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May Comes Laughing o'er the Plain
Appears in 1 hymnal First Line: La, la, la, la, la, la
May Comes Laughing o'er the Plain
لا لا لا لا تشمتي بي
Author: Maher Fayez ماهر فايز Appears in 2 hymnals First Line: الرب نوري وخلاصي
لا لا لا لا تشمتي بي
لا لا لا شدة
Author: Maher Fayez ماهر فايز Appears in 1 hymnal Refrain First Line: من سيفصلنا عن حبك
لا لا لا شدة
PESCADOR DE HOMBRES
Meter: Irregular with refrain Appears in 54 hymnals Composer and/or Arranger: Cesareo Gabaraín; Skinner Chávez-Melo Tune Key: D Major Incipit: 33234 32112 34444 Used With Text: Lord, You have Come to the Lakeshore
PESCADOR DE HOMBRES
WACHET AUF
Meter: 8.9.8.6.6.4.8.8 Appears in 328 hymnals Composer and/or Arranger: Philip Nicolai (1556-1608); Johann Sebastian Bach (1685-1750) Tune Key: E Flat Major Incipit: 13555 56551 51232 Used With Text: Des Veilleurs, La Voix Sonore
WACHET AUF
ID Y ENSEÑAD
Meter: 10.9.10.8 with refrain Appears in 15 hymnals Composer and/or Arranger: Cesareo Gabaraín; Skinner Chávez-Melo Tune Key: D Major Incipit: 55556 53321 31611 Used With Text: You Are the Seed
ID Y ENSEÑAD
May Comes Laughing o'er the Plain
Hymnal: Young Singer's Friend #s35 (1859) First Line: La, la, la, la, la, la
May Comes Laughing o'er the Plain
لا لا لا شدة
Author: ماهر فايز Hymnal: اصنع بنا نهضتك #889 (2013) Refrain First Line: من سيفصلنا عن حبك Lyrics: 1- لا لا لا شدة
لالا ولا ضيق
لا لا اضطهاد ولا جوع ولا عري
من سيفصلنا عن حبك يا محبوبنا يسوع
القرار-
من سيفصلنا عن حبك
يا محبوبنا يسوع
2- لا لا لا خطر
لا لا ولا سيف
كما هو مكتوب إننا من أجلك نمات
كل النهار قد حسبنا ذبيحة
3- ولكننا
في هذه كلها
يعظم انتصارنا بك يا من أحببتنا
ويعظم افتخارنا بصليبك ربنا
4- لا لا لا موت
لا لا ولا حياة
لأنك بالموت أبدت الموت وعتقتنا
وبحياتك أنت خلاصنا
5- لا ملائكة
لا قوات ولا رؤساء
لأنك صالحت الأرضيّين مع السماء
يا صانع السلام والصلح بدم صليبك
6- لا أمور حاضرة
ولا مستقبلة
لأنك دخلت إلى الأقداس لأجلنا
وأنت هناك حي كل حين تشفع فينا
7- لا لا لا علو
لا لا ولا عمق
لأنك صعدت بنا أيضاً إلى السماء
ومن أقسام الأرض السفلى سبيتنا لك سبياً
8- لا خليقة أخرى
تفصلنا عن حب الله
لأننا نحن الخلقية الجديدة
لأعمال صالحة الله قد أعدها
Languages: Arabic
لا لا لا شدة
لا لا لا لا تشمتي بي
Hymnal: رنموا للرب #948 (2007) First Line: الرب نوري وخلاصي Lyrics: قرار:
لا لا لا لا تشمتي بي
لا لا لا يا عدوتي
1- الرب نوري وخلاصي
الرب لي وهو ميراثي
وإن سقطت لا أنطرح
ولا أبقى في أرض السقطات
2- الرب ماسك بيميني
يرد نفسي ويهديني
ويرفعُ ليَّ جبيني
فلا أبقى في أرض الضعفات
3- الرب يسمع لندائي
الرب يشرف لشفائي
ويعطي نورًا لقيامي
فلا أبقى في أرض الظلمات
Languages: Arabic
لا لا لا لا تشمتي بي
Robert Lowry
1826 - 1899 Composer of "BEAUTIFUL RIVER" in Celebremos Su Gloria Robert Lowry was born in Philadelphia, March 12, 1826. His fondness for music was exhibited in his earliest years. As a child he amused himself with the various musical instruments that came into his hands. At the age of seventeen he joined the First Baptist Church of Philadelphia, and soon became an active worker in the Sunday-school as teacher and chorister.
