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Lofty Hills of Moab
Author: Rev. M. Lowrie Hofford Appears in 2 hymnals Scripture: Deuteronomy 34:1 First Line: From the lofty hills of Moab Lyrics: 1 From the lofty hills of Moab,
Where thy weary feet shall stand,
Thou shalt look across the Jordan,
And behold the promised land;
The land of milk and honey,
Fertile land of corn and wine,
The land of springs and fountains,—
‘Tis the land that shall be thine.
2 From the lofty hills of Moab,
Thou shalt view the prospect o’er;
‘Tis the land the Lord shall give thee,
And ‘tis thine forevermore;
And tho' thy eyes be dazzled
With the splendor of the sight,
Thy heart shall turn with rapture
To the scene of pure delight.
3 From the lofty hills of Moab,
It is sweet indeed to rise
To the higher land of promise,
To the Canaan of the skies;
The land of heavenly glory,
Land of beauty all divine,
The land of many mansions,
That forever shall be thine. Used With Tune: [From the lofty hills of Moab]
Lofty Hills of Moab
La Nube de Fuego
Author: Abundio L. Lopez Appears in 1 hymnal Scripture: Deuteronomy 34:1-4 First Line: Cuando Dios a las huestes de Israel Refrain First Line: En el fuego de noche fué Used With Tune: [Cuando Dios a las huestes de Israel] Text Sources: Mús. y letra 1967 Hojasuelta
La Nube de Fuego
Life in Death
Author: Rev. George Matheson Appears in 1 hymnal Scripture: Deuteronomy 34:7 First Line: There is a life whose vital power
Life in Death
Lofty Hills of Moab
Author: Rev. M. Lowrie Hofford Hymnal: Joyful Lays #17 (1884) Scripture: Deuteronomy 34:1 First Line: From the lofty hills of Moab Lyrics: 1 From the lofty hills of Moab,
Where thy weary feet shall stand,
Thou shalt look across the Jordan,
And behold the promised land;
The land of milk and honey,
Fertile land of corn and wine,
The land of springs and fountains,—
‘Tis the land that shall be thine.
2 From the lofty hills of Moab,
Thou shalt view the prospect o’er;
‘Tis the land the Lord shall give thee,
And ‘tis thine forevermore;
And tho' thy eyes be dazzled
With the splendor of the sight,
Thy heart shall turn with rapture
To the scene of pure delight.
3 From the lofty hills of Moab,
It is sweet indeed to rise
To the higher land of promise,
To the Canaan of the skies;
The land of heavenly glory,
Land of beauty all divine,
The land of many mansions,
That forever shall be thine. Languages: English Tune Title: [From the lofty hills of Moab]
Lofty Hills of Moab
La Nube de Fuego
Author: Abundio L. Lopez Hymnal: Melodias Evangélicas #4 (1965) Scripture: Deuteronomy 34:1-4 First Line: Cuando Dios a las huestes de Israel Refrain First Line: En el fuego de noche fué Languages: Spanish Tune Title: [Cuando Dios a las huestes de Israel]
La Nube de Fuego
Life in Death
Author: Rev. George Matheson Hymnal: Sacred Songs #82 (1891) Scripture: Deuteronomy 34:7 First Line: There is a life whose vital power Languages: English
Life in Death
Meyer Lyon
1751 - 1797 Person Name: Meier Leon (1751-1797) Scripture: Deuteronomy 34 Transcriber of "LEONI" in Common Praise (1998) Died: 1797, Kingston, Jamaica.
Pseudonym: Leoni.
Lyon was a chorister at the Great Synagogue, Duke’s Place, London, and a public singer either at Drury Lane or Covent Garden. Subsequently he became the first qualified chazan of the English and German Synagogue in Jamaica.
Sources:
Julian, p. 1151
McCutchan, pp. 27-28
Music: LEONI
http://www.hymntime.com/tch/bio/l/y/o/lyon_m.htm
================
http://en.wikipedia.org/wiki/Myer_Lyon
Meyer Lyon
Max Landsberg
1845 - 1927 Scripture: Deuteronomy 34 Translator (stanzas 2, 4) of "The God of Abraham Praise" in Glory to God Max Landsberg was born in Berlin as the eldest son of a long-established Jewish family, shortly before his father, Meyer Landsberg, in Hildesheim took a job as a rabbi.
First, Landsberg was privately educated, but then went to the high school Josephinum in Hildesheim . After graduation he studied in Göttingen, Breslau and Berlin. The training to become a rabbi he received from Lazarus eagle at the University of Kassel, Samuel Ephraim Meyer at the University of Hanover and of Abraham Geiger in Wroclaw. On 7 November 1866 he was codd at the University of Halle with his work Vita sultani Muradi "a Mohammed Amyn Mohibby, e. Mss. Bibliothecae regiae Berolinensis, addita versione latina atque adjectis adnotationibus Dr. phil. Doctorate. Since 1866, he was pin Rabbi and teachers at the seminar for Jewish teachers in Hanover. rabbi he was to his Semicha 1870.
