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Lord, while for all mankind we pray
Author: John R. Wreford Appears in 319 hymnals Matching Instances: 5 Topics: National Used With Tune: GLASGOW
Lord, while for all mankind we pray
"Jesus died for me"
Author: W. H. Bathurst Appears in 44 hymnals Matching Instances: 5 First Line: Great God, when I approach thy throne Lyrics: 1 Great God, when I approach thy throne,
And all thy glory see;
This is my stay, and this alone,
That Jesus died for me.
2 How can a soul condemned to die,
Escape the just decree?
Helpless, and full of sin am I,
But Jesus died for me.
3 Burdened with sin's oppressive chain,
Oh, how can I get free?
No peace can all my efforts gain,
But Jesus died for me.
4 And, Lord, when I behold thy face,
This must be all my plea;
Save me by thy almighty grace,
For Jesus died for me. Topics: The Plan of Salvation; Atonement Completed; Christ Mediator; Atonement Completed; Christ Mediator Used With Tune: GLASGOW
"Jesus died for me"
Prayer for Seamen
Author: Mrs. Phoebe H. Brown Appears in 57 hymnals Matching Instances: 1 First Line: We come, O Lord, before thy throne Lyrics: 1 We come, O Lord, before thy throne,
And, with united plea,
We meet and pray for those who roam
Far off upon the sea.
2 Oh, may the Holy Spirit bow
The sailor's heart to thee,
Till tears of deep repentance flow,
Like rain-drops in the sea!
3 Then may a Saviour's dying love
Pour peace into his breast,
And waft him to the port above
Of everlasting rest. Scripture: Psalm 107:23 Used With Tune: GLASGOW
Prayer for Seamen
Lord! while for all mankind we pray
Hymnal: Songs for the Sanctuary #1315 (1868) Meter: 8.6.8.6 Topics: National; Peace National Tune Title: GLASGOW
Lord! while for all mankind we pray
Lord, while for all mankind we pray
Author: John R. Wreford Hymnal: The New Laudes Domini #1205 (1892) Topics: National Languages: English Tune Title: GLASGOW
Lord, while for all mankind we pray
George F. Root
1820 - 1895 Person Name: G. F. Root Composer of "GLASGOW" in Laudes Domini Root, George F., MUS. DOC, born in Sheffield, Berkshire County, Mass., Aug. 30, 1820. He is much more widely known as a composer of popular music than as a hymn writer. Four of his hymns are in I. D. Sankey's Sacred Songs & Solos, 1878. Nos. 16, 100, 293, and 297. A sympathetic biographical sketch, with portrait, is in The Tonic Sol-Fa Reporter, Sep. 1886. He died Aug. 6, 1895.
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
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George Frederick Root was born in Sheffield, Mass., August 30, 1820. His father moved to North Reading, near Boston, when the boy was six years old, and there his youth was spent.
He was always fond of music— not singing at all as a boy, but played upon every kind of instrument that came in his way. At thirteen it was his pride that he could "play a tune" on as many instruments as he was years old. His dream of life was to be a musician, although such an ambition was looked down upon by all his relatives and friends, excepting a fond mother. In the fall of 1838 he went to Boston and made an engagement to work for Mr. A. N. Johnson and take lessons on the piano.
His father and one of the brothers were at the time in South America, and the mother, with six younger children, was at home on the farm. When he secured the engagement with Mr. Johnson to receive three dollars a week and board and lessons, the neighbors became interested and encouraged him to go ahead, they promising to help look after the farm and see that the family got along. The young man's happiness over these events can better be imagined than described.
On the second day of October, 1838, he entered upon his duties in his new heaven on earth located at Harmony Hall, Mr. Johnson's music-room, in Boston. His duties were to see to the fires, care for the room, answer callers, give information about Mr. Johnson when he was out, and practice his lessons when not otherwise engaged. He worked industriously and made steady progress. It was but a few weeks till Mr. Johnson had him playing for the prayer-meeting, and but a few more till he began turning over pupils to him. In about seven weeks' time Mr. Johnson encouraged him by a considerable increase of salary. A most important event to him was meeting Dr. Lowell Mason and being accepted as a bass singer in the celebrated Bowdoin Street choir. Also, on Mr. Johnson's recommendation, he began taking private voice lessons of Mr. Geo. Jas. Webb, the then celebrated voice teacher of Boston. He continued at least a year with Mr. Webb.
His first real singing class was taught the following fall, 1839, at the North End. It lasted nearly through the winter, and on the closing night his class made him a present of a silver goblet, suitably engraved, which he kept among his treasures.
