For many years Edward Osler was a physician in England. But he later became more involved in the literary field, and was associated with the Society for Promoting Christian Knowledge. He wrote a number of hymns, and added the final stanza to Praise the Lord, Ye Heavens Adore Him.
Praise the Lord: ye heavens, adore Him; Praise Him, angels in the height. Sun and moon, rejoice before Him; Praise Him, all ye stars of light. Praise the Lord, for He hath spoken; Worlds His mighty voice obeyed. Laws which never shall be broken For their guidance He hath made.
Praise the Lord, for He is glorious; Never shall His promise fail. God hath made His saints victorious; Sin and death shall not prevail. Praise the God of our salvation; Hosts on high, His power proclaim. Heaven and earth and all creation, Laud and magnify His name.
Worship, honour, glory, blessing, Lord, we offer unto Thee. Young and old, Thy praise expressing, In glad homage bend the knee. All the saints in heaven adore Thee; We would bow before Thy throne. As Thine angels serve before Thee, So on earth Thy will be done.
(2) Today in 1879 – John Park Born
John Edgar Park was born in Ireland and received his early education there. After graduating from Princeton, he was ordained to the Presbyterian ministry in America in 1903. Briefly, he served in the lumber camps of the eastern United States, then became a Congregational minister, serving in a couple of churches in Massachusetts. A noted educator of his time, he was president of a women’s seminary in that state for 18 years.
Dr. Park wrote a number of hymns. We Would See Jesus (not to be confused with Anna Warner’s hymn with the same title) was written to be included in a new hymn book at the request of the publisher for something based on Jn. 12:21, which reports how some men came seeking Christ:
Then they came to Philip, who was from Bethsaida of Galilee, and asked him, saying, “Sir, we wish to see Jesus.”
John Park’s hymn borrows the words of the above text (“We would see Jesus,” in the KJV), relating them to the wise men seeking the newborn King (Matt. 2:1-11). But he seems to imply that these men came to the stable on Christmas night, when in reality they arrived some weeks or months later, when Joseph and Mary were living in a house, and Christ is described not as a baby, but as “the young Child.”
The remainder of the hymn deals with the Lord Jesus as a boy in Nazareth, and with His later earthly teaching and healing ministry, emphasizing the need to follow Him. (For the full text of the hymn, and a photograph of the author, see the Cyber Hymnal.)
We would see Jesus; lo! His star is shining Above the stable while the angels sing; There in a manger on the hay reclining; Haste, let us lay our gifts before the King.
We would see Jesus, in the early morning, Still as of old He calleth, “Follow Me!” Let us arise, all meaner service scorning; Lord, we are Thine, we give ourselves to Thee.
Arthur Tappen Pierson was an American pastor and Bible teacher. He and his wife had seven children. They were all converted before the age of 15, and grew up to serve the Lord, as missionaries, pastors, or lay leaders in the church. Pierson was a friend and associate of many prominent Christian leaders in his day, including Dwight Moody. When Charles Spurgeon took sick near the end of his life, Arthur Pierson filled the pulpit in the Metropolitan Tabernacle for several months.
Dr. Pierson also wrote a number of hymns. And in 1874, when Daniel Whittle and gospel musician Philip Bliss were holding a six-week campaign in Detroit, they stayed in the Pierson home. He gave Bliss the words for The New Song, thinking the latter could provide a tune for the text–a simple lyric loaded with Bible truth. He was impressed when Philip Bliss withdrew for a time of prayer before doing so. The result is a rousing song based on the scene in heaven, when Christ, the Lamb of God is worshiped.
The twenty-four elders fell down before the Lamb, each having a harp, and golden bowls [“vials,” KJV] full of incense, which are the prayers of the saints. And they sang a new song, saying: “You are worthy to take the scroll, and to open its seals; for You were slain, and have redeemed us to God by Your blood out of every tribe and tongue and people and nation, and have made us kings and priests to our God; And we shall reign on the earth.”
Rev. 5:8-10
With harps and with vials, there stand a great throng In the presence of Jesus, and sing this new song:
Unto Him Who hath loved us and washed us from sin, Unto Him be the glory forever, Amen.
All these once were sinners, defiled in His sight, Now arrayed in pure garments in praise they unite:
He maketh the rebel a priest and a king, He hath bought us and taught us this new song to sing:
(2) Today in 1919 – Julia Johnston Died
Julia Harriet Johnston lived in Peoria, Illinois. She wrote over 500 hymns, including There’s a Sweet and Blessed Story, and Grace Greater Than Our Sin.
