded it for her second studio album, I Sing Stevie: The Stevie Wonder Songbook in 2014, which received an Independent Music Award nomination for Best Tribute Album. Chance the Rapper did a cover of it as part of a surprise NPR Tiny Desk Concert in early June 2017. References Stevie Wonder songs George Michael songs Songs written by Stevie Wonder Pop ballads 1974 songs Song recordings produced by Stevie Wonder
They Won't Go When I Go
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Elizabeth Estelle White (4 December 1925 – 9 February 2011) was a British composer who wrote over 160 hymns, several Masses, and music for theatre. White grew up in a musical family on Tyneside, where she learned to play the piano, guitar, clarinet and tenor saxophone. Her musical influences included Duke Ellington, Count Basie, and musical theatre. White's first works were composed during her years as a nun; some were published or copyrighted under the name Sister Estelle, though most were published under the name Estelle White. World War II White joined the Auxiliary Territorial Service during World War II, when she was 17, and played saxophone with a British army band on many ceremonial occasions, including the 1946 Victory Parade. She also travelled to entertain troops in the Central Mediterranean Force in Palestine and Egypt. After World War II After the war, White trained as a physiotherapist at Newcastle on Tyneside, and worked with children who had cerebral palsy. She acted, directed, painted scenery and composed music for productions at the People's Theatre in Newcastle before moving to Ontario, Canada, for 18 months, where she joined the Roman Catholic Church. White returned to England in 1965 and became a nun, taking temporary vows with the Corpus Christi Carmelite Sisters. She trained at Digby Stuart College in Roehampton and qualified to teach theology and music. 1970–2011 White left the convent in 1970 and taught in Catholic schools in the north of England until she retired. She also wrote articles for the Guardian newspaper and various women's magazines. During this time, she studied Hebrew and Greek, earning an MA with Distinction from Leeds University in 1989. She directed the church choir at St Josephs, Dewsbury, from 1984 until 1991. White's hymn for harvest festival, "Autumn Days", is included in Come and Praise. The hymn caused controversy in 1996, when choir members of the 12th-century St. Mary's Church in Wroxham, Norfolk, walked out rather than sing the hymn. They found the reference to "jet planes meeting in air to be refuelled," to be inappropriate. White explained that she had written the hymn for the children at a school under a flight path to sing. Many of White's compositions were published by McCrimmon Publishing Company. Her compositions include: Hymns “And He Listens with His Hands” “As Bread My Lord Comes to Me” “Autumn Days” “Breath of God O Holy Spirit” “'Cheep' Said the Sparrow on the Chimney Top” “Christ is Our King” “Come to the North” “Deep Calls to Deep” “Gentle as Silence/Oh the Love of My Lord is the Essence” “Give Me Peace O Lord I Pray” “Grace” “Harvey” “He Came to Open the Eyes of the Blind” “He is the Light of the World” “I Can See Across the Square” “I Give My Hands” “I Love the Warmth of the Sun” “I Mustn't Forget” “I Saw the Grass I Saw the Trees” “In the Earth the Small Seed” “In the Love of God and Neighbor” “It is the Living Spirit” “January
Estelle White
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Charlotte Alington Pye Barnard (23 December 1830 in Louth, Lincolnshire – 30 January 1869 in Dover) was an English poet and composer of ballads and hymns, who often wrote under the pseudonym Claribel. She wrote over 100 songs as well as two volumes of verse, and became the most commercially successful balled composer managed by her publishers Boosey's, with whom she established one of the first royalty arrangements. Life Charlotte Alington Pye was the daughter of Henry Alington Pye, a solicitor, and Charlotte Yerburgh. In 1854, she married Charles Cary Barnard. Though he was parson of St Olaves in Ruckland, Lincolnshire, the couple lived at The Firs in Westgate, Louth, Lincolnshire. After Charlotte's presentation at court in 1856, the couple moved to Pimlico. Among their neighbors was the conductor Michael Costa. In London she studied music with the pianist W.H. Holmes and the singer Charlotte Sainton-Dolby. On 8 July 1847, Charlotte laid the foundation stone of Louth railway station. During a visit back to Louth in 1862, Charlotte published a collection of poetry entitled Twenty Spring Songs, and sang some of her own compositions at a concert held to clear the debt on the new east window of St James' Church, Louth. A stained glass window in her memory now stands at the west end of the church. By 1864, she had moved to Kirmington rectory as her husband had been appointed Rector of Brocklesby with Kirmington. A prolific balladeer and hymn-writer, Barnard had her first public success as a composer in 1859 with the ballad 'Janet's Choice', written for Charlotte Sainton-Dolby. She is probably best known for 'I Cannot Sing the Old Songs', 'Bide A Wee', 'Won't You Tell Me Why, Robin?' (1861), 'Five O'Clock in the Morning' (1862), 'Mountain Mabel' (1865) and 'Come Back to Erin' (1866). She was also the composer of the hymn tune 'Brocklesby'. In 1868 it was discovered that her much respected father had been systematically stealing money left in his care and trust. He fled to Belgium with his second wife. Charlotte joined him there with her husband but returned to England at the beginning of 1869 for a holiday, when she became ill and died after a short illness from typhoid fever. In popular culture "Come Back to Erin" is one of the songs performed by Michigan J. Frog in the Warner Bros. cartoon One Froggy Evening. "Come Back to Erin" is sung by Maureen O'Hara in the 1952 film The Quiet Man. Selected works Poetry and Prose Spring Songs (Louth, 1862) Fireside Thoughts, Ballads, Etc. (London, 1865) Verses and Songs (London, 1870) Thoughts, Verses and Songs (London, 1877) Hymn Tunes BARNARD (Give of Your Best to the Master) BROCKELSBY (BROCKELSBURY) HALL PILGRIMAGE Ballads and Songs "Age" "All Along the Valley" "Always" "Always Speak Kindly" (with SATB chorus, words by Caledon) "At Her Window Ho! (Hungarian Love Song)" "Blind Alice" "Children's Voices" "Come Back to Erin" "Day Dreams" (duet) "Do You Remember?" "Dream Land" "Far Away in Bonnie Scotland" "Farewell to Erin"
