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Humility
Author: D. C. Colesworthy Appears in 29 hymnals First Line: While we lowly bow before thee Lyrics: 1 While we lowly bow before thee,
Wilt thou, gracious Saviour, hear?
We are poor and needy sinners,
Full of doubt and full of fear;
Gracious Saviour,
Make us humble and sincere.
2 Fill us with thy Holy Spirit;
Sanctify us by thy grace;
Oh, incline us more to love thee,
And in dust our souls abase.
Hear us, Saviour,
And unvail thy glorious face.
3 None in vain did ever ask thee
For the Spirit of thy love;
Hear us, then, dear Saviour, hear us;
Grant an answer from above;
Blessed Saviour,
Hear and answer from above.
Topics: Prayer and Invocation; Close of Worship; Humility; Meekness; Opening of Service; Prayer; Close of Worship; Humility; Meekness; Opening of Service; Prayer Used With Tune: ALVAN
Humility
BRYNTIRION
Meter: 8.7.8.7.8.7 Appears in 8 hymnals Composer and/or Arranger: Ascan Henri Theodore Lutteroth, 1802-1889 Tune Key: F Major or modal Incipit: 34556 65332 11223 Used With Text: While We Lowly Bow Before Thee
BRYNTIRION
While We Lowly Bow Before Thee
Author: Daniel C. Colesworthy Hymnal: The Cyber Hymnal #13175 Meter: 8.7.8.7.8.7 Lyrics: 1 While we lowly bow before Thee,
Wilt Thou, gracious Saviour, hear?
We are poor and needy sinners,
Full of doubt and full of fear;
Gracious Savior, gracious Savior,
Make us humble and sincere.
2 Fill us with Thy Holy Spirit;
Sanctify us by Thy grace;
Oh, incline us more to love Thee,
And in dust our souls abase.
Hear us, Savior, hear us, Savior,
And unveil Thy glorious face.
3 None in vain did ever ask Thee
For the Spirit of Thy love;
Hear us then, dear Savior, hear us;
Grant an answer from above;
Blessed Savior, blessed Savior,
Hear, and answer from above. Languages: English Tune Title: BRYNTIRION
While We Lowly Bow Before Thee
While we lowly bow before Thee
Author: Daniel C. Colesworthy Hymnal: Book of Worship with Hymns and Tunes #206 (1899) Lyrics: 1 While we lowly bow before Thee,
Wilt Thou, gracious Saviour, hear?
We are poor and needy sinners,
Full of doubt and full of fear;
Gracious Saviour, Gracious Saviour,
Make us humble and sincere.
2 Fill us with Thy Holy Spirit;
Sanctify us by Thy grace;
Oh, incline us more to love Thee,
And in dust our souls abase.
Hear us, Saviour, Hear us, Saviour,
And unveil Thy glorious face.
3 None in vain did ever ask Thee
For the Spirit of Thy love;
Hear us then, dear Saviour, hear us;
Grant an answer from above;
Blessèd Saviour, Blessèd Saviour,
Hear, and answer from above.
Amen. Topics: Christ Praise to; Petition; Humility Languages: English Tune Title: MERLO
While we lowly bow before Thee
While we lowly bow before Thee
Hymnal: Book of Worship (Rev. ed.) #600 (1870) Lyrics: 1 While we lowly bow before Thee,
Wilt Thou, gracious Saviour, hear?
We are poor and needy sinners,
Full of doubt and full of fear;
Gracious Saviour,
Make us humble and sincere.
2 Fill us with Thy Holy Spirit;
Sanctify us by Thy grace;
Oh, incline us more to love Thee,
And in dust our souls abase.
Hear us, Saviour,
And unveil Thy glorious face.
3 None in vain did ever ask Thee
For the Spirit of Thy love;
Hear us then, dear Saviour, hear us;
Grant an answer from above;
Blesséd Saviour,
Hear, and answer from above. Topics: Parting Hymns; Worship closing of Languages: English
While we lowly bow before Thee
Lowell Mason
1792 - 1872 Composer of "ALVAN" in The New Laudes Domini 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
L. O. Emerson
1820 - 1915 Person Name: Luther O. Emerson Composer of "MERLO" in Book of Worship with Hymns and Tunes Luther Orlando Emerson was born at Parsonsfield, Maine, August 3, 1820. He descended from distinguished English ancestry. His parents were quite musical, and while the family circle were together, they had a choir and orchestra of their own. The father played the violoncello, the mother was an excellent singer, the flute and violin added their sweet tones, till the quiet homestead rang with melody.
Mr. Emerson's education was obtained at the district school, Parsonsfield Seminary and Effingham Academy. He was full of energy, quick and versatile, an apt scholar, and with a view to entering the profession of medicine he entered Dracut Academy, Mass. But his great love for music swerved him from that course, and now, having far better opportunities for cultivating and enjoying this taste and ability, he soon determined upon music as the profession of his choice. He accordingly commenced a course of musical instruction under the late I. B. Woodbury, then a popular teacher of music. After several years of study on the voice, piano, organ and in harmony, Mr. Emerson went to Salem, Mass., began teaching, and took charge of his first choir at a salary of one hundred dollars per year. Here he commenced the composition of music for his own choir, whiich was so popular with its members and the congregation, that Mr. Emerson was encouraged to seek a larger hearing by publishing a collection of church music. Among the tunes was that of Sessions, named after his pastor, which was destined to have a perennial popularity, and is often used in worship in the place of Old Hundred, for the Doxology. At the great Peace Jubilee it was received with applause when sung by a chorus of ten thousand voices, accompanied by an orchestra of two hundred instruments and a great pipe organ. The effect was sublime beyond expression.
