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Ludwig van Beethoven

1770 - 1827 Hymnal Number: 17 Composer of "[Joyful, joyful, we adore Thee]" in Yes, Lord! A giant in the history of music, Ludwig van Beethoven (b. Bonn, Germany, 1770; d. Vienna, Austria, 1827) progressed from early musical promise to worldwide, lasting fame. By the age of fourteen he was an accomplished viola and organ player, but he became famous primarily because of his compositions, including nine symphonies, eleven overtures, thirty piano sonatas, sixteen string quartets, the Mass in C, and the Missa Solemnis. He wrote no music for congregational use, but various arrangers adapted some of his musical themes as hymn tunes; the most famous of these is ODE TO JOY from the Ninth Symphony. Although it would appear that the great calamity of Beethoven's life was his loss of hearing, which turned to total deafness during the last decade of his life, he composed his greatest works during this period. Bert Polman

Louis Bourgeois

1510 - 1561 Person Name: Louis Bourgeois Hymnal Number: 58 Composer (attributed to) of "[Praise God, from whom all blessings flow]" in Yes, Lord! Louis Bourgeois (b. Paris, France, c. 1510; d. Paris, 1561). In both his early and later years Bourgeois wrote French songs to entertain the rich, but in the history of church music he is known especially for his contribution to the Genevan Psalter. Apparently moving to Geneva in 1541, the same year John Calvin returned to Geneva from Strasbourg, Bourgeois served as cantor and master of the choristers at both St. Pierre and St. Gervais, which is to say he was music director there under the pastoral leadership of Calvin. Bourgeois used the choristers to teach the new psalm tunes to the congregation. The extent of Bourgeois's involvement in the Genevan Psalter is a matter of scholarly debate. Calvin had published several partial psalters, including one in Strasbourg in 1539 and another in Geneva in 1542, with melodies by unknown composers. In 1551 another French psalter appeared in Geneva, Eighty-three Psalms of David, with texts by Marot and de Beze, and with most of the melodies by Bourgeois, who supplied thirty four original tunes and thirty-six revisions of older tunes. This edition was republished repeatedly, and later Bourgeois's tunes were incorporated into the complete Genevan Psalter (1562). However, his revision of some older tunes was not uniformly appreciated by those who were familiar with the original versions; he was actually imprisoned overnight for some of his musical arrangements but freed after Calvin's intervention. In addition to his contribution to the 1551 Psalter, Bourgeois produced a four-part harmonization of fifty psalms, published in Lyons (1547, enlarged 1554), and wrote a textbook on singing and sight-reading, La Droit Chemin de Musique (1550). He left Geneva in 1552 and lived in Lyons and Paris for the remainder of his life. Bert Polman

Grant Colfax Tullar

1869 - 1950 Person Name: Grant C. Tullar Hymnal Number: 174 Composer of "[Face to face with Christ my Savior]" in Yes, Lord! Grant Colfax Tullar was born August 5, 1869, in Bolton, Connecticut. He was named after the American President Ulysses S. Grant and Vice President Schuyler Colfax. After the American Civil War, his father was disabled and unable to work, having been wounded in the Battle of Antietam. Tullar's mother died when he was just two years old so Grant had no settled home life until he became an adult. Yet from a life of sorrow and hardship he went on to bring joy to millions of Americans with his songs and poetry. As a child, he received virtually no education or religious training. He worked in a woolen mill and as a shoe clerk. The last Methodist camp meeting in Bolton was in 1847. Tullar became a Methodist at age 19 at a camp meeting near Waterbury in 1888. He then attended the Hackettstown Academy in New Jersey. He became an ordained Methodist minister and pastored for a short time in Dover, Delaware. For 10 years he was the song leader for evangelist Major George A. Hilton. Even so, in 1893 he also helped found the well-known Tullar-Meredith Publishing Company in New York, which produced church and Sunday school music. Tullar composed many popular hymns and hymnals. His works include: Sunday School Hymns No. 1 (Chicago, Illinois: Tullar Meredith Co., 1903) and The Bible School Hymnal (New York: Tullar Meredith Co., 1907). One of Grant Tullar's most quoted poems is "The Weaver": My Life is but a weaving Between my Lord and me; I cannot choose the colors He worketh steadily. Oft times He weaveth sorrow And I, in foolish pride, Forget He sees the upper, And I the under side. Not til the loom is silent And the shuttles cease to fly, Shall God unroll the canvas And explain the reason why. The dark threads are as needful In the Weaver's skillful hand, As the threads of gold and silver In the pattern He has planned. He knows, He loves, He cares, Nothing this truth can dim. He gives His very best to those Who chose to walk with Him. Grant Tullar --http://www.boltoncthistory.org/granttullar.html, from Bolton Community News, August 2006.