Charlotte Alington Barnard
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I Love to Tell the Story, A Hymns Collection is a studio album released by Christian singer Mark Lowry. The album was released by EMI Christian Music Group on July 17, 2007. The album features renditions of several traditional and popular Christian hymns. Track listing "I Love to Tell the Story" (William Fischer, Katherine Hankey) – 1:40 "In the Garden / O, How I Love Jesus" (Charles A. Miles, Frederick Whitfield) – 4:29 "Count Your Blessings" (E.O. Excell, Johnson Oatman) – 3:04 "The Old Rugged Cross" (George Bennard) – 4:15 "Softly and Tenderly" (Will L. Thompson) – 3:40 "Marvelous Grace (Grace Greater Than Our Sin)" (Julia Johnston, Daniel B. Towner) – 3:14 Heaven Medley: "When the Roll Is Called Up Yonder / In the Sweet By-and-By" (Sanford Bennett, James Black, Joseph P. Webster) – 3:50 "What a Friend We Have in Jesus" (Charles Converse, Joseph M. Scriven) – 2:54 "Blessed Assurance" (Fanny J. Crosby, Phoebe P. Knapp) – 4:22 "Does Jesus Care? / God Will Take Care of You" (Frank E. Graeff, J. Lincoln Hall, Civilla D. Martin, Walter Martin) – 4:49 "Untitled Hymn (Come to Jesus)" (Chris Rice) – 3:53 Awards The album won a Dove Award for Inspirational Album of the Year at the 39th GMA Dove Awards. Chart performance The album peaked at No. 34 on Billboard's Christian Albums. References External links I Love to Tell the Story on Amazon.com 2007 albums
I Love to Tell the Story, A Hymns Collection
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Augustus Montague Toplady (4 November 174011 August 1778) was an Anglican cleric and hymn writer. He was a major Calvinist opponent of John Wesley. He is best remembered as the author of the hymn "Rock of Ages". Three of his other hymns – "A Debtor to Mercy Alone", "Deathless Principle, Arise" and "Object of My First Desire" – are still occasionally sung today. Background and early life, 1740–55 Augustus Toplady was born in Farnham, Surrey, England in November 1740. His father, Richard Toplady, was probably from Enniscorthy, County Wexford in Ireland. Richard Toplady became a commissioned officer in the Royal Marines in 1739; by the time of his death, he had reached the rank of major. In May 1741, shortly after Augustus' birth, Richard participated in the Battle of Cartagena de Indias (1741), the most significant battle of the War of Jenkins' Ear (1739–42), during the course of which he died, most likely of yellow fever, leaving Augustus' mother to raise the boy alone. Toplady's mother, Catherine, was the daughter of Richard Bate, who was the incumbent of Chilham from 1711 until his death in 1736. Catherine and her son moved from Farnham to Westminster. He attended Westminster School from 1750 to 1755. Trinity College, Dublin: 1755–60 In 1755, Catherine and Augustus moved to Ireland, and Augustus was enrolled in Trinity College Dublin. Shortly thereafter, in August 1755, the 15-year-old Toplady attended a sermon preached by James Morris, a follower of John Wesley, in a barn in Codymain, co. Wexford (though in his Dying Avowal, Toplady denies that the preacher was directly connected to Wesley, with whom he had developed a bitter relationship). He would remember this sermon as the time at which he received his effectual calling from God. Toplady underwent a religious awakening in August 1755, "but not, as has been falsely reported, under Mr. John Wesley, or any preacher connected with him". In his own diary, he wrote "I was awakened in the month of August, 1755, but not, as has been falsely reported, under Mr. John Wesley, or any preacher connected with him. Thought awakened in 1755. I was not led into a full and clear view of all the doctrines of grace, till the year 1758, when, through the great goodness of God, my Arminian prejudices received an effectual shock, in reading Dr. Manton’s Sermons on the 17th of St. John". In 1759, Toplady published his first book, Poems on Sacred Subjects. Following his graduation from Trinity College in 1760, Toplady and his mother returned to Westminster. There, Toplady met and was influenced by several prominent Calvinist ministers, including George Whitefield, John Gill, and William Romaine. It was John Gill who in 1760 urged Toplady to publish his translation of Zanchius's work on predestination, Toplady commenting that "I was not then, however, sufficiently delivered from the fear of man." Church ministry: 1762–78 In 1762, Edward Willes, the Bishop of Bath and Wells, ordained Toplady as an Anglican deacon, appointing him curate of Blagdon, located in
Augustus Toplady
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Douglas E. Bond (born October 29, 1958) is an American author. He is not to be confused with the musician and singer-songwriter, Douglas Burke Bond, Jr., who goes by the stage name, Hatchatorium, and is also a writer/author. Douglas E. Bond has written more than 30 books, primarily of historical fiction. He earned a master's degree in Teaching (MIT) from St. Martin's University, and a Preliminary Certificate in Theology from Moore Theological College. He was the English and history instructor at Covenant High School (CHS) in Tacoma, Washington from 1993 to 2015, receiving the 2005 Teacher Award from the Pierce County Library Foundation and Arts Commission, and the 2015 Teacher of the Year award from the Optimist Club. After more than two decades of positive performance reviews, he was terminated without process from CHS after the release of his book Grace Works! (And Ways We Think It Doesn't). Along with full-time writing and editing duties, he is Director for the Oxford Creative Writing Master Class and adjunct instructor in church history at Western Reformed Seminary. Bond is lyricist for New Reformation Hymns and wrote the hymns for the 2017 Rise & Worship album, with music composed by Gregory Wilbur. Several of his books are translated and published in Dutch, Portuguese, and Korean. He speaks at churches and conferences, including Ligonier conferences, and in 2018 in