528. Lord, Speak to Me That I May Speak

1 Lord, speak to me that I may speak
in living echoes of your tone.
As you have sought, so let me seek
your erring children lost and lone.

2 O lead me, Lord, that I may lead
the wandering and the wavering feet.
O feed me, Lord, that I may feed
your hungry ones with manna sweet.

3 O teach me, Lord, that I may teach
the precious truths which you impart.
And wing my words that they may reach
the hidden depths of many a heart.

4 O use me, Lord, use even me,
just as you will, and when, and where
until your blessed face I see,
your rest, your joy, your glory share.

Text Information
First Line: Lord, speak to me that I may speak
Title: Lord, Speak to Me That I May Speak
Author: Frances R. Havergal (1872, alt.)
Meter: LM
Language: English
Publication Date: 1987
Scripture: ; ;
Topic: Church and Mission; Eternal Life; Ministry & Service (4 more...)
Tune Information
Composer: Robert A. Schumann (1839)
Meter: LM
Key: G Major
Source: Nachtstucke, Op. 23, No. 4, from

Text Information:

Scripture References:
st. 1 = Jer. 1:9
st. 3 = Isa. 50:4
st. 4 = 1 Cor. 12:4-11

Francis R. Havergal (PHH 288) wrote this text at Winterdyne, England, on April 28, 1872. With the heading "A Worker's Prayer" and with a reference to Romans 14:7 ("none of us lives to himself alone"), the seven-stanza text was first published as one of William Parlane's musical leaflets. It was then republished in Havergal’s Under the Surface in 1874. The Psalter Hymnal includes the original stanzas 1, 2, 4, and 7 in modern English.

"Lord, Speak to Me" is a prayer that God will speak to, lead, and teach each of us so that we may do the same to others who need Jesus Christ (st. 1-3). The text also express¬es our commitment to full-time kingdom service ("use me, Lord . . . just as you will, and when, and where") , an ongoing task that ultimately leads us to eternal "rest," 'Joy," and "glory" (st. 4).

Liturgical Use:
Worship that focuses on missions and evangelism (during Pentecost season) and on the "equipping of the saints for ministry."

--Psalter Hymnal Handbook

Tune Information:

Derived from the fourth piano piece in Robert A. Schumann's Nachtstücke, Opus 23 (1839), CANONBURY first appeared as a hymn tune in J. Ireland Tucker's Hymnal with Tunes, Old and New (1872). The tune, whose title refers to a street and square in Islington, London, England, is often matched to Havergal's text.

CANONBURY has a simple binary form, which consists of two versions of the same long melody. Sing in parts, ideally with a sense of two long lines rather than four choppy phrases, possibly with a fermata at the end of the first long line.

Robert Schumann (b. Zwickau, Saxony, Germany, 1810; d. Endenich, near Bonn, Germany, 1856) wrote no hymn tunes himself, though a few of his lyrical melodies were adapted into hymn tunes by hymnal editors. One of the greatest musicians of the Romantic period, Schumann did not at first seem destined for a musical career. Although he was a precocious piano player, his mother and his guardian insisted that he study for a legal career. From 1828 to 1830 he studied law at Leipzig and Heidelberg Universities, but much of his time was consumed with music and poetry. From 1830 until his death Schumann devoted his life to music. After a finger injury terminated his concert career as a pianist in 1832, he turned completely to composition. Schumann composed successfully in many genres but became especially famous for his piano works and song cycles. In 1840 he married Clara Wieck, whom he had known since 1828; she was a famous pianist and composer in her own right who inspired many of Schumann's songs. He suffered from depression for much of his adult life and in 1854 after an unsuccessful suicide attempt, was admitted to a mental institution, where he later died. Schumann founded the magazine Neue Zeitschrift für Musik and edited it for ten years.

--Psalter Hymnal Handbook

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