Before the first year was up Mr. Johnson proposed a five year partnership, by which Mr. Root was to receive one-third of their earnings, and the former was to have the privilege of visiting Germany part of the time if he chose. They then changed their quarters to three rooms in the basement of Park Street Church. The annual rental was six hundred dollars. They were kept quite busy.
At this time Dr. Mason's music teaching in the public schools was a growing success, and Messrs. Johnson and Root were employed to assist him. Drs. Mason and Webb had introduced what is now called Musical Conventions a year or two previous to this. They called them "The Teachers' Class." Teachers and singers were called to Boston from surrounding territory to study and practice pretty much as they do now at normals.
In 1841 Mr. Root became one of the teachers in this class. He taught vocal training and continued this work for years afterward in Dr. Mason's teachers' classes, and later incorporated the same method in his own normals. During this year Mr. Johnson went to Germany, and left the two large church choirs (Winter Street and Park Street) in charge of Mr. Root. One of the organs was played by a pupil — Mr. S. A. Bancroft.
Everything went smoothly during Mr. Johnson's absence as it did also after his return. During the last year of the five-year partnership, Mr. Root was called to take the organ at Bowdoin Street, Mr. Mason changing to Winter Street. An amicable settlement was made between Messrs. Johnson and Root, and the partnership dissolved.
In 1811, Mr. Jacob Abbott (father of Lyman Abbott)and his three brothers had established a young ladies' school in New York City. They wanted a music teacher, and offered the position to Mr. Root. They also secured him the organ and choir of the Mercer Street Church, with prospects for other good work. It required pretty strong persuasive arguments to tempt Mr. Root to leave Boston, he was doing well there, and as the sequel shows, there was an attraction in Boston that held him in too tight a grasp to be relinquished by the mere offer of greater power and place. He made up his mind, however, only after getting the consent of the powders of Boston to take with him this [to him] the greatest attraction of the city — Miss Mary Olive Woodman — an accomplished lady, a sweet singer, and a member of a prominent family of musicians. He went to New York first to prepare a home, and in August, 1845, returned for his bride, who took her place in his New York choir as leading soprano, and through his long and eventful career she was ever at his side, a true helpmeet.
He was soon employed at Rutger's Female Institute, Miss Haines' School for Young Ladies, Union Theological Seminary and the New York State Institution for the Blind. Within six weeks after he arrived in New York his time was fully occupied. He continued with Mr. Abbott's young ladies' school ten years.
While teaching in New York he continued his summer work with Messrs. Mason and Webb in Teachers' Classes. Up to the year 1849 he had written but little music; only a few hymn tunes while in Boston. He needed more music for the young ladies of his schools, so he made his first book, The Young Ladies' Choir, of which he had enough copies made for his own use, as he had no thought of offering it to the public. Then in connection with Mr. J. E. Sweetser, they compiled the Root and Sweetser's Collection.
Mr. Root did work enough for two men, hence broke down in health. Mr. Abbott suggested that he take a trip to Paris. After weighing the matter carefully, in December, 1853, he sailed, and in due time arrived at Paris, where he began studying French, voice culture and piano under celebrated teachers. After spending nearly a year abroad, he returned home in improved health and ready for active work. He began to feel the need of new music for his classes, and after some thought decided upon a musical play ; the subject and title, The Flower Queen.
At the Institution for the Blind was a young lady, a former pupil, but now a teacher who had shown some poetical talent. He asked her to help him with the words. He would suggest in prose what the flowers might say and she would put it into rhyme. She did it so well that it seldom needed any alteration. This lady was the now famous Fanny Crosby. The cantata became very popular. About this time Mr. Root wrote a half dozen simple songs for the people. They all sold pretty well, but Hazel Dell and Rosalie, the Prairie Flower, became the most popular, and had a large sale.
It was in the summer of 1853 that the first real normal was held. Mr. Root originated it, and held it in New York. The principal teachers were Messrs. Mason, Root, Hastings, and Bradbury. This school became famous. Sessions were also held at North Reading, Mass., a village near Mr. Root's "Willow Farm Home," with Dr. Mason, Mr. Webb, Mr. Bradbury and himself as principal teachers.
About this time Mr. Root decided to give up his work in New York, and devote himself entirely to conventions, normal work and authorship. He was eminently successful. Among the most eminent teachers and composers of our country have been students in Dr. Geo. F. Root's Normal Musical Institute.
