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My Faith looks up to Thee
Author: Ray Palmer (1808-1887) Appears in 2,205 hymnals Scripture: John 1:29 Topics: Afflictions Prayer in; Aspirations For Holiness; Dependence On Christ; Faith Aspiration of; Looking to Jesus; Pilgrims Spirit of; Sinners Believing Used With Tune: OLIVET
My Faith looks up to Thee
My song is love unknown
Author: Samuel Crossman (c. 1624-1683) Meter: 6.6.12.8.8 Appears in 127 hymnals Scripture: John 1:10-11 Lyrics: 1 My song is love unknown,
my Savior’s love to me,
love to the loveless shown that they might lovely be.
Oh, who am I, that for my sake
my Lord should take frail flesh, and die?
2 He came from his blest throne
salvation to bestow,
but people scorned, and none the longed-for Christ would know.
But O my Friend, my Friend indeed,
who at my need his life did spend.
3 Sometimes they strew his way,
and his strong praises sing,
resounding all the day hosannas to their King.
Then 'Crucify!' is all their breath,
and for his death they thirst and cry.
4 Why, what hath my Lord done?
What makes this rage and spite?
He made the lame to run, he gave the blind their sight.
Sweet injuries! Yet they at these
themselves displease, and 'gainst him rise.
5 They rise, and needs will have
my dear Lord made away;
a murderer they save, the Prince of Life they slay.
Yet cheerful he to suffering goes,
that he his foes from thence might free.
6 In life, no house, no home
my Lord on earth might have;
in death, no friendly tomb but what a stranger gave.
What may I say? Heaven was his home:
but mine the tomb wherein he lay.
7 Here might I stay and sing,
no story so divine;
never was love, dear King, never was grief like thine!
This is my Friend, in whose sweet praise
I all my days could gladly spend. Topics: Life in Christ Christ Incarnate - Passion and Death; Christian Year Holy Week Used With Tune: LOVE UNKNOWN
My song is love unknown
Moses and Christ; or, sin against the law and gospel
Appears in 88 hymnals Scripture: John 1:17 First Line: The law by Moses came Lyrics: 1 The law by Moses came,
But peace, and truth, and love,
Were brought by Christ (a nobler name)
Descending from above.
2 Amidst the house of God
Their different works were done;
Moses a faithful servant stood,
But Christ — a faithful son. –
3 Then to his new command
Be strict obedience paid;
O'er all his Father's house he stands
The sovereign and the head.
4 The man that durst despise
The law that Moses brought,
Behold! how terribly he dies
For his presumptuous fault:
5 But sorer vengeance falls
On that rebellious race,
Who hate to hear when Jesus calls,
And dare resist his grace.
Moses and Christ; or, sin against the law and gospel
MENDELSSOHN
Meter: 7.7.7.7 D with refrain Appears in 627 hymnals Composer and/or Arranger: Mendelssohn; William H. Cummings; David Willcocks Scripture: John 1:1-14 Tune Key: F Major Incipit: 51171 33255 54323 Used With Text: Hark! The Herald Angels Sing
MENDELSSOHN
MISERICORDIA
Meter: 8.8.8.6 Appears in 38 hymnals Composer and/or Arranger: Henry Thomas Smart (1813-1879) Scripture: John 1:29 Tune Key: E Flat Major Incipit: 32143 66557 12314 Used With Text: Just as I am, without one plea
MISERICORDIA
My Faith looks up to Thee
Author: Rev. Ray Palmer (1808-1887) Hymnal: Many Voices; or, Carmina Sanctorum, Evangelistic Edition with Tunes #250 (1891) Scripture: John 1:29-36 First Line: My faith looks up to thee, Thou Lamb of Calvary Topics: Afflictions Prayer in; Aspirations For Holiness; Dependence On Christ; Faith Aspiration of; Looking to Jesus; Pilgrims Spirit of; Sinners Believing Languages: English Tune Title: OLIVET
My Faith looks up to Thee
My Faith looks up to Thee
Author: Ray Palmer (1808-1887) Hymnal: Songs of Praise with Tunes #270 (1889) Scripture: John 1:29 Topics: Afflictions Prayer in; Aspirations For Holiness; Dependence On Christ; Faith Aspiration of; Looking to Jesus; Pilgrims Spirit of; Sinners Believing Tune Title: OLIVET
My Faith looks up to Thee
My faith looks up to thee
Author: Rev. Ray Palmer (1808-1887) Hymnal: Carmina Sanctorum, a selection of hymns and songs of praise with tunes #381 (1886) Scripture: John 1:29 Topics: Grace Magnified Languages: English Tune Title: OLIVET
My faith looks up to thee
Felix Mendelssohn-Bartholdy
