The Best Church Hymns (1899)

Since it's been a slow week for hymnic birthdays and such I have been looking though some old books on hymnody that I've downloaded from the internet. Today I'll talk a bit about one that some of you may find interesting.

The Best Church Hymns was published in 1899 by the Presbyterian Board of Publication. It was compiled by Louis F. Benson, who was the editor of that denomination's Hymnal of 1895. In his introduction, he lays out the criteria:

The hymn is the people's share in God's praise, and is intended for congregational use. It can be tested only in actual use in the worship of the Church; and to propose any other test (such as the opinions of critics) is to confound literature with liturgics. (...) The “best church hymns” are those... which have come into actual use over the widest area, and by consent of the largest number of Christians in the different churches.

Benson then lists these thirty-two hymns which appeared most often across 107 different US and UK hymnals of the late nineteenth century, spanning several denominations, and ranked from most frequent to least (all were in at least 80% of the hymnals).

1. Rock of ages, cleft for me (106)

2. When I survey the wondrous cross (104)

3. Jesus, lover of my soul (104)

4. All praise to thee, my God, this night (103)

5. Jesus, I my cross have taken ** (103)

6. Sun of my soul (103)

7. Awake, my soul, and with the sun (101)

8. Hark! the herald angels sing ** (101)

9. Abide with me (101)

10. Jerusalem, my happy home ** (101)

11. How sweet the Name of Jesus sounds (101)

12. Nearer, my God, to thee (100)

13. From Greenland's icy mountains ** (100)

14. O God, our help in ages past (100)

15. Jerusalem the golden (99)

16. Lo, he comes with clouds descending (94)

17. Jesus shall reign wher'er the sun (94)

18. Glorious things of thee are spoken (93)

19. Hark! the glad sound, the Savior comes (92)

20. Come, let us join our cheerful songs (92)

21. All hail the pow'r of Jesus' name ** (92)

22. Hail to the Lord's anointed (91)

23. O worship the King (91)

24. Christ the Lord is ris'n today (90)

25. Guide me, O thou great Jehovah (90)

26. Just as I am, without one plea (90)

27. God moves in a mysterious way (90)

28. Jesus, the very thought of thee (89)

29. Children of the heavenly King (87)

30. There is a land of pure delight (87)

31. Thou whose almighty Word (86)

32. Brief life is here our portion ** (86)

The ones I have previously written about (for some reason, mostly from the middle of the list) are linked; those which I have at least mentioned are marked with (**). Several of them will be coming up in the next few months, and there are only a handful here that I would be unlikely ever to write about.

The next two, which Benson assumed would pass his 80% guideline when a few more hymnals appeared, were Holy! Holy! Holy! (which would certainly still be on the list today) and Lead, kindly Light (which would certainly not be). Were someone to compile a similar list today, 110 years later, others from the list would definitely be replaced by newer ones.

Following the list, the text of each hymn is printed, with notes on many of the various text changes that had occurred since the text was first published, and also Benson's brief thoughts on each hymn (almost like little blog entries!). The book is only 99 pages long, a good size for easy downloading and a good length for reading.

George W. Chadwick

Composer George Whitefield Chadwick was born today in 1854 in Lowell, Massachusetts. Though he dropped out of high school in 1871, the following year he was admitted to the New England Conservatory of Music as a special student. He was successful in his musical studies, and taught music at Olivet College in Michigan after graduation. While there, he became one of the founders of the Music Teachers National Association, and also published some of his first compositions.

He then traveled to Leipzig and Munich for two more years of musical studies; at the time European study was considered a necessity for an American composer. After returning to the US, he went back to the New England Conservatory as a teacher, and eventually becoming its director in 1897, serving for 33 years. He was also the organist at Boston's South Congregational Church and conducted annual choral festivals at Springfield and Worcester.

Chadwick composed in many different forms, including choral music, symphonies and chamber music, and opera. His works were popular in his own time both in this country and abroad; he was thought to be one of the best American composers of the day. He became known as one of the Second New England School of composers, with Amy Beach, Horatio Parker, John Knowles Paine, and others. Each of these composed some hymn tunes, and Chadwick added another handful (a few more than you can hear at the Cyber Hymnal site).

I sought thee, Lord, and afterward I knew
Thou mov'dst my soul to seek thee, seeking me.
It was not I that found, O Savior true;
No, I was found of thee.

Thou didst reach forth thy hand and mine enfold;
I walked and sank not on the storm vexed sea.
’Twas not so much that I on thee took hold,
As Thou, dear Lord, on me.

I find, I walk, I love, but oh, the whole
Of love is but my answer, Lord, to thee!
For thou were long beforehand with my soul,
Always thou lovedst me.

Author unknown, c. 1880; alt.
Tune: PEACE (10.10.10.6.)
George W. Chadwick, 1890

This anonymous hymn text may have first appeared in a collection published in Boston titled Holy Songs, Carols, and Sacred Ballads (1880). One subsequent source attributed it to the British poet Jean Ingelow, but apparently there is no consensus on her authorship. Chadwick is said to have written the tune specifically for this text, though other sources say that the text did not appear in an American hymnal until 1903. Of course, it still could have been sung earlier by Chadwick's Boston congregation. The hymn later appeared in several twentieth century hymnals, but nearly always with a different tune. Chadwick's other hymn tunes fared equally badly; I don't believe any of them appear in current collections.

From my own bookshelf, A Book of Choruses for High Schools and Choral Societies (1923) states of Chadwick (admittedly, one of its editors):

Probably no American composer has had a larger influence on the development of music in this country. Mr. Chadwick's works have won a permanent place in the repertoires of orchestras, choruses, choirs, and singers the world over...

Not so permanent, as it turned out. Some of his orchestral and chamber works have been recorded, but almost none of his choral or vocal music.