John R. Sweney

1837 - 1899 Hymnal Number: 182 Composer of "[When my lifework is ended and I cross the swelling tide]" in Yes, Lord! John R. Sweney (1837-1899) was born in West Chester, Pennsylvania, and exhibited musical abilities at an early age. At nineteen he was studying with a German music teacher, leading a choir and glee club, and performing at children’s entertainments. By twenty-two he was teaching at a school in Dover, Delaware. Soon thereafter, he was put in charge of the band of the Third Delaware Regiment of the Union Army for the duration of the Civil War. After the war, he became Professor of Music at the Pennsylvania Military Academy, and director of Sweney’s Cornet Band. He eventually earned Bachelor and Doctor of Music degrees at the Academy. Sweney began composing church music in 1871 and became well-known as a leader of large congregations. His appreciators stated “Sweney knows how to make a congregation sing” and “He had great power in arousing multitudes.” He also became director of music for a large Sunday school at the Bethany Presbyterian Church in Philadelphia of which John Wanamaker was superintendent (Wanamaker was the founder of the first major department store in Philadelphia). In addition to his prolific output of hymn melodies and other compositions, Sweney edited or co-edited about sixty song collections, many in collaboration with William J. Kirkpatrick. Sweney died on April 10, 1899, and his memorial was widely attended and included a eulogy by Wanamaker. Joe Hickerson from "Joe's Jottings #9" used by permission

Ralph Carmichael

1927 - 2021 Hymnal Number: 210 Arranger of "[Joy to the world! the Lord is come]" in Yes, Lord! Ralph Carmichael was born May 27, 1927, in Quincy, Ill. to Rev. Richard and Adelle Carmichael. A graduate of Southern California Bible College (now Vanguard University), he became head of the school’s music department in his early 20s. His “Campus Christian Hour” that aired on KHJ-TV in Los Angeles, featuring his college band and singers with big band treatments of hymns and gospel songs, won an Emmy in 1951. Other early work involved serving as minister of music for Temple Baptist and Calvary Assembly churches, arranging and conducting musical scores for religious radio shows as well as for numerous sacred artists. Ralph’s musical talents have given us over 300 gospel songs, including such favorites as “The Savior Is Waiting,” “There Is a Quiet Place,” “Reach Out to Jesus,” and “He’s Everything to Me” to name a few. His songs have been recorded by Elvis Presley, The Carpenters, George Beverly Shea, Bill Gaither, and hundreds of other artists. Ralph is recognized as the Father of Contemporary Christian Music because of his focus on creating religious music for the new generation of the 1960’s and beyond. In 1968 he founded Light Records and Lexicon Music Publishing to promote new Christian artists and composers in addition to his own music, including projects that were considered too risky for mainstream labels. He also served for several years as president of the Gospel Music Association. Ralph told his life story in his autobiography, “He’s Everything to Me,” that was published in 1986. His creative arranging skills were quickly noticed by the pop world, and he recorded with numerous big-name artists including Frankie Laine, Rosemary Clooney, Bing Crosby, Clint Walker and Jack Jones. Ralph is well known for his many collaborations with Nat King Cole, including the Christmas album and Nat’s final sessions in 1964. Ralph also became a primary arranger & conductor for pianist Roger Williams, including 1965’s hit “Born Free.” Ralph wrote numerous movie scores for such diverse classics as “The Blob,” “4D Man” and “The Cross and the Switchblade.” For many years he wrote film music for the Billy Graham organization including “Mr. Texas,” “Oiltown, U.S.A.,” “The Restless Ones,” “For Pete’s Sake” and “His Land” and many others. For about 25 years, Ralph toured with his own big band. He received the Dove Award in 1994 for his CD “Strike Up the Band.” His last major studio project was to record his symphonic arrangements of 43 great hymns with the London Symphony and Choir. He was inducted into the Gospel Music Hall of Fame in 1985 and the National Religious Broadcasters Hall of Fame in 2001. Ralph enjoyed his life to the fullest. He was passionate about the music that flowed from his soul and created it as the consummate professional. He cared deeply for his family and friends, and he lived out his cowboy dreams with the many horses that he owned along the way. He laughed easily, loved deeply, enjoyed a good joke or a prank, and charmed anyone who came across his path. Undergirding it all was his abiding faith in his Lord Jesus Christ.