At the age of twenty-two he gave himself to the work of the ministry, and entered upon a course of study at the University of Lewisburg, Pa. At the age of twenty-eight he was graduated with the highest honors of his class. In the same year of his graduation, he entered upon the work of the ministry. He served as pastor at West Chester, Pa., 1851-1858; in New York City, 1859-1861; in Brooklyn, 1861-1869; in Lewisburg, Pa., 1869-1875. While pastor at Lewisburg, he was also professor of belles lettres in the University, and received the honorary degree of D. D. in 1875.
He then went to Plainfield, N. J., where he became pastor of Park Avenue Church. In each of these fields his work was crowned with marked success.
Dr. Lowry was a man of rare administrative ability, a most excellent preacher, a thorough Bible student, and whether in the pulpit or upon the platform, always a brilliant and interesting speaker. He was of a genial and pleasing disposition, and a high sense of humor was one of his most striking characteristics. Very few men had greater ability in painting pictures from the imagination. He could thrill an audience with his vivid descriptions, inspiring others with the same thoughts that inspired him.
His melodies are sung in every civilized land, and many of his hymns have been translated into foreign tongues. While preaching the Gospel, in which he found great joy, was his life-work, music and hymnology were favorite studies, but were always a side issue, a recreation.
In the year 1880, he took a rest of four years, visiting Europe. In 1885 he felt that he needed more rest, and resigned his pastorate at Plainfield, and visited in the South and West, also spending some time in Mexico. He returned, much improved in health, and again took up his work in Plainfield.
On the death of Wm. B. Bradbury, Messrs. Biglow & Main, successors to Mr. Bradbury in the publishing business, selected Dr. Lowry for editor of their Sunday-school book, Bright Jewels, which was a great success. Subsequently Dr. W. Doane was associated with him in the issue of the Sunday-school song book, Pure Gold, the sales of which exceeded a million copies. Then came Royal Diadem, Welcome Tidings, Brightest and Best, Glad Refrain, Good as Gold, Joyful Lays, Fountain of Song, Bright Array, Temple Anthems, and numerous other volumes. The good quality of their books did much to stimulate the cause of sacred song in this country.
When he saw that the obligations of musical editorship were laid upon him, he began the study of music in earnest, and sought the best musical text-books and works on the highest forms of musical composition. He possessed one of the finest musical libraries in the country. It abounded in works on the philosophy and science of musical sounds. He also had some musical works in his possession that were over one hundred and fifty years old.
One of his labors of love some years ago was an attempt to reduce music to a mathematical basis. On the established fact that Middle C has two hundred and fifty-six vibrations per second, he prepared a scale and went to work on the rule of three. After infinite calculation and repeated experiments, he carried it far enough to discover that it would not work.
A reporter once asked him what was his method of composition — "Do you write the words to fit the music, or the music to fit the words?" His reply was, "I have no method. Sometimes the music comes and the words follow, fitted insensibly to the melody. I watch my moods, and when anything good strikes me, whether words or music, and no matter where I am, at home or on the street, I jot it down. Often the margin of a newspaper or the back of an envelope serves as a notebook. My brain is a sort of spinning machine, I think, for there is music running through it all the time. I do not pick out my music on the keys of an instrument. The tunes of nearly all the hymns I have written have been completed on paper before I tried them on the organ. Frequently the words of the hymn and the music have been written at the same time."