I've always thought it would be interesting to attend a New England Classical Christmas concert, with choral excerpts from Chadwick's oratorio Noel (1908), Parker's cantata The Holy Child (1893), Paine's cantata The Nativity (1883) and Amy Beach's Christmas pieces Bethlehem (1893) and Constant Christmas (1922). But I've also come to realize that if I ever want to hear it I will probably have to start the choral group myself.

Martin Luther

German reformer Martin Luther (November 10, 1483 - February 18, 1546) was born in the town of Eisleben. In college, at the University of Erfurt, he studied many subjects, even law briefly, but eventually entered the Augustinian friary in Erfurt and became a monk.

His conflicts with the Catholic Church are better documented elsewhere, but it's useful to remember that theological disputes in his time were not polite exchanges across dueling dissertations or magazine articles. When he refused to recant his Ninety-Five Theses, which had been declared heretical by church authorities in Germany and in Rome, the Holy Roman Emperor Charles V presided at a trial in 1521 (the Diet of Wurms) which pronounced him an outlaw, subject to arrest. Luther's writings were banned and it was now a crime for anyone to give him food or shelter. Fortunately he still had influential friends; Frederick III of Saxony had him taken to Wartburg Castle, where he remained in protective custody for a year. It was during this time that he translated the New Testament from Latin to German. He remained committed to bringing religious practice into the language of his people, both through his translation of Scripture (eventually completed after his Wartburg stay and updated frequently until his death) and his hymns in German, meant to be sung by the congregation.

This hymn of Luther's may not be particularly well known, even to Lutherans, but it caught my eye because I had been looking at All Saints' Day hymns last week. In 1523, two Augustinian monks, were arrested and tried for heresy in Brussels and were burned at the stake. Luther was incensed by the actions of the Inquisition and inspired by the martyrdom of the monks. He must have thought that the same fate could have come upon him.

Flung to the heedless winds,
Or on the waters cast,
The martyrs’ ashes, watched,
Shall gathered be at last.

And from that scattered dust,
Around us and abroad,
Shall spring a plenteous seed,
Of witnesses for God.

Their loving God received,
Their latest living breath,
And vain is any boast
Of victory in their death.

Still, still, though dead, they speak,
And, trumpet-tongued, proclaim,
To many a wakening land,
The one availing Name.

Martin Luther, 1523
tr, John A, Messenger, 1843: alt.
Tune: MARIA JUNG UND ZART (6.6.6.6.)
Geistliche Kirchengesäng, 1623


One Year Ago: Martin Luther

No Price I Bring

This rock by the side of the road in Burrington Combe, Somerset, has become famous for inspiring one of the most loved hymns in our repertory. The story goes that during a bad thunderstorm, Augustus Montague Toplady (whose birthday I missed earlier this week), then the curate of a nearby village, sought shelter in the cleft of the rock. There is now a plaque installed on the side of the cliff which recounts the legend for tourists.

The story has been the subject of debate for the last hundred years, with many scholars now rejecting it for one reason or another, but it will go on nevertheless. Whether or not there was an actual sheltering rock, Toplady may also have taken his inspiration from 1 Corinthians 10:4: For they drank of that spiritual Rock that followed them, and that Rock was Christ.

Rock of Ages, cleft for me,
Let me hide myself in thee;
Let the water and the blood,
From thy wounded side which flowed,
Be of sin the double cure;
Save me from its guilt and pow'r.

Should my tears forever flow,
Should my zeal no languor know,
All for sin could not atone;
Thou must save, and thou alone.
In my hand no price I bring,
Simply to the cross I cling;

While I draw this fleeting breath,
When mine eyes shall close in death,
When I soar to worlds unknown,
And behold thee on thy throne,
Rock of Ages, cleft for me,
Let me hide myself in thee.

Augustus Montague Toplady, 1776; alt.
Tune: TOPLADY (7.7.7.7.7.7.)
Robert Hastings, 1830

Toplady's text has been much altered in many hymnbooks since its first appearance in the Gospel Magazine in April 1776. Probably the first change was in the final verse, which originally read "when my eye-strings break in death." The tune by Robert Hastings is nearly always used in the US, but in other parts of the world they sing it to REDHEAD. Regardless of text or tune changes, this hymn has ranked at or near the top of many hymn surveys over the last hundred years.

Will L. Thompson

Hymn writer and composer William Lamartine Thompson was born today in 1847 in Smiths Ferry, Pennsylvania, but shortly thereafter his parents moved to East Liverpool, Ohio, where Thompson was to live for most of his life. He graduated from Mount Union College in nearby Alliance, continuing studies in music at the New England Conservatory of Music (not long after its founding by Eben Tour­jée, the father of hymn composer Lizzie Tour­jée), and later in Leipzig, Germany.

While still studying in Boston, Thompson wrote his first successful song, Gathering Up the Shells at the Seashore, inspired by an excursion to nearby Nahant Beach. While he went on to write many secular and patriotic songs, becoming known as “the Stephen Foster of Ohio,” he would become even better known for writing gospel songs.

Back in East Liverpool after his education, he encountered some obstacles to having his music published so he started the W.L. Thompson Music Company which published and sold sheet music and song collections in addition to selling musical instruments and other supplies. He later opened a similar successful company in Chicago.

Will Thompson wrote many gospel songs that appeared in various hymn and song books between 1875 and 1920. The Cyber Hymnal lists only a few that you can examine, and Hymnary.org lists many more, though only by title. One of his songs stands out above the others, loved and sung by millions. First published by Thompson in Sparkling Gems No. 1 & 2 (1880), it has since appeared in hundreds more collections.

Softly and tenderly Jesus is calling,
Calling for you and for me;
Patiently Jesus is waiting and watching,
Watching for you and for me.

Refrain
Come home, come home,
You who are weary, come home;
Earnestly, tenderly, Jesus is calling,
Calling, O wand'rer, come home!

