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In Thee Is Gladness
Author: Johann Lindemann; Catherine Winkworth Appears in 27 hymnals First Line: In Thee is gladness Amid all sadness
In Thee Is Gladness
In thee, our Father, are we all at home
Author: A. J. Patterson Appears in 3 hymnals Used With Tune: LEE
In thee, our Father, are we all at home
Praise Waits for Thee in Zion
Meter: 7.6.7.6 D Appears in 12 hymnals Lyrics: 1. Praise waits for Thee in Zion;
all men shall worship there
And pay their vows before Thee,
O God who hearest prayer.
Our sins rise up against us,
prevailing day by day,
But Thou wilt show us mercy
and take their guilt away.
2. How blest the man Thou callest
and bringest near to Thee,
That in Thy courts forever
his dwelling place may be;
He shall within Thy temple
be satisfied with grace,
And filled with all the goodness
of Thy most holy place.
3. O God of our salvation,
since Thou dost love the right,
Thou wilt an answer send us
in wondrous deeds of might.
In all earth’s habitations,
on all the boundless sea,
Man finds no sure reliance,
no peace, apart from Thee. Used With Tune: MISSIONARY HYMN Text Sources: The Psalter (Pittsburgh, Pennsylvania: The United Presbyterian Board of Publication, 1912), number 170
Praise Waits for Thee in Zion
IN DIR IST FREUDE
Appears in 41 hymnals Composer and/or Arranger: Giovanni Giacomo Gastoldi, c. 1556-c. 1622 Tune Sources: Würtembergishes Neues Choralbuch, 1956 (Setting) Tune Key: F Major Incipit: 55431 55431 54321 Used With Text: In Thee Is Gladness
IN DIR IST FREUDE
My God, in Thee all fulness lies
Author: Anon. Hymnal: Chorale Book for England, The #133 (1863) Lyrics:
My God, in Thee all fulness lies,
All want in me, from Thee apart;
In Thee my soul hath endless joys,
In me is but an aching heart;
Poor as the poorest here I pine,
In Thee a heav'nly kingdom's mine.
Thou seest whatsoe'er I need,
Thou seest it, and pitiest me;
Thy swift compassions hither speed,
Ere yet my woes are told to Thee;
Thou hearest, Father, ere we cry,
Shall I not still before Thee lie?
I leave to Thee whate'er is mine,
And in Thy will I calmly rest;
I know that richest gifts are Thine,
Thou canst and Thou wilt make me blest,
For Thou hath promised, and our Lord
Will never break His promised word.
Thou lov'st me, Father, with the love
Wherewith Thou lovedst Christ Thy Son,
And so a brightness from above
Still glads me though my tears may run,
For in Thy love I find and know
What all the world could ne'er bestow.
Then I can let the world go by,
And yet be still and rest in Thee,
I sit, I walk, I stand, I lie,
Thou ever watchest over me,
And when the yoke is pressing sore
I think, my God lives evermore!
Languages: English
My God, in Thee all fulness lies
In thee, all-clement God, my hopes I place
Hymnal: New Version of the Psalms of David #LXXI (1756) Lyrics: 1 In thee, all-clement God, my hopes I place;
O never let thy servant know disgrace;
2 But hear; thy kind indulgent mercy shew,
And bid thy justice free me from the foe:
3 My rock, my fortress, my salvation, thou;
Hope of my youth, and object of my vow,
To thee I fly, as to a sure defence,
To thee, blest guardian of my innocence;
Cause thou the schemes of cruel men to fail;
Nor let their efforts 'gainst my peace prevail.
6 To me thy mercies have been always great;
Those mercies oft I gratefully repeat;
How from my birth thy goodness thou hast shewn,
How from my infant-years thou'st led me on.
7 Now of derision I an object prove;
Yet still my certain refuge is thy love;
8 Therefore, while glads the radiant sun the day,
Thine honour I, thy goodness will display.
9 Of impious foes protect me from the rage,
And not forsake me in my feeble age:
10 Constant their secret mischiefs they prepare,
And greatly hope, they shall my life ensnare:
11 "His God denies him aid; he's ours (they cry)
"Now seize him, take him, and the wretch destroy."
12 But thou, O God, thy kind assistance lend,
Baffle their hopes, and my poor soul defend;
13 With vile dishonour and with shame meet they,
To certain ruin who'd my steps betray;
Infatuate thou their schemes, their hearts confound,
Who make it all their joy my soul to wound,
14 For in thy mercy I will ever hope,
I'll praise the bounteous God that rais'd me up;
15 Thy love unmerited I'll daily sing,
And to thy glorious name attune the string;
16 Extol the pow'r, that gives me strength in war,
And thy strict justice faithfullv declare.
17 My youth thou'st guided in tne perfect road,
Nor have I prov'd ungrateful to my God.
18 Now then, when age with all it's ills oppress,
Now not desert me in my deep distress;
That I to nations yet unborn may sing
The pow'r, the mercy, of my heav'nly king.
