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Lord, teach us how to pray aright
Author: James Montgomery, 1771-1854 Meter: 8.6.8.6 Appears in 222 hymnals Scripture: Hebrews 10:11-12 Lyrics: 1 Lord, teach us how to pray aright
with reverence and with fear;
though dust and ashes in thy sight,
we may, we must, draw near.
2 We perish if we cease from prayer:
O grant us power to pray;
and, when to meet thee we prepare,
Lord, meet us by the way.
3 God of all grace, we bring to thee
a broken, contrite heart;
give what thine eye delights to see,
truth in the inward part;
4 Faith in the only sacrifice
that can for sin atone,
to cast our hopes, to fix our eyes,
on Christ, on Christ alone;
5 Patience to watch and wait and weep,
though mercy long delay;
courage our fainting souls to keep,
and trust thee though thou slay.
6 Give these, and then thy will be done;
thus, strengthened with all might,
we, through thy Spirit and thy Son,
shall pray, and pray aright. Topics: Lent; Ash Wednesday; Proper 12 Year A Used With Tune: ST HUGH
Lord, teach us how to pray aright
Lord, the light of your love (Shine, Jesus, shine)
Author: Graham Kendrick Meter: 9.9.10.10.6 Appears in 39 hymnals Scripture: Hebrews 10:19-20 First Line: Lord, the light of your love is shining Refrain First Line: Shine, Jesus shine Topics: Confirmation; Epiphany; Evangelism; Grace and Providence; Gradual Hymn; Morning; Opening Hymn; Year A Proper 1; Year A Second Sunday Before Lent; Year A Pentecost; Year A Proper 18; Year B Baptism of Christ; Year B Pentecost; Year B Proper 4; Year B Sunday Next Before Lent; Year B Trinity Sunday; Year C Pentecost; Year C Proper 1; Year C Sunday Next Before Lent; Years A, B, and C Christmas 2; Years A, B, and C Easter Vigil Used With Tune: SHINE, JESUS, SHINE
Lord, the light of your love (Shine, Jesus, shine)
Lasset nur den weisen
Appears in 7 hymnals Scripture: Hebrews 10:35 Topics: Gottes Wesen Allmacht und Allweisheit
Lasset nur den weisen
LIEBSTER JESU
Meter: 7.8.7.8.8.8 Appears in 254 hymnals Composer and/or Arranger: Johann Rudolph Ahle, 1625-73 Scripture: Hebrews 10:19-25 Tune Sources: Later form of melody by Ahle Tune Key: G Major Incipit: 31253 12176 12321 Used With Text: Blessèd Jesus, at your word
LIEBSTER JESU
Let us hold unswervingly to the hope we profess,
Hymnal: Seventh-day Adventist Hymnal #879 (1985) Scripture: Hebrews 10:23-25 Topics: Calls to Worship
Let us hold unswervingly to the hope we profess,
Lord, We Come Before Thee Now
Author: William Hammond Hymnal: Praise for the Lord (Expanded Edition) #419 (1997) Meter: 7.7.7.7 Scripture: Hebrews 10:19-20 Topics: Christians Dependence; Worship Languages: English Tune Title: HENDON
Lord, We Come Before Thee Now
Lord, I will follow Thee
Author: John Ernest Bode (1816-1874) Hymnal: Songs of Praise with Tunes #405 (1889) Meter: 7.6 D Scripture: Hebrews 10:23 First Line: O Jesus, I have promised Topics: Consecration To Christ Tune Title: DAY OF REST
Lord, I will follow Thee
Lucy Larcom
1824 - 1893 Person Name: Lucy Larcom, 1826-1893 Scripture: Hebrews 10:22-24 Author of "Draw Thou My Soul, O Christ" in Hymns of the Saints Larcom, Lucy, was born at Beverley Farm, Massachusetts, in 1826. Her Poems were published in 1864. Her hymn, "When for me the silent oar" [Death Anticipated), was published in 1868. She died in 1893.
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
===============
Larcom, Lucy, p. 1576, ii. The extended use of this writer's hymns justifies a more detailed account of her life and work than is given on p. 1576. She was born in 1824, and worked from 1837-45 in the mills of Lawrence, Mass., then engaged in elementary teaching 1846-49, became a student at Monticello Female Seminary, Alton, Ill., 1849-52, and then entered upon advanced teaching in higher-class schools, and literary work. She edited with J. G. Whittier, Child Life in Poetry, 1871; Child Life in Prose, 1873; Songs of Three Centuries, 1875, &c. Her own works are Poems, 1869; Childhood Songs, 1875; Wild Roses of Cape Ann, 1881; Poetical Works, 1885; At the Beautiful Gate; And Other Songs of Faith, 1892. Her autobiography was published as A New England Girlhood. She died in 1893. In addition to "When for me the silent oar," of her hymns the following are in common use:—
i. From her Poems, 1869.
1. Hand in hand with angels. Angelic companion¬ship.
2. If the world seems cold to you.
3. When for me the silent oar. Death
ii. From her Wild Roses of Cape Ann, 1881.
4. In Christ I feel the heart of God.
5. O Spirit, "Whose name is the Saviour.”
in. From her Poetical Works, 1885.
6. Breaks the joyful Easter dawn, master.
7. Heavenly Helper, Friend Divine. Christ the Friend.
iv. From her At the Beautiful Gate, &c, 1892.
8. Draw Thou, my soul, O Christ. Looking to Jesus.
9. O God, Thy world is sweet with prayer. Prayer.
10. Open your hearts as a flower to the light.
11. King, happy bells of Easter time. Easter.
The above notes are from the British Museum copies of Miss Larcom's works.
--John Julian, Dictionary of Hymnology, New Supplement (1907)
Lucy Larcom
Martin E. Leckebusch
b. 1962 Scripture: Hebrews 10:32-39 Author of "Give Thanks for Those Whose Faith Is Firm" in Glory to God
Martin E. Leckebusch
Robert Lowry
1826 - 1899 Person Name: Robert Lowry, 1826-1899 Scripture: Hebrews 10:10 Composer of "SOMETHING FOR JESUS" in The Hymnal 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
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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
