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I heard a great voice from heaven

Appears in 15 hymnals

FUNERAL ANTHEM

Appears in 6 hymnals Composer and/or Arranger: Billings Incipit: 15517 65543 45555 Used With Text: I heard a great voice from heav'n

FUNERAL ANTHEM

Appears in 1 hymnal Composer and/or Arranger: Kimball Used With Text: I heard a great voice from heaven

Instances

Published text-tune combinations (hymns) from specific hymnals

I heard a great voice from heav'n

Hymnal: The Southern Harmony, and Musical Companion (New ed. thoroughly rev. and much enl.) #187 (1854) Lyrics: 1. I heard a great voice from heaven, Saying unto me, write, From henceforth, write, From henceforth, write, From henceforth, write, Blessed are the dead that die in the Lord. 188 Yea, saith the Spirit, for they rest, For they rest, for they rest, for they rest For they rest from their labors, From their labors and their works, which do follow, Follow, follow, which do follow them. Which do follow them. Scripture: Revelation 14:13 Languages: English Tune Title: FUNERAL ANTHEM

I heard a great voice from heaven

Hymnal: The New Village Harmony #d49 (1878)

I heard a great voice from heaven

Hymnal: The Christian Minstrel #d113 (1846)

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People

Authors, composers, editors, etc.

William Billings

1746 - 1800 Person Name: Billings Composer of "FUNERAL ANTHEM" in The Southern Harmony, and Musical Companion (New ed. thoroughly rev. and much enl.) William Billings (b. 1746; d. 1800) was an American choral composer, thought by some to be the father of American choral music. His father died when William was 14, and he was forced to drop all formal education and take up tanning to get by. With no formal musical training he began to compose, and his songs were well-loved and traveled quickly. However, due to unsubstantial copyright laws, Billings received hardly a penny from the publication of his music. After a period of fame and prosperity, his music was forgotten, and his last decade was one of decline. Married with six children, he died in poverty, though his music would be resurrected after his death and sung to this day. Laura de Jong

Jacob Kimball

1761 - 1826 Person Name: Kimball Composer of "FUNERAL ANTHEM" in The American Vocalist Kimball, Jacob. (Topsfield, Massachusetts, February 15, 1761--July 24, 1826, Topsfield). He graduated from Harvard in 1780, studied law, taught school, and tried to make a living at various other occupations, with small success except in the field of music where he was regarded as an outstanding singer, teacher, and composer of his period. He edited Rural Harmony (Boston, 1793) which he followed with Essex Harmony (1800), and Essex Harmony, Part II (1802), which included the only tunes of his own composition which can now be identified as his, except those in the popular Village Harmony (1795) the later editions of which, down to 1821, were probably edited by him. There is evidence that he also wrote poetry, including a number of hymns, some of them perhaps anonymous ones, otherwise unknown, included in the above-mentioned song books. The one hymn which can be attributed to him with assurance is his excellent metrical version of Psalm 65 which Jeremy Belknap included in his Sacred Psalmody (1795), entitled "A New Version" and beginning "Thy praise, O God, in Zion waits." The only other hymn by an American author in Belknap's collection is Mather Byles' "When wild confusion wrecks the air," republished in 1760. See: Jacob Kimball: A Pioneer American Musician, Essex Institution Historical Collections, XCII, no. 4. --Henry Wilder Foote, DNAH Archives