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O Father, Thou Who Givest All
Author: John Haynes Holmes Meter: 8.8.8.8 Appears in 43 hymnals Lyrics: 1 O Father, thou who givest all
The bounty of thy perfect love,
We thank thee that upon us fall
Such tender blessings from above.
2 We thank thee for the grace of home,
For mother's love and father's care;
For friends and teaches, all who come
Our joys and hopes and fears to share;
3 For eyes to see and ears to hear,
For hands to serve and arms to lift,
For shoulders broad and strong to bear,
For feet to run on errands swift.
4 For faith to conquer doubt and fear,
For love to answer every call,
For strength to do, and will to dare,
We thank thee, O thou Lord of all.
Amen. Topics: Gratitude Used With Tune: WINCHESTER NEW
O Father, Thou Who Givest All
ROCKINGHAM OLD
Appears in 502 hymnals Composer and/or Arranger: Edward Miller Incipit: 13421 35655 17655 Used With Text: O Father, thou who givest all
ROCKINGHAM OLD
O, Father, Thou Who Givest All
Author: John Haynes Holmes Hymnal: The Junior Hymnal, Containing Sunday School and Luther League Liturgy and Hymns for the Sunday School #310 (1928) Languages: English Tune Title: [O, Father, Thou who givest all]
O, Father, Thou Who Givest All
O Father, Thou Who Givest All
Author: John Haynes Holmes Hymnal: The Hymnal for Boys and Girls #22 (1936) Meter: 8.8.8.8 Lyrics: 1 O Father, thou who givest all
The bounty of thy perfect love,
We thank thee that upon us fall
Such tender blessings from above.
2 We thank thee for the grace of home,
For mother's love and father's care;
For friends and teaches, all who come
Our joys and hopes and fears to share;
3 For eyes to see and ears to hear,
For hands to serve and arms to lift,
For shoulders broad and strong to bear,
For feet to run on errands swift.
4 For faith to conquer doubt and fear,
For love to answer every call,
For strength to do, and will to dare,
We thank thee, O thou Lord of all.
Amen. Topics: Gratitude Tune Title: WINCHESTER NEW
O Father, Thou Who Givest All
O, Father, Thou Who Givest All
Author: John Haynes Holmes Hymnal: The Cyber Hymnal #4824 Meter: 8.8.8.8 Lyrics: 1. O, Father, Thou who givest all
The bounty of Thy perfect love,
We thank Thee that upon us fall
Such tender blessings from above.
2. For eyes to see and ears to hear,
For hands to serve and arms to lift,
For shoulders broad and strong to bear,
For feet to run on errands swift.
3. For faith to conquer doubt and fear,
For love to answer every call,
For strength to do, and will to dare,
We thank Thee, O Thou Lord of all. Languages: English Tune Title: DEPAUW
O, Father, Thou Who Givest All
Robert G. McCutchan
1877 - 1958 Person Name: Robert Guy McCutchan Composer of "DEPAUW" in The Cyber Hymnal A noted hymnologist, McCutchan studied at Park College, Parkville, Missouri, and Simpson College, Indianola, Iowa (BM 1904). He went on to teach voice at Baker University in Baldwin, Kansas, and founded the conservatory of music there in 1910. After further study in Germany and France, in 1911 he became dean of music at DePauw University in Greencastle, Indiana, serving there 26 years. He helped compile the Methodist Hymnal in 1936. His works include:
Better Music in Our Churches, 1925
Music in Worship, 1927
American Junior and Church School Hymnal, 1928
The Deluge of New Hymnals (reprint from M.T.N.A. Proceedings, 1933)
American Church Music Composers of the Early Nineteenth Century, Church History, September 1933
The Congregation’s Part in the Office of Music Worship (Northwestern University, 1934)
Our Hymnody (New York: The Methodist Book Concern, 1937)
Aldersgate, 1738-1938, 1938
Hymns in the Lives of Men (New York: Abingdon-Cokesbury Press, 1943)
Hymns of the American Frontier, 1950
Hymn Tune Names: Their Sources and Significance, 1957
Sources:
Erickson, pp. 341-42
Hughes, p. 478
Hustad, pp. 284-85
McCutchan, p. 33
--http://www.hymntime.com/tch/bio/m/c/c/mccutchan_rg.htm, 03 July 2014.
Robert G. McCutchan
Lowell Mason
1792 - 1872 Composer of "HEBRON" in Hymns for Today Dr. Lowell Mason (the degree was conferred by the University of New York) is justly called the father of American church music; and by his labors were founded the germinating principles of national musical intelligence and knowledge, which afforded a soil upon which all higher musical culture has been founded. To him we owe some of our best ideas in religious church music, elementary musical education, music in the schools, the popularization of classical chorus singing, and the art of teaching music upon the Inductive or Pestalozzian plan. More than that, we owe him no small share of the respect which the profession of music enjoys at the present time as contrasted with the contempt in which it was held a century or more ago. In fact, the entire art of music, as now understood and practiced in America, has derived advantage from the work of this great man.
