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Abide with me! fast falls the eventide

Author: Henry Francis Lyte Appears in 1,736 hymnals Topics: Twenty Seventh Sunday after Trinity Lyrics: 1 Abide with me! fast falls the eventide; The darkness deepens; Lord, with me abide! When other helpers fail, and comforts flee, Help of the helpless, O abide with me! 2 Swift to its close ebbs out life's little day; Earth's joys grow dim, its glories pass away; Change and decay in all around I see; O Thou who changest not, abide with me! 3 Not a brief glance I beg, a passing word, But as Thou dwell'st with Thy disciples, Lord, Familiar, condescending, patient, free, Come, not to sojourn, but abide with me. 4 Come not in terrors as the King of kings, But kind and good, with healing on Thy wings; Tears for all woes, a heart for every plea; O Friend of sinners, thus abide with me! 5 Thou on my head in early youth didst smile, And, though rebellious and perverse meanwhile, Thou hast not left me, oft as I left Thee: On to the close, O Lord, abide with me! 6 I need Thy presence every passing hour: What but Thy grace can foil the tempter's power? Who like Thyself my guide and stay can be? Through cloud and sunshine, O abide with me! 7 I fear no foe, with Thee at hand to bless: Ills have no weight, and tears no bitterness. Where is death's sting? where, grave, thy victory? I triumph still, if Thou abide with me! 8 Hold Thou Thy Cross before my closing eyes, Shine through the gloom, and point me to the skies: Heaven's morning breaks, and earth's vain shadows flee; In life, in death, O Lord, abide with me! Used With Tune: DALKEITH
Abide with me! fast falls the eventide
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O mer end sterke Høvedsmand

Author: Kingo Appears in 4 hymnals Topics: Seventh Sunday after Trinity Sunday Lyrics: 1 O mer end sterke Høvedsmand, Du Troens store Kjæmpe, Som priselig ved Troen kan Al Modgangs Pile dæmpe! La'r i dit Hus et Kors sig se, Du kan ved troen bøde, Jesus møde, Og for din Tjenere Al Værk og Ve forsøde. 2 Du tykkes dig, dit Hus og Tag Uværdig til slig Hæder, At Jesus gjør sig din Umag, Og ind derunder træder. Du veed, at al Naturen staar Til Rede for hans Tale, Han befale! Da sker for vore Saar Og Synder sød Husvale! 3 Værkbrudne Svend, du ligger paa Din Sotteseng og Leie, Din Herre dig ei vil forsmaa, Som Verdens Børn de pleie, I Bøn og Tro han bær dig hen, Og ros hos Jesus finder, Og du vinder Din Førlighed igjen, Saa al din Værk forsvinder. 4 O Jesus, hvor mangfoldig er Den sygdom Sorg og Plage, som brat os ængster her og der I vore Levnets-Dage! Men du er al vor Hjælp og Trøst, Naar vi er fuld af Smerte, Og vort Hjerte I Taarer er udøst For Korsets haarde Snerte. 5 Hvor mangen Fattig og Forladt Og paa sit Leie ligger, Udtæret, mager, bleg og mat, Og Folke-Hjælp sig tigger; Men du, o søde Jesus, dig Hos dem da lader finde, Og oprinde Din Hjælp betimelig, Som de ved Troen vinde. 6 O søde Jesus, naar du vil Min Sygdoms Magt forøge, Giv da din Aand og Naade til, Jeg ene dig kan søge! Lad Sjælen være Høvedsmand, Der fuld af Tro kan være, Og mig bære Til dig, som vil og kan Min Pines Baand afskjære.
O mer end sterke Høvedsmand
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Forsøger eder selv