The latter hymn movingly extols one of the greatest and most pervasive themes of Scripture. God’s grace has been defined as His unmerited favour. It is God sovereignly doing for us what we have not earned. The grace of God provided for the salvation of lost sinners who deserve just the opposite. “God demonstrates His own love toward us, in that while we were still sinners, Christ died for us” (Rom. 5:8). No works of ours can purchase God’s eternal salvation (Eph. 2:8-9). All we are called to do is receive it as a free gift, trusting fully in what the Saviour has done for us.
Marvelous grace of our loving Lord, Grace that exceeds our sin and our guilt! Yonder on Calvary’s mount outpoured, There where the blood of the Lamb was spilled.
Grace, grace, God’s grace, Grace that will pardon and cleanse within; Grace, grace, God’s grace, Grace that is greater than all our sin.
Sin and despair, like the sea waves cold, Threaten the soul with infinite loss; Grace that is greater, yes, grace untold, Points to the refuge, the mighty cross.
Here is a choir in the Philippines doing a beautiful job of this hymn. The arrangement is admirable, combining as it does Julia Johnston’s hymn with William Newell’s At Calvary (sung to a different tune than usual). The words of the number are projected on the wall behind them, a boon for those who are hard of hearing.
I enjoyed the video, as I hope you will. But I do want to take a moment to comment on the custom of applauding a ministry in music. Recently, at a church in another town, I sang a solo praising God for His wonderful love in sending the Saviour to die for us. Afterward, the congregation applauded. I stopped them, as graciously as I could. It felt like they had entirely missed the point. Comments later focusing on my voice suggested the same thing. When we applaud, what are we applauding? To me, the clapping at the end of the video is distracting and intrusive. What are they applauding? God’s marvelous grace? Or the choir’s performance? For further thoughts on the subject, see Hold That Applause…Please.
Englishman, Thomas Augustine Arne, was a prominent composer of theatre music during the eighteenth century. He wrote the music for about 100 stage works, and is considered one of the best composers of his era. Among other longer works, Arne wrote an oratorio entitled The Death of Abel, and an opera called Artaxerxes about the Persian king of that name. It is from the latter that the hymn tune Arlington comes, which we use with Watts’s hymn, Am I a Soldier of the Cross?
Am I a soldier of the cross, A follower of the Lamb, And shall I fear to own His cause, Or blush to speak His Name?
Sure I must fight if I would reign; Increase my courage, Lord. I’ll bear the toil, endure the pain, Supported by Thy Word.
About Better Singing: I’ve been asked a number of times how we can improve the congregational singing in our churches. I believe churches would be well served by conducting workshops geared to teaching the basics of singing, and sight reading. The more that learn to sing in harmony, the more beautiful and more enriching will be their experience Sunday by Sunday. Take a look at the article on this subject — Singing in Harmony. (This does assume that there are hymn books in the pews, with notes in them. Please don’t get rid of the hymnal!) And as to teaching singing, Bob Jones University has produced a fine program called The Singer, which includes teacher’s and students’ manuals, and a demonstration CD. Though it is geared to children, it could be adapted for all.
(2) (Data Missing) – One Sweetly Solemn Thought
Robert Steele Ambrose wrote the tune Dulce Domum used with Phoebe Cary’s hymn One Sweetly Solemn Thought. He was born sometime in March of 1824, but the date is uncertain. [Note: the Cyber Hymnal has March 7 as the date of his birth.] The hymn is a sobering reminder that we do not know how close we are to the time of our departing this life. I’m including a bit about the song here because it has several personal connections.
Though born in England, Mr. Ambrose spent his later years in my home town of Hamilton, Ontario. He was the organist at a church in Hamilton (as my own father was, more than a century later). He also taught at a Wesleyan Bible college in Hamilton. As for Phoebe Cary, who died in 1871, there was a Mrs. Cary who sometimes sang at our church, when I was a boy. My father told me she was related to the hymn’s author, and I think I recall him saying also that he was a cousin of Mrs. Cary’s.
The sobering consideration that we are nearer our eternal destiny today than we were yesterday filled the thoughts of Phoebe Cary one Sunday morning in 1852. In fact, she thought, “I am nearer home today than I’ve ever been before.”
That year, Miss Cary, along with her older sister Alice, had moved from their rural western home into the buzzing metropolis of New York. It was a bold venture for two women to make in those days, and they depended very much on each other. Both Alice and Phoebe were gifted authors, and they produced some fine devotional poetry.