1809 - 1847 Person Name: Felix Mendelssohn Scripture: John 1:14 Arranger of "[O Word of God incarnate]" in Hymns of Faith Felix Mendelssohn-Bartholdy (b. Hamburg, Germany, 1809; d. Leipzig, Germany, 1847) was the son of banker Abraham Mendelssohn and the grandson of philosopher Moses Mendelssohn. His Jewish family became Christian and took the Bartholdy name (name of the estate of Mendelssohn's uncle) when baptized into the Lutheran church. The children all received an excellent musical education. Mendelssohn had his first public performance at the age of nine and by the age of sixteen had written several symphonies. Profoundly influenced by J. S. Bach's music, he conducted a performance of the St. Matthew Passion in 1829 (at age 20!) – the first performance since Bach's death, thus reintroducing Bach to the world. Mendelssohn organized the Domchor in Berlin and founded the Leipzig Conservatory of Music in 1843. Traveling widely, he not only became familiar with various styles of music but also became well known himself in countries other than Germany, especially in England. He left a rich treasury of music: organ and piano works, overtures and incidental music, oratorios (including St. Paul or Elijah and choral works, and symphonies. He harmonized a number of hymn tunes himself, but hymnbook editors also arranged some of his other tunes into hymn tunes.
Bert Polman
Felix Mendelssohn-Bartholdy
Lowell Mason
1792 - 1872 Scripture: John 1:14 Arranger of "ARIEL" in Hymns for the Living Church Dr. Lowell Mason (the degree was conferred by the University of New York) is justly called the father of American church music; and by his labors were founded the germinating principles of national musical intelligence and knowledge, which afforded a soil upon which all higher musical culture has been founded. To him we owe some of our best ideas in religious church music, elementary musical education, music in the schools, the popularization of classical chorus singing, and the art of teaching music upon the Inductive or Pestalozzian plan. More than that, we owe him no small share of the respect which the profession of music enjoys at the present time as contrasted with the contempt in which it was held a century or more ago. In fact, the entire art of music, as now understood and practiced in America, has derived advantage from the work of this great man.
Lowell Mason was born in Medfield, Mass., January 8, 1792. From childhood he had manifested an intense love for music, and had devoted all his spare time and effort to improving himself according to such opportunities as were available to him. At the age of twenty he found himself filling a clerkship in a banking house in Savannah, Ga. Here he lost no opportunity of gratifying his passion for musical advancement, and was fortunate to meet for the first time a thoroughly qualified instructor, in the person of F. L. Abel. Applying his spare hours assiduously to the cultivation of the pursuit to which his passion inclined him, he soon acquired a proficiency that enabled him to enter the field of original composition, and his first work of this kind was embodied in the compilation of a collection of church music, which contained many of his own compositions. The manuscript was offered unavailingly to publishers in Philadelphia and in Boston. Fortunately for our musical advancement it finally secured the attention of the Boston Handel and Haydn Society, and by its committee was submitted to Dr. G. K. Jackson, the severest critic in Boston. Dr. Jackson approved most heartily of the work, and added a few of his own compositions to it. Thus enlarged, it was finally published in 1822 as The Handel and Haydn Society Collection of Church Music. Mason's name was omitted from the publication at his own request, which he thus explains, "I was then a bank officer in Savannah, and did not wish to be known as a musical man, as I had not the least thought of ever making music a profession." President Winchester, of the Handel and Haydn Society, sold the copyright for the young man. Mr. Mason went back to Savannah with probably $500 in his pocket as the preliminary result of his Boston visit.
The book soon sprang into universal popularity, being at once adopted by the singing schools of New England, and through this means entering into the church choirs, to whom it opened up a higher field of harmonic beauty. Its career of success ran through some seventeen editions. On realizing this success, Mason determined to accept an invitation to come to Boston and enter upon a musical career. This was in 1826. He was made an honorary member of the Handel and Haydn Society, but declined to accept this, and entered the ranks as an active member. He had been invited to come to Boston by President Winchester and other musical friends and was guaranteed an income of $2,000 a year. He was also appointed, by the influence of these friends, director of music at the Hanover, Green, and Park Street churches, to alternate six months with each congregation. Finally he made a permanent arrangement with the Bowdoin Street Church, and gave up the guarantee, but again friendly influence stepped in and procured for him the position of teller at the American Bank.
