My Starred Hymns
My FlexScores
My Hymnals
My Purchased Files
Planning worship?
Check out our sister site, ZeteoSearch.org,
for 20+ additional resources related to your search.
- |
User Links
Search Results
O God, Thou Giver of all good
Author: Samuel Longfellow Appears in 15 hymnals Used With Tune: TALLIS' CANON
O God, Thou Giver of all good
PUER NOBIS NASCITUR
Meter: 8.8.8.8 Appears in 210 hymnals Composer and/or Arranger: Anonymous; George R. Woodward; Michael Praetorius Tune Sources: Trier, Germany, 15th Century Tune Key: D Major Incipit: 11234 32115 55671 Used With Text: O God, Thou Giver of All Good
PUER NOBIS NASCITUR
TALLIS' CANON
Appears in 479 hymnals Composer and/or Arranger: Thomas Tallis Incipit: 11711 22343 14433 Used With Text: O God, Thou Giver of all good
TALLIS' CANON
O God, Thou Giver of All Good
Author: Samuel Longfellow Hymnal: The Cyber Hymnal #4918 Meter: 8.8.8.8 Lyrics: 1. O God, Thou Giver of all good;
Thy children live by daily food;
And daily must the prayer be said,
Give us this day our daily bread.
2. The life of earth and seed is Thine;
Suns glow, rains fall, by power divine;
Thou art in all; not e’en the powers
By which we toil for bread are ours.
3. What large provision Thou hast made!
As large as is Thy children’s need;
How wide the bounteous love is spread!
Wide as the want of daily bread.
4. Since every day by Thee we live,
May grateful hearts Thy gifts receive;
And may the hands be pure from stain
With which our daily bread we gain. Languages: English Tune Title: PUER NOBIS NASCITUR
O God, Thou Giver of All Good
O God, Thou Giver of all good
Author: Samuel Longfellow Hymnal: Hymns of the Kingdom of God #13 (1910) Languages: English Tune Title: TALLIS' CANON
O God, Thou Giver of all good
O God, Thou Giver of all good
Author: Samuel Longfellow Hymnal: Hymns of the Kingdom of God #13 (1923) Languages: English Tune Title: TALLIS' CANON
O God, Thou Giver of all good
Lowell Mason
1792 - 1872 Person Name: Lowell Mason, 1792-1872 Composer of "ROCKINGHAM (New)" in Songs for the Chapel 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 19G9. 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). Biographies of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company.
Lowell Mason
Samuel Longfellow
1819 - 1892 Author of "O God, Thou Giver of all good" in Hymns of the Kingdom of God Longfellow, Samuel, B. A., brother of the Poet, was born at Portland, Maine, June 18, 1819, and educated at Harvard, where he graduated in Arts in 1839, and in Theology in 1846. On receiving ordination as an Unitarian Minister, he became Pastor at Fall River, Massachusetts, 1848; at Brooklyn, 1853; and at Germantown, Pennsylvania, 1860. In 1846 he edited, with the Rev. S. Johnson (q. v.), A Book of Hymns for Public and Private Devotion. This collection was enlarged and revised in 1848. In 1859 his Vespers was published, and in 1864 the Unitarian Hymns of the Spirit , under the joint editorship of the Rev. S. Johnson and himself. His Life of his brother, the Poet Longfellow, was published in 1886. To the works named he contributed the following hymns:—
i. To A Book of Hymns , revised ed., 1848.
1. Beneath the shadow of the Cross. Love.
2. 0 God, thy children gathered here. Ordination.
ii. To the Vespers 1859.
3. Again as evening's shadow falls. Evening.
4. Now on land and sea descending. Evening.
iii. To the Hymns of the Spirit, 1864.
5. A voice by Jordan's shore. Advent.
6. Father, give Thy benediction. Ordination.
7. Go forth to life, 0 child of earth. Life's Mission.
8. God of ages and of nations. Holy Scriptures.
9. Holy Spirit, Truth divine. The Holy Spirit desired.
10. I look to Thee in every need. Trust in God.
11. In the beginning was the Word. The Word.
12. Love for all, and can it be? Lent. The Prodigal Son.
13. 0 God, in Whom we live and move. God's Law and Love.
14. 0 God, Thou Giver of all good. Prayer for Food.
15. O still in accents sweet and strong. Missions.
16. 0 Thou, Whose liberal sun and rain. Anniversary of Church dedication.
17. One holy Church of God appears. The Church Universal.
18. Out of the dark, the circling sphere. The Outlook.
19. Peace, peace on earth! the heart of man for ever. Peace on Earth.
20. The loving Friend to all who bowed. Jesus of Nazareth.
21. ’Tis winter now, the fallen snow. Winter.
Of these, hymn No. 2 was written for the Ordination of E. E. Hale (q. v.), at Worcester, 1846. Several are included in Martineau's Hymns, 1873.
Died Oct. 3, 1892. [Rev. F. M. Bird, M.A.]
--John Julian, Dictionary of Hymnology (1907), p. 685
===============
Longfellow, S., p. 685, i. Since Mr. Longfellow's death on Oct. 3, 1892, his hymns have been collected by his niece, Miss Alice Longfellow, as Hymns and Verses(Houghton, Mifflin & Co., 1904.) From this work we find many of the hymns signed Anon, in the Index to Longfellow and Johnson's Hymns of the Spirit, 1864, were his; several of these, including E. Osier's "O God unseen, yet ever near," were popular English hymns which he rewrote from his own theological standpoint. These re¬written hymns are very widely used by Unitarians and others. During the last ten years the following additional hymns by S. Long¬fellow have come into common use:—
1. Eternal One, Thou living God. Faith in God.
2. God of the earth, the sky, the sea. God in Nature.
3. God's trumpet wakes the slumbering world. Call to duty.
4. Light of ages and of nations. God in and through all time.
5. Lo, the earth is risen again. Spring. (1876.)
6. Now while we sing our closing psalm. Close of Worship.
7. O Life that maketh all things new. Unity. (1874.)
8. O Thou in Whom we live and move. The Divine Law.
9. The summer days are come again. Summer. From his hymn,"The sweet[bright] June days are come again."
10. Thou Lord of lite, our saving health. In Sickness. (1886.)
Of these hymns Nos. 2, 3 appeared in the Hymns of the Spirit, 1864, and all with the dates appended in Hymns and Verses, 1904.
--John Julian, Dictionary of Hymnology, New Supplement (1907)
==================
http://en.wikipedia.org/wiki/Samuel_Longfellow
Samuel Longfellow
Thomas Tallis
1505 - 1585 Composer of "TALLIS' CANON" in Hymns of the Kingdom of God Thomas Tallis (b. Leicestershire [?], England, c. 1505; d. Greenwich, Kent, England 1585) was one of the few Tudor musicians who served during the reigns of Henry VIII: Edward VI, Mary, and Elizabeth I and managed to remain in the good favor of both Catholic and Protestant monarchs. He was court organist and composer from 1543 until his death, composing music for Roman Catholic masses and Anglican liturgies (depending on the monarch). With William Byrd, Tallis also enjoyed a long-term monopoly on music printing. Prior to his court connections Tallis had served at Waltham Abbey and Canterbury Cathedral. He composed mostly church music, including Latin motets, English anthems, settings of the liturgy, magnificats, and two sets of lamentations. His most extensive contrapuntal work was the choral composition, "Spem in alium," a work in forty parts for eight five-voice choirs. He also provided nine modal psalm tunes for Matthew Parker's Psalter (c. 1561).
Bert Polman
Thomas Tallis