On the Sunday morning spoken of, Phoebe climbed the stairs to her humble third-floor bedroom, meditating on the theme of the morning service. Then, sitting down, she composed a poem to express her thoughts. Though it was not originally intended as a hymn, the Moody-Sankey evangelistic meetings popularized a musical version, and it has since found its way into a few hymn books. She entitled her poem “Anticipation of Heaven,” but it has since been identified by the opening words of the first line, One Sweetly Solemn Thought. In the video below you can hear a very early recording of Metropolitan Opera star Alma Gluck singing Phoebe Carey’s hymn as a duet with Louise Horner.
And if I may add one more personal recollection, I was a member of a men’s choir in the early 60s that frequently sang Phoebe Cary’s stirring hymn. Here are the words in the arrangement of the song sung by the Ambassador Male Chorus.
One sweetly solemn thought Comes to me o’er and o’er, I am nearer home today Than I’ve ever been before. Nearer my Father’s house, Where many mansions be, Nearer the great white throne, Nearer the crystal sea.
Nearer the bounds of life, Where we lay our burdens down, Nearer leaving the cross, Nearer gaining the crown. But lying darkly between, Winding a-down through the night, Is the silent unknown stream That leads at last to the light.
Father, be near when my feet Are slipping o’er the brink, For it may be I am nearer home, Nearer now than I think.
For a remarkable story about the impact of this hymn’s message, see the Cyber Hymnal.
(3) Today in 1889 – Joseph Denham Smith Died
Joseph Denham Smith studied at the Dublin Theological Institute, and became a Congregational clergyman in 1840. He worked in missions and in pastoral work in Ireland. Late in life he decided to focus his ministry on evangelism, but his health failed before he could do so.
Pastor Smith has given us a fine hymn on the subject of abiding in Christ. The Lord Jesus discusses that subject in John 15. Nine times He uses some form of the word “abide” there. It refers to the intimate and consistent fellowship the believer is to have with the Lord, maintained by faith in Him and obedience to His Word. The product of “abiding” is spiritual fruitfulness–both the inward fruit of Christlike character, and the outward fruit of effective service (cf. vs. 16)
Abide in Me, and I in you. As the branch cannot bear fruit of itself, unless it abides in the vine, neither can you, unless you abide in Me. I am the vine, you are the branches. He who abides in Me, and I in him, bears much fruit; for without Me you can do nothing. If anyone does not abide in Me, he is cast out as a branch and is withered; and they gather them and throw them into the fire, and they are burned. If you abide in Me, and My words abide in you, you will ask what you desire, and it shall be done for you. By this My Father is glorified, that you bear much fruit; so you will be My disciples. As the Father loved Me, I also have loved you; abide in My love. If you keep My commandments, you will abide in My love, just as I have kept My Father’s commandments and abide in His love. (Jn. 15:4-10)
Abide in Thee, in that deep love of Thine, My Jesus, Lord, Thou Lamb of God divine; Down, closely down, as living branch with tree, I would abide, my Lord, my Christ, in Thee.
Abide in Thee, my Saviour, God, I know How love of Thine, so vast, in me may flow: My empty vessel running o’er with joy, Now overflows to Thee without alloy.
Abide in Thee, nor doubt, nor self, nor sin, Can e’er prevail with Thy blest life within; Joined to Thyself, communing deep, my soul Knows naught besides its motions to control.
Abide in Thee, ’tis thus alone I know The secrets of Thy mind e’en while below; All joy and peace, and knowledge of Thy Word, All power and fruit, and service for the Lord.
Daniel Webster Whittle lost an arm in a battle during the American Civil War, and also spent some time in a prisoner of war camp. In the war he rose to the rank of major, and was popularly addressed until his death years later as Major Whittle.
The call to action in a national conflict certainly has its analogy to the spiritual conflict in which we find ourselves (cf. Eph. 6:10-18). It may be fitting, given this theme, that today’s date is the only one that is also a command. On the anniversary of Major Whittle’s death, the Lord calls upon Christians everywhere to “March forth!” and join in the battle as good soldiers of Jesus Christ (II Tim. 2:3).
Daniel Whittle was used of God as an evangelist, and as the author of many gospel songs that remain in use. These include:
Beloved, Now Are We the Sons of God Christ Liveth in Me I Know Whom I Have Believed Moment by Moment The Banner of the Cross The Crowning Day There Shall Be Showers of Blssing Why Not Now?
The Banner of the Cross seems to reflect Whittle’s military experience, and surely it reminded the old soldier of that.
