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Lead On, O King Eternal
Author: Ernest W. Shurtleff Meter: 7.6.7.6.7.6.7.6 Appears in 397 hymnals Scripture: 2 Timothy 4:7-8 Lyrics: 1 Lead on, O King eternal,
the day of march has come;
henceforth in fields of conquest
your tents will be our home.
Through days of preparation
your grace has made us strong;
and now, O King eternal,
we lift our battle song.
2 Lead on, O King eternal,
till sin's fierce war shall cease,
and holiness shall whisper
the sweet amen of peace.
For not with swords' loud clashing
or roll of stirring drums–
with deeds of love and mercy
the heavenly kingdom comes.
3 Lead on, O King eternal;
we follow, not with fears,
for gladness breaks like morning
where'er your face appears.
Your cross is lifted o'er us,
we journey in its light;
the crown awaits the conquest;
lead on, O God of might.
Topics: King, God/Christ as; Love Our Love for Others; Society/Social Concerns; Warfare, Spiritual; Walk with God; King, God/Christ as; Kingdom; Love Our Love for Others; Pilgrimage & Conflct; Society/Social Concerns; Victory; Walk with God; Warfare, Spiritual Used With Tune: LANCASHIRE
Lead On, O King Eternal
Lord of All Good
Author: Albert F. Bayly, 1901-1984 Meter: 10.10.10.10.10 Appears in 18 hymnals Scripture: 2 Timothy 4:2 First Line: Lord of all good, our gifts we bring to you Refrain First Line: Lord of all good, our gifts we bring to you Topics: Servants of God; Stewardship of Possessions; Trinity; Elements of Worship Offering Used With Tune: GENEVAN 124 (OLD 124TH)
Lord of All Good
Lord, Speak to Me
Author: Frances Ridley Havergal Meter: 8.8.8.8 Appears in 454 hymnals Scripture: 2 Timothy 4:2 First Line: Lord, speak to me, that I may speak Lyrics: 1 Lord, speak to me, that I may speak
in living echoes of thy tone;
as thou hast sought, so let me seek
thy erring children, lost and lone.
2 O lead me, Lord, that I may lead
the wand'ring and the wav'ring feet.
O feed me, Lord, that I may feed
thy hung'ring ones with manna sweet.
3 O strengthen me that while I stand
firm on the Rock, and strong in thee,
I may stretch out a healing hand,
filled with thine own great charity.
4 O fill me with your fullness, Lord,
until my heart shall o'erflow
in kindling thought and glowing word,
thy love to tell, thy praise to show.
5 So send me, Lord, and let me be
an incarnation of thy care,
until thy blessed face I see,
thy rest, thy joy, thy glory share.
Topics: Call and Response Used With Tune: WINDHAM
Lord, Speak to Me
LANCASHIRE
Meter: 7.6.7.6 D Appears in 617 hymnals Composer and/or Arranger: Henry Thomas Smart Scripture: 2 Timothy 4:7-8 Tune Key: C Major Incipit: 55346 53114 56255 Used With Text: Lead On, O King Eternal!
LANCASHIRE
LAND OF BEULAH
Appears in 63 hymnals Composer and/or Arranger: William B. Bradbury Scripture: 2 Timothy 4:6 Tune Key: C Major Incipit: 55555 61165 13215 Used With Text: My Latest Sun is Sinking Fast
LAND OF BEULAH
Lord, Speak to Me
Author: Frances Ridley Havergal Hymnal: Rejoice in the Lord #436 (1985) Meter: 8.8.8.8 Scripture: 2 Timothy 4:2 First Line: Lord, speak to me, that I may speak Lyrics: 1 Lord, speak to me, that I may speak
in living echoes of thy tone;
as thou hast sought, so let me seek
thy erring children, lost and lone.
2 O lead me, Lord, that I may lead
the wand'ring and the wav'ring feet.
O feed me, Lord, that I may feed
thy hung'ring ones with manna sweet.
3 O strengthen me that while I stand
firm on the Rock, and strong in thee,
I may stretch out a healing hand,
filled with thine own great charity.
4 O fill me with your fullness, Lord,
until my heart shall o'erflow
in kindling thought and glowing word,
thy love to tell, thy praise to show.
5 So send me, Lord, and let me be
an incarnation of thy care,
until thy blessed face I see,
thy rest, thy joy, thy glory share.
Topics: Call and Response Languages: English Tune Title: WINDHAM
Lord, Speak to Me
Lord, speak to me, that I may speak
Author: F. R. Havergal Hymnal: The Presbyterian Book of Praise #459 (1897) Meter: 8.8.8.8 Scripture: 2 Timothy 4:2-5 Topics: The Church Pastors and Teachers Languages: English Tune Title: WAYLAND
Lord, speak to me, that I may speak
Lead on, O King Eternal
Author: Ernest W. Shurtleff, 1862-1917 Hymnal: African Methodist Episcopal Church Hymnal #177 (2011) Meter: 7.6.7.6 D Scripture: 2 Timothy 4:8 Lyrics: 1 Lead on, O King eternal,
The day of march has come;
Henceforth in fields of conquest
Thy tents shall be our home.
Through days of preparation
Thy grace has made us strong,
And now, O King eternal,
We lift our battle song.
2 Lead on, O King eternal,
Till sin's fierce war shall cease,
And holiness shall whisper
The sweet amen of peace.
For not with swords loud clashing,
Nor roll of stirring drums,
With deeds of love and mercy,
The heavenly kingdom comes.
3 Lead on, O King eternal,
We follow, not with fears,
For gladness breaks like morning
Where'er Thy face appears.
Thy cross is lifted o'er us;
We journey in its light;
The crown awaits the conquest;
Lead on, O God of might.
Amen. Topics: Jesus Christ Ascension; Ascension; Jesus King; Processionals; Recessionals Languages: English Tune Title: LANCASHIRE
Lead on, O King Eternal
Robert Lowry
1826 - 1899 Scripture: 2 Timothy 4:8 Author of "Shall We Gather at the River" in The Worshiping Church 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
Martin E. Leckebusch
b. 1962 Scripture: 2 Timothy 4:6-8 Author of "Ahead of Us a Race to Run" in Lift Up Your Hearts
Martin E. Leckebusch
Meyer Lyon
1751 - 1797 Scripture: 2 Timothy 4:7 Arranger of "LEONI" in Trinity Hymnal (Rev. ed.) Died: 1797, Kingston, Jamaica.
Pseudonym: Leoni.
Lyon was a chorister at the Great Synagogue, Duke’s Place, London, and a public singer either at Drury Lane or Covent Garden. Subsequently he became the first qualified chazan of the English and German Synagogue in Jamaica.
Sources:
Julian, p. 1151
McCutchan, pp. 27-28
Music: LEONI
http://www.hymntime.com/tch/bio/l/y/o/lyon_m.htm
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http://en.wikipedia.org/wiki/Myer_Lyon
Meyer Lyon