Author: Joakim Breithaupt; Brorson Appears in 6 hymnals Topics: Seventh Sunday after Trinity Sunday; Seventh Sunday after Trinity Sunday Lyrics: 1 Forsøger eder selv, Om I i Troen ere, Om I ved Troens Kraft I Hjertet Jesus bære, Og om I følge ham I Kors taalmodig ind Med kjærlig Ydmyghed Og Troens rene Sind! 2 Vor Tro den er et Lys I Hjertet dybt forborgen, Som bryder deilig frem, Ret som den klare Morgen, Gjør Sjælen frydefuld, Opklaret, deilig rig, Ny, ret forandert og I Sindet Jesus lig. 3 Den øser altid af Sin Jesus rige Gaver, Og deler gjerne med Sin Næste, hvad den haver; I Jesus kan den faa Mer, end den har behov, Og Naaden lyser frem Til Herrens Pris og Lov. 4 Den tviler ei at faa, Hvad Gud i Ordet lover, Og derfor frisk sig ind I Kors og Modgang vover, Thi Troen føder Haab; Af det, den har og ser, Er den forsikret om, At finde altid mer. 5 Af Haab er Kjærlighed, Thi naar man sig paaminder, Hvor sød en Gud vi har, Og evig har og finder, Saa bryder dette ud I Hjertens Kjærlighed Endog mod den, som er Os bitter gram og vred. 6 Hvad Gud os gjør, vi da Vil gjøre mod vor Næste, Naar nogen gjør os ondt, Vi søge deres Bedste, Og bøde Andres Trods, Forfølgelse og Spot Med Forbøn, gode Ord, Og gjør dem altid Godt. 7 Naar Gud ved meget Kors Os ret paa Prøve sætter, Gjør Tro Taalmodighed, Som alt det tunge letter, Den dæmper Kjødets Knur Og tager bønnen fat, Og veed, at al vor Nød Gud Vei og Maal har sat. 8 Ransag, om Kristus sig Udi din Sjæl forklarer; Thi det er Kristi Liv, Som Troen aabenbarer, Den gjør retfærdig først, Saa hellig, giver Lyst Og Kraft til Gjerning god, Er dette i dit Bryst? 9 O Jesus, styrk du mig I Troen alle Dage! Saa skal et helligt Liv Og Levnet og tiltage; Hvor Lyset er, der maa Og Glansen ytre sig; O lær mig, at jeg ret Og al Tid følger dig!
Forsøger eder selv

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WACHET AUF, RUFT UNS DIE STIMME

Appears in 359 hymnals Topics: Twenty Seventh Sunday after Trinity Tune Key: D Major Incipit: 13555 56551 51232 Used With Text: Wake, awake, for night is flying
WACHET AUF, RUFT UNS DIE STIMME
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NAOMI

Appears in 492 hymnals Composer and/or Arranger: Johann Georg Nägeli; Lowell Mason, Mus. Doc. Topics: Seventh Sunday after Trinity Tune Key: D Major Incipit: 33354 32343 36654 Used With Text: Father of all our mercies, Thou
NAOMI
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GERMANY

Meter: 8.8.8.8 Appears in 766 hymnals Topics: Seventh Sunday after Trinity Tune Key: B Flat Major Incipit: 51712 56711 17627 Used With Text: Jesus, Thou Joy of loving hearts!
GERMANY

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I Kristne, I, som træde

Author: Kingo Hymnal: Salmebog for Lutherske Kristne i Amerika #234 (1919) Topics: Seventh Sunday after Trinity Sunday; Seventh Sunday after Trinity Sunday Lyrics: 1 I Kristne, I som træde Hver Dag med Hjertens Glæde Til Jesus Kjærlighed, Ifører dog de Dyder, Som sande Kristne pryder, Og Gud kan tækkes ved. 2 I drage dog til Minde, At ingen er at finde, I Verden uden Brøst, Dog vilde Gud os kalde Som Hellige, Udvalgte Til al sin Glædes Høst. 3 Barmhjertighed I øve Og gjøre Venskabs Prøve I Ydmyghed og Tro, Med stille Taal I søge Al Kjærlighed at øge Til Sjælens Fred og Ro. 4 Kan En med Rette klage, Saa skal han dog fordrage Og se til Jesus hen; For eders Skyld han døde, Forlod al eders Brøde, Saa gjører I igjen! 5 Med Kjærligheden klæder Ord, Gjerninger og Sæder, Saa skal Guds gode Aand Fast eder sammenbinde Med Kjærlighedens Tvinde, Fuldkommenhedens Baand. 6 Guds Fred og Fryd regjere Og daglig sig formere I eders Hjertested, At som I kaldte ere, Eet Legeme at være, I prise Gud dermed! 7 Guds Ord sin Bolig have Hos eder og begave Med Visdom og Forstand, At I med Aand og Tunge Ham Takkesalmer sjunge, Som Himlen røre kan! 8 Alt det, som I vil gjøre Og agter at udføre Til eders Sjælegavn, Det skal I tage fore Med Hjertens Bøn saa saare I Jesu Kristi Navn. Languages: Norwegian
I Kristne, I, som træde
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Forsøger eder selv