Lowell Mason was born in Medfield, Mass., January 8, 1792. From childhood he had manifested an intense love for music, and had devoted all his spare time and effort to improving himself according to such opportunities as were available to him. At the age of twenty he found himself filling a clerkship in a banking house in Savannah, Ga. Here he lost no opportunity of gratifying his passion for musical advancement, and was fortunate to meet for the first time a thoroughly qualified instructor, in the person of F. L. Abel. Applying his spare hours assiduously to the cultivation of the pursuit to which his passion inclined him, he soon acquired a proficiency that enabled him to enter the field of original composition, and his first work of this kind was embodied in the compilation of a collection of church music, which contained many of his own compositions. The manuscript was offered unavailingly to publishers in Philadelphia and in Boston. Fortunately for our musical advancement it finally secured the attention of the Boston Handel and Haydn Society, and by its committee was submitted to Dr. G. K. Jackson, the severest critic in Boston. Dr. Jackson approved most heartily of the work, and added a few of his own compositions to it. Thus enlarged, it was finally published in 1822 as The Handel and Haydn Society Collection of Church Music. Mason's name was omitted from the publication at his own request, which he thus explains, "I was then a bank officer in Savannah, and did not wish to be known as a musical man, as I had not the least thought of ever making music a profession." President Winchester, of the Handel and Haydn Society, sold the copyright for the young man. Mr. Mason went back to Savannah with probably $500 in his pocket as the preliminary result of his Boston visit.
The book soon sprang into universal popularity, being at once adopted by the singing schools of New England, and through this means entering into the church choirs, to whom it opened up a higher field of harmonic beauty. Its career of success ran through some seventeen editions. On realizing this success, Mason determined to accept an invitation to come to Boston and enter upon a musical career. This was in 1826. He was made an honorary member of the Handel and Haydn Society, but declined to accept this, and entered the ranks as an active member. He had been invited to come to Boston by President Winchester and other musical friends and was guaranteed an income of $2,000 a year. He was also appointed, by the influence of these friends, director of music at the Hanover, Green, and Park Street churches, to alternate six months with each congregation. Finally he made a permanent arrangement with the Bowdoin Street Church, and gave up the guarantee, but again friendly influence stepped in and procured for him the position of teller at the American Bank.
In 1827 Lowell Mason became president and conductor of the Handel and Haydn Society. It was the beginning of a career that was to win for him as has been already stated the title of "The Father of American Church Music." Although this may seem rather a bold claim it is not too much under the circumstances. Mr. Mason might have been in the average ranks of musicianship had he lived in Europe; in America he was well in advance of his surroundings. It was not too high praise (in spite of Mason's very simple style) when Dr. Jackson wrote of his song collection: "It is much the best book I have seen published in this country, and I do not hesitate to give it my most decided approbation," or that the great contrapuntist, Hauptmann, should say the harmonies of the tunes were dignified and churchlike and that the counterpoint was good, plain, singable and melodious.
Charles C. Perkins gives a few of the reasons why Lowell Mason was the very man to lead American music as it then existed. He says, "First and foremost, he was not so very much superior to the members as to be unreasonably impatient at their shortcomings. Second, he was a born teacher, who, by hard work, had fitted himself to give instruction in singing. Third, he was one of themselves, a plain, self-made man, who could understand them and be understood of them."
The personality of Dr. Mason was of great use to the art and appreciation of music in this country. He was of strong mind, dignified manners, sensitive, yet sweet and engaging.
Prof. Horace Mann, one of the great educators of that day, said he would walk fifty miles to see and hear Mr. Mason teach if he could not otherwise have that advantage.
Dr. Mason visited a number of the music schools in Europe, studied their methods, and incorporated the best things in his own work. He founded the Boston Academy of Music. The aim of this institution was to reach the masses and introduce music into the public schools. Dr. Mason resided in Boston from 1826 to 1851, when he removed to New York. Not only Boston benefited directly by this enthusiastic teacher's instruction, but he was constantly traveling to other societies in distant cities and helping their work. He had a notable class at North Reading, Mass., and he went in his later years as far as Rochester, where he trained a chorus of five hundred voices, many of them teachers, and some of them coming long distances to study under him. Before 1810 he had developed his idea of "Teachers' Conventions," and, as in these he had representatives from different states, he made musical missionaries for almost the entire country. He left behind him no less than fifty volumes of musical collections, instruction books, and manuals.
As a composer of solid, enduring church music. Dr. Mason was one of the most successful this country has introduced. He was a deeply pious man, and was a communicant of the Presbyterian Church. Dr. Mason in 1817 married Miss Abigail Gregory, of Leesborough, Mass. The family consisted of four sons, Daniel Gregory, Lowell, William and Henry. The two former founded the publishing house of Mason Bros., dissolved by the death of the former in 1869. Lowell and Henry were the founders of the great organ manufacturer of Mason & Hamlin. Dr. William Mason was one of the most eminent musicians that America has yet produced.
Dr. Lowell Mason died at "Silverspring," a beautiful residence on the side of Orange Mountain, New Jersey, August 11, 1872, bequeathing his great musical library, much of which had been collected abroad, to Yale College.
--Hall, J. H. (c1914). Biography of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company.
Lowell Mason
Thomas Tallis
1505 - 1585 Composer of "TALLIS' CANON" in Hymnal of the Church of God Thomas Tallis (b. Leicestershire [?], England, c. 1505; d. Greenwich, Kent, England 1585) was one of the few Tudor musicians who served during the reigns of Henry VIII: Edward VI, Mary, and Elizabeth I and managed to remain in the good favor of both Catholic and Protestant monarchs. He was court organist and composer from 1543 until his death, composing music for Roman Catholic masses and Anglican liturgies (depending on the monarch). With William Byrd, Tallis also enjoyed a long-term monopoly on music printing. Prior to his court connections Tallis had served at Waltham Abbey and Canterbury Cathedral. He composed mostly church music, including Latin motets, English anthems, settings of the liturgy, magnificats, and two sets of lamentations. His most extensive contrapuntal work was the choral composition, "Spem in alium," a work in forty parts for eight five-voice choirs. He also provided nine modal psalm tunes for Matthew Parker's Psalter (c. 1561).
Bert Polman
Thomas Tallis