schools and churches in Perth, Western Australia. Additionally, since 1996, he has led numerous history tours in Europe. His articles have appeared in periodicals, including Modern Reformation and Tabletalk, and he has spoken at conferences with Ted Tripp, Joel Beeke, Steven Lawson, Robert Godfrey, Derek Thomas, and R. C. Sproul. He was featured in a CBS news report in 2010 when a group of students he was leading on a Great Britain tour were delayed from coming home by volcanic activity in Iceland. He has served on the advisory board of Glorious Films in Montreal and Reformed University Fellowship. He is a ruling elder in the Presbyterian Church in America. In 2015, he was elected to the General Assembly committee for Reformed University Ministries, which oversees the campus ministry of Reformed University Fellowship. Bibliography Mr. Pipes and the British Hymn Makers Mr. Pipes and Psalms and Hymns of the Reformation Mr. Pipes Comes to America Duncan’s War King’s Arrow Rebel’s Keep The Accidental Voyage Hostage Lands Guns of Thunder Guns of the Lion (2008) Stand Fast In the Way of Truth (2008) Hold Fast In a Broken World (2008) Guns of Providence (2010) The Betrayal (2009) The Mighty Weakness of John Knox (2011) The Thunder (2012) The Poetic Wonder of Isaac Watts (2012) Augustus Toplady: Debtor to Mercy Alone (2012) Hand of Vengeance (2012) Forgotten Songs: Reclaiming the Psalms for Worship (2012) Girolamo Savonarola: Heart Aflame (2013) Grace Works! (And Ways We Think It Doesn't) (2014) War in the Wasteland (2016) Luther in Love (2017) Rise & Worship, New Reformation Hymns (cd album) (2017) The Resistance (2018) God Sings! (And Ways We Think He Ought
Douglas Bond
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Donald Yetter Gardner (August 20, 1913 – September 15, 2004) was an American songwriter who is best known for writing the classic Christmas novelty song "All I Want for Christmas Is My Two Front Teeth". Early life and education Gardner was born in Portland, Pennsylvania. He earned a bachelor's degree in music from West Chester University. Career Gardner wrote "All I Want for Christmas Is My Two Front Teeth" in 1944 while teaching music at public schools in Smithtown, New York. He asked the class what they wanted for Christmas and noticed that almost all of them had at least one front tooth missing and answered with a lisp. Gardner wrote the song in 30 minutes. In a 1995 interview, Gardner said, "I was amazed at the way that silly little song was picked up by the whole country." The song was published in 1948 after an employee of Witmark music company heard Gardner sing it at a music teachers' conference. The song was introduced in 1948 by singing group The Satisfiers on Perry Como's radio show, and originally recorded for RCA Victor by Spike Jones and His City Slickers on December 6, 1947, with lead vocal by George Rock. The record reached the top of the pop charts in 1948, and again in 1949. The song was also recorded by numerous other singers and performers, including George Strait, The Platters, The Andrews Sisters, Nat King Cole, and the cast of Sesame Street. Gardner later became a music consultant for a major music publisher in Boston, Ginn & Company, wrote songs for music textbooks, and composed numerous hymns. His published hymns include "Man Shall Not Live by Bread Alone but by Every Word of God" and "Oh, Give Thanks Unto the Lord." Personal life Gardner died at age 91 from complications after falling at his home in Needham, Massachusetts, outside of Boston. References 2004 deaths 1913 births Singers from Pennsylvania Accidental deaths from falls Songwriters from Pennsylvania West Chester University alumni Accidental deaths in Massachusetts People from Northampton County, Pennsylvania 20th-century American singers 20th-century American male singers American male songwriters 20th-century American songwriters
Donald Yetter Gardner
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When You Come to the End of the Day is Perry Como's fourth RCA Victor 12" long-playing album, released in 1958 and the second recorded in stereophonic sound. It was recorded as an album of inspirational songs featuring well known traditional hymns such as "In the Garden" and modern inspirational tunes including "May The Good Lord Bless and Keep You". The album was reissued on compact disc in 2001. Track listing Side one "He's Got The Whole World In His Hands" (Traditional gospel song adapted by Geoff Love) "Whither Thou Goest" (Music and Lyrics by Guy Singer, 1954) "No Well On Earth" (Music by Dave Mann and lyrics by Bob Hilliard) "Only One" (Words and Music by Sunny Skylar, Tom Glazer and Andrew Ackers) "Scarlet Ribbons" (Music by Evelyn Danzig and lyrics by Jack Segal, 1949) "I May Never Pass This Way Again" (Words and Music by Murray Wizell and Irving Melcher) Side two "A Still Small Voice" (Music by Ben Weisman and lyrics by Al Stillman) "In the Garden" (Words and Music by C. Austin Miles, 1912) "May The Good Lord Bless And Keep You" (Words and Music by Meredith Willson) "Prayer For Peace" (Music by Nick Acquaviva with English lyrics by Norman Gimbel) "All Through The Night" (Traditional Old Welsh hymn, Arranged by Ray Charles) "When You Come to The End of The Day" (Music by Frank C. Westphal and lyrics by Gus Kahn) References External links Perry Como Discography When You Come to the End of the Day Perry Como albums 1958 albums RCA Victor albums
When You Come to the End of the Day