Henry Thomas Smart

1813 - 1879 Person Name: Henry T. Smart Hymnal Number: 214 Composer of "[Angels, from the realms of glory]" in Yes, Lord! Henry Smart (b. Marylebone, London, England, 1813; d. Hampstead, London, 1879), a capable composer of church music who wrote some very fine hymn tunes (REGENT SQUARE, 354, is the best-known). Smart gave up a career in the legal profession for one in music. Although largely self taught, he became proficient in organ playing and composition, and he was a music teacher and critic. Organist in a number of London churches, including St. Luke's, Old Street (1844-1864), and St. Pancras (1864-1869), Smart was famous for his extemporizations and for his accompaniment of congregational singing. He became completely blind at the age of fifty-two, but his remarkable memory enabled him to continue playing the organ. Fascinated by organs as a youth, Smart designed organs for important places such as St. Andrew Hall in Glasgow and the Town Hall in Leeds. He composed an opera, oratorios, part-songs, some instrumental music, and many hymn tunes, as well as a large number of works for organ and choir. He edited the Choralebook (1858), the English Presbyterian Psalms and Hymns for Divine Worship (1867), and the Scottish Presbyterian Hymnal (1875). Some of his hymn tunes were first published in Hymns Ancient and Modern (1861). Bert Polman

James D. Vaughan

1864 - 1941 Hymnal Number: 366 Arranger of "[My heav'nly home is bright and fair]" in Yes, Lord! Vaughan, James D(avid); b. Dec. 14, 1864, between Lawrence Co. and Giles Co., TN; d. Feb. 9, 1941, Lawrenceburg, TN; music publisher, composer and compiler of gospel songs in shape notation