Why should we tarry when Jesus is pleading,
Pleading for you and for me?
Why should we linger and heed not his mercies,
Mercies for you and for me?
Refrain

O for the wonderful love that is promised,
Promised for you and for me!
Though we have sinned, there is mercy and pardon,
Pardon for you and for me.
Refrain

Will L. Thompson, 1880; alt.
Tune: THOMPSON (11.7.11.7. with refrain)

You might also remember this song as sung by actress Geraldine Page in her Academy Award-winning performance in The Trip to Bountiful (1985). And if you haven't seen that film, you should.

One anecdote is told in nearly every account of Thompson's life. Evangelist Dwight Moody, who had traveled the world with singer and songwriter Ira Sankey, was on his deathbed when he learned that Thompson had called to see him. Insisting on seeing Thompson, Moody then told him that he would rather have written Softly and tenderly than any of his numerous other accomplishments in life.

Baptist Scholarship

This isn't exactly Hymns in the News, but I thought some of you might be interested in a recent collection of scholarly papers on various aspects of Baptist hymnody that were presented at the September 24-25 Colloquium on Baptist Church Music sponsored by the Center for Christian Music Studies at Baylor University. Even if you're not from a Baptist background, you'll probably find something of interest.

Just to whet your appetite, some of the papers include:

• Collecting Baptist Hymnals
• Hymns and the Baptist Presidents
• Chinese Hymns in Chinese Baptist Hymnals
• The Growth of Calvinism in Southern Baptist Churches

and the one I'm most looking forward to reading, with the intriguing title of More Than Half a Fool, which discusses the use of Anglican chant in Baptist churches in the late nineteenth and early twentieth centuries.

You can download and read them all at this web page: Center for Christian Music Studies,

On other matters, the amount of traffic on this blog seems to be spiking this week for some unknown reason, with more than forty people visiting on both Sunday and Monday (average daily visits have been closer to 25-30 in recent months). Big change from the days when I pretty much knew everyone who was reading. Not that I'm complaining but it's also odd to note that at the same time, comments have substantially decreased.

If you're new to the site (or even if you're not new), please feel free to introduce yourself and join the conversation.

The Feast of All Saints

This year All Saints' Day falls on a Sunday, meaning that it may be celebrated in more churches than usual (though many places simply observe it on the Sunday nearest November 1). This hymn will undoubtedly be sung by many congregations around the world today, probably as the opening hymn of the service. My own choir will sing this in the “long procession,” the figure-eight path around the sanctuary reserved for special occasions, so it's good this hymn is a long one. In An Annotated Anthology of Hymns (2002), editor J.R. Watson says: The hymn's length is there for a purpose; it allows the mind to dwell on the arduous struggle and its final end in glory.

For all the saints, who from their labors rest,
Who thee by faith before the world confessed,
Thy Name, O Jesus, be forever blessed.
Alleluia, Alleluia!

Thou wast their Rock, their Fortress and their might;
Thou, Lord, their Captain in the well-fought fight;
Thou, in their loneliness, their one true Light.
Alleluia, Alleluia!

O blest communion, fellowship divine!
We feebly struggle, they in glory shine;
Yet all are one in thee, for all are thine.
Alleluia, Alleluia!

O may thy soldiers, faithful, true and bold,
Fight as the saints who nobly fought of old,
And win with them the victor’s crown of gold.
Alleluia, Alleluia!

And when the strife is fierce, the warfare long,
Steals on the ear the distant triumph song,
And hearts are brave again, and arms are strong.
Alleluia, Alleluia!

The golden evening brightens in the west;
Soon, soon to faithful warriors comes their rest;
Sweet is the calm of paradise the blessed.
Alleluia, Alleluia!

But lo! there breaks a yet more glorious day;
The saints triumphant rise in bright array;
The host of glory passes on its way.
Alleluia, Alleluia!

From earth’s wide bounds, from ocean’s farthest coast,
Through gates of pearl streams in the countless host,
They sing to Creator, Christ, and Holy Ghost:
Alleluia, Alleluia!

William Walsham How, 1864; alt.
Tune: SINE NOMINE (10.10.10.4.4.)
Ralph Vaughan Williams, 1906

This hymn by William Walsham How first appeared in an 1864 collection called Hymns for Saints' Days, and Other Hymns by a Layman (the layman was Horatio Bolton Nelson, not How, who was then a priest and later a bishop in the Church of England). There are three additional stanzas (originally the third, fourth, and fifth) which are not often printed in modern hymnals.

For the Apostles’ glorious company,
Who bearing forth the cross o’er land and sea,
Shook all the mighty world, we sing to thee:
Alleluia, Alleluia!

For the Evangelists, by whose blest word,
Like fourfold streams, the garden of the Lord,
Is fair and fruitful, be thy Name adored.
Alleluia, Alleluia!

For Martyrs, who with rapture kindled eye,
Saw the bright crown descending from the sky,
And seeing, grasped it, thee we glorify.
Alleluia, Alleluia!

Though this hymn is generally linked with All Saints' Day it has also been sung on individual saints' days. In some early printings of the hymn, instructions indicated that one of these three stanzas could be sung depending on the status (Apostle, Evangelist, Martyr) of the saint being commemorated.

How's text first appeared with music in the Sarum Hymnal (1868), where, as I've mentioned before, it was matched to a tune by Joseph Barnby, also called SARUM, which survived well into the twentieth century. Church Hymns (1874), interestingly, sets it to an Anglican chant tune. Charles Villiers Stanford wrote the tune ENGELBERG for this text in the 1904 edition of Hymns Ancient and Modern, which might have caught on, but two years later, Ralph Vaughan Williams's tune SINE NOMINE appeared in his English Hymnal. SINE NOMINE (literally, “without a name”) is thought to suggest the thousands of saints whose names are unknown to us.