In 1860 Dr. Root settled in Chicago and entered the music publishing business with his brother E. T. Root, and C. M. Cady, as "Root & Cady," Mr. Root's reputation being the most important capital of the firm. His books and popular songs soon made the new firm prosperous. Then came the war with its horror. Dr. Root wielded his musical sword in the way of writing war songs, which made him famous. The Battle Cry of Freedom, Just Before the Battle, Mother, and others, made thousands of dollars for the music house.
In the great Chicago fire of 1871 the interests of the firm of Root & Cady became engulfed in the general ruin. Their loss was upward of a quarter of a million dollars. They then sold their book catalogue, plates and copyrights to John Church & Co., of Cincinnati, and the sheet music plates and copyrights to S. Brainard's Sons, Cleveland. These sales realized about §130,000. The final result was that Dr. Root, his talented son F. W., and others became connected with John Church & Co. Under this new business relationship Mr. Root went right on with his normal and convention work; also issued a great many new books and cantatas. In 1872 the Chicago University very worthily conferred upon him the degree Doctor of Music.
In 1886 he made a trip to Scotland and England, and arranged with publishers to issue some of his cantatas. He was royally received.
Dr. Root was the author of about seventy-five books, nearly two hundred songs in sheet form, and many popular gospel songs. Dr. Root occupies a prominent place in the musical history of this country. It was Dr. Mason who lifted music from almost nothing and gave it an impetus, but he left no better follower than Dr. Root to carry on his work. He was a man of spotless integrity and high Christian character, and to know him was to love him.
At the time of Dr. Root's death he was at Bailey Island, Maine, a summer resort, where he and other relatives had cottages. On August 6, 1895, he was seized with neuralgia of the heart — and died within one hour. He was buried at North Reading, Mass., his old home.
--Hall, J. H. (c1914). Biographies of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company.
George F. Root
John Reynell Wreford
1800 - 1891 Person Name: John R. Wreford Author of "National" in Laudes Domini Wreford, John Reynell, an English Unitarian minister, was born December 12, 1800, at Barnstaple; educated at Manchester College, and in 1826 became pastor of a Church in Birmingham. In 1831, on account of the failure of his voice, he withdrew from the active work of the ministry and, in conjunction with Rev. Hugh Hutton, established a school at Edgbaston. He wrote a History of Presbyterian Nonconformity in Birmingham, 1832, and Lays of Loyalty, 1837. He contributed fifty-five hymns to Rev. J. R. Beard's Collection, 1837. His most popular and valuable hymn is the one given in this book. The last years of his life were spent in retirement at Bristol, where he died in 1891.
—Hymn Writers of the Church by Charles Nutter
=================
Wreford, John Keynell, D.D., born Dec. 12, 1800, educated at Manchester College, York, and in 1826 succeeded the Rev. James Yates as co-pastor to the Rev. John Kentish at the New Meeting, Birmingham. In 1830 he published a translation of Cellerier's Discourse on the Authenticity and Divine Origin of the Old Testament. In the following year, in consequence of failure of voice, he withdrew from the Ministry, and in conjunction with the Rev. Hugh Hutton, Minister of the Old Meeting, opened a school at Edgbaston. In 1832 he published a Sketch of the History of Presbyterian Nonconformity in Birmingham; and in 1837, Lays of Loyalty, in celebration of the Queen's accession. He also contributed, in 1837, to the Rev. J. R. Beard's Collection of Hymns for Public and Private Worship 55 hymns, of which the following are still in common use:—
1. God of the ocean, earth, and sky. God seen in His Works. In various collections, including those by Page Hopps, G. Dawson, and others.
2. Lord, I believe; Thy power I own. For increase of Faith. In Martineau's Hymns, &c, 1840.
3. Lord, while for all mankind we pray. National Hymn. This is in a large number of collections of various denominations, and is by far the most popular of his hymns. Sometimes it begins with stanza iii., "O! guard our shores from every foe."
4. When my love to Christ[God]grows weak. Passiontide. In Longfellow and Johnson's Unitarian Hymns of the Spirit, Boston, U. S. A., 1864, "When my love to God grows weak." This is repeated in Martineau's Hymns, &c, 1873.
Dr. Wreford was also the author of several volumes of verse, chiefly devotional. The latter years of his life he spent in retirement at Bristol, and died there in 1881.
[Rev. Valentine D. Davis, B.A.]