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"Send the Light" is a hymn written in 1890 by American composer Charles H. Gabriel. The hymn was the first composed by Gabriel, who would later compose multiple famous hymns, such as "His Eye Is on the Sparrow" and "Will the Circle be Unbroken?". Gabriel wrote the hymn when he was serving as the Music Director of Grace Methodist Episcopal Church in San Francisco, California, when he was asked by the Sunday School Superintendent of the church to write a missionary hymn for Easter church service. The hymn was first sung a month before Easter on March 6, 1890. It is believed to be based on Acts 16, where Paul has a vision of a Macedonian man, who said, "Come over into Macedonia, and help us." After Gabriel wrote the hymn, a Field Secretary of missions took the song from California to Ohio, where Charles Cardwell McCabe popularized the song. Soon after, Gabriel wrote "Calling the Prodigal." Lyrics There’s a call comes ringing o’er the restless wave, “Send the light! Send the light!” There are souls to rescue, there are souls to save, Send the light! Send the light! Refrain: Send the light, the blessed Gospel light; Let it shine from shore to shore! Send the light, and let its radiant beams Light the world forevermore! We have heard the Macedonian call today, “Send the light! Send the light!” And a golden off’ring at the cross we lay, Send the light! Send the light! Let us pray that grace may everywhere abound, “Send the light! Send the light!” And a Christlike spirit everywhere be found, Send the light! Send the light! Let us not grow weary in the work of love, “Send the light! Send the light!” Let us gather jewels for a crown above, Send the light! Send the light! References Gabriel, Thomas "Sixty Years of Gospel Song", p. 9, Retrieved November 19, 2023 1890 songs American Christian hymns
Send the Light (hymn)
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"In Christ Alone" is a popular modern Christian song written by Keith Getty and Stuart Townend, both songwriters of Christian hymns and contemporary worship music in the United Kingdom. The song, with a strong Irish melody, is the first hymn they penned together. The music was by Getty and the original lyrics by Townend. It was composed in 2001. "In Christ Alone" is considered a Christian credal song for belief in Jesus Christ. The theme of the song is the life, death and resurrection of Christ, and that he is God whom even death cannot hold. The song is commonly known as "In Christ Alone (My Hope Is Found)" and "In Christ Alone (I Stand)" taking verses from the song. It has become very popular and has been the subject of many cover versions and many language translations. Popularity The song was composed in 2001 and gained increased popularity first in Ireland and the UK and then in the United States and internationally. In 2002, Stuart Townend, the lyricist of the song, recorded it on his own album Lord of Every Heart By 2005, it had been named by a BBC Songs of Praise survey as the ninth best-loved hymn of all time in the UK and then third in the same poll by the show in 2019; By 2006, it rose to the No. 1 position on the United Kingdom CCLI (Christian Copyright Licensing International) charts. "In Christ Alone" appeared on CCLI's "Top 25 CCLI Songs" American songs list for the first time in the February 2008 report although it had appeared in the CCLI chart for Canada, Australia and New Zealand prior to that. In 2008, the song was included in the release of Christian Worship: Supplement for the Wisconsin Evangelical Lutheran Synod (WELS). In 2015, the song was listed among the "Fifty Favorite Hymns" in a WELS survey. In 2013, the song was sung at the enthronement of Justin Welby as Archbishop of Canterbury. Cover versions In 2010, Owl City's Adam Young recorded a version and offered it through his blog. About the song, he wrote: "I'm twenty-four years old, yet something about this song makes me bawl like a baby. The way the melodies and lyrics swirl together is so poignant and beautiful. If I were to count on one hand, the number of songs that have ever deeply moved me, this one would take the cake. Last night I probably spent more time actually crying at the piano than I did recording it. Such are the secret confessions of a shy boy from Minnesota". In 2012, American singer Christina Grimmie uploaded a cover of "In Christ Alone" onto her YouTube channel. In 2013, the song was covered by American worship band Passion—with a new bridge section added—and led by Kristian Stanfill, and was included in their 2013 live album Passion: Let the Future Begin. In 2015, a portion of the piano melody featured on American musician Julien Baker's album Sprained Ankle, at the end of
In Christ Alone
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"Gwahoddiad" is a Welsh hymn of American origin. , also known as and by its first line , was originally the English-language gospel song "I Am Coming, Lord", the first line of which is I hear thy welcome voice. The English words and the tune were written in 1872 by the American Methodist minister and gospel songwriter Lewis Hartsough (1828–1919) during a revival meeting at Epworth, Iowa, where Hartsough was minister. Hartsough was musical editor of The Revivalist, a collection of hymns which had begun in 1868 and continued through 11 editions. The English words with Hartsough's tune first appeared in the 1872 edition. The tune is in 3/4 time, with fermatas at the option of the songleader. The metrical pattern is 6686 with refrain 5576. The rhyme scheme is abcb; the second and fourth lines rhyme, whether in the verse or in the refrain. In 1906 the American gospel singer and composer Ira D. Sankey wrote: The words and music of this beautiful hymn were first published in a monthly entitled Guide to Holiness, a copy of which was sent to me in England. I immediately adopted it, and had it published in Sacred Songs and Solos. It proved to be one of the most helpful of the revival hymns, and was often used as an invitation hymn in England and America. The Welsh version was translated by Calvinistic Methodist minister and musician Ieuan Gwyllt (literally John the Wild, bardic name of John Roberts) (1822–1877). It has become so well known in Wales that, despite its American origin, many people believe it to be an indigenously Welsh hymn. "I Am Coming, Lord" is an invitation song, typically sung at the end of a sermon in evangelistic meetings. The tune is usually called WELCOME VOICE in American hymnals and may be labeled CALVARY in British hymnals. During World War I Hartsough expressed gratification not only for having heard the song in various languages but also for having learned of its popularity with soldiers in the trenches of Europe. Consider now the lyrics, with the Welsh version printed first. Welsh words The Roberts (Gwyllt) translation has four verses. The first verse is a virtual equivalent of Hartsough's original (see infra). Roberts essentially skipped Hartsough's second verse and then conflated the remaining three verses into similar but not verbatim thoughts matching Welsh to the metrical pattern of Hartsough's tune. Original English words "I Am Coming, Lord!" as it appeared in the Revivalist (1872, p. 231, No. 464): The theology of the fourth verse from Hartsough's original has attracted some clarification from editors. The Calvinist Roberts (Gwyllt) in the Welsh version simply massaged the concerns away via the translation. English-language editors who are unhappy with the theology have sometimes gone the way of B. B. McKinney in simply eliminating the verse or Elmer Leon Jorgenson in revising it as follows: American hymn editor William Jensen Reynolds asserted in 1976, as he had done earlier, in 1964, another verse, between the third and fourth