In 1827 Lowell Mason became president and conductor of the Handel and Haydn Society. It was the beginning of a career that was to win for him as has been already stated the title of "The Father of American Church Music." Although this may seem rather a bold claim it is not too much under the circumstances. Mr. Mason might have been in the average ranks of musicianship had he lived in Europe; in America he was well in advance of his surroundings. It was not too high praise (in spite of Mason's very simple style) when Dr. Jackson wrote of his song collection: "It is much the best book I have seen published in this country, and I do not hesitate to give it my most decided approbation," or that the great contrapuntist, Hauptmann, should say the harmonies of the tunes were dignified and churchlike and that the counterpoint was good, plain, singable and melodious.
Charles C. Perkins gives a few of the reasons why Lowell Mason was the very man to lead American music as it then existed. He says, "First and foremost, he was not so very much superior to the members as to be unreasonably impatient at their shortcomings. Second, he was a born teacher, who, by hard work, had fitted himself to give instruction in singing. Third, he was one of themselves, a plain, self-made man, who could understand them and be understood of them."
The personality of Dr. Mason was of great use to the art and appreciation of music in this country. He was of strong mind, dignified manners, sensitive, yet sweet and engaging.
Prof. Horace Mann, one of the great educators of that day, said he would walk fifty miles to see and hear Mr. Mason teach if he could not otherwise have that advantage.
Dr. Mason visited a number of the music schools in Europe, studied their methods, and incorporated the best things in his own work. He founded the Boston Academy of Music. The aim of this institution was to reach the masses and introduce music into the public schools. Dr. Mason resided in Boston from 1826 to 1851, when he removed to New York. Not only Boston benefited directly by this enthusiastic teacher's instruction, but he was constantly traveling to other societies in distant cities and helping their work. He had a notable class at North Reading, Mass., and he went in his later years as far as Rochester, where he trained a chorus of five hundred voices, many of them teachers, and some of them coming long distances to study under him. Before 1810 he had developed his idea of "Teachers' Conventions," and, as in these he had representatives from different states, he made musical missionaries for almost the entire country. He left behind him no less than fifty volumes of musical collections, instruction books, and manuals.
As a composer of solid, enduring church music. Dr. Mason was one of the most successful this country has introduced. He was a deeply pious man, and was a communicant of the Presbyterian Church. Dr. Mason in 1817 married Miss Abigail Gregory, of Leesborough, Mass. The family consisted of four sons, Daniel Gregory, Lowell, William and Henry. The two former founded the publishing house of Mason Bros., dissolved by the death of the former in 19G9. Lowell and Henry were the founders of the great organ manufacturer of Mason & Hamlin. Dr. William Mason was one of the most eminent musicians that America has yet produced.
Dr. Lowell Mason died at "Silverspring," a beautiful residence on the side of Orange Mountain, New Jersey, August 11, 1872, bequeathing his great musical library, much of which had been collected abroad, to Yale College.
--Hall, J. H. (c1914). Biographies of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company.
Lowell Mason
William Henry Monk
1823 - 1889 Scripture: John 1:29-30 Harmonizer of "WINCHESTER NEW" in The Presbyterian Hymnal William H. Monk (b. Brompton, London, England, 1823; d. London, 1889) is best known for his music editing of Hymns Ancient and Modern (1861, 1868; 1875, and 1889 editions). He also adapted music from plainsong and added accompaniments for Introits for Use Throughout the Year, a book issued with that famous hymnal. Beginning in his teenage years, Monk held a number of musical positions. He became choirmaster at King's College in London in 1847 and was organist and choirmaster at St. Matthias, Stoke Newington, from 1852 to 1889, where he was influenced by the Oxford Movement. At St. Matthias, Monk also began daily choral services with the choir leading the congregation in music chosen according to the church year, including psalms chanted to plainsong. He composed over fifty hymn tunes and edited The Scottish Hymnal (1872 edition) and Wordsworth's Hymns for the Holy Year (1862) as well as the periodical Parish Choir (1840-1851).
Bert Polman
William Henry Monk