SINE NOMINE did not catch on immediately, but by the mid-twentieth century it had generally come to be considered the standard tune for this hymn. Hymns Ancient and Modern resisted the trend, perhaps seeing The English Hymnal as their primary competitor, and matched For all the saints with four different tunes in their 1950 edition (including ENGELBERG and SARUM) but not with SINE NOMINE! However, by 1983, when their New Standard edition was published they finally conceded and used the Vaughan Williams tune, with no alternate suggestions.


One Year Ago: The Feast of All Saints

Adelaide Anne Procter

Popular poet Adelaide Anne Procter (October 3o, 1825 - February 2, 1864) was born in London. Her father, Bryan Waller Procter, was also a successful poet who published under the name of “Barry Cornwall.” Family friends included Elizabeth Gaskell and Charles Dickens. Her parents saw to it that she received a good education and a love for poetry from an early age. Her first published poem appeared in 1843.

She later submitted poems to Dickens' journal Household Words under the pseudonym “Mary Berwick,” not wanting any special consideration due to the family connection. He did not learn her true identity for more than a year. Dickens eventually printed more than 80 of her poems in his publications. Though Queen Victoria would later declare that Procter was her favorite poet, Adelaide apparently did not share the same high opinion, famously claiming that “Papa is a poet, I only write verses.”

Procter later became the editor of the magazine Victoria Regia, published by the “explicitly feminist” Victoria Press, and helped to found the English Women's Journal. These periodicals advocated for women's education and employment rights, and probably led to the later establishment of the Society for Promoting the Employment of Women, which Procter supported.

Procter converted to Roman Catholicism in 1851, and much of her poetry took on a devotional theme. The royalties from her 1862 collection, A Chaplet of Verses, went to support a shelter for homeless women and children that had been opened by the Sisters of Mary. Several of the verses from this book were later printed in hymnals, including this evening hymn.

The shadows of the evening hours
Fall from the dark'ning sky;
Upon the fragrance of the flowers
The dews of evening lie.

Before thy throne, O God of heav’n,
We come at close of day;
Look on thy children from on high,
And hear us while we pray.

Slowly the rays of daylight fade,
So fade within our heart
The hopes in earthly love and joy,
That one by one depart.

Slowly the bright stars, one by one,
Within the heavens shine:
Give us, O God, fresh hopes in heav'n,
And trust in things divine.

Let peace, O God, thy peace, O God,
Upon our souls descend;
From midnight fears and perils, now
Our trembling hearts defend.

Adelaide Anne Procter, 1862; alt.
Tune: THIS ENDRIS NYGHT (C.M.)
English carol, 15th cent.

We have already encountered the poem of Procter's that was most popular in the nineteenth century, though it was not a hymn. The musical setting of The Lost Chord by Arthur Sullivan was sung and played everywhere and was one of the earliest recordings made for the phonograph.


One Year Ago: Christopher Wordsworth

Saint Simon and Saint Jude

Let the church of God rejoice
For the Apostles' fostering care,
For the sounding of their voice,
For their preaching and their prayer.

Souls untiring God would choose
To the farthest lands to go.
These did God the Spirit use,
Holiest seed on earth to sow.

In the new Jerusalem,
Twelve foundations firm are laid;
On the Apostles of the Lamb
Is the glorious structure stayed.

Firmly built on them, may we,
Bound to Christ, our Cornerstone,
In the heavenly temple be,
One in heart, in purpose one.

Henry Alford, 1867; alt.
Tune: ALCESTER (7.7.7.7.)
Samuel Sebastian Wesley, 19th c.


P.S. The window is from the Church of Sts. Simon and Jude in Castlethorpe, Buckinghamshire.


One Year Ago: Saint Simon and Saint Jude

Henry Smart

Henry Thomas Smart, born today in 1813, was educated in music by his father, who was a violinist and a music publisher. The younger Smart was intrigued by the pipe organ from a early age, often visiting the nearby Flight & Robson organ factory (founder George Robson had been organ builder to King George IV). After his father's death in 1823, his mother's relatives discouraged his musical interests and pushed him toward a legal career, but after four years in that practice he returned to music, becoming an organist and eventually an organ designer as well as a respected composer.

His first acclaimed anthem was written when he was organist at the parish church in Blackburn; an extended piece in commemoration of the 300th anniversary of the Reformation. A local Methodist group asked him for a tune they could sing at one of their missionary meetings to Bishop Reginald Heber's text From Greenland's icy mountains, which resulted in one of Smart's most popular tunes, LANCASHIRE.

We have already seen a number of Smart's other hymn tunes over the last year (click the tag below). This one is no longer very well known, but I like it, especially with this text by Frederick Lucian Hosmer. Note how the third line proceeds directly into the fourth, which helps give the tune a sense of urgency in the hands of a good accompanist.

Your presence come, O Lord,
Wide circling as the sun;
Fulfill of old your Word
And make the nations one.

One in the bond of peace,
The service glad and free
Of truth and righteousness,
Of love and equity.

Speed, speed the longed for time
Foretold by raptured seers—
The prophecy sublime,
The hope of all the years.

Till rise at last, to span
Its firm foundations broad,
Fulfillment of your plan,
The city of our God.

Frederick L. Hosmer, 1905; alt.
Tune: MOSELEY (6.6.6.6.)
Henry T. Smart, 1881


One Year Ago: Henry Smart

Sarah Josepha Hale

Today is the birthday of Sarah Josepha Hale, born in Newport, New Hampshire in 1788, and one of the most influential women of the nineteenth century. She was a schoolteacher before her marriage, and began to write poetry and essays which were published.

Her husband died in 1822, leaving her with five small children to support. Friends from the Freemason lodge to which he had belonged helped her to start a millinery shop with her sister, and also raised money to publish her first book of poetry, The Genius of Oblivion (1823), though she was credited as “a Lady of New Hampshire.” This was followed a few years later by her novel, Northwood (1827), on the subject of slavery (two decades before Harriet Beecher Stowe's Uncle Tom's Cabin).