Gwahoddiad
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Joseph Hart (1711/12 – 24 May 1768) was a Calvinist minister in London. His works include Hart's Hymns, a much-loved hymn book amongst evangelical Christians throughout its lifetime of over 200 years, which includes the well-known hymn, "Come ye sinners, poor and needy". One of Hart's early publications was a tract denouncing Christianity (prior to his conversion) called The Unreasonableness of Religion, Being Remarks and Animadversions on the Rev. John Wesley's Sermon on Romans 8:32. His other works include a short autobiography and a few poetical translations of ancient classics. He preached at Jewin Street chapel in London, a building with multiple galleries, to a congregation of significant size. Only one of Hart's sermons is known: that of Christmas 1767. Several of his hymns appear in the Sacred Harp. Early life Hart's early life is poorly documented. He had a good education, learning the classical languages (Latin, Hebrew, and Greek), which afterwards he taught for a living. He spent a lot of his early life translating and writing poetry. It was in this period of his life that Hart translated Herodian and Phocylides. Hart wrote of his early life in his autobiography: Hart was brought up in the Christian life, but soon fell into temptation. It was about this time of turmoil in his life, that he met and married a girl named Mary, 14 years younger than himself. Libertine and author It was during this period of Hart's life that he left off doing his good works, and became a libertine, believing that there is no need to be righteous, all you need is to believe in God, then salvation is certain. It was then that he wrote The Unreasonableness of Religion, in an effort to convince John Wesley that he should not be doing good works only believing in God. The pamphlet had no effect upon Wesley, being accounted mere blasphemy. Hart later repented of writing it, and gave Wesley an unreserved apology. During this period, Hart also translated Phocylides from the original Greek in 1744, and Herodian from its original Latin in 1749. Conversion Hart later considered that there was a need both to do good works and to believe in God. But then came the uncertainty: Was he really and truly saved? He had no indication from God, no elaborate vision, telling him that he had been saved. This was a great worry to Joseph Hart. He began to pray to God that there would be some revelation granted him, or perhaps just a little sign. This tormented Hart for more than a year. Then, the week before Easter of the year 1757 Hart "had such an amazing view of the agony of Christ in the garden [of Gethsemane]", showing him that all Christ's sufferings were for him (along with the rest of the church). But soon after this, Hart again began to be afraid of the life to come (eternity), and feared exceedingly when reading about the condemned in passages in the Bible. It was
Joseph Hart
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"Hymn" is a song by American electronica musician Moby. It was released on May 1994 by Mute Records as the first single from the musician's third studio album, Everything Is Wrong (1995). The single version, which was radically remixed from the album original and retitled "Hymn (This Is My Dream)", peaked at number 31 on the UK Singles Chart and number three in Finland. A 33-minute ambient remix was also released, titled as "Hymn.Alt.Quiet.Version". The accompanying music video for "Hymn" was directed by English director Walter Stern, featuring Moby performing with silver bodypaint. Critical reception Steve Baltin from Cash Box described "Hymn" as a "beautiful piano tune". Ian Gittins from Melody Maker called it a "sunrise symphony". Andy Beevers from Music Week gave it four out of five and named it Pick of the Week in the category of Dance. He wrote, "Moby can always be relied on to come up with a novel and commercial twist on the house formula. This time he goes for a full-blown choral treatment with the hard-edged synth sounds." Stuart Bailie from NME said the track "is actually a blinder — mighty banks of angels all giving it their best hosannas and these unreal whizzing effects giving you the impression that you're zooming through the clouds, en route to a meeting with the great man himself." Another NME editor, Ben Willmott wrote in the magazine's Vibes cloumn, "More very commercial party techno from Moby — this is no doubt chartbound", while Johnny Cigarettes noted its "sweeping melancholy". Track listings CD single "Hymn (This Is My Dream)" – 3:45 "All That I Need Is to Be Loved" (H.O.S. mix) – 2:45 "Hymn" (European edit) – 8:57 "Hymn" (Laurent's Wake Up) – 8:43 CD single "Hymn.Alt.Quiet.Version" – 33:43 12-inch single "Hymn (This Is My Dream)" (extended mix) – 4:42 "Hymn" (Laurent's Wake Up) – 8:43 "Hymn (Upriver)" – 5:47 "Hymn (Dirty Hypo)" – 7:20 12-inch single "Hymn (Menacing)" – 5:57 "Hymn" (European mix) – 7:02 "Hymn (Lucky Orgasm)" – 6:03 "Hymn (I Believe)" – 7:08 Charts References External links 1994 singles 1994 songs Moby songs Mute Records singles Songs written by Moby
Hymn (Moby song)