Author: Joakim Breithaupt; Brorson Hymnal: Salmebog for Lutherske Kristne i Amerika #494 (1919) Topics: Seventh Sunday after Trinity Sunday; Seventh Sunday after Trinity Sunday Lyrics: 1 Forsøger eder selv, Om I i Troen ere, Om I ved Troens Kraft I Hjertet Jesus bære, Og om I følge ham I Kors taalmodig ind Med kjærlig Ydmyghed Og Troens rene Sind! 2 Vor Tro den er et Lys I Hjertet dybt forborgen, Som bryder deilig frem, Ret som den klare Morgen, Gjør Sjælen frydefuld, Opklaret, deilig rig, Ny, ret forandert og I Sindet Jesus lig. 3 Den øser altid af Sin Jesus rige Gaver, Og deler gjerne med Sin Næste, hvad den haver; I Jesus kan den faa Mer, end den har behov, Og Naaden lyser frem Til Herrens Pris og Lov. 4 Den tviler ei at faa, Hvad Gud i Ordet lover, Og derfor frisk sig ind I Kors og Modgang vover, Thi Troen føder Haab; Af det, den har og ser, Er den forsikret om, At finde altid mer. 5 Af Haab er Kjærlighed, Thi naar man sig paaminder, Hvor sød en Gud vi har, Og evig har og finder, Saa bryder dette ud I Hjertens Kjærlighed Endog mod den, som er Os bitter gram og vred. 6 Hvad Gud os gjør, vi da Vil gjøre mod vor Næste, Naar nogen gjør os ondt, Vi søge deres Bedste, Og bøde Andres Trods, Forfølgelse og Spot Med Forbøn, gode Ord, Og gjør dem altid Godt. 7 Naar Gud ved meget Kors Os ret paa Prøve sætter, Gjør Tro Taalmodighed, Som alt det tunge letter, Den dæmper Kjødets Knur Og tager bønnen fat, Og veed, at al vor Nød Gud Vei og Maal har sat. 8 Ransag, om Kristus sig Udi din Sjæl forklarer; Thi det er Kristi Liv, Som Troen aabenbarer, Den gjør retfærdig først, Saa hellig, giver Lyst Og Kraft til Gjerning god, Er dette i dit Bryst? 9 O Jesus, styrk du mig I Troen alle Dage! Saa skal et helligt Liv Og Levnet og tiltage; Hvor Lyset er, der maa Og Glansen ytre sig; O lær mig, at jeg ret Og al Tid følger dig! Languages: Norwegian
Forsøger eder selv
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Vor Tro er den Forvisning paa

Author: Johan Schrader; Brorson Hymnal: Salmebog for Lutherske Kristne i Amerika #165 (1919) Topics: Seventh Sunday after Trinity Sunday Lyrics: 1 Vor Tro er den Forvisning paa, At vi Guds Naade have, Som ingen af sig selv kan saa, Men som er Aandens Gave; Den faste Grund, i Hjertet lagt Ved Ordet om den Naadepagt, Som er i Kristus stiftet. 2 Den er et fast og stærkt Bevis, Som Gud i Hjertet skriver, At han os, sig til evig Pris, I Kristus Naade giver, Saa vi ei mer i Tvilen staa, Men gribe med stor Sjæls Attraa Til Jesu Død og Vunder. 3 Et eget Væsen er vor Tro, Et meget mægtigt Gode, Som kjendes udi Sjælens Ro Og gjør os vel til Mode, Hvad ingen ser, det ser den grant, Og veed, at det er evig sandt, Hvad Gud i Ordet lover. 4 Usynlige og høie Ting Kan Troen se og høre Og midt i Sukke Frydespring Mod Naadens Solskin gjøre: Gud er min Gud! og ved hans Aand Jeg har alt Himlen i min Haand, Thi Jesus i mig lever! 5 Hvad vil nu Satans hele Hær Med mine Synder gjøre? Lad ham den alle, hver især, Mig haardt til Hjertet føre; Jeg veed vel, at min Synd er stor, Men Jesus siger i sit Ord: De ere dig forladte. 6 Det Ord, det Ord mig giver Ro Og er mit faste Anker, Naar Satan stormer mod min Tro Med mange Tvilens Tanker. Hvad agter jeg hans Trusel mer! Min Tro Guds milde Hjerte ser, Igjennem Jesu Vunder. 7 Er Troen ofte svag, især Naar jeg af Korset trænges, Saa maa dog Troen være der, Saafremt kun Sjælen længes At finde Hjælp, og merke kan Af Haabet kun det mindste Grand, Saa er der Tro i Hjertet. 8 Imidlertid formerer sig Vor Tro, des mer vi kjæmper, Især naar Gud tidt underlig Vor Fiende slaar og dæmper, Saa vi i Troen haabe kan, Om end i Korsets mørke Stand Vi ingen Hjælp kan skue. 9 Jeg veed, paa hvem min Tro er sat, Ham faar man mig at unde; Den, som har Gud til Hjerte-Skat, Skal aldrig gaa til Grunde. Vel den, som bygger fast paa Gud, Lad det end tumles ind og ud, Han staar, naar al Ting falder. 10 Saa vil jeg da i denne Tro Mit ganske Levnet føre, I Jesu Værdskylds søde Ro Mit Hjerte trøstigt gjøre; Hans Aand er mig et Pant derpaa, At endelig min Tro skal faa En sød og salig Ende. Languages: Norwegian
Vor Tro er den Forvisning paa