The novel was praised by a Boston Episcopal minister, John Lauris Blake, who asked Hale to move to Boston and become editor of Ladies' Magazine, which he owned (she preferred the title of “editress”). In 1837 the magazine was bought by Louis Antoine Godey and merged with his own publication, Godey's Lady's Book, with Hale as the editor. Godey's became the highest circulation magazine in the country, and Hale purposefully used the magazine as a means of educating women on various topics. She met all the leading activists for the cause of education, publishing their articles and supporting their efforts.

The establishment of Thanksgiving as a national holiday is also attributed to Sarah Hale. Over nearly forty years she wrote letters to state and federal officials to lobby for a nation-wide observance. She had described the sort of celebration she envisioned in her novel Northwood. Various days of thanksgiving had been declared before, the first in 1777, and some states, such as New York, had adopted their own days. The Protestant Episcopal Church (of which Hale was a member) in 1789 had decreed the first Thursday in November as a day of thanks. Hale wrote editorials in support of the holiday in her magazine, such as this one from 1858, which begins with lines from a hymn of thanks by Anna Laetitia Barbauld. Finally, in 1863, Abraham Lincoln decreed the last Thursday in November as Thanksgiving Day in the US.

Hale published more than fifty books in her lifetime, including novels, poetry, and children's literature. Her most well-known poem, Mary had a little lamb, was first published in 1830 in a collection titled Poems for Our Children. It was later set to music by Lowell Mason, a fellow strong advocate of education.

This text by Hale first appeared in Mason's Church Psalmody (1831).
Our Father in heaven, we hallow thy Name;
May thy kingdom holy on earth be the same;
O give to us daily our portion of bread;
It is from thy bounty that all must be fed.

Forgive our transgressions, and teach us to know
That humble compassion which pardons each foe;
Keep us from temptation, from evil and sin,
And thine be the glory, forever! Amen!

Sarah Josepha Hale, 1831
Tune: EXPOSTULATION (11.11.11.11.)
Josiah Hopkins, 1830

A later edition of Church Psalmody suggests the tune FOUNDATION, but that tune had probably not yet been published in 1831. Other tunes that would work (though they are also much better known with other texts) include GORDON and ST. DENIO. However, since there has clearly been no great desire to sing rather than say the Lord's Prayer, this hymn is not particularly well known.

Hale finally retired as the “editress” of Godey's Lady's Book at the age of 89, two years before her death in 1879. The Sarah Josepha Hale Award has been established in her honor, to recognize “a distinguished body of work in the field of literature and letters” by authors and artists with a New England connection.

P.S. The portrait of Hale is by James Reid Lambdin, while the picture below is the work of W.W. Denslow, perhaps best known as the original illustrator of L. Frank Baum's The Wonderful Wizard of Oz (1900).

John White Chadwick

John White Chadwick, born today in 1840, was a Unitarian theologian and author. He grew up in a seafaring family in Marblehead, Massachusetts working in a dry goods store and also learning the shoemaking trade. Money was raised for his education, and he attended the Bridgewater Normal School and the Phillips Exeter Academy. While at school, he read a sermon by Samuel Longfellow, which he later credited with inspiring him to become a minister. He was admitted to Harvard Divinity School and graduated in 1864, despite not having attended college.

This hymn was written for that graduating class of 1864. The Civil War was still in progress, and it is assumed that this text (particularly the third stanza) was influenced by the conflict. For whatever reason it was not included in the last two Unitarian hymnals of 1964 and 1993 (nor were any of Chadwick's other hymns) but it is in the Episcopal Hymnal 1982 as well as others).

Eternal Ruler of the ceaseless round
Of circling planets singing on their way,
Guide of thy people from the depths profound
Into the glory of the perfect day,
Rule in our hearts, that we may ever be
Guided and strengthened and upheld by thee.

We would be one in hatred of all wrong,
One in our love of all things sweet and fair;
One with the joy that breaketh into song,
One with the grief that trembleth into prayer,
One in the power that makes thy children free
To follow truth, and thus to follow thee.

O clothe us with thy heavenly armor, Lord,
Thy trusty shield, the strength of love divine;
Our inspiration be thy constant Word;
We ask no victories that are not thine;
Give or withhold, let pain or pleasure be,
Enough to know that we are serving thee.

John White Chadwick, 1864; alt.
Tune: SONG 1 (10.10.10.10.10.10.)
Orlando Gibbons, 1623

Following his graduation, Chadwick was ordained into the Unitarian ministry at the Second Unitarian Church of Brooklyn, where Samuel Longfellow had recently been the pastor. He remained there until his death in 1904, becoming widely known outside his small congregation for his many published works, including collections of poetry and sermons, biographies (including those of notable Unitarians Theodore Parker and William Ellery Channing) and reviews and articles in several newspapers and magazines, including the New York Times and Harper's (some of those are available online).

Emily Swan Perkins

Emily Swan Perkins (October 19, 1866 - June 27, 1941) was one the founders of the Hymn Society in the United States and Canada (originally the Hymn Society of America) in 1922, and served as its Corresponding Secretary for nearly twenty years. Her letters to friends in England about the Society have been credited with influencing the 1936 formation of the Hymn Society in Great Britain and Ireland.

In her younger years she accompanied various singing groups on the piano, beginning at the Sunday school where her father was superintendent. She retained this interest in church music thoughout her life; after she became known for composing and writing hymns and tunes she was appointed to serve on the Commission on Worship of the Presbyterian Church in the USA.

This hymn appeared in her 1921 collection Stonehurst Hymn Tunes, and later in the Presbyterian Hymnal of 1933.

Thou art, O God, the God of might;
Thy power is never failing;
Thou safely leadest in the fight,
’Gainst every foe prevailing.

Thou art, O God, the God of truth;
Thy Word remains unshaken;
Thy justice and Thy righteousness
Have every stronghold taken.

Thou art, O God, the God of love;
Thy mercy is unending;
Thou guardest us with tender care,
Each day our souls defending.