19 Thy justice, Lord, ascends yon heav'ns above;
O dread creator, who like thee can prove?
20 True; thou didst plunge me in the depths of grief,
But soon thy mercy gave my soul relief:
21 Pow'r, wealth and honour, soon didst thou supply,
And gav'st me peace and happiness t' enjoy.
22 Therefore my psalt'ry and my harp display
Thy truth, O Israels God, from day to day;
23 Therefore my soul, by thee redeem'd from woe,
In ardent praise her gratitude shall shew;
24 Therefore thy righteous acts shall fill my tongue;
The justice of my God my constant song;
Who on my foes did dire destruction pour,
My foes, who sought his servant to devour.
Scripture: Psalm 71 Languages: English
In thee, all-clement God, my hopes I place
I know in thee all fulness dwells
Author: W. ; H. B. Hymnal: A Collection of Hymns #L100 (1844) Languages: English
I know in thee all fulness dwells
Lowell Mason
1792 - 1872 Composer of "MISSIONARY HYMN" in The Cyber Hymnal 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
Anonymous
Person Name: Anon. Author of "My God, in Thee all fulness lies" in Chorale Book for England, The 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
Catherine Winkworth
1827 - 1878 Translator of "My God, in Thee all fulness lies" Catherine Winkworth (b. Holborn, London, England, 1827; d. Monnetier, Savoy, France, 1878) is well known for her English translations of German hymns; her translations were polished and yet remained close to the original. Educated initially by her mother, she lived with relatives in Dresden, Germany, in 1845, where she acquired her knowledge of German and interest in German hymnody. After residing near Manchester until 1862, she moved to Clifton, near Bristol. A pioneer in promoting women's rights, Winkworth put much of her energy into the encouragement of higher education for women. She translated a large number of German hymn texts from hymnals owned by a friend, Baron Bunsen. Though often altered, these translations continue to be used in many modern hymnals. Her work was published in two series of Lyra Germanica (1855, 1858) and in The Chorale Book for England (1863), which included the appropriate German tune with each text as provided by Sterndale Bennett and Otto Goldschmidt. Winkworth also translated biographies of German Christians who promoted ministries to the poor and sick and compiled a handbook of biographies of German hymn authors, Christian Singers of Germany (1869).
Bert Polman
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Winkworth, Catherine, daughter of Henry Winkworth, of Alderley Edge, Cheshire, was born in London, Sep. 13, 1829. Most of her early life was spent in the neighbourhood of Manchester. Subsequently she removed with the family to Clifton, near Bristol. She died suddenly of heart disease, at Monnetier, in Savoy, in July, 1878. Miss Winkworth published:—
Translations from the German of the Life of Pastor Fliedner, the Founder of the Sisterhood of Protestant Deaconesses at Kaiserworth, 1861; and of the Life of Amelia Sieveking, 1863.
Her sympathy with practical efforts for the benefit of women, and with a pure devotional life, as seen in these translations, received from her the most practical illustration possible in the deep and active interest which she took in educational work in connection with the Clifton Association for the Higher Education of Women, and kindred societies there and elsewhere. Our interest, however, is mainly centred in her hymnological work as embodied in her:—
(1) Lyra Germanica, 1st Ser., 1855. (2) Lyra Germanica, 2nd Ser., 1858. (3) The Chorale Book for England (containing translations from the German, together with music), 1863; and (4) her charming biographical work, the Christian Singers of Germany, 1869.
In a sympathetic article on Miss Winkworth in the Inquirer of July 20, 1878, Dr. Martineau says:—
"The translations contained in these volumes are invariably faithful, and for the most part both terse and delicate; and an admirable art is applied to the management of complex and difficult versification. They have not quite the fire of John Wesley's versions of Moravian hymns, or the wonderful fusion and reproduction of thought which may be found in Coleridge. But if less flowing they are more conscientious than either, and attain a result as poetical as severe exactitude admits, being only a little short of ‘native music'"
Dr. Percival, then Principal of Clifton College, also wrote concerning her (in the Bristol Times and Mirror), in July, 1878:—
"She was a person of remarkable intellectual and social gifts, and very unusual attainments; but what specially distinguished her was her combination of rare ability and great knowledge with a certain tender and sympathetic refinement which constitutes the special charm of the true womanly character."
Dr. Martineau (as above) says her religious life afforded "a happy example of the piety which the Church of England discipline may implant.....The fast hold she retained of her discipleship of Christ was no example of ‘feminine simplicity,' carrying on the childish mind into maturer years, but the clear allegiance of a firm mind, familiar with the pretensions of non-Christian schools, well able to test them, and undiverted by them from her first love."
Miss Winkworth, although not the earliest of modern translators from the German into English, is certainly the foremost in rank and popularity. Her translations are the most widely used of any from that language, and have had more to do with the modern revival of the English use of German hymns than the versions of any other writer.
-- John Julian, Dictionary of Hymnology (1907)
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Hymn Writers of the Church
Catherine Winkworth