There’s a royal banner given for display To the soldiers of the King; As an ensign fair we lift it up today, While as ransomed ones we sing.
Marching on, marching on, For Christ count everything but loss! And to crown Him King, we’ll toil and sing, ’Neath the banner of the cross!
Christ Liveth in Me relates to the words of the Apostle Paul in Gal. 2:20, “”I have been crucified with Christ; it is no longer I who live, but Christ lives in me; and the life which I now live in the flesh I live by faith in the Son of God, who loved me and gave Himself for me.”
The inspiration for Moment by Moment came from a conversation Major Whittle had with Henry Varley, a clergyman visiting from England during the time of the 1893 Chicago World’s Fair. Varley commented, “I don’t particularly care for the song I Need Thee Every Hour, because I need the Lord every moment!” Ira Sankey turned to Whittle and said, “There’s an idea for a new song.” Shortly afterward, Daniel Whittle wrote the words for it. His daughter, May (who married Dwight Moody’s son) supplied the tune. It was composed on the little reed organ pictured here. (The organ is now on display at Moody Bible Institute, where I took this photograph.)
Dying with Jesus, by death reckoned mine; Living with Jesus, a new life divine; Looking to Jesus till glory doth shine, Moment by moment, O Lord, I am Thine.
Moment by moment I’m kept in His love; Moment by moment I’ve life from above; Looking to Jesus till glory doth shine; Moment by moment, O Lord, I am Thine.
(For some creative ways to encourage the singing of traditional hymns and gospel songs in your church, see 77 Ideas for Promoting Hymn Singing.)
(2) Today in 1942 – Gloria Gaither Born
Gloria, with her husband Bill, have contributed many popular gospel songs, especially during the 1960’s and 1970. Their songs include:
Because He Lives Gentle Shepherd He Touched me Let’s Just Praise the Lord The Family of God The Longer I Serve Him There’s Something About That Name
As a young woman, Gloria was expecting her third child. Her husband was suffering from a chronic illness, and their church was going through a painful time that touched them personally. The expectant mom sat one evening in a darkened room, fretting over the chaotic and uncertain world into which she was about to introduce a new life.
Then it was as if the Lord spoke to her about the resurrection of Christ, and about the power of the Saviour to carry her through whatever might come. A refreshing serenity suffused her soul. Out of her experience she wrote the hymn Because He Lives. The second stanza is her personal testimony. It resounds with faith’s certainty.
How sweet to hold a new-born baby, And feel the pride and joy he gives; But greater still the calm assurance: This child can face uncertain days because He lives.
Because He lives I can face tomorrow; Because He lives, all fear is gone. Because I know He holds the future, And life is worth the living just because He lives.
Here is the Gaither Trio singing this song many years ago:
Ella Sophia Bulley Armitage, the daughter of S. M. Bulley, of Liverpool, England, is a reminder to us that hymn writers can come from a wide variety of walks of life. She lived at a time when many of the pursuits she aspired to were closed to women, and she wrote in her diary that she was determined to overcome what she called “the accursed thraldom of womanhood”!
One of 14 children, Ella Bulley began the life of an educator by teaching her 13 brothers and sisters at home. She went on to become a lecturer in history at Owens College, Manchester. Armitage was a competent linguist, but her main interest was archeology–specifically relating to the history of ancient Britain. She was also a woman of faith. In 1874, she married a Congregational clergyman named Rev. E. Armitage who taught theology at a Congregational college. Ella was the founder and president of a women’s organization called the Yorkshire Congregational Women’s Guild of Christian Service.
Mrs. Armitage produced quite a number of hymns, but they are not in common use today. For the opening of a new Sunday School in 1875, she wrote an excellent hymn about Christian service, O Lord of Life, and Love and Power.
O Lord of life, and love, and power, How joyful life might be, If in Thy service every hour We lived and moved with Thee; If youth in all its bloom and might By Thee were sanctified, And manhood found its chief delight In working at Thy side!
’Tis ne’er too late, while life shall last, A new life to begin; ’Tis ne’er too late to leave the past, And break with self and sin; And we this day, both old and young, Would earnestly aspire For hearts to nobler purpose strung, And purified desire.
Nor for ourselves alone we plead, But for all faithful souls Who serve Thy cause by word or deed, Whose names Thy book enrolls: O speed Thy work, victorious King, And give Thy workers might, That through the world Thy truth may ring, And all men see Thy light.