Edward Caswall

1814 - 1878 Hymnal Number: 12 Translator of "When Morning Gilds the Skies" in Yes, Lord! Edward Caswall was born in 1814, at Yately, in Hampshire, where his father was a clergyman. In 1832, he went to Brasenose College, Oxford, and in 1836, took a second-class in classics. His humorous work, "The Art of Pluck," was published in 1835; it is still selling at Oxford, having passed through many editions. In 1838, he was ordained Deacon, and in 1839, Priest. He became perpetural Curate of Stratford-sub-Castle in 1840. In 1841, he resigned his incumbency and visited Ireland. In 1847, he joined the Church of Rome. In 1850, he was admitted into the Congregation of the Oratory at Birmingham, where he has since remained. He has published several works in prose and poetry. --Annotations of the Hymnal, Charles Hutchins, M.A. 1872 ===================== Caswall, Edward, M.A., son of the Rev. R. C. Caswall, sometime Vicar of Yately, Hampshire, born at Yately, July 15, 1814, and educated at Brasenose College, Oxford, graduating in honours in 1836. Taking Holy Orders in 1838, he became in 1840 Incumbent of Stratford-sub-Castle, near Salisbury, and resigned the same in 1847. In 1850 (Mrs. Caswall having died in 1849) he was received into the Roman Catholic communion, and joined Dr. Newman at the Oratory, Edgbaston. His life thenceforth, although void of stirring incidents, was marked by earnest devotion to his clerical duties and a loving interest in the poor, the sick, and in little children. His original poems and hymns were mostly written at the Oratory. He died at Edgbaston, Jan. 2, 1878, and was buried on Jan. 7 at Redwall, near Bromsgrove, by his leader and friend Cardinal Newman. Caswall's translations of Latin hymns from the Roman Breviary and other sources have a wider circulation in modern hymnals than those of any other translator, Dr. Neale alone excepted. This is owing to his general faithfulness to the originals, and the purity of his rhythm, the latter feature specially adapting his hymns to music, and for congregational purposes. His original compositions, although marked by considerable poetical ability, are not extensive in their use, their doctrinal teaching being against their general adoption outside the Roman communion. His hymns appeared in:— (1) Lyra Catholica, which contained 197 translations from the Roman Breviary, Missal, and other sources. First ed. London, James Burns, 1849. This was reprinted in New York in 1851, with several hymns from other sources added thereto. This edition is quoted in the indices to some American hymn-books as Lyra Cath., as in Beecher's Plymouth Collection, 1855, and others. (2) Masque of Mary, and Other Poems, having in addition to the opening poem and a few miscellaneous pieces, 53 translations, and 51 hymns. 1st ed. Lon., Burns and Lambert, 1858. (3) A May Pageant and Other Poems, including 10 original hymns. Lon., Burns and Lambert, 1865. (4) Hymns and Poems, being the three preceding volumes embodied in one, with many of the hymns rewritten or revised, together with elaborate indices. 1st ed. Lon., Burns, Oates & Co., 1873. Of his original hymns about 20 are given in the Roman Catholic Crown of Jesus Hymn Book, N.D; there are also several in the Hymns for the Year, N.D., and other Roman Catholic collections. --John Julian, Dictionary of Hymnology (1907) ====================== Caswall, E. , p. 214, ii. Additional original hymns by Caswall are in the Arundel Hymns, 1902, and other collections. The following are from the Masque of Mary, &c, 1858:— 1. Christian soul, dost thou desire. After Holy Communion. 2. Come, let me for a moment cast. Holy Communion. 3. O Jesu Christ [Lord], remember. Holy Communion. 4. Oft, my soul, thyself remind. Man's Chief End. 5. Sleep, Holy Babe. Christmas. Appeared in the Rambler, June 1850, p. 528. Sometimes given as "Sleep, Jesus, sleep." 6. The glory of summer. Autumn. 7. This is the image of the queen. B. V. M. His "See! amid the winter's snow,” p. 1037, i., was published in Easy Hymn Tunes, 1851, p. 36. In addition the following, mainly altered texts or centos of his translations are also in common use:— 1. A regal throne, for Christ's dear sake. From "Riches and regal throne," p. 870, ii. 2. Come, Holy Ghost, Thy grace inspire. From "Spirit of grace and union," p. 945, i. 3. Hail! ocean star, p. 99, ii,, as 1873. In the Birmingham Oratory Hymn Book, 1850, p. 158. 4. Lovely flow'rs of martyrs, hail. This is the 1849 text. His 1873 text is "Flowers of martyrdom," p. 947, i. 5. None of all the noble cities. From "Bethlehem! of noblest cities," p. 946, ii. 6. O Jesu, Saviour of the World. From “Jesu, Redeemer of the world," p. 228, ii. 7. 0 Lady, high in glory raised. From "O Lady, high in glory, Whose," p. 945, i. The Parochial Hymn Book, 1880, has also the following original hymns by Caswall. As their use is confined to this collection, we give the numbers only:— IS os. 1, 2, 3, 159 (Poems, 1873, p. 453), 209 (1873, p. 288), 299, 324 (1873, p. 323), 357, 402, 554, 555, 558, 569 (1873, p. 334). These are from his Masque of Mary 1858. Nos. 156, 207 (1873, p. 296), 208 (1873, p. 297), 518. These are from his May Pageant, 1865. As several of these hymns do not begin with the original first lines, the original texts are indicated as found in his Poems, 1873. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology, New Supplement (1907)