Emily S. Perkins, 1921
Tune: BURG (8.7.8.7.)

At this summer's Annual Conference of the Hymn Society, Perkins was honored by the establishment of the Emily Swan Perkins Lectureship, which will be an annual presentation during the Conference. The first Perkins Lecture was delivered by theologian Marva Dawn. The Executive Committee of the Society was looking for a way to honor the retiring Executive Director, Carl P. Daw Jr., and he suggested that this lectureship in Perkins's name would be an appropriate way. Daw was presented with a copy of Stonehurst Hymn Tunes at the Conference when the Perkins Lecture was announced, and I have the somewhat offbeat hope that he will write a new text to be sung to one of Perkins's tunes. It would be an appropriate collaboration to link the past and present of the organization.

Mary Louise Bringle, current President of the Society, wrote a biographical sketch of Perkins in this year's Conference booklet (from which some of the information in this entry is taken), which concluded:

Truly, it would be ironic if a person who gave so lavishly of her time, talents, and treasure to the worship life of the church and particularly to the life of this organization were to remain an “unsung” hero.


One Year Ago: Emily Swan Perkins

Saint Luke

On October 18 many churches celebrate Saint Luke the Evangelist. Often accepted as the author of both the Gospel of Luke and the Acts of the Apostles, he is described in Paul's epistles as a physician from Antioch and a fellow traveler during Paul's missionary journeys. Unlike most of the early saints, he was not martyred and reportedly lived to the age of eighty-four.

Like several other hymns in honor of Luke, this oft-published one evokes the theme of healing and extols his Gospel writings. In addition, hymnwriter William MacLagan reminds us of Luke's stories that do not appear in the other Gospels, such as the Prodigal Son, and the great New Testament songs, Mary's Magnificat and Simeon's Nunc dimittis, which also only come down to us from Luke.

What thanks and praise to thee we owe,
O Source and Sacrifice divine,
For Luke, thy saint, through whom we know
So many a gracious word of thine.

How many a soul with guilt oppressed
Has learned to hear the joyful sound:
The prodigal's own sins confessed,
His father’s love, once lost, now found?

And still the church through all our days
Uplifts the songs that never cease,
The blessèd Mary’s hymn of praise,
The agèd Simeon’s words of peace.

O happy saint! whose sacred page,
So rich in words of truth and love
Pours on the church from age to age
This healing unction from above;

The witness of the Savior's life,
Paul the Apostle's chosen friend
Through weary years of toil and strife,
And still found faithful to the end.

So grant us, Christ, like Luke to live,
Beloved on earth, approved by thee,
Till thou at last the summons give,
And we, with him, thy face shall see.

William Dalrymple MacLagan, 1875; alt.
Tune: ELY (L.M.)
Thomas Turton, 1844

Luke is not only the patron saint of doctors, but also of artists, due to a legend that he once painted a portrait of the Virgin Mary on a piece of cypress wood which was formerly a tabletop in the Nazareth home of the Holy Family. The painting, known as the Black Madonna of Częstochowa, remains on display to this day at a popular shrine in Poland.

P.S. The window above is from my own church here in Connecticut, where, serendipitously enough, this afternoon we will be singing Luke's Magnificat and Nunc dimittis (today, the setting by Felix Mendelssohn from 1847), traditionally part of the service of Choral Evensong which we celebrate several times during the year.

One Year Ago: Saint Luke

Frederick Lucian Hosmer

Unitarian hymnwriter Frederick Lucian Hosmer was born today in 1840. It was during his years at Harvard Divinity School that he met William Channing Gannett, and the two of them remained close friends for the rest of their lives. They worked together on two influential collections, Unity Hymns and Chorals (1880) and The Thought of God In Hymns and Poems (1885) and worked over the years on several updated editions of these books. This collaboration was often compared to that of Samuel Longfellow and Samuel Johnson, lifelong friends who met in seminary and also produced two important hymnbooks for Unitarians and Universalists a generation earlier.

Hosmer's hymns spread to other denominational hymnals, particularly in the early years of the twentieth century after he was praised by John Julian in his monumental Dictionary of Hymnology (1907) and by Percy Dearmer, who used a number of Hosmer's texts in the British Songs of Praise (1925).

One thought I have, my ample creed,
So deep it is and broad,
And equal to my every need—
It is the thought of God.

Each morn unfolds some fresh surprise,
I feast at life’s full board;
And rising in my inner skies
Shines forth the thought of God.

I ask not far before to see,
But take in trust my road;
Life, death, and immortality
Are in my thought of God.

To this their secret strength they owed
The martyr’s path who trod;
The fountains of their patience flowed
From out their thought of God.

Be still the light upon my way,
My pilgrim staff and rod,
My rest by night, my strength by day
O blessèd thought of God.

Frederick L. Hosmer, 1880; alt.
Tune: ROCHESTER (C.M.)
Aaron Williams, 1764

Hosmer successfully pastored Unitarian congregations across the country, and moved to California in 1900, intending to live in retirement. However, he then agreed to serve as the interim minister of the First Unitarian Church of Berkeley, and ended up staying until 1904. During that time he established a strong musical tradition there which is still upheld today. A pipe organ was installed, the organist's salary was competitive, and the choir gained paid section leaders. Following his second retirement he was appointed minister emeritus by the congregation, which paid him a monthly stipend until his death in 1929.


One Year Ago: Frederick Lucian Hosmer

Ralph Vaughan Williams

Composer Ralph Vaughan Williams, born today in 1872, is probably known by more people for his hymn tunes than for the many other forms of music he wrote. Unlike some of the youthful prodigies we have seen, most of his music was written after the age of thirty, though he had earlier studied with composers such as C.H.H. Parry and Maurice Ravel.

In addition to hymn tunes, his music for voice spanned from art songs and simple church anthems to longer choral works and eventually to four operas. This selection was not originally written as a hymn; it comes from his Five Mystical Songs (1911), which were set to texts of George Herbert, the seventeenth century British priest and poet. The tune of the first stanza of the song is used for all three in this adaptation.