(2) Today in 1921 – Jesse Pounds Died
Jesse Brown suffered from ill health as a child, and received her early education at home. She soon showed ability as a writer of devotional verse, and by the age of 15 was submitting articles to newspapers in Cleveland, Ohio, and to various religious publications. Jesse married John Pounds, in 1896, who was then pastor of the Central Christian Church in Indianapolis.
During her lifetime, Jesse Pounds wrote 9 books, the text for 50 cantatas, and more than 400 hymns. Among the latter are:
Anywhere with Jesus Beautiful Isle of Somewhere I Know That My Redeemer Liveth The Touch of His Hand on Mine The Way of the Cross Leads Home
Jesse Pounds song about heaven, Beautiful Isle of Somewhere, has been somewhat misunderstood. It is not that she was vague about the reality of heaven. She certainly believed it to be the destiny of the saints. But she felt that the tendency to emphasize its material luxuries was unworthy of what heaven is about. One Sunday morning, shortly after her marriage, when illness kept her home from church, she meditated on the subject. She thought of heaven as a place where we will enjoy the blessings of God’s love and care. Exactly where it is, or what it will be like, beyond that, did not concern her as much. (Note: the word “guerdon,” below, means reward.)
Somewhere the sun is shining, Somewhere the songbirds dwell; Hush, then, thy sad repining, God lives, and all is well.
Somewhere, somewhere, Beautiful Isle of Somewhere! Land of the true, where we live anew, Beautiful Isle of Somewhere!
Somewhere the day is longer, Somewhere the task is done; Somewhere the heart is stronger, Somewhere the guerdon won.
Here is the celebrated Irish tenor John McCormick (1884-1945) singing this song. Mr. McCormick first recorded it in 1901, when it was new.
Another fine gospel song Jesse Pounds has given us is The Touch of His Hand on Mine. In times of darkness and difficulty, she pictures the gentle, loving touch of the Lord Jesus ministering “grace and power” to her in her need. And it’s interesting to note the number of times we see the hands of the Lord spoken of in the Gospels. We could make a little outline as follows:
His Curing Hands (Lk. 4:40) His Caring Hands (Mk. 10:13-16) His Crucified Hands (Lk. 24:36-39)
Though we don’t have Christ’s physical presence with us now, Jesse Pounds’ poetic imagery serves as a reminder of the transforming and energizing power of God in our lives.
There are days so dark that I seek in vain For the face of my Friend divine; But though darkness hide, He is there to guide By the touch of His hand on mine.
Oh, the touch of His hand on mine, Oh, the touch of His hand on mine, There is grace and power, in the trying hour, In the touch of His hand on mine.
There are times, when tired of the toilsome road, That for ways of the world I pine; But He draws me back to the upward track By the touch of His hand on mine.
When the way is dim, and I cannot see Through the mist of His wise design, How my glad heart yearns and my faith returns By the touch of His hand on mine.
John Wesley, the founder of Methodism, was the most influential Christian leader of the eighteenth century. His conversion in 1738 may well be one of the most significant turning points in British history. Through all of his life afterward, salvation through the work of Christ on the cross was both central to his message and the foundation of his confidence for eternity. As he lay dying, friends gathered around his bedside. He quoted a short couplet based on I Tim. 1:15:
I the chief of sinners am, But Jesus died for me.
Wesley’s energy and output are legendary. He traveled some 250,000 miles on horseback, during over 50 years of ministry. He preached about 40,000 sermons (sometimes four or five a day), and wrote dozens of books. Though his brother Charles was the major hymn writer in the family, John made a contribution in that area too, writing a few himself, but especially translating German, French, and Spanish hymns.
One lengthy hymn by John Wesley was written for the occasion of George Whitefield’s funeral in 1770, at which he also preached. It says in part:
Servant of God, well done! Thy glorious warfare’s past; The battle’s fought, the race is won, And thou art crowned at last.
With saints enthroned on high, Thou dost thy Lord proclaim, And still to God salvation cry, Salvation to the Lamb!
As to his translation work, we have John Wesley to thank for such hymns as Give to the Winds Thy Fears, Jesus, Thy Boundless Love to Me, and Jesus, Thy Blood and Righteousness. The original of the latter was written in German by Nikolaus von Zinzendorf. It is a powerful declaration of the efficacy of the blood of Christ to save us eternally.
Jesus, Thy blood and righteousness My beauty are, my glorious dress; ’Midst flaming worlds, in these arrayed, With joy shall I lift up my head.
Bold shall I stand in Thy great day; For who aught to my charge shall lay? Fully absolved through these I am From sin and fear, from guilt and shame.
