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Texts

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Come, O Sinners, Poor and Needy

Author: Joseph Hart, 1712-1768 Meter: 8.7.8.7 D Appears in 1,468 hymnals Topics: Conversion Scripture: Matthew 11:28-30 Used With Tune: BEACH SPRING
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There's a wideness in God's mercy

Author: Frederick W. Faber Appears in 902 hymnals Used With Tune: ERIE
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And Can It Be That I Should Gain

Author: Charles Wesley, 1707-1788 Meter: 8.8.8.8 D Appears in 291 hymnals Topics: Conversion Scripture: John 15:13 Used With Tune: SAGINA

Tunes

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CONVERSE

Meter: 8.7.8.7 D Appears in 906 hymnals Composer and/or Arranger: Charles C. Converse, 1832-1918 Tune Key: F Major Incipit: 55653 11651 31532 Used With Text: What a Friend We Have in Jesus
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KUORTANE

Meter: 7.6.7.6.7.6.7.6 Appears in 81 hymnals Composer and/or Arranger: David Evans Tune Sources: Finnish folk tune, c. 19th century Tune Key: E Flat Major Incipit: 53212 16555 65435 Used With Text: By All Your Saints Still Striving
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AMAZING GRACE (NEW BRITAIN)

Meter: 8.6.8.6 Appears in 550 hymnals Composer and/or Arranger: Edwin O. Excell Tune Key: F Major Incipit: 51313 21655 13132 Used With Text: Amazing Grace, How Sweet the Sound

Instances

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Published text-tune combinations (hymns) from specific hymnals
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How Oft in Holy Converse

Author: Frances Jane (Fanny) Crosby Hymnal: The Cyber Hymnal #2396 Refrain First Line: Hallelujah! Amen! Lyrics: 1. How oft in holy converse With Christ, my Lord, alone, ... Languages: English Tune Title: [How oft in holy converse]

What A Friend

Author: Joseph Scriven, alt. Hymnal: Hymns by the Western Stars #47 (1949) First Line: What a Friend we have in Jesus Languages: English Tune Title: CONVERSE (Converse)

What A Friend We Have In Jesus

Author: Joseph Scriven Hymnal: Redeeming Love #107 (2021) Languages: English Tune Title: CONVERSE (Converse)

People

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Authors, composers, editors, etc.

J. B. Herbert

1852 - 1927 Person Name: John B. Herbert Arranger of "ERIE" in Timeless Truths

Lewis Hartsough

1828 - 1919 Person Name: Rev. Lewis Hartsough (1828— ) Author of "Coming to Jesus" in Many Voices; or, Carmina Sanctorum, Evangelistic Edition with Tunes Hartsough, Lewis, was born at Ithaca, New York, Aug. 31, 1823. Of his hymns the following are in common use:—- 1. I hear Thy welcome voice. The Divine Invitation. 2. In the rifted Rock I'm resting. Safety in Jesus. 3. Lead me to the Rock that's higher. Safety in Jesus. 4. O who'll stand up for Jesus? All for Jesus Nos. 1-3 are in I. D. Sankey's Sacred Songs & Solos, 1878 (1 and 3 with music by Hartsough). --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) ================= Hartsough, Lewis, p. 1569, ii. Mr. Hartsough entered the ministry of the Methodist Episcopal Church in 1851, and is now (1905) residing in Mount Vernon, Indiana. He was musical editor of J. Hillman's Revivalist, Troy, 1868, and co-editor of The Sacred Harmonist, Boston, 1864, and Beulah Songs, Phila., 1879. In addition to the hymns named on p. 1569, ii., "Let me go where saints are going" [Heav'n desired] (1861) has come into common use. It appeared in W. B. Bradbury's Clarion, 1867, p. 83. Concerning his hymn, "I hear Thy welcome voice," Mr. Sankey says in his My Life and Sacred Songs, 1906, p. 11(3:— The words and music of this beautiful hymn were first published in a monthly, entitled, Guide to Holiness, a copy of which was sent to me in England. I immediately adopted it, and had it published in Sacred Songs and Solos. It proved to be one of the most helpful of the revival hymns, and was often used as an invitation hymn in England and America." [Rev. L. F. Benson, D.D.] --John Julian, Dictionary of Hymnology, New Supplement (1907) ================ Hartsough, Lewis. (August 31, 1823--January 1, 1919). Details of his early life are lacking. After being admitted to the Oneida, New York, Conference of the Methodist Episcopal Church in 1851 and serving several pastorates in that state, his health failed and he went to Utah where he was influential in establishing the Utah Mission, later becoming its superintendent. Upon relinquishing that position he moved to Mt. Vernon, Iowa, where he spent the remainder of his life. Bird's statement that he lived in Indiana is erroneous. He was minister of the South Street Methodist Episcopal Church, Utica, New York, when he first became associated with Joseph Hillman, who chose him to act as musical editor of The Revivalist, a gospel hymn book which went through eleven editions in five years, 1868-1872. This book had a remarkable sale and was doubtless used in more churches during the 1870s than any other of similar character. To it the Reverend Hartsough contributed, in one edition, twelve texts, fourteen tunes, and thirty arrangements of tunes, several of the latter being of the religio-folk variety which had been so popular in the early camp meetings. It is a valuable source work. "I love to think of the heavenly land" (p.1573) is by Hartsough. "I hear thy welcome voice (p.1569), originally in six four-line stanzas, with Refrain, in full S/1931; with the first three stanzas, slightly emended, Brethren/1951; with stanzas 1, 2, 3, and 5, also emended, in Hymns of the Living Faith, 1951. Writeen in 1872 with musical settings by the author, it is the only one of his many songs which has continued in use. Source: Metcalf, Frank J. American Writers and Compilers of Sacred Music; several editions of The Revivalist. --Robert G. McCutchan, DNAH Archives