In 1847 occurred the marriage of Mr. Emerson to Miss Mary Gore, daughter of a prominent Boston merchant. She was a lady of much musical taste and ability.
In 1853 he decided to make an effort to put his music before the public, and accordingly went to Boston in search of a publisher. Like most young and unknown authors, he met with but little encouragement, but finally found a publisher in the person of Mr. B. B. Muzzy. Thus was the Romberg Collection published. The book was not pushed — hence it found no market.
After a residence of eight years in Salem, Mr. Emerson removed to Boston, accepting the position of organist and musical director at the Bulfinch Street Church, then under the pastoral care of Rev. Wm. R. Alger, which he filled for four years. He eagerly improved the rare means of culture which were once more enjoyed, meanwhile teaching and composing music.
In 1857 he formed the connection with Oliver Ditson Company, of Boston, of author and publisher, which has continued to the present time with but one interruption (a single volume brought out by another firm), the Golden Wreath, which at once became popular, and sold forty thousand during the first year, this being the initial volume in the long series since brought out by these publishers. In 1858 came the Golden Harp, which was also a success. These successes gave him not only encouragement, but reputation.
Mr. Emerson now entered upon a career of usefulness and popularity for which he had been preparing during the years of self-denying struggle and discipline. He was called to take charge of the music in the Second Congregational Church, Greenfield, Mass., and also of the musical department of Power's Institute, at Bernardston. Amid nature's most beautiful surroundings, he had a quiet retreat for the pursuit of his true vocation, the composition of church music.
The first fruit of his genius here was the Sabbath Harmony, in 1860. This book was also a success. In 1863 followed the Harp of Judah, which had the remarkable sale of nearly fifty thousand copies in the first three months. This book probably gave Mr. Emerson his preeminence as a composer of church music, containing as it did his anthem, Guide Me, O Thou Great Jehovah, and many of his finest compositions.
Having declined the solicitations of Dr. Lowell Mason to become his associate in music, Mr. Emerson started forth on his own plans, and attained the highest rank among those who loved the pure and beautiful in song. Mr. W. S. B. Mathews, a musical critic, pronounces him the best melodist of all the psalmodic writers.
In 1866 the equally successful Jubilate appeared, followed by the Choral Tribute, the Standard and the Leader. In the last two Dr. I. R. Pahner was associated with him. Later on came the Salutation, Voice of Worship, Herald of Praise, etc. The diligence with which Mr. Emerson plied his pen can be estimated when one recalls the fact that he has made seventy-two collections of music, embracing music for churches, singing schools, public schools, choral societies and conventions, instruction books for voice, organ, etc. He has also composed and published scores of songs, quartets and instrumental pieces.
The great amount of work this represents can only be appreciated by those who have undertaken similar labors. Some years ago the degree of Doctor of Music was conferred upon Professor Emerson by the Faculty of Findlay College, Findlay, Ohio.
For many years past. Dr. Emerson has devoted his energies to the grand purpose of elevating the general character of music in our churches, and thus largely advancing the interests of true worship. He places great stress upon the mission of church music. He regards sacred music as the best expression of devotional feeling that exists. He looks upon sacred song as prayer, and believes that it inspires and intensifies prayer. With this view he has taken an active and prominent part in musical festivals and conventions, of which he has conducted over three hundred throughout the United States and Canada. As a conductor, he stands in the front rank. As a teacher. Dr. Emerson has an exceedingly happy faculty of imparting in a concise manner to his classes. His very pleasing address enables him to command the undivided attention of his pupils.
As a singer, he has always held high rank, and has sung much in public. His voice is a baritone of great compass, and quite powerful. As a lecturer upon music, Dr. Emerson has attracted much attention. His most popular lecture is entitled The World of Music, in which he traces its origin and progress, and gives some excellent traits of the lives of the great composers. In this lecture he also shows the design of music, and how it has been prized in every age of the world, among all nations — its power in the Church and State, and the need of its influence in the family — in joy and sorrow — for this life and the life to come.
-Biography of Gospel Song and Hymn Writers
L. O. Emerson
Daniel C. Colesworthy
1810 - 1893 Person Name: D. C. Colesworthy Author of "Humility" in Laudes Domini Colesworthy, Daniel C., a printer, editor, and bookseller, was born at Portland, Maine, in 1810, and is now (1885) resident in Boston. He has published several volumes of verse, including Sabbath School Hymns, 1833; Opening Buds, 1838; The Year, 1873; and School is Out, 1876. Of his hymns the following are the best known:—
1. A little word in kindness spoken. Kindness. This appeared in his paper, The Portland Tribune, Sept. 25, 1841.
2. While we lowly bow before Thee. Close of Service. Included in E. Nason's Congregational Hymn Book, 1857, and thence has passed into several collections of later date, including Songs for the Sanctuary, N.Y., 1865-72; Laudes Domini, N. Y., 1884, and others.
Mr. Colesworthy is a member of the Congregational body. [Rev. F. M. Bird, M.A.]
--John Julian, Dictionary of Hymnology (1907)
Daniel C. Colesworthy