Lord, I believe Thy precious blood, Which, at the mercy seat of God, Forever doth for sinners plead, For me, e’en for my soul, was shed.
(2) Today in 1811 – John Monsell Born
Anglican clergyman John Samuel Bewley Monsell attended Trinity College, in Dublin, and was ordained in 1834. For a time he was the archdeacon of Londonderry, Ireland, as well as holding other influential posts. He was killed in 1875 by a fall from the roof of a church that was being rebuilt. Monsell wrote 11 volumes of poetry and almost 300 hymns. Consider, for example, the powerful confession in My Sins, My Sins, My Saviour.
My sins, my sins, my Saviour! They take such hold on me, I am not able to look up, Save only, Christ, on Thee; In Thee is all forgiveness, In Thee abundant grace, My shadow and my sunshine The brightness of Thy face.
My sins, my sins, my Saviour! How sad on Thee they fall; Seen through Thy gentle patience, I tenfold feel them all; I know they are forgiven, But still, their pain to me Is all the grief and anguish They laid, my Lord, on Thee.
More commonly found in our hymnals is Monsell’s Fight the Good Fight, based on Paul’s testimony in II Tim. 4:7, “I have fought the good fight, I have finished the race, I have kept the faith.”
Fight the good fight with all thy might; Christ is thy strength, and Christ thy right; Lay hold on life, and it shall be Thy joy and crown eternally.
Run the straight race through God’s good grace, Lift up thine eyes, and seek His face; Life with its way before us lies, Christ is the path, and Christ the prize.
(3) Today in 1880 – Robert Harkness Born
Musician Robert Harkness was born in Australia. After attending a gospel meeting presented by Ruben Torrey and Charles Alexander, he became Alexander’s pianist. He put his faith in Christ shortly after, and made several world tours with the team.
I can recall being taken by my father to a meeting Harkness conducted in the 1950s. At one point, Mr. Harkness called for a verse of Scripture, which someone in the audience quoted to him. He told us he would create a song, on the spot, using the verse. He called for a musical key to write the song in, and my father responded with (as I recall) E Flat Major. I can’t remember the song, but he played and sang one, as promised. Afterward, I was taken to meet him.
Mr. Harkness created a practical piano course to assist church musicians and accompanists. He also wrote over 2,000 gospel songs. Some examples: Only Believe and Live, and Why Should He Love Me So? and At the Foot of the Cross.
I met Jesus at the foot of the cross When I was bound by sin; Jesus met me, cleansed my heart of its dross, He gave sweet peace within.
I met Jesus at the foot of the cross, I met Jesus at the foot of the cross; All my sins were washed away; Sin’s dark night turned into day When I met Jesus at the foot of the cross.
Frank Monford Graham was a Methodist clergyman who served his denomination as District Superintendent in northern Georgia, around 1895-1915. He was one of the founders of what is now Southern Wesleyan University, in South Carolina. Graham wrote a few gospel songs, but as far as I know only one is still in use, The Old Account Was Settled.
The song is a description of the legal transaction that takes place in heaven when a sinner trusts in the Saviour as his only means of salvation. The Bible says, “He [God the Father] made Him [Christ] who knew no sin to be sin for us, that we might become the righteousness of God in Him” (II Cor. 5:21). Think of a great account book on which all of our sins are listed as a debt we owe. But it is as though our debt was transferred to Christ’s account, and He paid that debt in full on the cross. And, as the above verse indicates, at the same time God more than cancels our debt when we trust Christ as Saviour. He credits our account with the perfect righteousness of His dear Son.
There was a time on earth, when in the book of heav’n An old account was standing for sins yet unforgiv’n; My name was at the top, and many things below, I went unto the Keeper, and settled long ago.
Long ago (down on my knees), long ago (I settled it all), Yes, the old account was settled long ago (Hallelujah!); And the record’s clear today, for He washed my sins away, When the old account was settled long ago.
O sinner, trust the Lord, be cleansed of all your sin, For thus He hath provided for you to enter in; And then if you should live a hundred years below, Up there you’ll not regret it, you settled long ago.
Here are four brothers, who picked up a couple of hymn books one day in their church basement, and gave us this informal recording of The Old Account Was Settled. It reminded me of one time I was lined up to fill my plate at a church supper. A couple of young people in front of me started singing a hymn in harmony (without books), and several more of us joined in. It was a great experience of fellowshipping in song.