Michael Haydn

1737 - 1806 Person Name: Johan Michael Haydn Hymnal Number: 3 Composer of "[O worship the king all glorious above]" in Yes, Lord! Johann Michael Haydn Austria 1737-1806. Born at Rohrau, Austria, the son of a wheelwright and town mayor (a very religious man who also played the harp and was a great influence on his sons' religious thinking), and the younger brother of Franz Joseph Haydn, he became a choirboy in his youth at the Cathedral of St. Stephen in Vienna, as did his brother, Joseph, an exceptional singer. For that reason boys both were taken into the church choir. Michael was a brighter student than Joseph, but was expelled from music school when his voice broke at age 17. The brothers remained close all their lives, and Joseph regarded Michael's religious works superior to his own. Michael played harpsichord, violin, and organ, earning a precarious living as a freelance musician in his early years. In 1757 he became kapellmeister to Archbishop, Sigismund of Grosswardein, in Hungary, and in 1762 concertmaster to Archbishop, Hieronymous of Salzburg, where he remained the rest of his life (over 40 years), also assuming the duties of organist at the Church of St. Peter in Salzburg, presided over by the Benedictines. He also taught violin at the court. He married the court singer, Maria Magdalena Lipp in 1768, daughter of the cathedral choir-master, who was a very pious women, and had such an affect on her husband, trending his inertia and slothfulness into wonderful activity. They had one daughter, Aloysia Josepha, in 1770, but she died within a year. He succeeded Wolfgang Amadeus Mozart, an intimate friend, as cathedral organist in 1781. He also taught music to Carl Maria von Weber. His musical reputation was not recognized fully until after World War II. He was a prolific composer of music, considered better than his well-known brother at composing religious works. He produced some 43 symphonies,12 concertos, 21 serenades, 6 quintets, 19 quartets, 10 trio sonatas, 4 due sonatas, 2 solo sonatas, 19 keyboard compositions, 3 ballets, 15 collections of minuets (English and German dances), 15 marches and miscellaneous secular music. He is best known for his religious works (well over 400 pieces), which include 47 antiphons, 5 cantatas, 65 canticles, 130 graduals, 16 hymns, 47 masses, 7 motets, 65 offertories, 7 oratorios, 19 Psalms settings, 2 requiems, and 42 other compositions. He also composed 253 secular vocals of various types. He did not like seeing his works in print, and kept most in manuscript form. He never compiled or cataloged his works, but others did it later, after his death. Lothar Perger catalogued his orchestral works in 1807 and Nikolaus Lang did a biographical sketch in 1808. In 1815 Anton Maria Klafsky cataloged his sacred music. More complete cataloging has been done in the 1980s and 1990s by Charles H Sherman and T Donley Thomas. Several of Michael Haydn's works influenced Mozart. Haydn died at Salzburg, Austria. John Perry

