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Puedo oír tu voz llamando
Author: E. W. Blandy; Sra. F. F. D. Appears in 18 hymnals Topics: Discipulado y Servicio Refrain First Line: Seguiré do tú me guies Used With Tune: NORRIS
Puedo oír tu voz llamando
Entre el vaivén de la ciudad
Author: Frank Mason North; Anónimo Meter: 8.8.8.8 Appears in 11 hymnals Topics: Discipulado Lyrics: 1 Entre el vaivén de la ciudad,
más fuerte aún que su rumor;
en lid de raza y sociedad
tu voz oímos Salvador.
2 Doquiera exista explotación,
falte trabajo, no haya pan,
en los umbrales del terror
oh, Cristo, vemoste llorar.
3 Un vaso de agua puede ser
hoy de tu gracia la señal;
mas ya las gentes quieren ver
tu compasiva y santa faz.
4 Desciende, oh Cristo, con poder
a la sufriente humanidad;
si con amor lo hiciste ayer,
camina y vive en mi ciudad.
5 Hasta que triunfe tu amor
y el mundo pueda oír tu voz,
y de los cielos, oh Señor,
descienda la ciudad de Dios. Scripture: Mark 9:41 Used With Tune: GERMANY
Entre el vaivén de la ciudad
A Living Faith (Fe Santa Que Nos Dio Jesús)
Author: Frederick W. Faber, 1814-1863; Joseph R. Alfred, b. 1947; George P. Simmonds, 1890-1991 Meter: 8.8.8.8 with refrain Appears in 839 hymnals Topics: Discipulado First Line: Faith of our fathers, living still (Fe santa que nos dio Jesús) Scripture: Matthew 5:16 Used With Tune: ST. CATHERINE
A Living Faith (Fe Santa Que Nos Dio Jesús)
[Amar: es entregarse]
Appears in 8 hymnals Topics: Discipulado Tune Sources: Cancion popular Tune Key: D Major Incipit: 55432 31665 43231 Used With Text: Amar: Es Entregarse
[Amar: es entregarse]
SINE NOMINE
Meter: 10.10.10 with alleluias Appears in 226 hymnals Composer and/or Arranger: Ralph Vaughan Williams, 1872-1958 Topics: Discipulado Tune Key: F Major Incipit: 53215 61253 32177 Used With Text: For All the Saints (Hoy por los Santos)
SINE NOMINE
Tú has venido a la orilla (Pescador de hombres) (Lord, You Have Come to the Lakeshore)
Author: Cesáreo Gabaráin; Gertrude C. Suppe; George Lockwood; Raquel Gutiérrez-Achón Hymnal: Mil Voces para Celebrar #195 (1996) Topics: Discipulado y Servicio; Discipulado y Servicio First Line: Tú has venido a la orilla (Lord, you have come to the lakeshore) Refrain First Line: Señor, me has mirado a los ojos (O Lord, with your eyes you have searched me) Languages: English; Spanish Tune Title: PESCADOR DE HOMBRES
Tú has venido a la orilla (Pescador de hombres) (Lord, You Have Come to the Lakeshore)
Tú has venido a la orilla (Pescador de hombres) (Lord, You Have Come to the Lakeshore)
Author: Cesáreo Gabaráin; Gertrude C. Suppe; George Lockwood; Raquel Gutiérrez-Achón Hymnal: Cáliz de Bendiciones #195 (1996) Topics: Discipulado y Servicio; Discipulado y Servicio First Line: Tú has venido a la orilla (Lord, you have come to the lakeshore) Refrain First Line: Señor, me has mirado a los ojos (O Lord, with your eyes you have searched me) Languages: English; Spanish Tune Title: PESCADOR DE HOMBRES
Tú has venido a la orilla (Pescador de hombres) (Lord, You Have Come to the Lakeshore)
Hazme un instrumento de tu paz (Oración de San Francisco)
Author: San Francisco de Asís, siglo XIII; Sebastian Temple; Sebastian Temple Hymnal: Mil Voces para Celebrar #230 (1996) Meter: Irregular Topics: Discipulado y Servicio; Discipulado y Servicio First Line: Hazme un instrumento de tu paz Languages: Spanish Tune Title: SAN FRANCISCO
Hazme un instrumento de tu paz (Oración de San Francisco)
Ralph Vaughan Williams
1872 - 1958 Person Name: Ralph Vaughan Williams, 1872-1958 Topics: Discipulado Composer of "SINE NOMINE" in Oramos Cantando = We Pray In Song Through his composing, conducting, collecting, editing, and teaching, Ralph Vaughan Williams (b. Down Ampney, Gloucestershire, England, October 12, 1872; d. Westminster, London, England, August 26, 1958) became the chief figure in the realm of English music and church music in the first half of the twentieth century. His education included instruction at the Royal College of Music in London and Trinity College, Cambridge, as well as additional studies in Berlin and Paris. During World War I he served in the army medical corps in France. Vaughan Williams taught music at the Royal College of Music (1920-1940), conducted the Bach Choir in London (1920-1927), and directed the Leith Hill Music Festival in Dorking (1905-1953). A major influence in his life was the English folk song. A knowledgeable collector of folk songs, he was also a member of the Folksong Society and a supporter of the English Folk Dance Society. Vaughan Williams wrote various articles and books, including National Music (1935), and composed numerous arrangements of folk songs; many of his compositions show the impact of folk rhythms and melodic modes. His original compositions cover nearly all musical genres, from orchestral symphonies and concertos to choral works, from songs to operas, and from chamber music to music for films. Vaughan Williams's church music includes anthems; choral-orchestral works, such as Magnificat (1932), Dona Nobis Pacem (1936), and Hodie (1953); and hymn tune settings for organ. But most important to the history of hymnody, he was music editor of the most influential British hymnal at the beginning of the twentieth century, The English Hymnal (1906), and coeditor (with Martin Shaw) of Songs of Praise (1925, 1931) and the Oxford Book of Carols (1928).
Bert Polman
Ralph Vaughan Williams
Lowell Mason
1792 - 1872 Person Name: Lowell Mason, 1792-1872 Topics: Discipulado Composer of "BOYLSTON" in Santo, Santo, Santo 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
Carl P. Daw Jr.
b. 1944 Person Name: Carl P. Daw, Jr., b. 1944 Topics: Discipulado Author of "As We Gather at Your Table (Al reunirnos a tu mesa)" in Santo, Santo, Santo Carl P. Daw, Jr. (b. Louisville, KY, 1944) is the son of a Baptist minister. He holds a PhD degree in English (University of Virginia) and taught English from 1970-1979 at the College of William and Mary, Williamsburg, Virginia. As an Episcopal priest (MDiv, 1981, University of the South, Sewanee, Tennesee) he served several congregations in Virginia, Connecticut and Pennsylvania. From 1996-2009 he served as the Executive Director of The Hymn Society in the United States and Canada. Carl Daw began to write hymns as a consultant member of the Text committee for The Hymnal 1982, and his many texts often appeared first in several small collections, including A Year of Grace: Hymns for the Church Year (1990); To Sing God’s Praise (1992), New Psalms and Hymns and Spiritual Songs (1996), Gathered for Worship (2006). Other publications include A Hymntune Psalter (2 volumes, 1988-1989) and Breaking the Word: Essays on the Liturgical Dimensions of Preaching (1994, for which he served as editor and contributed two essays. In 2002 a collection of 25 of his hymns in Japanese was published by the United Church of Christ in Japan. He wrote Glory to God: A Companion (2016) for the 2013 hymnal of the Presbyterian Church (U.S.A.).
Emily Brink
Carl P. Daw Jr.