Come, my Way, my Truth, my Life:
Such a way as gives us breath;
Such a truth as ends all strife,
Such a life as killeth death.

Come, my Light, my Feast, my Strength:
Such a light as shows a feast,
Such a feast as mends in length,
Such a strength as makes his guest.

Come, my Joy, my Love, my Heart:
Such a joy as none can move,
Such a love as none can part,
Such a heart as joys in love.

George Herbert, 1633
Tune: THE CALL (7.7.7.7.)
Ralph Vaughan Williams, 1911

As predicted last year, we have seen a number of other Vaughan Williams hymn tunes and there are definitely more to come.

One Year Ago: Ralph Vaughan Williams

One Year Ago: Cecil Frances Alexander

One Year Ago: Healey Willan

P.S. - this is post #300! Never really though about getting so far in a bit less than two years.

Yes, Their Pilgrimage Was Shorter

I don't usually think of the Episcopal Hymnal 1982 as one that customarily omits stanzas of hymns. At least, not more than any other current denominational hymnal does (and usually, somewhat less).

The one that I usually remember as missing (because I find it most annoying -- hey, it's my #2 hymn!) is the second stanza of Love divine, all loves excelling. I suppose it may be left out sometimes because the Wesley brothers themselves left it out of one of their later collections, but I'm not sure of what other reasons might be considered.

This morning, three of the five hymns we sang only had three stanzas. There are, of course, hymns that really only have three, but I knew that each of these three were written with more.

Sing praise to God, who reigns above

Be thou my vision

O Jesus, I have promised

Now, it turns out that two of the five stanzas of that last one are generally left out, but three definitely seems short for the other two.

And, to be fair, the two other hymns were as complete as they usually are:

Praise to the Lord, the Almighty

Hope of the world

I guess it was just more noticable today because those first two are pretty well known across several denominations, and it's too bad that we don't get to sing them as completely as others do.

I want all the verses!

P.S. The title of this entry can be found here (though of course it has nothing to do with shorter hymns).

Henry Alford

Henry Alford (October 7, 1810 - January 12, 1871), Anglican priest and eventually dean of Canterbury Cathedral, published fifty-eight books in his lifetime, including poetry collections, a popular book on English grammar, translations (Homer's Odyssey among them), selected sermons, two hymnals, and the four-volume New Testament in Greek, an influential translation and commentary which is still used today. The New Testament work had occupied him for twenty years, and though he began a similar effort on the Old Testament, poor health toward the end of his life forced him to abandon it.

His interest in hymnody began quite early, while away at school he
began writing hymns, and in 1821 he produced A Collection of Hymns for Sundry Occasions (at age 11!). The final verse of one of them reads as follows:

Just as a schoolboy longing for his home,
Leaps forth for gladness when the hour is come;
So true believers, eager for the skies,
Released by death, on wings of triumph rise.

Today's hymn, on a similar theme, was written only seven years later, while he was at Cambridge, but Alford still thought enough of it to include it in his two later hymnals published in 1844 and 1867.

Forth to the land of promise bound,
Our desert path we tread;
God's fiery pillar for our guide
And Jesus at our head.

E'en now we faintly trace the hills,
And catch their distant blue;
The golden city's gleaming spires
Rise dimly on our view.

Soon, when the desert shall be crossed,
The flood of death past o'er,
Our pilgrim hosts shall safely land
On Canaan's peaceful shore.

There love shall have its perfect work,
And prayer be lost in praise;
And all the people of our God
Their endless anthems raise.

Henry Alford, 1828; alt.
Tune: ST. EDMUND (C.M.)
William Stevenson Hoyte, 1875

In 1866, Alford became the first editor of the new magazine Contemporary Review, which is still published today. In March of that year, he wrote an article which criticized “at considerable length” nine of the most popular hymnals of the day. It was probably no coincidence that he was at the same time preparing a new hymnal himself, The Year of Praise, which was intended to introduce congregational hymn singing to Canterbury Cathedral. It was first used at the cathedral on December 2, 1867, and Alford then wrote to one of his daughters:

Today was the first Sunday of the New Hymn Book in the Old Cathedral, and it sounded very nice. I preached on the subject in the afternoon from Psalm 67:3-5 (Let the peoples praise you, O God; let all the peoples praise you).

After Alford's death in 1871, his wife, Frances Oke Alford, edited The Life, Journals, and Letters of Henry Alford D.D., Late Dean of Canterbury. The illustration of his library at Canterbury below is taken from that book.

One Year Ago: Henry Alford

William Batchelder Bradbury

William Batchelder Bradbury (October 6, 1816 - January 7, 1868) was an influential publisher as well as a composer whose tunes are is still sung today.

He was born in Maine, and when his family moved to Boston in 1830 he enrolled in Lowell Mason's Boston Academy of Music, and sang in Mason's choir at the Bowdoin Street Church. In 1840 he moved to New York City, where he was the organist at Baptist churches in Brooklyn and Manhattan. He began a series of singing schools there, modeled on the efforts of Lowell Mason in Boston, and was instrumental in the effort to bring music instruction into the public schools of New York. It was during this work with children that he began composing songs for use in his classes.

Bradbury then traveled to Leipzig for two years, studying composition, piano and organ, and music education. While there he attended the funeral of Felix Mendelssohn. After his return, he continued to teach and compose, while becoming more active in publishing collections of Sunday school songs (many of his own composition) and other works, such as the oratorio Esther the Beautiful Queen (1856). His books were extremely popular; fifty-nine collections were published in his lifetime. The musical style of his earlier Sunday school songs led directly to the gospel song style of the later nineteenth century.

