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O Bless the Lord, My Soul
Author: James Montgomery Meter: 6.6.8.6 Appears in 193 hymnals First Line: O bless the Lord, my soul, His grace to thee proclaim
O Bless the Lord, My Soul
ST. THOMAS (WILLIAMS)
Meter: 6.6.8.6 Appears in 999 hymnals Composer and/or Arranger: Aaron Williams, 1731-1776; Lowell Mason, 1792-1872 Tune Key: G Major Incipit: 51132 12345 43432 Used With Text: O bless the Lord, my soul
ST. THOMAS (WILLIAMS)
SILVER STREET
Appears in 348 hymnals Composer and/or Arranger: Isaac Smith Incipit: 15535 13251 65455 Used With Text: O bless the Lord, my soul!
SILVER STREET
O bless the Lord, my soul
Author: J. Montgomery Hymnal: The Lutheran Hymnary #65 (1913) Meter: 6.6.8.6 Lyrics: 1 O bless the Lord, my soul,
His grace to thee proclaim,
And all that is within me join
To bless His holy name.
2 O bless the Lord, my soul;
His mercies bear in mind;
Forget not all His benefits:
The Lord to thee is kind.
3 He will not always chide;
He will with patience wait;
His wrath is ever slow to rise,
And ready to abate.
4 He pardons all thy sins;
Prolongs thy feeble breath;
He heals all thine infirmities,
And ransoms thee from death.
5 He clothes thee with His love;
Upholds thee with His truth;
And like the eagle He renews
The vigor of thy youth.
6 Then bless His holy name,
Whose grace hath made thee whole,
Whose lovingkindness crowns thy days;
O bless the Lord, my soul! Topics: His Goodness and Love; God His Goodness and love; Praise and Prayer Tune Title: [O bless the Lord, my soul]
O bless the Lord, my soul
Oh, bless the Lord, my soul!
Author: James Montgomery Hymnal: The Hymnal, Revised and Enlarged, as adopted by the General Convention of the Protestant Episcopal Church in the United States of America in the year of our Lord 1892 #474a (1894) Meter: 6.6.8.6 Lyrics: 1 Oh, bless the Lord, my soul!
His grace to thee proclaim!
And all that is within me join
to bless His holy Name!
2 Oh, bless the Lord, my soul!
His mercies bear in mind!
Forget not all His benefits!
The Lord to thee is kind.
3 He will not always chide;
He will with patience wait;
His wrath is ever slow to rise,
And ready to abate.
4 He pardons all thy sins;
Prolongs thy feeble breath;
He healeth thine infirmities,
And ransoms thee from death.
5 He clothes thee with His love;
Upholds thee with His truth;
And, like the eagle He renews
The vigor of thy youth.
5 Then bless His Holy Name,
Whose grace hath made thee whole,
Whose loving-kindness crowns thy days!
Oh, bless the Lord, my soul!
Amen. Topics: Parochial Missions; Praise Languages: English Tune Title: [Oh, bless the Lord, my soul]
Oh, bless the Lord, my soul!
Oh, bless the Lord, my soul!
Author: James Montgomery Hymnal: The Hymnal, Revised and Enlarged, as adopted by the General Convention of the Protestant Episcopal Church in the United States of America in the year of our Lord 1892 #474b (1894) Meter: 6.6.8.6 Lyrics: 1 Oh, bless the Lord, my soul!
His grace to thee proclaim!
And all that is within me join
to bless His holy Name!
2 Oh, bless the Lord, my soul!
His mercies bear in mind!
Forget not all His benefits!
The Lord to thee is kind.
3 He will not always chide;
He will with patience wait;
His wrath is ever slow to rise,
And ready to abate.
4 He pardons all thy sins;
Prolongs thy feeble breath;
He healeth thine infirmities,
And ransoms thee from death.
5 He clothes thee with His love;
Upholds thee with His truth;
And, like the eagle He renews
The vigor of thy youth.
5 Then bless His Holy Name,
Whose grace hath made thee whole,
Whose loving-kindness crowns thy days!
Oh, bless the Lord, my soul!
Amen. Topics: Parochial Missions; Praise Tune Title: [Oh, bless the Lord, my soul]
Oh, bless the Lord, my soul!