Frederick William Faber

1814 - 1863 Person Name: Frederick W. Faber Hymnal Number: 27 Author of "Faith of Our Fathers" in Yes, Lord! Raised in the Church of England, Frederick W. Faber (b. Calverly, Yorkshire, England, 1814; d. Kensington, London, England, 1863) came from a Huguenot and strict Calvinistic family background. He was educated at Balliol College, Oxford, and ordained in the Church of England in 1839. Influenced by the teaching of John Henry Newman, Faber followed Newman into the Roman Catholic Church in 1845 and served under Newman's supervision in the Oratory of St. Philip Neri. Because he believed that Roman Catholics should sing hymns like those written by John Newton, Charles Wesley, and William Cowpe, Faber wrote 150 hymns himself. One of his best known, "Faith of Our Fathers," originally had these words in its third stanza: "Faith of Our Fathers! Mary's prayers/Shall win our country back to thee." He published his hymns in various volumes and finally collected all of them in Hymns (1862). Bert Polman ================= Faber, Frederick William, D.D., son of Mr. T. H. Faber, was born at Calverley Vicarage, Yorkshire, June 28, 1814, and educated at Balliol College, Oxford, graduating B.A. in 1836. He was for some time a Fellow of University College, in the same University. Taking Holy Orders in 1837, he became Rector of Elton, Huntingdonshire, in 1843, but in 1846 he seceded to the Church of Rome. After residing for some time at St. Wilfrid's, Staffordshire, he went to London in 1849, and established the London "Oratorians," or, "Priests of the Congregation of St. Philip Neri," in King William Street, Strand. In 1854 the Oratory was removed to Brompton. Dr. Faber died Sept. 26, 1863. Before his secession he published several prose works, some of which were in defence of the Church of England; and afterwards several followed as Spiritual Conferences, All for Jesus, &c. Although he published his Cherwell Waterlily and Other Poems, 1840; The Styrian Lake, and Other Poems, 1842; Sir Lancelot, 1844; and The Rosary and Other Poems, 1845; and his Lives of the Saints, in verse, before he joined the Church of Rome, all his hymns were published after he joined that communion. They were included in his:— (1) A small book of eleven Hymns1849, for the School at St. Wilfrid's, Staffordshire. (2) Jesus and Mary: or, Catholic Hymns for Singing and Reading, London 1849. In 1852 the 2nd edition was published with an addition of 20 new hymns. (3) Oratory Hymns, 1854; and (4) Hymns, 1862, being a collected edition of what he had written and published from time to time. Dr. Faber's account of the origin of his hymn-writing is given in his Preface to Jesus & Mary. After dwelling on the influence, respectively, of St. Theresa, of St. Ignatius, and of St. Philip Neri, on Catholicism; and of the last that "sanctity in the world, perfection at home, high attainments in common earthly callings…was the principal end of his apostolate," he says:— “It was natural then that an English son of St. Philip should feel the want of a collection of English Catholic hymns fitted for singing. The few in the Garden of the Soul were all that were at hand, and of course they were not numerous enough to furnish the requisite variety. As to translations they do not express Saxon thought and feelings, and consequently the poor do not seem to take to them. The domestic wants of the Oratory, too, keep alive the feeling that something of the sort was needed: though at the same time the author's ignorance of music appeared in some measure to disqualify him for the work of supplying the defect. Eleven, however, of the hymns were written, most of them, for particular tunes and on particular occasions, and became very popular with a country congregation. They were afterwards printed for the Schools at St. Wilfrid's, and the very numerous applications to the printer for them seemed to show that, in spite of very glaring literary defects, such as careless grammar and slipshod metre, people were anxious to have Catholic hymns of any sort. The manuscript of the present volume was submitted to