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James Montgomery

1771 - 1854 Topics: Seventh Sunday after Trinity Author of "Father of all our mercies, Thou" in Evangelical Lutheran hymnal James Montgomery (b. Irvine, Ayrshire, Scotland, 1771; d. Sheffield, Yorkshire, England, 1854), the son of Moravian parents who died on a West Indies mission field while he was in boarding school, Montgomery inherited a strong religious bent, a passion for missions, and an independent mind. He was editor of the Sheffield Iris (1796-1827), a newspaper that sometimes espoused radical causes. Montgomery was imprisoned briefly when he printed a song that celebrated the fall of the Bastille and again when he described a riot in Sheffield that reflected unfavorably on a military commander. He also protested against slavery, the lot of boy chimney sweeps, and lotteries. Associated with Christians of various persuasions, Montgomery supported missions and the British Bible Society. He published eleven volumes of poetry, mainly his own, and at least four hundred hymns. Some critics judge his hymn texts to be equal in quality to those of Isaac Watts and Charles Wesley . Many were published in Thomas Cotterill's Selection of Psalms and Hymns (1819 edition) and in Montgomery's own Songs of Zion (1822), Christian Psalmist (1825), and Original Hymns (1853). Bert Polman ======================== Montgomery, James, son of John Montgomery, a Moravian minister, was born at Irvine, Ayrshire, Nov. 4, 1771. In 1776 he removed with his parents to the Moravian Settlement at Gracehill, near Ballymena, county of Antrim. Two years after he was sent to the Fulneck Seminary, Yorkshire. He left Fulneck in 1787, and entered a retail shop at Mirfield, near Wakefield. Soon tiring of that he entered upon a similar situation at Wath, near Rotherham, only to find it quite as unsuitable to his taste as the former. A journey to London, with the hope of finding a publisher for his youthful poems ended in failure; and in 1792 he was glad to leave Wath for Shefield to join Mr. Gales, an auctioneer, bookseller, and printer of the Sheffield Register newspaper, as his assistant. In 1794 Mr. Gales left England to avoid a political prosecution. Montgomery took the Sheffield Register in hand, changed its name to The Sheffield Iris, and continued to edit it for thirty-one years. During the next two years he was imprisoned twice, first for reprinting therein a song in commemoration of "The Fall of the Bastille," and the second for giving an account of a riot in Sheffield. The editing of his paper, the composition and publication of his poems and hynms, the delivery of lectures on poetry in Sheffield and at the Royal Institution, London, and the earnest advocacy of Foreign Missions and the Bible Society in many parts of the country, gave great variety but very little of stirring incident to his life. In 1833 he received a Royal pension of £200 a year. He died in his sleep, at the Mount, Sheffield, April 30, 1854, and was honoured with a public funeral. A statue was erected to his memory in the Sheffield General Cemetery, and a stained glass window in the Parish Church. A Wesleyan chapel and a public hall are also named in his honour. Montgomery's principal poetical works, including those which he edited, were:— (1) Prison Amusements, 1797; (2) The Wanderer of Switzerland, 1806; (3) The West Indies, 1807; (4) The World before the Flood, 1813; (5) Greenland and Other Poems, 1819; (6) Songs of Zion, 1822; (7) The Christian Psalmist, 1825; (8) The Christian Poet, 1825; (9) The Pelican Island, 1828; (10) The Poet’s Portfolio, 1835; (11) Original Hymns for Public, Private, and Social Devotion, 1853. He also published minor pieces at various times, and four editions of his Poetical Works, the first in 1828, the second in 1836, the third in 1841, and the fourth in 