Robert Schumann
1810 - 1856 Person Name: R. Schumann, 1810—1856 Arranger of "[O bless the Lord, my soul]" in The Lutheran Hymnary Robert Alexander Schumann DM Germany 1810-1856. Born at Swickau, Saxony, Germany, the last child of a novelist, bookseller, and publisher, he began composing music at age seven. He received general music instruction at the local high school and worked to create his own compositions. Some of his works were considered admirable for his age. He even composed music congruent to the personalities of friends, who took note of the anomaly. He studied famous poets and philosophers and was impressed with the works of other famous composers of the time. After his father’s death in 1826, he went to Leipzig to study law (to meet the terms of his inheritance). In 1829 he continued law studies in Heidelberg, where he became a lifelong member of Corps Saxo-Borussia Heidelberg. In 1830 he left the study of law to return to music, intending to pursue a career as a virtuoso pianist. His teacher, Friedrich Wieck, assured him he could become the finest pianist in Europe, but an injury to his right hand (from a practicing method) ended that dream. He then focused his energies on composition, and studied under Heinrich Dorn, a German composer and conductor of the Leipzig opera. Schumann visited relatives in Zwickau and Schneeberg and performed at a concert given by Clara Wieck, age 13 at the time. In 1834 he published ‘A new journal for music’, praising some past composers and deriding others. He met Felix Mendelssohn at Wieck’s house in Leigzig and lauded the greatness of his compositions, along with those of Johannes Brahms. He also wrote a work, hoping to use proceeds from its sale towards a monument for Beethoven, whom he highly admired. He composed symphonies, operas, orchestral and chamber works, and also wrote biographies. Until 1840 he wrote strictly for piano, but then began composing for orchestra and voice. That year he composed 168 songs. He also receive a Doctorate degree from the University of Jena that year. An aesthete and influential music critic, he was one of the most regarded composers of the Romantic era. He published his works in the ‘New journal for music’, which he co-founded. In 1840, against the wishes of his father, he married Clara Wieck, daughter of his former teacher, and they had four children: Marie, Julie, Eugenie, and Felix. Clara also composed music and had a considerable concert career, the earnings from which formed a substantial part of her father’s fortune. In 1841 he wrote 2 of his 4 symphonies. In 1843 he was awarded a professorship in the Conservatory of Music, which Mendelssohn had founded in Leipzig that same year, When he and Clara went to Russia for her performances, he was questioned as to whether he also was a musician. He harbored resentment for her success as a pianist, which exceeded his ability as a pianist and reputation as a composer. From 1844-1853 he was engaged in setting Goethe’s Faust to music, but he began having persistent nervous prostration and developed neurasthenia (nervous fears of things, like metal objects and drugs). In 1846 he felt he had recovered and began traveling to Vienna, Prague, and Berlin, where he was received with enthusiasm. His only opera was written in 1848, and an orchestral work in 1849. In 1850 he succeeded Ferdinand Hiller as musical director at Dusseldorf, but was a poor conductor and soon aroused the opposition of the musicians, claiming he was impossible on the platform. From 1850-1854 he composed a wide variety of genres, but critics have considered his works during this period inferior to earlier works. In 1851 he visited Switzerland, Belgium, and returned to Leipzig. That year he finished his fourth symphony. He then went to Dusseldorf and began editing his complete works and making an anthology on the subject of music. He again was plagued with imaginary voices (angels, ghosts or demons) and in 1854 jumped off a bridge into the Rhine River, but was rescued by boatmen and taken home. For the last two years of his life, after the attempted suicide, Schumann was confined to a sanitarium in Endenich near Bonn, at his own request, and his wife was not allowed to see him. She finally saw him two days before he died, but he was unable to speak. He was diagnosed with psychotic melancholia, but died of pneumonia without recovering from the mental illness. Speculations as to the cause of his late term maladies was that he may have suffered from syphilis, contracted early in life, and treated with mercury, unknown as a neurological poison at the time. A report on his autopsy said he had a tumor at the base of the brain. It is also surmised he may have had bipolar disorder, accounting for mood swings and changes in his productivity. From the time of his death Clara devoted herself to the performance and interpretation of her husband’s works.
John Perry
Robert Schumann
Jean Janzen
b. 1933 Alterer of "O bless the Lord, my soul" in Hymnal Jean Janzen was born on December 5, 1933, the seventh of Henry Peter Wiebe and Anna Schultz Wiebe's eventual eight children (Three Mennonite Poets 5). For the first five years of her life, Janzen lived in Dalmeny, Saskatchewan (A Cappella 25). In 1938, she moved to Mountain Lake, Minnesota when her schoolteacher father began his second ministry as a pastor (“Coming into Voice”). A year later, the family moved to Kansas (“Coming into Voice”).
Janzen says she cannot remember when she wrote her first poem, but the first evidence of her work is a handwritten book of five poems that she made in third or fourth grade, which was saved by her mother through the family’s many moves (E-mail Interview). She had very little exposure to poetry and literature as a child, except for hymns and Bible stories. She values these elements of her childhood and “treasure[s] the artful rhythms of the King James [Bible]” (E-mail Interview).
Janzen attended Meade Bible Academy, Tabor College, and Grace College (A Cappella 25). It was in college that she had her first real exposure to literature. She was “thrilled, and became a literature major.” She remembers being “enamored” with Emily Dickinson and writing papers about her whenever given the chance. However, she never considered writing poetry as a possible career (E-mail Interview).