Shortly before his departure to the U.S. married Landsberg on 26 February 1871 in Hanover Miriam Isengarten (* 1847, † April 16, 1912 in Baltimore)
In the fall of 1869, as in 1848 decided orthodox founded community in Rochester, hire a rabbi who could preach both in German and in English and should be a "gentleman of advanced ideas and reformed religious views". This quote is an excerpt from the ad for the position of rabbi in Rochester in the weekly magazine "The American Israelite", the public forum of the American Reform Judaism. After they found no suitable person in the country, they turned to Abraham Geiger, a pioneer of Reform Judaism in Europe. Geiger encouraged his former students to apply to this job. Because of its application in December 1870 Landsberg was invited and settled for Passover 1871 (early April 1871) to Rochester. By 1915, he stayed on as chief rabbi.
What the liturgical reforms were concerned in the community, so Landsberg based on that of David Einhorn in 1858 published prayer book Olat Tamid. It contained the majority of prayers in German and was printed according to and read from left to right. However, there were already 10 days after launch on 27th April 1873 in the town of B'rith Kodesh to controversy. Then the parish council withdrew this prayer book and replaced it with a more tradition-setting, but also reforming the liturgy, which from Temple Emanu El was published in New York City. Despite the shortcomings Landsberg used this prayer book over a decade. On the other hand, it prompted him to contribute their own ideas of liturgical revision. The result was that in 1880, along with Sol[omon] Wile (1853-1931) published book Hymn Book for Jewish Worship. For two-thirds of it contained English-language songs, and the remaining were in German. Sol Wile at the time was president of the Temple B'rith Kodesh and in his preface to the hymnal, which was more intended for the community, as for the rabbi and the choir, he wrote that he is a "inbrünstigeren" of these songs worship hoped.
But only the ritual prayer book for Jewish Worship by Max Landsberg itself, introduced in 1884, the community took to the center of the radical Jewish reform movement. It was the result of Landsberg efforts, in accordance with the ideas of community members to create a new liturgy, which "conform to the sentiments of the living generation" was. Landsberg not only received praise, but also harsh criticism, including by Isaac Mayer Wise. Even in our own community Landsberg faced a opposition, but this did not change in a takeover of the liturgy. It Landsberg, despite all the criticism has managed to create a completely appropriate in the English language and the Reform movement liturgy.
An outstanding event for Max Landsberg in 1895 was the focus of the annual meeting of the Central Conference of American Rabbis (CCAR). He himself was in this movement since its founding in 1889 active. At this meeting there was a full agreement in the views of Isaac Mayer Wise and Landsberg that the greatest achievements of American Reform Judaism was to have freed the Jews from the ceremonial constraints.
Another special feature of this period was the increased involvement of women in the community and especially in community work. There were just the women who took part in the worship and wanted to have more influence on the fortunes of the community. Here, Max Landsberg did show, by advocating openly for the rights of women. In his essay The Position of Women Among the Jews he grappled with the theological implications of women's emancipation.
But Max Landsberg himself alienated since that time increasingly of the community. Maybe because it a lifelong Office guidance was issued never, but he had to extend from the council's term of office again and again. Already in July 1910, adjusted for the community Horace J. Wolf as an assistant. His contract was also extended several times. They tried to limit Landsberg's influence on the community.
Particularly hard hit Landsberg his wife Miriam's death in 1912. This event was marked by bitterness his last years, so it took every joy of life. When, in March 1913, a committee at Landsberg "the lack of interest in the religious life of the congregation" found and published recommendations in October, Max Landsberg offered his resignation. Well with regard to the posted position of Landsberg gave you his resignation until December 1914 known, but he stepped into force on 1 März 1915.
In the United States, Max Landsberg sat for a reform of Jewish worship one. So he held his services in English and not in Hebrew. Also published by him prayer books passed to two-thirds of English songs and the rest in German language. He also pushed for the marriage of Jews and non-Jews. As part of the American Reform Judaism Landsberg was among the rabbis, which began in the municipality for exemption from the ceremonial constraints, to use appropriate liturgies and thereafter led worship.
--de.wikipedia.org/wiki (excerpts)
Max Landsberg
Robert Lowry
1826 - 1899 Scripture: Deuteronomy 34:1 Composer of "[From the lofty hills of Moab]" in Joyful Lays Robert Lowry was born in Philadelphia, March 12, 1826. His fondness for music was exhibited in his earliest years. As a child he amused himself with the various musical instruments that came into his hands. At the age of seventeen he joined the First Baptist Church of Philadelphia, and soon became an active worker in the Sunday-school as teacher and chorister.