1854. Most of these works contained original hymns. He also contributed largely to Collyer's Collection, 1812, and other hymnbooks published during the next 40 years, amongst which the most noticeable was Cotterill's Selections of 1819, in which more than 50 of his compositions appeared. In his Christian Psalmist, 1825, there are 100 of his hymns, and in his Original Hymns, 1853, 355 and 5 doxologies. His Songs of Zion, 1822, number 56. Deducting those which are repeated in the Original Hymns, there remain about 400 original compositions. Of Montgomery's 400 hymns (including his versions of the Psalms) more than 100 are still in common use. With the aid of Montgomery's MSS. we have given a detailed account of a large number. The rest are as follows:— i. Appeared in Collyer's Collection, 1812. 1. Jesus, our best beloved Friend. Personal Dedication to Christ. 2. When on Sinai's top I see. Sinai, Tabor, and Calvary. ii. Appeared in Cotterill's Selection, 1819. 3. Come to Calvary's holy mountain. The Open Fountain. 4. God in the high and holy place. God in Nature. The cento in Com. Praise, 1879, and others, "If God hath made this world so fair," is from this hymn. 5. Hear me, O Lord, in my distress. Ps. cxliii. 6. Heaven is a place of rest from sin. Preparation for Heaven. 7. I cried unto the Lord most just. Ps. cxlii. 8. Lord, let my prayer like incense rise. Ps. cxxxix. 9. O bless the Lord, my soul! His grace to thee proclaim. Ps. ciii. 10. Out of the depths of woe. Ps. cxxx. Sometimes "When from the depths of woe." 11. The world in condemnation lay. Redemption. 12. Where are the dead? In heaven or hell? The Living and the Dead. iii. Appeared in his Songs of Zion, 1822. 13. Give glory to God in the highest. Ps. xxix. 14. Glad was my heart to hear. Ps. cxxii. 15. God be merciful to me. Ps. lxix. 16. God is my strong salvation. Ps. xxvii. 17. Hasten, Lord, to my release. Ps. lxx. 18. Have mercy on me, O my God. Ps. li. 19. Hearken, Lord, to my complaints. Ps. xlii. 20. Heralds of creation cry. Ps. cxlviii. 21. How beautiful the sight. Ps. cxxxiii. 22. How precious are Thy thoughts of peace. Ps. cxxxix. 23. I love the Lord, He lent an ear. Ps. cxvi. 24. In time of tribulation. Ps. lxxvii. 25. Jehovah is great, and great be His praise. Ps. xlviii. Sometimes, "0 great is Jehovah, and great is His Name." 26. Judge me, O Lord, in righteousness. Ps. xliii. 27. Lift up your heads, ye gates, and wide. Ps.xxiv. 28. Lord, let me know mine [my] end. Ps. xxxi. 29. Of old, 0 God, Thine own right hand. Ps. lxxx. 30. O God, Thou art [my] the God alone. Ps. lxiii. 31. 0 Lord, our King, how excellent. Ps. viii. Sometimes, "0 Lord, how excellent is Thy name." 32. O my soul, with all thy powers. Ps. ciii. 33. One thing with all my soul's desire. Ps. xxvii. From this, "Grant me within Thy courts a place." 34. Searcher of hearts, to Thee are known. Ps. cxxxix. 35. Thank and praise Jehovah's name. Ps. cvii. 36. Thee will I praise, O Lord in light. Ps. cxxxviii. 37. The Lord is King; upon His throne. Ps. xciii. 38. The Lord is my Shepherd, no want shall I know. Ps. xxiii. 39. The tempter to my soul hath said. Ps. iii. 40. Thrice happy he who shuns the way. Ps. i. 41. Thy glory, Lord, the heavens declare. Ps. xix. 42. Thy law is perfect, Lord of light. Ps. xix. 43. Who make the Lord of hosts their tower. Ps. cxxv. 44. Yea, I will extol Thee. Ps. xxx. iv. Appeared in his Christian Psalmist. 1825. 45. Fall down, ye nations, and adore. Universal adoration of God desired. 46. Food, raiment, dwelling, health, and friends. The Family Altar. 47. Go where a foot hath never trod. Moses in the desert. Previously in the Leeds Congregational Collection, 1822. 48. Green pastures and clear streams. The Good Shepherd and His Flock. 49. Less than the least of all. Mercies acknowledged. 50. Not to the mount that burned with fire [flame]. Communion of Saints. 