Johann Sebastian Bach

1685 - 1750 Person Name: J. S. Bach Harmonizer of "JESU, MEINE FREUDE" in Great Songs of the Church (Revised) Johann Sebastian Bach was born at Eisenach into a musical family and in a town steeped in Reformation history, he received early musical training from his father and older brother, and elementary education in the classical school Luther had earlier attended. Throughout his life he made extraordinary efforts to learn from other musicians. At 15 he walked to Lüneburg to work as a chorister and study at the convent school of St. Michael. From there he walked 30 miles to Hamburg to hear Johann Reinken, and 60 miles to Celle to become familiar with French composition and performance traditions. Once he obtained a month's leave from his job to hear Buxtehude, but stayed nearly four months. He arranged compositions from Vivaldi and other Italian masters. His own compositions spanned almost every musical form then known (Opera was the notable exception). In his own time, Bach was highly regarded as organist and teacher, his compositions being circulated as models of contrapuntal technique. Four of his children achieved careers as composers; Haydn, Mozart, Beethoven, Mendelssohn, Schumann, Brahms, and Chopin are only a few of the best known of the musicians that confessed a major debt to Bach's work in their own musical development. Mendelssohn began re-introducing Bach's music into the concert repertoire, where it has come to attract admiration and even veneration for its own sake. After 20 years of successful work in several posts, Bach became cantor of the Thomas-schule in Leipzig, and remained there for the remaining 27 years of his life, concentrating on church music for the Lutheran service: over 200 cantatas, four passion settings, a Mass, and hundreds of chorale settings, harmonizations, preludes, and arrangements. He edited the tunes for Schemelli's Musicalisches Gesangbuch, contributing 16 original tunes. His choral harmonizations remain a staple for studies of composition and harmony. Additional melodies from his works have been adapted as hymn tunes. --John Julian, Dictionary of Hymnology (1907)

Hymnals

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Published hymn books and other collections
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Silver Wings

Publication Date: 1870 Publisher: Oliver Ditson & Co. / C. H. Ditson & Co. Publication Place: Boston / New York Editors: C. C. Converse; Oliver Ditson & Co.; C. H. Ditson & Co.

Christian Classics Ethereal Hymnary

Publication Date: 2007 Publisher: Grand Rapids, MI: Christian Classics Ethereal Library
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The Standard Hymnal

Publication Date: 1896 Publisher: Funk & Wagnalls Company Publication Place: New York Editors: C. C. Converse, LL.D.; Funk & Wagnalls Company

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