a musical friend, who replied that certain verses of all or nearly all of the hymns would do for singing; and this encouragement has led to the publication of the volume." In the same Preface he clearly points to the Olney Hymns and those of the Wesleys as being the models which for simplicity and intense fervour he would endeavour to emulate. From the small book of eleven hymns printed for the schools at St. Wilfrid's, his hymn-writing resulted in a total of 150 pieces, all of which are in his Hymns, 1862, and many of them in various Roman Catholic collections for missions and schools. Few hymns are more popular than his "My God, how wonderful Thou art," "O come and mourn with me awhile," and "Sweet Saviour, bless us ere we go." They excel in directness, simplicity, and pathos. "Hark, hark, my soul, angelic songs are swelling," and "O Paradise, O Paradise," are also widely known. These possess, however, an element of unreality which is against their permanent popularity. Many of Faber's hymns are annotated under their respective first lines; the rest in common use include:— i. From his Jesus and Mary, 1849 and 1852. 1. Fountain of love, Thyself true God. The Holy Ghost. 2. How shalt thou bear the Cross, that now. The Eternal Years. 3. I come to Thee, once more, O God. Returning to God. 4. Joy, joy, the Mother comes. The Purification. 5. My soul, what hast thou done for God? Self-Examination 6. O how the thought of God attract. Holiness Desired. 7. O soul of Jesus, sick to death. Passiontide. Sometimes this is divided into two parts, Pt. ii. beginning, “My God, my God, and can it be." ii. From his Oratory Hymns, 1854. 8. Christians, to the war! Gather from afar. The Christian Warfare. 9. O come to the merciful Saviour that calls you. Divine Invitation. In many collections. 10. O God, Thy power is wonderful. Power and Eternity of God. 11. O it is sweet to think, Of those that are departed. Memory of the Dead. 12. O what are the wages of sin? The Wages of Sin. 13. O what is this splendour that beams on me now? Heaven. 14. Saint of the Sacred Heart. St. John the Evangelist. iii. From his Hymns, 1862. 15. Father, the sweetest, dearest Name. The Eternal Father. 16. Full of glory, full of wonders, Majesty Divine. Holy Trinity. 17. Hark ! the sound of the fight. Processions. 18. How pleasant are thy paths, 0 death. Death Contemplated. 19. O God, Whose thoughts are brightest light. Thinking no Evil. 20. O why art thou sorrowful, servant of God? Trust in God. 21. Souls of men, why will ye scatter? The Divine Call. 22. The land beyond the sea. Heaven Contemplated. 23. The thought of God, the thought of thee. Thoughts of God. 24. We come to Thee, sweet Saviour. Jesus, our Rest. In addition to these there are also several hymns in common use in Roman Catholic hymn-books which are confined to those collections. In the Hymns for the Year, by Dr. Rawes, Nos. 77, 110, 112, 117, 120, 121, 122, 125, 127, 128, 131, 140, 152, 154,169, 170, 174, 179, 180, 192, 222, 226, 230, 271, 272, are also by Faber, and relate principally to the Blessed Virgin Mary. Several of these are repeated in other Roman Catholic collections. --John Julian, Dictionary of Hymnology (1907 ================== Faber, Frederick William, p. 361, i. To this article the following additions have to be made:— 1. Blood is the price of heaven. Good Friday. (1862.) 2. Exceeding sorrowful to death. Gethsemane. This in the Scottish Ibrox Hymnal, 1871, is a cento from "O soul of Jesus, sick to death," p. 362, i., 7. 3. From pain to pain, from woe to woe. Good Friday. (1854.) 4. I wish to have no wishes left. Wishes about death. (1862.) 5. Why is thy face so lit with smiles? Ascension. (1849.) The dates here given are those of Faber's works in which the hymns appeared. In addition to these hymns there are also the following in common use:— 6. Dear God of orphans, hear our prayer. On behalf of Orphans. This appeared in a miscellaneous collection entitled A May Garland, John Philip, n.d. [1863], No. 1, in 7 stanzas of 4 lines. In the Roman Catholic Parochial Hymn Book, 1880, it begins, "O God of orphans, hear our prayer." 