The Doctor frequently said that he regarded "Weeping Will Not Save Me" as the best and most evangelistic hymn he ever wrote. The following are some of his most popular and sweetest gospel melodies: "Shall We Gather at the River?," "One More Day's Work for Jesus," "Where is My Wandering Boy To-night?," "I Need Thee Every Hour," "The Mistakes of My Life," "How Can I Keep from Singing?," "All the Way My Saviour Leads Me," "Saviour, Thy Dying Love," "We're Marching to Zion," etc. "Shall We Gather at the River?" is perhaps, without question, the most widely popular of all his songs. Of this Mr. Lowry said: "It is brass band music, has a march movement, and for that reason has become popular, though for myself I do not think much of it." Yet he tells us how, on several occasions, he had been deeply moved by the singing of that hymn, "Going from Harrisburg to Lewisburg once I got into a car filled with half-drunken lumbermen. Suddenly one of them struck up, "Shall We Gather at the River?" and they sang it over and over again, repeating the chorus in a wild, boisterous way. I did not think so much of the music then as I listened to those singers, but I did think that perhaps the spirit of the hymn, the words so flippantly uttered, might somehow survive and be carried forward into the lives of those careless men, and ultimately lift them upward to the realization of the hope expressed in my hymn." "A different appreciation of it was evinced during the Robert Raikes' Centennial. I was in London, and had gone to meeting in the Old Bailey to see some of the most famous Sunday-school workers in the world. They were present from Europe, Asia, and America. I sat in a rear seat alone. After there had been a number of addresses delivered in various languages, I was preparing to leave, when the chairman of the meeting announced that the author of "Shall We Gather at the River?" was present, and I was requested by name to come forward. Men applauded and women waved their handkerchiefs as I went to the platform. It was a tribute to the hymn; but I felt, when it was over, that, after all, I had perhaps done some little good in the world, and I felt more than ever content to die when God called." On Children's Day in Brooklyn, in 1865, this song was sung by over forty thousand voices.
While Dr. Lowry said, "I would rather preach a gospel sermon to an appreciative, receptive congregation than write a hymn," yet in spite of his preferences, his hymns have gone on and on, translated into many languages, preaching and comforting thousands upon thousands of souls, furnishing them expression for their deepest feelings of praise and gratitude to God for His goodness to the children of men. What he had thought in his inmost soul has become a part of the emotions of the whole Christian world. We are all his debtors.
Rev. Robert Lowry, D. D., died at his residence in Plainfield, K J., November 25, 1899. Dead, yet he lives and his sermons in gospel song are still heard and are doing good. Dr. Lowry was a great and good man, and his life, well spent, is highly worthy of a place among the world's greatest gospel song and hymn writers.
-- Biography of Gospel Song and Hymn Writers
-------
Lowry, Robert, D.D., son of Crozier Lowry, was born at Philadelphia, Pennsylvania, March 12, 1826, and educated at Lewisburg University. Having received ordination as a Baptist Minister, his first charge was at West Chester, Pennsylvania. From thence he passed to New York City, and then to Brooklyn, N. Y. In 1876 he was appointed Professor of Rhetoric in his University. On resigning his Professorship he undertook the charge of the 2nd Baptist Church, New Jersey. Dr. Lowry has been associated with some of the most popular Sunday School hymn-books published in the States, including Happy Voices, 1865; Chapel Melodies, 1868; Bright Jewels, 1869; Pure Gold, 1871; Royal Diadem, 1873; Tidal Wave, 1874; Fountain of Song1877; Welcome Tidings, 1877, &c. Of Dr. Lowry's hymns those which have attained the widest circulation are:—
1. Jerusalem, for ever bright. Heaven. Appeared in the American Tract Society's Happy Voices, 1865, with music by the author.
2. Low in the grave He lay. Resurrection of Christ. Written in 1874 and published in Brightest and Best, 1875.
3. Marching on, marching on. Sunday School Battle Song. Appeared, with music by the author, in Happy Voices, 1865.
4. My home is in heaven, my rest is not here. In Happy Voices, 1865, with music by the author.
5. My life flows on in endless song. Joy in God. In Bright Jewels, 1869; the Royal Diadem, 1873, and others in America and Great Britain, with music by the author.
6. One more day's work for Jesus. Work for Christ. Published, with music by the author, in Bright Jewels, 1869.
7. Shall we gather at the river? Mutual recognition in the Hereafter. The origin of this hymn is thus set forth in E. W. Long's Illustrated History of Hymns and their Authors, Philadelphia, 1876, p. 64:—
”On a very hot summer day, in 1864, a pastor was seated in his parlour in Brooklyn, N. Y. It was a time when an epidemic was sweeping through the city, and draping many persons and dwellings in mourning. All around friends and acquaintances were passing away to the spirit land in large numbers. The question began to arise in the heart, with unusual emphasis, ‘Shall we meet again? We are parting at the river of death, shall we meet at the river of life?' ‘Seating myself at the organ,’ says he, ‘simply to give vent to the pent up emotions of the heart, the words and music of the hymn began to flow out, as if by inspiration:—
‘Shall we gather at the river,
Where bright angel feet have trod?’"