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A hymn metre (US: meter) indicates the number of syllables for the lines in each stanza (verse) of a hymn. This provides a means of marrying the hymn's text with an appropriate hymn tune for singing. Hymn and poetic metre In the English language hymns occur in a limited variety of poetic metres. The hymn "Amazing Grace" exemplifies a standard form, with a four-line stanza, in which lines with four stressed syllables alternate with lines with three stresses syllables; stressed syllables are rendered in bold. Amazing grace, how sweet the sound that saved a wretch like me. I once was lost, but now am found, was blind, but now I see. To put it more technically, such hymns have couplets with four iambic metrical feet in the first and third lines, and three in the second and fourth. If one counted all syllables, not just stressed syllables, such hymns follow what is called an 86.86 pattern, with lines of eight syllables alternating with lines of four syllables. This form is also known as common metre. By contrast most hymns in an 87.87 pattern are trochaic, with strong-weak syllable pairs: Love divine, all loves excelling, joy of heav'n to earth come down,... In practice many hymns conform to one of a relatively small number of metres (syllable patterns), and within the most commonly used ones there is a general convention as to whether its stress pattern is iambic or trochaic (or perhaps dactylic, such as Great Is Thy Faithfulness). It is rare to find any significant metrical substitution in a well-written hymn; indeed, such variation usually indicates a poorly constructed text. Terminology and abbreviations Most hymnals include a metrical index of the book's tunes. A hymn may be sung to any tune in the same metre, as long as the poetic foot (such as iambic, trochaic) also conforms. All metres can be represented numerically, for example "Abide With Me" which is 10.10.10.10. Some of the most frequently encountered however are instead referred to by names: C.M., or CM— Common metre, 8.6.8.6; a quatrain (four-line stanza) with alternating lines of iambic tetrameter and iambic trimeter, which rhymes in the second and fourth lines and sometimes in the first and third. L.M., or LM— Long metre, 8.8.8.8; a quatrain in iambic tetrameter, which rhymes in the second and fourth lines and often in the first and third. S.M., or SM— Short metre, 6.6.8.6; iambic lines in the first, second, and fourth are in trimeter, and the third in tetrameter, which rhymes in the second and fourth lines and sometimes in the first and third. "Blest Be the Tie that Binds" is an example of a hymn in short metre. Two verses may be joined and sung to a tune of double the length: D.C.M. (also C.M.D., or CMD)—Doubled CM, 8.6.8.6.8.6.8.6. D.L.M. (also L.M.D., or LMD)—Doubled LM, 8.8.8.8.8.8.8.8. 8.7.8.7.D—equivalent to two verses of 8.7.8.7., either trochaic or iambic. English minister and hymn writer Isaac Watts, who wrote hundreds of hymns and was instrumental in
Metre (hymn)
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"Willie Has Gone To War" is a song written by Stephen Collins Foster sometime in 1862. It was considered a 'Civil War Song', though it was not as popular as some of his previous work. George Cooper wrote the lyrics. He may have composed up to 285 songs, hymns, arrangements and instrumental works during his lifetime. He also created many of the lyrics. Lyrics The bluebird is singing his lay, To all the sweet flow'rs of the dale, The wild bee is reaming at play, And soft is the sigh of the gale; I stray by the brookside alone, Where oft we have wander'd before, And weep for my lov'd one, my own, My Willie has gone to the war! Chorus: Willie has gone to the war, Willie, Willie my lov'd one my own; Willie has gone to the war, Willie, Willie my lov'd one is gone! 'Twas here, where the lily bells grow, I last saw his noble young face, And now while he's gone to the foe, Oh! dearly I love the old place; The whispering waters repeat The name that I love o'er and o'er, And daisies that nod at my feet, Say Willie has gone to the war! Chorus: The leaves of the forest will fade, The roses will wither and die, But spring to our home in the glade On fairy like pinions will fly; And still I will hopefully wait The day when these battles are o'er, And pine like a bird for its mate, Till Willie comes home from the war! Chorus: Other Foster "Willie..." songs Foster wrote other "Willie" songs. Both his father and his half-brother were named William Barclay Foster. "Willie My Brave", (1851) words and music by Foster. "Willie's Gone to Heaven", (1863) words and music by Foster. References Songs about soldiers Songs written by Stephen Foster 1862 songs History of Pittsburgh
Willie Has Gone to War
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"Hymn" is a song written by James Taylor that was originally released on his 1973 album One Man Dog It was subsequently released as the B-side of the single "One Man Parade" and later released as the A-side of a single backed by Taylor's song "Fanfare". The single did not chart. Background Both "Hymn" and "Fanfare" were part of a suite of short songs on side 2 of the album. Both songs were recorded at A&R Studios in New York. Musicologist James Perone finds the song to be "interesting," particularly with its relationship to Taylor's life and certain Beatles influences. Perone describes three distinct sections as having three different themes, all related to people trying to influence him: first religious zealots, second stoned-out drug users, and finally the love of a woman which really frees his soul. Perone points out that the love of a woman likely references Simon, who he had recently married. Perone finds Beatles influence in that it has thematic similarities to John Lennon's recent solo song "God." According to Perone, both "God" and "Hymn" "[reference] the style of gospel music." Donald Langis of L'Evangeline regarded the song as being semi-religious with lines such as "Let the winter wind blow/Where will we hide when it comes from inside?" About his affinity for hymns, Taylor has said: Taylor later wrote a song "New Hymn" in collaboration with Reynolds Price, which Newsday critic Jim Feldman described as "a hushed plea for social commitment." Reception Billboard described "Hymn" as "folksy-gospel arrangement in the best Taylor traditional, featuring strong piano with the singers voice taking the spotlight." Cash Box called it a "pop oriented single certain to gain immediate top 40 acceptance across the country." Record World said that "'Mr. Mellow' gets a boost from a horn section that should help disc get across-the-board attention." Rolling Stone critic Jon Landau rated "Hymn" as the best song on One Man Dog, calling attention to the line "As a man and a woman stand alone in the light/Give us reason to be, like the sun on the sea." Berwyn Life critic Steve Sparacio described the song as "lyrical." Calgary Herald critic Jim Rennie said that although many of the songs on One Man Dog are "bits and pieces", "Hymn" is a "substantial enough composition" that has "the same soft, fluid, country flavor that almost all of Taylor's songs contain." Despite the critical praise, the single failed to chart. Personnel James Taylor – lead vocals, acoustic guitar Danny Kortchmar – acoustic guitar Russ Kunkel – drums References James Taylor songs Songs written by James Taylor 1972 songs Warner Records singles Song recordings produced by Peter Asher 1973 singles