(2) Today in 1904 – Edwin Hodder Died
The Cyber Hymnal says, “Hodder moved to New Zealand in 1856 as part of a social experiment, but returned to England in 1861 and became a civil servant. In 1897, he retired to Henfield, Sussex.” He wrote quite a number of books, and published The New Sunday School Hymn Book (in 1863, and enlarged five years later), in which 23 of the songs were his own. One of these is the hymn Thy Word Is Like a Garden, Lord, which gives us some effective comparisons highlighting the value of the Scriptures.
Thy Word is like a garden, Lord, with flowers bright and fair; And every one who seeks may pluck a lovely cluster there. Thy Word is like a deep, deep mine; and jewels rich and rare Are hidden in its mighty depths for every searcher there.
Thy Word is like a starry host: a thousand rays of light Are seen to guide the traveler and make his pathway bright. Thy Word is like an armory, where soldiers may repair; And find, for life’s long battle day, all needful weapons there.
(3) Today in 1969 – Helen Dixon Died
Helen Cadbury was an heiress to the Cadbury chocolate fortune, but she was also a dedicated Christian. In 1904 she married gospel musician Charles McCallon Alexander. Alexander was neither a song writer or a great soloist. His particular gift was leading congregational singing, coupled with an earnest desire to see souls saved. He worked for some years with evangelist and Bible teacher Reuben Archer Torrey. When Charles Alexander died in 1920, Helen Cadbury Alexander married Baptist pastor A. C. Dixon.
Helen Dixon added a couple of stanzas of her own to Jesse Pounds’s hymn, Anywhere with Jesus, which begins:
Anywhere with Jesus I can safely go, Anywhere He leads me in this world below; Anywhere without Him dearest joys would fade; Anywhere with Jesus I am not afraid.
Anywhere, anywhere! Fear I cannot know; Anywhere with Jesus I can safely go.
Years ago, a group of young people went to Sing Sing Penitentiary on Sunday afternoons, to hold services for the prisoners. Strange as it seems, this hymn became a favourite there. Among the inmates were two men sentenced to death for a murder committed during the burglary of a house. During these weekly meetings, they heard the gospel and put their faith in Christ as Saviour. On their last day on earth, when each was led to the place of execution, he confessed his sins, saying he deserved the punishment he was facing. But both added they believed God had forgiven them, and through His grace they could go “anywhere with Jesus.”
Friedrich Ferdinand Flemming studied medicine and served as a physician in Berlin until his death. In music, he is chiefly remembered for an 1811 male chorus setting of Horace’s ode Integer Vitae. His one hymn tune, an excellent one now known as Flemming, is adapted from that work. It is used for Elizabeth Charles’s Trinitarian hymn, Praise Ye the Triune God.
Praise ye the Father for His lovingkindness; Tenderly cares He for His erring children; Praise Him, ye angels, praise Him in the heavens, Praise ye Jehovah!
Praise ye the Saviour—great is His compassion; Graciously cares He for His chosen people; Young men and maidens, older folks and children, Praise ye the Saviour!
Praise ye the Spirit, Comforter of Israel, Sent of the Father and the Son to bless us; Praise ye the Father, Son and Holy Spirit, Praise ye the Triune God!
(2) Today in 1929 – William Edwards Died
Welshman William Edwards is known in hymnody for one contribution only: he has given us an English translation of the insightful Welsh hymn Here Is Love. Edwards was an influential scholar and Baptist layman, and a tutor teaching the Greek language. He translated the New Testament into the Welsh tongue from the original Greek. In politics, he was known as a passionate orator. His voice is stilled on earth now, but consider the powerful ministry he may yet have to those who sing the hymn he has given us.
Here is love, vast as the ocean, Lovingkindness as the flood, When the Prince of Life, our ransom, Shed for us His precious blood. Who His love will not remember? Who can cease to sing His praise? He can never be forgotten, Throughout heav’n’s eternal days.
On the mount of crucifixion, Fountains opened deep and wide; Through the floodgates of God’s mercy Flowed a vast and gracious tide. Grace and love, like mighty rivers, Poured incessant from above, And heav’n’s peace and perfect justice Kissed a guilty world in love.
Let me all Thy love accepting, Love Thee, ever all my days; Let me seek Thy kingdom only And my life be to Thy praise; Thou alone shalt be my glory, Nothing in the world I see. Thou hast cleansed and sanctified me, Thou Thyself hast set me free.
(3) (Data Missing) – The Old Book and the Old Faith
This rousing gospel song was written by George H. Carr and published in 1914. Unfortunately, there does not seem to be any more data available on either Mr. Carr or his hymn. But it has a message for our time. In a day when various ones are questioning the truths expressed in the Word of God, it is encouraging to know there are still many who stand upon God’s Word and preach “the faith which was once for all delivered to the saints” (Jude 1:3).