-- John Julian, Dictionary of Hymnology (1907)
John Reynell Wreford
William Hiley Bathurst
1796 - 1877 Person Name: W. H. Bathurst Author of ""Jesus died for me"" in Laudes Domini Bathurst, William Hiley , M.A., son of the Rt. Hon. Charles Bragge (afterwards Bathurst) some time M.P. for Bristol, born at Clevedale, near Bristol, Aug. 28, 1796, and educated at Winchester, and Christ Church, Oxford, graduating B.A. in 1818. From 1820 to 1852 he held the Rectory of Barwick-in-Elmet, near Leeds. Resigning the Rectory in the latter year, through his inability to reconcile his doctrinal views with the Book of Common Prayer, he retired into private life, and died at Lydney Park, Gloucestershire, Nov. 25, 1877. His works include, The Georgics of Virgil: Translated by W. H. B., 1849; Metrical Musings; or, Thoughts on Sacred Subjects in Verse, 1849; and Psalms and Hymns for Public and Private Use, 1831 (2nd ed. 1842). This last contains 141 versions of Psalms, and 206 hymns. All the latter, and many of the former are original. Of his hymns, those in most extensive use are, "Hark! the distant isles proclaim," "Holy Spirit from on high,” "Jesus, Thy Church with longing eyes,” "Eternal Spirit, by whose power," "O for a faith that will not shrink” and “O Saviour, may we never rest." In addition to these and a few others (all of which are annotated under their first lines), the following are in common use, but mainly in America:—
1. Before Thy cross, my dying Lord. Faith.
2. Before Thy mercy-seat, O Lord. Holy Scriptures.
3. Behold what unspeakable love. Heaven.
4. Does the Lord of Glory speak? Holy Scripture.
5. Ere the world with light invested. Holy Spirit.
6. Except the Lord our labours bless. Ps. cxxvii.
1. Full of weakness and of sin. The Creator Spirit desired.
8. Glory to the Almighty Father. Praise.
9. Holy Lord, our hearts prepare. Preparation for Prayer.
10. Holy Spirit from on high. Holy Spirit's direction implored.
11. How blest are they who feel the weight. Repentance.
12. How strange that souls whom Jesus feeds. Conflict.
13. How sweet it is in early youth. Youthful Piety.
14. How sweet the hour of closing day. Death.
15. Led by a Father's gentle hand. Communion of Saints
16. Lord, a better heart bestow. Lent.
17. Lord, bid the light arise. To the Holy Spirit.
18. Lord, shed Thy glory as of old. Whitsuntide.
19. Lord, what blessed consolation. Safety of the Church.
20. Lord, when our offerings we present. Offertory.
21. 0 for a beam of heavenly light. Lent.
22. 0 for that flame of living tire. Holy Spirit.
23. 0 give thanks unto the Lord. Ps. cv.
24. Shepherd of Israel, from above. On behalf of Children.
25. This day the Lord hath called His own. Sunday.
26. When the world my heart is rending. Heaven.
27. Why search ye in the narrow tomb? Ascension.
28. Ye servants of the living God. Praise.
All these hymns were given in his Psalms & Hymns , &c, 1831 (Preface dated November 15th, 1830), and repeated, without alteration, in the 2nd ed., 1842. They are characterized by simplicity of language, and directness of aim; but do not in any instance rise above the ordinary level of passable hymn-writing. In some American collections Bathurst's name is contracted to "Bath," and this is regarded either as a complete surname or as a Bath Collection. The contraction was given by Bickersteth in his Christian Psalmody, 1833.
--John Julian, Dictionary of Hymnology (1907)
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Bathurst, William H., p. 117, ii. Additional hymns from his Psalms & Hymns, 1831, are in common use as follows:—
1. Great God, when I approach Thy throne. Redemption.
2. How bright a day was that which saw. The First Sabbath.
3. How frail and fallible I am. Jesus Unchangeable.
4. In Jesus' name with one accord. Divine Worship.
5. Lord, I claim Thee for my own. Ps. lxiii.
6. Lord shew Thy glory as of old. This is not "Lord shed Thy glory, &c," as stated at p. 118, i., 18.
7. Lord, when I lift my voice to Thee. Ps. ci.
8. O Lord, defend us as of old. Ps. lxxiv.
9. O Lord, how long shall heathens hold. Ps. lxxix.
10. 0 Lord, look down with pitying eye. Intercession for the Jews. Begins with st. iv. of “0 how is Zion's glory gone."
11. Praise God, O my soul. Ps. cxlvi.
12. Saviour, at Thy feet we bow. United Prayer.
13. 'Tis past, that agonizing hour. Ascension.
14. The Lord look'd all around. Universal Corruption.
15. To the Source of every blessing. Praise to the Father.
16. What can relieve the troubled soul? Christ the Comforter.
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
William Hiley Bathurst