In 1865 the hymn and music were given in Happy Voices, No. 220, in 5 stanzas of 4 lines and a chorus. The hymn has since passed into a great number of hymnals in Great Britain and America.
8. Take the wings of the morning; speed quickly thy flight. Exhortation to Repentance. Written for, and published with music by the author in, the Royal Diadem, 1873.
9. Weeping will not save me. Salvation through Faith. Published in the Chapel Melodies, 1868.
10. What can wash away my stain? Precious Blood of Jesus. Given in the Welcome Tidings, 1877, with music by the author.
11. Where is my wandering boy tonight! The absent Child. In the Fountain of Song, 1877, together with music by the author.
Most of these hymns are given in Mr. I. D. Sankey's Sacred Songs & Solos, Pts. i., ii.
--John Julian, Dictionary of Hymnology (1907)
Robert Lowry
Vicente P. Mendoza
1875 - 1955 Person Name: Vicente Mendoza, 1875-1955 Translator of "¡Cuán firme cimiento se ha dado a la fe" in Culto Cristiano Vicente Mendoza Born: December 24, 1875, Guadalajara, Mexico. Died: 1955, Mexico City, Mexico. Mendoza studied initially under Don Aurelio Ortega. At age of 11 he went to work in a Protestant print shop in Mexico City and helped produce El Evangelista Mexicano (The Mexican Evangelist) for the Methodist Church of the South; he rose to become its director for 17 years. Looking to improve himself, Mendoza entered a night school for workers, but later feeling the call to preach the Gospel, he entered the Presbyterian Seminary in Mexico City. When the seminary closed temporarily, Mendoza entered the Methodist Institute of Puebla, where he finished the course in theology. In 1898 he became a member of the Annual Conference of the Mexican Methodist Church. From 1915 to 1917, he belonged to the Southern Methodist Conference of California. Mendoza worked on several periodicals, including El Mundo Cristiano (The Christian World), El Abogado Cristiano (The Christian Advocate), and El Evangelista Cristiano (The Christian Evangelist).
© The Cyber Hymnal™ (hymntime.com/tch)
Vicente P. Mendoza
S. Baring-Gould
1834 - 1924 Person Name: Sabine Baring-Gould Author of "Firmes Y Adelante" in The Cyber Hymnal Baring-Gould, Sabine, M.A., eldest son of Mr. Edward Baring-Gould, of Lew Trenchard, Devon, b. at Exeter, Jan. 28, 1834, and educated at Clare College, Cambridge, B.A. 1857, M.A. 1860. Taking Holy Orders in 1864, he held the curacy of Horbury, near Wakefield, until 1867, when he was preferred to the incumbency of Dalton, Yorks. In 1871 he became rector of East Mersea, Essex, and in 1881 rector of Lew Trenchard, Devon. His works are numerous, the most important of which are, Lives of the Saints, 15 vols., 1872-77; Curious Myths of the Middle Ages, 2 series, 1866-68; The Origin and Development of Religious Belief, 2 vols., 1869-1870; and various volumes of sermons. His hymns, original and translated, appeared in the Church Times; Hymns Ancient & Modern, 1868 and 1875; The People's Hymnal, 1867, and other collections, the most popular being "Onward, Christian soldiers," "Daily, daily sing the praises," the translation "Through the night of doubt and sorrow," and the exquisite Easter hymn, "On the Resurrection Morning."
His latest effort in hymnology is the publication of original Church Songs, 1884, of which two series have been already issued. In the Sacristy for Nov. 1871, he also contributed nine carols to an article on "The Noels and Carols of French Flanders.” These have been partially transferred to Chope's and Staniforth's Carol Books, and also to his Church Songs.
--John Julian, Dictionary of Hymnology (1907)
==================
Baring-Gould, S., p. 114, i. Other hymns in common use are:—
1. Forward! said the Prophet. Processional. Appeared in the New Mitre Hymnal, 1874.
2. My Lord, in glory reigning. Christ in Glory. In Mrs. Brock's Children's Hymn Book, 1881.
3. Now severed is Jordan. Processional. Appeared in the S. Mary, Aberdeen, Hymnal, 1866, the People's Hymnal, 1867, &c.
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
S. Baring-Gould
