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Still, Still with Thee

Author: Harriet B. Stowe, 1812-1896 Appears in 362 hymnals First Line: Still, still with Thee - when purple morning breaketh Lyrics: 1 Still, still with Thee - when purple morning breaketh, When the bird waketh and the shadows flee; Fairer than morning, lovelier than daylight, Dawns the sweet consciousness - I am with Thee! 2 Alone with Thee, amid the mystic shadows - The solemn hush of nature newly born; Alone with Thee in breathless adoration, In the calm dew and freshness of the morn! 3 Still, still with Thee - as to each newborn morning, A fresh and solemn splendor still is given, So does this blessed consciousness, awaking, Breathe each day nearness unto Thee and heav'n. 4 When sinks the soul, subdued by toil, to slumber, Its closing eye looks up to Thee in prayer; Sweet the repose beneath Tju wings o’ershading, But sweeter still to wake and find Thee there! 5 So shall it be at last, in that bright morning, When the soul waketh and life’s shadows flee; O in that hour, fairer than daylight dawning, Shall rise the glorious tho't - I am with Thee! Topics: Morning Hymns; Worship of God Used With Tune: CONSOLATION

Tunes

Tune authorities

CONSOLATION

Meter: 11.10.11.10 Appears in 411 hymnals Composer and/or Arranger: Felix Mendelssohn Tune Key: E Flat Major Incipit: 32154 43217 13222 Used With Text: Still, Still with Thee

[Still, still with Thee, when purple morning breaketh]

Appears in 32 hymnals Composer and/or Arranger: Frantz Abt, 1819—85 Tune Key: F Major Incipit: 33321 34552 43342 Used With Text: Still, still with Thee, when purple morning breaketh

WINDSOR

Appears in 77 hymnals Composer and/or Arranger: Joseph Barnby, 1838-1896 Incipit: 32357 71233 66712 Used With Text: Still, still with thee, when purple morning breaketh

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Instances

Published text-tune combinations (hymns) from specific hymnals

Still, Still With Thee

Author: Harriet Beecher Stowe Hymnal: Gloria in Excelsis #157 (1933) First Line: Still, still with Thee, when purple morning breaketh Lyrics: 1 Still, still with Thee, when purple morning breaketh, When the bird waketh, and the shadows flee; Fairer than morning, lovelier than daylight, Dawns the sweet consciousness I am with Thee, Still, still with Thee. 2 Alone with Thee, amid the mystic shadows, The solemn hush of nature newly born; Alone with Thee in breathless adoration, In the calm dew and freshness of the morn, Still, still with Thee. 3 When sinks the soul, subdued by toil, to slumber, Its closing eye looks up to Thee in prayer; Sweet the repose beneath the wings o’ershading, But sweeter still to wake and find Thee there, Still, still with Thee. 4 So shall it be at last, in that bright morning, When the soul waketh and life’s shadows flee; O in that hour, a fairer day-light dawning, Shall rise the glorious thought, I am with Thee, Still, still with Thee. Languages: English Tune Title: [Still, still with Thee, when purple morning breaketh]

Still, Still With Thee, When Purple Morning Breaketh

Author: Harret Elizabeth (Beecher) Stowe Hymnal: The Junior Hymnal, Containing Sunday School and Luther League Liturgy and Hymns for the Sunday School #225 (1928) Languages: English Tune Title: [Still, still with Thee, when purple morning breaketh]

Still, Still with Thee, When Purple Morning Breaketh

Author: Harriet B. Stowe, 1812-1896; Harriet Beecher Stowe Hymnal: The Hymnal and Order of Service #515 (1937) Lyrics: 1 Still, still with Thee, when purple morning breaketh, When the bird waketh, and the shadows flee; Fairer than morning, lovelier than the daylight, Dawns the sweet consciousness, I am with Thee! 2 Alone with Thee, amid the mystic shadows, The solemn hush of nature newly born; Alone with Thee, in breathless adoration, In the calm dew and freshness of the morn. 3 When sinks the soul, subdued by toil, to slumber, Its closing eye looks up to Thee in prayer; Sweet the repose beneath the wings o’ershading, But sweeter still, to wake and find Thee there. 4 So shall it be at last, in that bright morning, When the soul waketh, and life’s shadows flee; O for that hour when fairer than the dawning Shall rise the glorious thought, I am with Thee! Amen.

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People

Authors, composers, editors, etc.