51. On the first Christian Sabbath eve. Easter Sunday Evening. 52. One prayer I have: all prayers in one. Resignation. 53. Our heavenly Father hear. The Lord's Prayer. 54. Return, my soul, unto thy rest. Rest in God. 55. Spirit of power and might, behold. The Spirit's renewing desired. 56. The Christian warrior, see him stand. The Christian Soldier. Sometimes, "Behold the Christian warrior stand." 57. The days and years of time are fled. Day of Judgment. 58. The glorious universe around. Unity. 59. The pure and peaceful mind. A Children's Prayer. 60. This is the day the Lord hath made (q. v.). Sunday. 61. Thy word, Almighty Lord. Close of Service. 62. What secret hand at morning light ? Morning. 63. While through this changing world we roam. Heaven. 64. Within these walls be peace. For Sunday Schools. v. Appeared in his Original Hymns, 1853. 65. Behold yon bright array. Opening a Place of Worship. 66. Behold the book whose leaves display. Holy Scriptures. 67. Come ye that fear the Lord. Confirmation. 68. Home, kindred, friends, and country, these. Farewell to a Missionary. 69. Let me go, the day is breaking. Jacob wrestling. 70. Not in Jerusalem alone. Consecration of a Church. 71. Praise the high and holy One. God the Creator. In common with most poets and hymnwriters, Montgomery strongly objected to any correction or rearrangement of his compositions. At the same time he did not hesitate to alter, rearrange, and amend the productions of others. The altered texts which appeared in Cotterill's Selections, 1819, and which in numerous instances are still retained in some of the best hymnbooks, as the "Rock of Ages," in its well-known form of three stanzas, and others of equal importance, were made principally by him for Cotterill's use. We have this confession under his own hand. As a poet, Montgomery stands well to the front; and as a writer of hymns he ranks in popularity with Wesley, Watts, Doddridge, Newton, and Cowper. His best hymns were written in his earlier years. In his old age he wrote much that was unworthy of his reputation. His finest lyrics are "Angels from the realms of glory," "Go to dark Gethsemane," "Hail to the Lord's Anointed," and "Songs of praise the angels sang." His "Prayer is the soul's sincere desire," is an expanded definition of prayer of great beauty; and his "Forever with the Lord" is full of lyric fire and deep feeling. The secrets of his power as a writer of hymns were manifold. His poetic genius was of a high order, higher than most who stand with him in the front rank of Christian poets. His ear for rhythm was exceedingly accurate and refined. His knowledge of Holy Scripture was most extensive. His religious views were broad and charitable. His devotional spirit was of the holiest type. With the faith of a strong man he united the beauty and simplicity of a child. Richly poetic without exuberance, dogmatic without uncharitableness, tender without sentimentality, elaborate without diffusiveness, richly musical without apparent effort, he has bequeathed to the Church of Christ wealth which could onlv have come from a true genius and a sanctified! heart. --John Julian, Dictionary of Hymnology (1907)
James Montgomery

Catherine Winkworth

1827 - 1878 Person Name: Miss Winkworth Topics: Twenty Seventh Sunday after Trinity Translator of "Wake, awake, for night is flying" in Church Book 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 ======================== 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) ============================ See also in: Hymn Writers of the Church
Catherine Winkworth

Lowell Mason

1792 - 1872 Person Name: Lowell Mason, Mus. Doc. Topics: Seventh Sunday after Trinity Arranger of "NAOMI" in Evangelical Lutheran 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

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