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Upon the hills the wind is bleak and cold
Author: John Skelton Meter: 10.10.10.6 with refrain Appears in 6 hymnals
Upon the hills the wind is bleak and cold
I sought the Lord, and afterward I knew
Author: Anon. Meter: 10.10.10.6 with refrain Appears in 89 hymnals Topics: Evangelistic Services
I sought the Lord, and afterward I knew
Good Night!
Author: Kate Sachs Meter: 10.10.10.6 with refrain Appears in 2 hymnals First Line: The night draws near, our day of praise is o'er Lyrics: 1 The night draws near, our day of praise is o'er,
Our songs, our hearts, uplifted rise once more,
As at Thy feet, O Lord! our off'rings pour,
And then, Good night, Good night!
2 The day of life has oft times darken'd been,
Fierce storms have raged, with fitful lights between;
But still at even, o'er the changing scene,
Has come, sweet word, Good night!
3 The task will soon be o'er, however hard,
The lonely struggle, watch'd still by the Lord;
With Him is thine exceeding great reward—
Till then, Good night, Good night!
4 Go forth in earnest, steadfast lives to prove
Thy teaching true: deep rooted in His love,
Fruits budding here, to ripen soon above,
Where none shall say: Good night!
5 Good night! The longest day must have an end,
The happiest hours will to their closing tend,
Beyond, afar, th' eternal day we'll spend—
Good night, Good night, Good night! Topics: Closing Used With Tune: GOOD-NIGHT
Good Night!
[Born among cattle, in poverty sore]
Meter: 10.10.10.6 with refrain Appears in 7 hymnals Composer and/or Arranger: Paul White Tune Key: F Major Incipit: 32132 11712 43243
[Born among cattle, in poverty sore]
[Lord God, whose breath the universe controls]
Meter: 10.10.10.6 with refrain Appears in 1 hymnal Composer and/or Arranger: D'Andrieux (XVII Century) Tune Key: F Major Incipit: 15151 21765
[Lord God, whose breath the universe controls]
I Sought the Lord, and Afterward I Knew
Author: Unknown Hymnal: Hymnbook for Christian Worship #11 (1970) Meter: 10.10.10.6 with refrain Topics: His Love Languages: English Tune Title: PEACE
I Sought the Lord, and Afterward I Knew
Jesus, Wonderful Lord!
Author: Paul White, 20th c. Hymnal: Ambassador Hymnal #60 (1994) Meter: 10.10.10.6 with refrain First Line: Born among cattle, in poverty sore Refrain First Line: Wonderful, wonderful Jesus! Topics: Epiphany Languages: English Tune Title: JESUS, WONDERFUL LORD
Jesus, Wonderful Lord!
And didst Thou love the race that loved not Thee?
Author: Jean Ingelow, 1820-97 Hymnal: The Methodist Hymn-Book with Tunes #149 (1933) Meter: 10.10.10.6 with refrain Topics: The Lord Jesus Christ His Life, Teaching, and Example Languages: English Tune Title: ARTAVIA
And didst Thou love the race that loved not Thee?
Anonymous
Meter: 10.10.10.6 with refrain Author of "I Sought the Lord, and Afterward I Knew" in Trinity Hymnal (Rev. ed.) In some hymnals, the editors noted that a hymn's author is unknown to them, and so this artificial "person" entry is used to reflect that fact. Obviously, the hymns attributed to "Author Unknown" "Unknown" or "Anonymous" could have been written by many people over a span of many centuries.
Anonymous
Ira David Sankey
1840 - 1908 Meter: 10.10.10.6 with refrain Composer of "[Sleep on, beloved, sleep, and take thy rest] (Sankey)" Sankey, Ira David, was born in Edinburgh, Pennsylvania, in 1840, of Methodist parents. About 1856 he removed with his parents to New Castle, Pennsylvania, where he became a member of the Methodist Episcopal Church. Four years afterwards he became the Superintendent of a large Sunday School in which he commenced his career of singing sacred songs and solos. Mr. Moody met with him and heard him sing at the International Convention of the Young Men's Christian Association, at Indianapolis, and through Mr. Moody's persuasion he joined him in his work at Chicago. After some two or three years' work in Chicago, they sailed for England on June 7, 1872, and held their first meeting at York a short time afterwards, only eight persons being present. Their subsequent work in Great Britain and America is well known.
Mr. Sankey's special duty was the singing of sacred songs and solos at religious gatherings, a practice which was in use in America for some time before he adopted it. His volume of Sacred Songs and Solos is a compilation from various sources, mainly American and mostly in use before. Although known as Sankey and Moody’s Songs, only one song, "Home at last, thy labour done" is by Mr. Sankey, and not one is by Mr. Moody. Mr. Sankey supplied several of the melodies. The English edition of the Sacred Songs & Solos has had an enormous sale; and the work as a whole is very popular for Home Mission services. The Songs have been translated into several languages.