Felix Mendelssohn-Bartholdy

1809 - 1847 Person Name: Felix Mendelssohn, 1809-1847 Composer of "CONSOLATION" in Revival Hymns and Choruses Felix Mendelssohn-Bartholdy (b. Hamburg, Germany, 1809; d. Leipzig, Germany, 1847) was the son of banker Abraham Mendelssohn and the grandson of philosopher Moses Mendelssohn. His Jewish family became Christian and took the Bartholdy name (name of the estate of Mendelssohn's uncle) when baptized into the Lutheran church. The children all received an excellent musical education. Mendelssohn had his first public performance at the age of nine and by the age of sixteen had written several symphonies. Profoundly influenced by J. S. Bach's music, he conducted a performance of the St. Matthew Passion in 1829 (at age 20!) – the first performance since Bach's death, thus reintroducing Bach to the world. Mendelssohn organized the Domchor in Berlin and founded the Leipzig Conservatory of Music in 1843. Traveling widely, he not only became familiar with various styles of music but also became well known himself in countries other than Germany, especially in England. He left a rich treasury of music: organ and piano works, overtures and incidental music, oratorios (including St. Paul or Elijah and choral works, and symphonies. He harmonized a number of hymn tunes himself, but hymnbook editors also arranged some of his other tunes into hymn tunes. Bert Polman

Harriet Beecher Stowe

1811 - 1896 Person Name: Harriet B. Stowe, 1812-1896 Author of "Still, Still with Thee" in Revival Hymns and Choruses Stowe, Harriet, née Beecher, daughter of the Rev. Lyman Beecher, D.D., was born at Litchfield, Connecticut, June 15, 1812. In 1832, her father having been appointed President of Lane Seminary, Cincinnati, Ohio, she removed therewith the family; and in 1833 was married to the Rev. Calvin E. Stowe, D.D., Professor of Languages and Biblical Literature in the same Institution. Her high reputation as an author is well known; and the immense success of Uncle Tom's Cabin, which first appeared in The National Era, in 1852, ensures her a lasting reputation. She has also written other well-known works. Three of her hymns appeared in the Plymouth Collection, edited by her brother, H. W. Beecher, in 1855:— 1. Still, still with Thee, when purple morning breaketh. Resting in God. 2. That mystic word of Thine, 0 sovereign Lord. Abiding in Jesus. 3. When winds are raging o'er the upper ocean. Peace. Another hymn by Mrs. Stowe, "How beautiful, said he of old" (The Gospel Ministry), is No. 231 in the Boston Hymns of the Spirit, 1864. Her poetic pieces were published in her Religious Poems, 1867; and from a poem therein the hymn, "Knocking, knocking, who is there?" (Christ knocking), in Sankey's Sacred Songs and Solos is adapted. [Rev. F. M. Bird, M.A.] -- John Julian, Dictionary of Hymnology (1907)

Arthur Sullivan

1842 - 1900 Arranger of "MARLBOROUGH" in The Students' Hymnal Arthur Seymour Sullivan (b Lambeth, London. England. 1842; d. Westminster, London, 1900) was born of an Italian mother and an Irish father who was an army bandmaster and a professor of music. Sullivan entered the Chapel Royal as a chorister in 1854. He was elected as the first Mendelssohn scholar in 1856, when he began his studies at the Royal Academy of Music in London. He also studied at the Leipzig Conservatory (1858-1861) and in 1866 was appointed professor of composition at the Royal Academy of Music. Early in his career Sullivan composed oratorios and music for some Shakespeare plays. However, he is best known for writing the music for lyrics by William S. Gilbert, which produced popular operettas such as H.M.S. Pinafore (1878), The Pirates of Penzance (1879), The Mikado (1884), and Yeomen of the Guard (1888). These operettas satirized the court and everyday life in Victorian times. Although he composed some anthems, in the area of church music Sullivan is best remembered for his hymn tunes, written between 1867 and 1874 and published in The Hymnary (1872) and Church Hymns (1874), both of which he edited. He contributed hymns to A Hymnal Chiefly from The Book of Praise (1867) and to the Presbyterian collection Psalms and Hymns for Divine Worship (1867). A complete collection of his hymns and arrangements was published posthumously as Hymn Tunes by Arthur Sullivan (1902). Sullivan steadfastly refused to grant permission to those who wished to make hymn tunes from the popular melodies in his operettas. Bert Polman

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