Hymn (James Taylor song)
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Hymn and Her is the sixth album by the American indie rock band Earlimart. It was announced in March by Aaron Espinoza and was released in the US on July 1, 2008 via Major Domo Records and Shout! Factory, and a day later in Japan, via Youth Records. Hymn and Her marks where Earlimart now consists of just the duo of Aaron Espinoza and Ariana Murray, and also is the duo's second album in under a year, following on from August 2007's Mentor Tormentor. This also marks the second time Murray sings lead vocals. The first came when she provided lead vocals for Mentor Tormentor'''s "Happy Alone." Allmusic awarded the album with 4 out of 5 stars, and stated that Hymn and Her "...sounds intimate, as if the bandmates have discovered how to funnel their densely populated songs into warm, mellow washes of sound." Track listingAll songs written by Espinoza and Murray.'' "Song For" - 2:32 "Face Down in the Right Town" - 4:49 "Before It Gets Better" - 4:25 "For the Birds" - 3:19 "God Loves You the Best" - 4:04 "Great Heron Gates" - 3:47 "Cigarettes and Kerosene" - 2:59 "Teeth" - 4:31 "Time for Yourself" - 3:56 "Hymn and Her" - 3:27 "Town Where You Belong" - 2:52 "Tell Me" - 1:47 "Sewing Up the Seams" (Japan only bonus track) "Underground Gardens" (Japan only bonus track) References 2008 albums Earlimart (band) albums
Hymn and Her
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WOW Hymns: 30 Modern & Classic Hymns from Today's Top Artists is a two-disc compilation album of hymns that have been recorded by popular Christian musicians. It was released on March 6, 2007. The album features thirty songs by Jeremy Camp, Chris Tomlin, Casting Crowns, Third Day, Newsboys, Chris Rice, Nichole Nordeman, David Crowder Band, and many other well-known groups and singers. The album reached No. 100 on the Billboard 200 chart, and #3 on the Top Christian Albums chart in 2007. Track listing Disc 1 Holy, Holy, Holy - Steven Curtis Chapman (4:54) Take My Life (And Let It Be) - Chris Tomlin (5:00) For the Beauty of the Earth - BarlowGirl (3:17) 'Tis So Sweet to Trust in Jesus - Casting Crowns (3:16) Fairest Lord Jesus - Natalie Grant (4:57) I Need Thee Every Hour - Jars of Clay (3:48) I Surrender All - Brian Littrell (3:58) All the Heavens - Third Day (4:03) In Christ Alone - Newsboys (4:16) Just as I Am - Nichole Nordeman (4:07) Wonderful Maker - Jeremy Camp (4:29) Trust and Obey - Big Daddy Weave (3:54) There Is a Fountain - Selah (3:56) Here Is Love - Matt Redman (5:32) The Solid Rock - Avalon (4:11) Disc 2 Doxology - David Crowder Band (4:35) The Wonderful Cross - Michael W. Smith (6:24) This Is My Father's World - Amy Grant (3:06) The Old Rugged Cross - Bart Millard from MercyMe (4:24) It Is Well with My Soul - Rebecca St. James (4:08) All Creatures of Our God and King - Bethany Dillon, Shawn McDonald (4:48) Come Thou Fount of Every Blessing - Mark Schultz (3:31) Draw Me Nearer - Caedmon's Call (4:19) Praise to the Lord, the Almighty - Passion, Watermark (4:56) Be Thou My Vision - Fernando Ortega (3:52) Grace That Is Greater - Building 429 (4:09) Savior Like a Shepherd Lead Us - Todd Agnew (4:06) All Hail the Power of Jesus' Name - Point of Grace (2:34) Great Is Thy Faithfulness - Israel Houghton (5:25) Rock of Ages - Chris Rice (3:14) See also WOW Hits Notes Mark Schultz's song "Come Thou Fount of Every Blessing" was released before it actually released on his album. References External links WOW Hits official website See the album art WOW HITS WOW series albums 2007 compilation albums
WOW Hymns
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Finlandia, Op. 26, is a tone poem by the Finnish composer Jean Sibelius. It was written in 1899 and revised in 1900. The piece was composed for the Press Celebrations of 1899, a covert protest against increasing censorship from the Russian Empire, and was the last of seven pieces performed as an accompaniment to a tableau depicting episodes from Finnish history. The premiere was on 2 July 1900 in Helsinki with the Helsinki Philharmonic Society conducted by Robert Kajanus. A typical performance takes between 7½ and 9 minutes depending on how it is performed. In order to avoid Russian censorship, Finlandia had to be performed under alternative names at various musical concerts. Titles under which the piece masqueraded were numerous and often confusing—famous examples include Happy Feelings at the awakening of Finnish Spring, and A Scandinavian Choral March. According to Finland's tourism website, "While Finland was still a Grand Duchy under Russia performances within the empire had to take place under the covert title of 'Impromptu'." Most of the piece is taken up with rousing and turbulent music, evoking the national struggle of the Finnish people. Towards the end, a calm comes over the orchestra, and the serene and melodic Finlandia Hymn is heard. Often incorrectly cited as a traditional folk melody, the Hymn section is of Sibelius' own creation. Although he initially composed it for orchestra, in 1900 Sibelius arranged the work for solo piano. Sibelius later reworked the Finlandia Hymn into a stand-alone piece. This hymn, with words written in 1941 by Veikko Antero Koskenniemi, is one of the most important national songs of Finland. It has been repeatedly suggested to be the official national