--John Julian, Dictionary of Hymnology (1907)
Pseudonymns:
Harry S. Lower
Rian A. Dykes
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Sankey, I. D., p. 994, i. During the past fifteen years Mr. Sankey's Sacred Songs and Solos have had a very large sale, which has justified him in increasing the number of songs and hymns, including " New Hymns and Solos," to 1200. In 1906 he published My Life and Sacred Songs (London : Morgan & Scott). In addition to the "Story of his Own Life," the work contains an account of the most popular of his solos, with interesting reminiscences of the spiritual awakening of many who were influenced through his singing of them in public. In this respect it corresponds in some measure with G. J. Stevenson's Methodist Hymn Book, &c, 1883 (p. 1094, i.). It is an addition to the Sacred Songs and Solos, which will be held in esteem by many. In addition to his hymn, noted on p. 994, ii., Mr. Sankey gives details of the following:—
1. Out of the shadow-land into the sunshine. [Heaven Anticipated.] Mr. Sankey's account of this hymn is:—
"I wrote this hymn specially for the memorial service held for Mr. Moody in Carnegie Hall, where 1 also sang it as a solo. It is the last sacred song of which I wrote both the words and music. The idea was suggested by Mr. Moody's last words, 'Earth recedes; heaven opens before me . . . God is calling me, and I must go.' On account of its peculiar association with my fellow-labourer in the Gospel for so many years, the words are here given in full."
The hymn follows on p. 185, in 3 stanzas of 4 lines and a chorus.
2. Rejoice! Rejoice! our King is coming, [Advent.] Mr. Sankey writes concerning this hymn:—
"During one of my trips to Great Britain on the SS. City of Rome a storm raged on the sea. The wind was howling through the rigging, and waves like mountains of foam were breaking over the bow of the vessel. A great fear had fallen upon the passengers. When the storm was at its worst, we all thought we might soon go to the bottom of the sea. The conviction came to me that the Lord would be with us iu the trying hour, and sitting down in the reading room, I composed this hymn. Before reaching England the tune had formed itself in my mind, and on arriving in London I wrote it out, and had it published in Sacred Songs and Solos, where it is No. 524 in the edition. of 1888.
From Mr. Sankey's autobiographical sketch we gather that he was born at Edinburgh, in Western Pennsylvania, Aug. 28, 1840, joined Mr. Moody in 1871, and visited England for the first time in 1873. The original of the Sacred Songs, &c, of 23 pieces only, was offered as a gift to the London publishers of P. Phillips's Hallowed Song, and declined by them. It was subsequently accepted by Mr. K. O. Morgan, of Morgan & Scott, and is now a volume of 1200 hymns.
From a return kindly sent us by Messrs. Morgan & Scott, we find that the various issues of the Sacred Songs and Solos were:—
In 1873, 24 pp.; 1874, 72 pp. ; 1876, 153 hymns; 1877, 271 hymns; 1881, 441 hymns; 1888, 750 hymns; 1903, 1200 hymns.
In addition, The Christian Choir, which is generally associated with the Sacred Songs and Solos, was issued in 1884 with 75 hymns, and in 1896 with 281. The New Hymns & Solos, by the same firm, were published in 1888.
--John Julian, Dictionary of Hymnology, New Supplement (1907)
Ira David Sankey
Chas. H. Gabriel
1856 - 1932 Person Name: Charles H. Gabriel Meter: 10.10.10.6 with refrain Composer of "GOOD-NIGHT" in Redemption Songs Pseudonyms: C. D. Emerson, Charlotte G. Homer, S. B. Jackson, A. W. Lawrence, Jennie Ree
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For the first seventeen years of his life Charles Hutchinson Gabriel (b. Wilton, IA, 1856; d. Los Angeles, CA, 1932) lived on an Iowa farm, where friends and neighbors often gathered to sing. Gabriel accompanied them on the family reed organ he had taught himself to play. At the age of sixteen he began teaching singing in schools (following in his father's footsteps) and soon was acclaimed as a fine teacher and composer. He moved to California in 1887 and served as Sunday school music director at the Grace Methodist Church in San Francisco. After moving to Chicago in 1892, Gabriel edited numerous collections of anthems, cantatas, and a large number of songbooks for the Homer Rodeheaver, Hope, and E. O. Excell publishing companies. He composed hundreds of tunes and texts, at times using pseudonyms such as Charlotte G. Homer. The total number of his compositions is estimated at about seven thousand. Gabriel's gospel songs became widely circulated through the Billy Sunday-Homer Rodeheaver urban crusades.
Bert Polman
Chas. H. Gabriel