Janzen--then Jean Wiebe--married Louis Janzen, a medical student, and the couple moved to Chicago where she worked as a medical secretary while taking courses at Northwestern University (Hostetler, A Cappella 25). Janzen cites this period of her life as the beginning of her love for visual art, calling the Chicago Art Institute the “open gate” for her and her husband where they “became hooked” (Mennonite Life Interview). In 1961, they moved to Fresno, Cal., where Louis worked as a pediatrician in a private practice. Here they raised their two daughters and two sons.
When her youngest child was in school, Janzen “joined a writer’s group at the encouragement of [her] husband and nephew after they read some poems [she] had written as a gift to [her] husband” (E-mail Interview). As her children became older, Janzen went back to college, earning a BA in English from Fresno Pacific College and an MA in Creative Writing and English from California State University at Fresno in 1982. There she studied with poets Peter Everwine, Philip Levine, and C.G. Hanzlicek. Janzen says that after one semester of writing poetry in college, she took the work “seriously” and “imagined the possibility of growing into a poet,” but it took her several years “to be willing to say that out loud” (E-mail Interview).
Rudy Wiebe, a Mennonite novelist, served as a mentor who influenced Janzen's writing career. She received a grant from the National Endowment for the Arts in 1995 (“Coming into Voice”). Janzen grew up in the Evangelical Mennonite Brethren Church and many of her relatives, including her father, were pastors (“Coming into Voice”). This strong connection with the church has had a significant influence on her poetry.
Music has also played an important role in Janzen’s life. Her mother loved music and music was an important part of worship in her church. She learned to play the piano when she was young, later studying music in college and teaching piano for many years (“Coming into Voice”). Janzen finds harmony between the religious and artistic elements of her life, integrating them in a way that enriches both. She also uses her gifts in the church, serving as a minister of worship at the College Community Mennonite Brethren Church in Clovis, Cal., as well as writing hymn texts, which have been set to music and are included in several hymn books.
Other prominent themes in her work include art, history, family, the earth, and her Russian Mennonite ancestors (“Coming into Voice”). Janzen says that “the sensual and spiritual are inevitably intertwined” (Mennonite Life Interview) and it is this element of her work that has attracted the most attention from critics and readers. She emphasizes “the presence of spirit in the flesh,” using rich description of physical objects to reveal deeper emotions and truths. Janzen has taught poetry writing at Fresno Pacific University and Eastern Mennonite University in Virginia.
--www.goshen.edu/mennonitepoetry/
Jean Janzen
Edwin Pond Parker
1836 - 1920 Person Name: Parker Composer of "[Oh, bless the Lord, my soul!]" in Good-Will Songs Parker, Edwin Pond, D.D., born at Castine, Maine, Jan. 13, 1836, and educated at Bowdoin College, Maine, and Bangor Theo. Sem., Maine. Entering the Congregational ministry, he became pastor of the Second Church of Christ, Hartford, Conn., Jan. 1860, and has remained there to the present date. Besides editing some Sunday School Hymn and Tune Books, now out of use, he was chief Editor of The Book of Praise . . . (Congregational) . . ., Phila., 1874; and Editor of The Christian Hymnal, Hartford, Conn., 1877, revised ed. 1889. His hymns in common use include:—
1. Blest are they in Christ departed. [Death and Burial.] Dated 1886. In the Christian Hymnal, 1889, and several other collections.
2. Come to Jesus, ye who labour. [Invitation.] Written in 1898, and included in The Pilgrim Hymnal , 1904.
3. Hail, Holy Light, the world rejoices. [Morning.] Dated 1889, and given in The Christian Hymnal, 1889, The Pilgrim Hymnal, 1904, and others.
4. I would tell Jesus. [The Soul's Desire.] Written in 1887, and included in The Christian Hymnal, 1889.
5. Lord, as we Thy Name profess. [Sincerity.] Dated 1889, first published in The Christian Hymnal, 1889, and subsequently in several other collections, including The Pilgrim Hymnal, 1904.
6. Master, no offering costly and sweet. [Love and Service.] Originally written in 1888, to close a sermon, and first published in The Christian Hymnal, 1889, together with music by the author. It has been adopted, together with the original music, by many compilers. For both words and music see The Pilgrim Hymnal, 1904.
7. O Master, Brother, Lord, and Friend. [Christmas.] Written to close a Christmas sermon, 1903; first printed in a local newspaper, and then included in The Pilgrim Hymnal, 1904.
8. Thy Name, O Lord, in sweet accord. [Divine Worship.] First published in The Christian Hymnal, 1889, and subsequently in several collections, including The Pilgrim Hymnal, 1904.
Dr. Parker received his D.D. from Yale University, and is at the present time (1906) Chaplain to the Senate of the State of Connecticut. The above annotations are based upon Dr. Parker's manuscript notes.
--John Julian, Dictionary of Hymnology, New Supplement (1907)
Edwin Pond Parker