anthem of Finland. Today, during modern performances of the full-length Finlandia, a choir is sometimes involved, singing the Finnish lyrics with the hymn section. With different words, it is also sung as a Christian hymn (I Sought The Lord, And Afterward I Knew; Be Still, My Soul, When Memory Fades, I Then Shall Live, Hail, Festal Day, in Italian evangelical churches: Veglia al mattino), and was the national anthem of the short-lived African state of Biafra (Land of the Rising Sun). In Wales the tune is used for Lewis Valentine's patriotic hymn Gweddi Dros Gymru (A Prayer for Wales). Instrumentation The tone poem is scored for large orchestra, consisting of the following: Woodwinds 2 flutes, 2 oboes, 2 B clarinets, 2 bassoons Brass 4 horns, 3 trumpets, 3 trombones, tuba Percussion timpani, bass drum, cymbals, triangle Strings 1st violins, 2nd violins, violas, cellos, double basses Press Celebrations Music As with the Karelia Suite, the original Press Celebrations Music suite was never originally released under Sibelius' supervision, but after almost 99 years with the sheet music untouched, the suite was reconstructed and released on two different CDs, the first one by the Tampere Philharmonic Orchestra in 1998, conducted by Tuomas Ollila, and the second by the Lahti Symphony Orchestra in 2000, conducted by Osmo Vänskä. The last two movements of the suite were reworked
Finlandia
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Come and Praise is a hymnal published by the BBC and widely used in collective worship in British schools. The hymnal was compiled by Geoffrey Marshall-Taylor with musical arrangements by Douglas Coombes, and includes well-known hymns such as “Oil in My Lamp”, “Kum Ba Yah” and “Water of Life” as well as Christmas carols and Easter hymns. Volumes Two volumes were published: Come and Praise in 1978, and Come and Praise 2 in 1988. The hymns from both volumes were published together in The Complete Come and Praise in 1990. CDs CD 1 Morning has broken Water of life All things bright and beautiful Autumn days Somebody greater The earth is yours, O God Let us with a gladsome mind Who put the colours in the rainbow? Song of Caedmon All nations of the earth God knows me When God made the garden of creation Think of a world without any flowers He made me He's got the whole world Come my brothers, praise the Lord Come and praise the Lord our King Lord of the dance Go tell it on the mountain When Jesus walked in Galilee Jesus Christ is here A man for all people Judas and Mary From the darkness came light Join with us God has promised Thank you Lord Praise the Lord in everything God is love CD 2 Praise Him Fill thou my life Travel on Give me oil in my lamp He who would valiant be The journey of life One more step Father, hear the prayer we offer We are climbing When a knight won his spurs Lord of all hopefulness Peace, perfect peace The King of love Colours of day The Lord's my shepherd Lost and found The best gift I listen and I listen The building song Spirit of God The wise may bring their learning When I needed a neighbour In Christ there is no east or west Black and White Kum ba yah The family of Man Cross over the road If I had a hammer A living song References Hymnals 1978 books 1988 books
Come and Praise
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The Harlan County War, or Bloody Harlan, was a series of coal industry skirmishes, executions, bombings and strikes (both attempted and realized) that took place in Harlan County, Kentucky, during the 1930s. The incidents involved coal miners and union organizers on one side and coal firms and law enforcement officials on the other. The Harlan County coal miners campaigned and fought to organize their workplaces and better their wages and working conditions. It was a nearly decade-long conflict, lasting from 1931 to 1939. Before its conclusion, an unknown number of miners, deputies and bosses would be killed, state and federal troops would occupy the county more than half a dozen times, two acclaimed folk singers would emerge, union membership would oscillate wildly and workers in the nation's most anti-labor coal county would ultimately be represented by a union. History On February 16, 1931, to maximize profits, the Harlan County Coal Operators' Association cut miners' wages by 10%. Reacting to the unrest created within Harlan's impoverished labor force, the United Mine Workers of America (UMW) attempted to organize the county's miners. Employees who were known by their bosses to be union members were fired and evicted from their company-owned homes. Before long, most of the remaining workforce had gone on strike in solidarity. Only three of Harlan's incorporated towns were not owned by mines, hungry and evicted workers and their families sought refuge in them, primarily in the town of Evarts. They found sympathy there with spurned politicians and business owners who wished to see the company stores vanish. At the peak of the first strike, 5,800 miners were idle and only 900 working. The strikebreakers were protected by private mine guards with full county deputy privileges, who were legally able to exercise their powers with impunity outside the walls of their employers. They operated under Sheriff J. H. Blair, a man who made his allegiance to the mine owners clear, "I did all in my power to aid the operators ... there was no compromise when labor troubles swept the county and the 'Reds' came to Harlan County". The citizens of Harlan, for their part, lost any illusions they may have held about impartiality in law enforcement. Songwriter Florence Reece reported, Sheriff J. H. Blair and his men came to our house in search of Sam – that's my husband – he was one of the union leaders. I was home alone with our seven children. They ransacked the whole house and then kept watch outside, waiting to shoot Sam down when he came back. But he didn't come home that night. Afterward I tore a sheet from a calendar on the wall and wrote the words to 'Which Side Are You On?' to an old Baptist hymn, 'Lay the Lily Low'. My songs always goes to the underdog – to the worker. I'm one of them and I feel like I've got to be with them. There's no such thing as neutral. You have to be on one side
Harlan County War