We have already seen a number of his tunes here on the blog (click on the Bradbury tag at the end of the entry to see them). One of the earliest songs most children learn is sung to a Bradbury tune: Jesus loves me, this I know. Today's song first appeared in his collection Devotional Hymn and Tune Book (1864), said to be the only Baptist hymnbook published in this country during the Civil War. It is almost certainly this tune that has kept this song in hymnals up to the present day; the text with a different tune may never have lasted.

My hope is built on nothing less
Than Jesus' blood and righteousness.
I dare not trust the sweetest frame,
But wholly lean on Jesus' name.

Refrain:
On Christ, the solid Rock, I stand,
All other ground is sinking sand;
All other ground is sinking sand.

When shadows seem to hide thy face,
I rest on thy unchanging grace;
In every high and stormy gale,
My anchor holds within the veil.
Refrain

Thy oath, thy covenant, thy blood,
Support me in the whelming flood;
When all around my soul gives way,
Thou then art all my hope and stay.
Refrain

When thou shalt come with trumpet sound,
Oh. may I then in thee be found;
Clothed in thy righteousness alone,
Faultless to stand before the throne.
Refrain

Edward Mote, 1834; alt.
Tune: THE SOLID ROCK (L.M. with refrain)
William B. Bradbury, 1863

Edward Mote's text was originally published with six stanzas, but this is the version generally published over the last hundred years, with several of the couplets rearranged into these four stanzas.

Around the time of this tune's writing, Bradbury encountered a poet named Fanny Crosby and suggested that she might write texts for his collections. One of her first published gospel songs, There's a cry from Macedonia, was a collaboration with Bradbury. Following his death, his publishing company became Biglow & Main, probably the most preeminent gospel song publisher in the world between 1870 and 1910.

Saint Francis of Assisi

Several church calendars mark October 4 as the Feast of Saint Francis. He was born Giovanni di Bernardone in 1182, and named for John the Baptist, though he was generally called Francesco because his mother was French, and his father had been away in France when he was born.

Francis was the founder of the religious order of Franciscans, devoted to lives of poverty and service. As a young man, he had seen a vision of the crucified Christ, which is why he is often depicted in art as carrying a crucifix. He was named the patron saint of animals because of various stories of his preaching to birds and taming a wolf. Many people know Francis today due to the widespread popularity of pet blessings that are now held in many churches.

Francis's great hymn depicting God's creation singing God's praises, the Canticle of the Sun, comes down to us in various forms, but this version is probably the most familiar. The Reverend William Henry Draper translated and adapted the text and joined it to this tune in The Public School Hymn Book (1919). It has since appeared in dozens of hymnals, with various alterations.

All creatures of the earth and sky,
With gladness lift your voices high,
Alleluia! Alleluia!
Thou burning sun with golden beam,
Thou silver moon with softer gleam:
O sing praises, O sing praises,
Alleluia! Alleluia! Alleluia!

Thou rushing wind that art so strong,
Ye clouds that sail in heav'n along,
Alleluia! Alleluia!
Thou rising morn in praise rejoice,
Ye lights of evening, find a voice:
O sing praises, O sing praises,
Alleluia! Alleluia! Alleluia!

Thou flowing water, pure and clear,
Make music for thy God to hear,
Alleluia! Alleluia!
Thou fire so masterful and bright,
That givest us both warmth and light:
O sing praises, O sing praises,
Alleluia! Alleluia! Alleluia!

Dear mother earth, who day by day
Unfoldest blesings on our way,
Alleluia! Alleluia!
The flow'rs and fruits that in thee grow,
Let them thy glory also show:
O sing praises, O sing praises,
Alleluia! Alleluia! Alleluia!

All ye of understanding heart,
Forgiving others, take your part,
Alleluia! Alleluia!
Let all things their Creator bless,
Worshipping God in humbleness:
O sing praises, O sing praises,
Alleluia! Alleluia! Alleluia!

Francis of Assisi, 1225;
paraphrase William H. Draper, 1919; alt.
Tune: LASST UNS ERFREUEN (8.8.4.4.8.8.4.4.4.4.4.)
Geistlische Kirchengesang, 1623

The modern-day popularity of Francis of Assisi as the patron saint of animals and the environment (perhaps helped by the 1972 film Brother Sun, Sister Moon) is challenged a bit in the Oxford Dictionary of Saints (1977).

This resulted in caricatures of a sentimental nature lover or a hippy 'drop out' from society, which omit the real sternness of his character and neglect his all-pervasive love of God and identification with Christ's sufferings, which alone make sense of his life.


One Year Ago: Harriet Auber

Karolina Sandell-Berg

Karolina Wilhelmina Sandell-Berg, sometimes called “the Fanny Crosby of Sweden,” was born on this date in 1832. She is reported to have written about 650 hymns and songs, not matching Crosby in numbers, but probably in popularity in her own country.

Her father, a Lutheran pastor, drowned on a family outing when she was 26, and this tragic story is often cited as her inspiration for writing, but in fact she had written hymns before this happened. Like many women of her time, she preferred to remain nearly anonymous, signing her verses only “L.S.” The name of Lina Sandell would not be known for some time.

Her hymns were popularized in Sweden with the help of composer Oskar Ahnfelt, who wrote the music for them and traveled through the country singing them, accompanying himself on the guitar. Also, the opera star Jenny Lind (who had a nickname of her own, the “Swedish Nightingale”) often sang the Sandell/Ahnfelt hymns in recitals and financed the publication of an edition of the composer's songs (many of which had words by Lina). Sandell was married to C.O. Berg in 1867 and died in 1903.

Thus far it appears to me that her hymns were not translated into English until later in the twentieth century and are thus still under copyright in this country (though you can find some online in other places). Our Canadian commenter AuntE just this week posted on her blog about her first encounter with Lina's most well known hymn (here in the US at least), Children of the heavenly Father, which is sung to Ahnfelt's tune TRYGGARE KAN INGEN VARA (actually, the opening words of the hymn in the original Swedish). I'll keep looking for earlier translations of other Sandell-Berg hymns; it seems likely that at least a few were available earlier.