At the age of twenty-two he gave himself to the work of the ministry, and entered upon a course of study at the University of Lewisburg, Pa. At the age of twenty-eight he was graduated with the highest honors of his class. In the same year of his graduation, he entered upon the work of the ministry. He served as pastor at West Chester, Pa., 1851-1858; in New York City, 1859-1861; in Brooklyn, 1861-1869; in Lewisburg, Pa., 1869-1875. While pastor at Lewisburg, he was also professor of belles lettres in the University, and received the honorary degree of D. D. in 1875.
He then went to Plainfield, N. J., where he became pastor of Park Avenue Church. In each of these fields his work was crowned with marked success.
Dr. Lowry was a man of rare administrative ability, a most excellent preacher, a thorough Bible student, and whether in the pulpit or upon the platform, always a brilliant and interesting speaker. He was of a genial and pleasing disposition, and a high sense of humor was one of his most striking characteristics. Very few men had greater ability in painting pictures from the imagination. He could thrill an audience with his vivid descriptions, inspiring others with the same thoughts that inspired him.
His melodies are sung in every civilized land, and many of his hymns have been translated into foreign tongues. While preaching the Gospel, in which he found great joy, was his life-work, music and hymnology were favorite studies, but were always a side issue, a recreation.
In the year 1880, he took a rest of four years, visiting Europe. In 1885 he felt that he needed more rest, and resigned his pastorate at Plainfield, and visited in the South and West, also spending some time in Mexico. He returned, much improved in health, and again took up his work in Plainfield.
On the death of Wm. B. Bradbury, Messrs. Biglow & Main, successors to Mr. Bradbury in the publishing business, selected Dr. Lowry for editor of their Sunday-school book, Bright Jewels, which was a great success. Subsequently Dr. W. Doane was associated with him in the issue of the Sunday-school song book, Pure Gold, the sales of which exceeded a million copies. Then came Royal Diadem, Welcome Tidings, Brightest and Best, Glad Refrain, Good as Gold, Joyful Lays, Fountain of Song, Bright Array, Temple Anthems, and numerous other volumes. The good quality of their books did much to stimulate the cause of sacred song in this country.
When he saw that the obligations of musical editorship were laid upon him, he began the study of music in earnest, and sought the best musical text-books and works on the highest forms of musical composition. He possessed one of the finest musical libraries in the country. It abounded in works on the philosophy and science of musical sounds. He also had some musical works in his possession that were over one hundred and fifty years old.
One of his labors of love some years ago was an attempt to reduce music to a mathematical basis. On the established fact that Middle C has two hundred and fifty-six vibrations per second, he prepared a scale and went to work on the rule of three. After infinite calculation and repeated experiments, he carried it far enough to discover that it would not work.
A reporter once asked him what was his method of composition — "Do you write the words to fit the music, or the music to fit the words?" His reply was, "I have no method. Sometimes the music comes and the words follow, fitted insensibly to the melody. I watch my moods, and when anything good strikes me, whether words or music, and no matter where I am, at home or on the street, I jot it down. Often the margin of a newspaper or the back of an envelope serves as a notebook. My brain is a sort of spinning machine, I think, for there is music running through it all the time. I do not pick out my music on the keys of an instrument. The tunes of nearly all the hymns I have written have been completed on paper before I tried them on the organ. Frequently the words of the hymn and the music have been written at the same time."
The Doctor frequently said that he regarded "Weeping Will Not Save Me" as the best and most evangelistic hymn he ever wrote. The following are some of his most popular and sweetest gospel melodies: "Shall We Gather at the River?," "One More Day's Work for Jesus," "Where is My Wandering Boy To-night?," "I Need Thee Every Hour," "The Mistakes of My Life," "How Can I Keep from Singing?," "All the Way My Saviour Leads Me," "Saviour, Thy Dying Love," "We're Marching to Zion," etc. "Shall We Gather at the River?" is perhaps, without question, the most widely popular of all his songs. Of this Mr. Lowry said: "It is brass band music, has a march movement, and for that reason has become popular, though for myself I do not think much of it." Yet he tells us how, on several occasions, he had been deeply moved by the singing of that hymn, "Going from Harrisburg to Lewisburg once I got into a car filled with half-drunken lumbermen. Suddenly one of them struck up, "Shall We Gather at the River?" and they sang it over and over again, repeating the chorus in a wild, boisterous way. I did not think so much of the music then as I listened to those singers, but I did think that perhaps the spirit of the hymn, the words so flippantly uttered, might somehow survive and be carried forward into the lives of those careless men, and ultimately lift them upward to the realization of the hope expressed in my hymn." "A different appreciation of it was evinced during the Robert Raikes' Centennial. I was in London, and had gone to meeting in the Old Bailey to see some of the most famous Sunday-school workers in the world. They were present from Europe, Asia, and America. I sat in a rear seat alone. After there had been a number of addresses delivered in various languages, I was preparing to leave, when the chairman of the meeting announced that the author of "Shall We Gather at the River?" was present, and I was requested by name to come forward. Men applauded and women waved their handkerchiefs as I went to the platform. It was a tribute to the hymn; but I felt, when it was over, that, after all, I had perhaps done some little good in the world, and I felt more than ever content to die when God called." On Children's Day in Brooklyn, in 1865, this song was sung by over forty thousand voices.