7. Sleep, sleep my beautiful babe. Christmas Carol. This carol we have failed to trace. 8. By the Archangel's word of love. Pt. i. Life of our Lord. This, and Pt. ii., “By the blood that flowed from Thee"; Pt. iii., "By the first bright Easter day"; also, "By the word to Mary given"; "By the name which Thou didst take"; in The Crown Hymn Book and other Roman Catholic collections, we have seen ascribed to Dr. Faber, but in the Rev. H. Formby's Catholic Hymns, 1853, they are all signed "C. M. C," i.e. Cecilia M. Caddell (p. 200, i.). --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) ====================== Faber, F. W., pp. 361, i.; 1562, ii. We are informed by members of Dr. Faber's family that his father was Mr. Thomas Henry Faber, sometime Lay Secretary of the Bishop of Durham. In addition to his hymns already noted in this Dictionary, the following are found in various Roman Catholic collections, viz.:— i. From St. Wilfrid's Hymns, 1849:— 1. Dear Father Philip, holy Sire. S. Philip Neri. 2. Hail, holy Joseph, hail. S. Joseph. 3. Mother of Mercy, day by day. Blessed Virgin Mary. ii. Jesus and Mary, 1849:— 4. Ah ! dearest Lord! I cannot pray. Prayer. 5. Dear Husband of Mary. S. Joseph. 6. Dear Little One, how sweet Thou art. Christmas. 7. Father and God! my endless doom. Predestination. 8. Hail, holy Wilfrid, hail. S. Wilfrid. 9. O Jesus, if in days gone by. Love of the World. 10. O turn to Jesus, Mother, turn. B. V. M. 11. Sing, sing, ye angel bands. Assum. B. V. M. iii. Jesus and Mary, 1852:— 12. All ye who love the ways of sin. S. Philip Neri. 13. Day set on Rome! its golden morn. S. Philip Neri. 14. Hail, bright Archangel! Prince of heaven. S. Michael. 15. Hail, Gabriel, hail. S. Gabriel. 16. O Flower of Grace, divinest Flower. B. V. M. 17. Saint Philip! 1 have never known. S. Philip Neri. 18. Sweet Saint Philip, thou hast won us. S. Philip Neri. Previously in the Rambler, May, 1850, p. 425. iv. Oratory Hymns, 1854:— 19. Day breaks on temple roofs and towers. Expect. of B. V. M. 20. How gently flow the silent years. S. Martin and S. Philip. 21. How the light of Heaven is stealing. Grace. 22. Like the dawning of the morning. Expect. of B. V. M. 23. Mother Mary ! at thine altar. For Orphans. 24. My God! Who art nothing but mercy and kindness. Repentance. 25. O blessed Father! sent by God. S. Vincent of Paul. 26. O do you hear that voice from heaven? Forgiveness. 27. The chains that have bound me. Absolution. 28. The day, the happy day, is dawning. B. V. M. 29. The moon is in the heavens above. B. V. M. 30. Why art thou sorrowful, servant of God? Mercy. v. Hymns, 1862:— 31. At last Thou art come, little Saviour. Christmas. 32. By the spring of God's compassions. S. Raphael. 33. Fair are the portals of the day. B. V. M. 34. Father of many children. S. Benedict. 35. From the highest heights of glory. S. Mary Magdalene. 36. Like the voiceless starlight falling. B. V. M. 37. Mary! dearest mother. B. V. M. 38. Mother of God, we hail thy heart. B. V. M. 39. O Anne! thou hadst lived through those long dreary years. S. Anne. Previously in Holy Family Hymns, 1860. 40. O balmy and bright as moonlit night. B. V. M. 41. O Blessed Trinity! Thy children. Holy Trinity. 42. O dear Saint Martha, busy saint. S. Martha 43. O Mother, will it always be. B. V. M. 44. O vision bright. B. V. M. 45. Summer suns for ever shining. B. V. M. 46. There are many saints above. S. Joseph. Previously in Holy Family Hymns, 1860. vi. Centos and altered forms:— 47. Confraternity men to the fight. From "Hark the sound of the fight," p. 362, i. 48. Hail, sainted Mungo, hail. From No. 8. 49. I bow to Thee, sweet will of God. From "I worship Thee," p. 559, ii. 50. They whom we loved on earth. From "0 it is sweet to think," p. 362, i. 51. Vincent! like Mother Mary, thou. From No. 25. When Dr. Faber's hymns which are in common use are enumerated, the total falls little short of one hundred. In this respect he outnumbers most of his contemporaries. [Rev. James Mearns] --John Julian, Dictionary of Hymnology, New Supplement (1907) -------------- See also in: Hymn Writers of the Church