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SALVO POR GRACIA

Appears in 207 hymnals Composer and/or Arranger: George C. Stebbins Tune Key: F Major or modal Incipit: 33432 52117 14326 Used With Text: Escucha Mi Doliente Voz

Instances

Published text-tune combinations (hymns) from specific hymnals

Escucha Mi Doliente Voz

Author: G. P. Simmonds Hymnal: Himnos de la Vida Cristiana #98 (1939) Refrain First Line: A Tí me voy Languages: Spanish Tune Title: [Escucha mi doliente voz]

Author: Anónimo; Geo. P. Simmonds Hymnal: El Himnario #233 (1964) Refrain First Line: A Ti me voy Topics: Vida En Cristo Arrepentimiento y Perdon Languages: Spanish Tune Title: SALVO POR GRACIA

Escucha mi doliente voz

Hymnal: Himnos de la Vida Cristiana #98 (1899) Languages: Spanish

People

Authors, composers, editors, etc.

George P. Simmonds

1890 - 1991 Person Name: G. P. Simmonds Arr. of "Escucha Mi Doliente Voz" in Himnos de la Vida Cristiana Used pseudonyms G Paul S., J. Paul Simon, and J. Pablo Símon

George C. Stebbins

1846 - 1945 Person Name: Geo. C. Stebbins Composer of "[Escucha mi doliente voz]" in Himnos de la Vida Cristiana Stebbins studied music in Buffalo and Rochester, New York, then became a singing teacher. Around 1869, he moved to Chicago, Illinois, to join the Lyon and Healy Music Company. He also became the music director at the First Baptist Church in Chicago. It was in Chicago that he met the leaders in the Gospel music field, such as George Root, Philip Bliss, & Ira Sankey. At age 28, Stebbins moved to Boston, Massachusetts, where he became music director at the Claredon Street Baptist Church; the pastor there was Adoniram Gordon. Two years later, Stebbins became music director at Tremont Temple in Boston. Shortly thereafter, he became involved in evangelism campaigns with Moody and others. Around 1900, Stebbins spent a year as an evangelist in India, Egypt, Italy, Palestine, France and England. (www.hymntime.com/tch)

Anonymous

Person Name: Anónimo Author of "Escucha Mi Doliente Voz" in El Himnario 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.