While Dr. Lowry said, "I would rather preach a gospel sermon to an appreciative, receptive congregation than write a hymn," yet in spite of his preferences, his hymns have gone on and on, translated into many languages, preaching and comforting thousands upon thousands of souls, furnishing them expression for their deepest feelings of praise and gratitude to God for His goodness to the children of men. What he had thought in his inmost soul has become a part of the emotions of the whole Christian world. We are all his debtors.
Rev. Robert Lowry, D. D., died at his residence in Plainfield, K J., November 25, 1899. Dead, yet he lives and his sermons in gospel song are still heard and are doing good. Dr. Lowry was a great and good man, and his life, well spent, is highly worthy of a place among the world's greatest gospel song and hymn writers.
-- Biography of Gospel Song and Hymn Writers
-------
Lowry, Robert, D.D., son of Crozier Lowry, was born at Philadelphia, Pennsylvania, March 12, 1826, and educated at Lewisburg University. Having received ordination as a Baptist Minister, his first charge was at West Chester, Pennsylvania. From thence he passed to New York City, and then to Brooklyn, N. Y. In 1876 he was appointed Professor of Rhetoric in his University. On resigning his Professorship he undertook the charge of the 2nd Baptist Church, New Jersey. Dr. Lowry has been associated with some of the most popular Sunday School hymn-books published in the States, including Happy Voices, 1865; Chapel Melodies, 1868; Bright Jewels, 1869; Pure Gold, 1871; Royal Diadem, 1873; Tidal Wave, 1874; Fountain of Song1877; Welcome Tidings, 1877, &c. Of Dr. Lowry's hymns those which have attained the widest circulation are:—
1. Jerusalem, for ever bright. Heaven. Appeared in the American Tract Society's Happy Voices, 1865, with music by the author.
2. Low in the grave He lay. Resurrection of Christ. Written in 1874 and published in Brightest and Best, 1875.
3. Marching on, marching on. Sunday School Battle Song. Appeared, with music by the author, in Happy Voices, 1865.
4. My home is in heaven, my rest is not here. In Happy Voices, 1865, with music by the author.
5. My life flows on in endless song. Joy in God. In Bright Jewels, 1869; the Royal Diadem, 1873, and others in America and Great Britain, with music by the author.
6. One more day's work for Jesus. Work for Christ. Published, with music by the author, in Bright Jewels, 1869.
7. Shall we gather at the river? Mutual recognition in the Hereafter. The origin of this hymn is thus set forth in E. W. Long's Illustrated History of Hymns and their Authors, Philadelphia, 1876, p. 64:—
”On a very hot summer day, in 1864, a pastor was seated in his parlour in Brooklyn, N. Y. It was a time when an epidemic was sweeping through the city, and draping many persons and dwellings in mourning. All around friends and acquaintances were passing away to the spirit land in large numbers. The question began to arise in the heart, with unusual emphasis, ‘Shall we meet again? We are parting at the river of death, shall we meet at the river of life?' ‘Seating myself at the organ,’ says he, ‘simply to give vent to the pent up emotions of the heart, the words and music of the hymn began to flow out, as if by inspiration:—
‘Shall we gather at the river,
Where bright angel feet have trod?’"
In 1865 the hymn and music were given in Happy Voices, No. 220, in 5 stanzas of 4 lines and a chorus. The hymn has since passed into a great number of hymnals in Great Britain and America.
8. Take the wings of the morning; speed quickly thy flight. Exhortation to Repentance. Written for, and published with music by the author in, the Royal Diadem, 1873.
9. Weeping will not save me. Salvation through Faith. Published in the Chapel Melodies, 1868.
10. What can wash away my stain? Precious Blood of Jesus. Given in the Welcome Tidings, 1877, with music by the author.
11. Where is my wandering boy tonight! The absent Child. In the Fountain of Song, 1877, together with music by the author.
Most of these hymns are given in Mr. I. D. Sankey's Sacred Songs & Solos, Pts. i., ii.
--John Julian, Dictionary of Hymnology (1907)
Robert Lowry