’Mid the storms of doubt and unbelief, we fear, Stands a Book eternal that the saints hold dear; Through the restless ages it remains the same— ’Tis the Book of God, and the Bible is its name!
The old Book and the old faith Are the Rock on which I stand! The old Book and the old faith Are the bulwark of the land! Through storm and stress they stand the test In every clime and nation blessed; The old Book and the old faith Are the hope of every land!
’Tis the Book that tells us of the Father’s love, When He sent His Son to us from heav’n above, Who by richest promise creates hope within, For ’tis through His blood we are saved from every sin!
Oh, the grand old Book and the dear old faith Are the Rock on which I stand! Oh, the grand old Book and the dear old faith Are the hope of every land!
Henry Wadsworth Longfellow was the most popular American poet of his time. He wrote a number of well known poems such as Paul Revere’s Ride, The Village Blacksmith, The Song of Hiawatha, and Evangeline. He also spent several years doing a translation of Dante’s Divine Comedy.
Henry was the older brother of Unitarian pastor and hymn writer, Samuel Longfellow, but he himself is not considered a hymn writer. However, Henry Longfellow was inspired to write the Christmas carol I Heard the Bells on Christmas Day when his own son went off to join the Union forces during the Civil War.
I heard the bells on Christmas day Their old familiar carols play, And wild and sweet the words repeat Of peace on earth, good will to men.
And in despair I bowed my head “There is no peace on earth,” I said, “For hate is strong and mocks the song Of peace on earth, good will to men.”
Then pealed the bells more loud and deep: “God is not dead, nor doth He sleep; The wrong shall fail, the right prevail With peace on earth, good will to men.”
(2) Today in 1838 – William Kirkpatrick Born
William James Kirkpatrick was born in Ireland, but came to America with his parents, at an early age. As a prominent gospel musician, he provided the tunes for some of our familiar hymns such as Lead Me to Calvary, ‘Tis So Sweet to Trust in Jesus, Jesus Saves, and many more. He also edited and published many books of sacred music.
Rarely has a hymn been written specifically for the benefit of one person. But that happened with one by William Kirkpatrick. It happened when he was assisting as song leader in camp meetings held in Rawlinsville, Pennsylvania. The guest soloist possessed a wonderful voice, and sang with great expression. However, Kirkpatrick noticed he never remained in the service after he did his part. He left before the preaching of the Word.
William Kirkpatrick began to doubt whether the man was a born again believer. He returned to his tent after a morning meeting and prayed for guidance. He wanted somehow to impress upon the other musician his need for a personal relationship with Jesus Christ. And he got an idea. He would write a song for the other man to sing, a song that would call him to put his faith in the Saviour. It was not often Mr. Kirkpatrick wrote both words and music. Usually, his contribution was a musical one. But the urgency of the case prompted him to do both, and the hymn was soon finished.
He gave it to the soloist, asking if he would sing it in the evening meeting. The man did so, and was clearly convicted by the hymn’s message. That night, the singer did stay for the sermon. And when it ended he came forward to indicate his desire to get right with God. The song that ministered to that singer was Lord, I’m Coming Home.
I’ve wandered far away from God, Now I’m coming home; The paths of sin too long I’ve trod, Lord, I’m coming home.
Coming home, coming home, Nevermore to roam, Open wide Thine arms of love, Lord, I’m coming home.
I’ve wasted many precious years, Now I’m coming home; I now repent with bitter tears, Lord, I’m coming home.
The choir’s rendering of this hymn in the video is a little ragged at times. (They don’t always start and stop together.) But the video is interesting. It provides quite an amazing collection of paintings interpreting the parable of the Prodigal Son (Lk. 15:11-24), at the point when he returns home to his father.
There is a touching story about William Kirkpatrick’s death, at the age of 83. Mrs. Kirkpatrick found her husband sitting in his favourite chair at about four in the morning on September 29, 1921. But, as she checked on him, she soon realized he had passed away. Lying at his feet was the beginning of a text for the last hymn he wrote. It provides a fitting ending to this godly man’s fruitful life:
Just as Thou wilt, Lord, this is my cry: Just as Thou wilt, to live or die. I am Thy servant; Thou knowest best; Just as Thou wilt to labour or rest.
Just as Thou wilt, Lord–which shall it be, Life everlasting waiting for me, Or shall I tarry here at Thy feet? Just as Thou wilt, Lord, whate’er is meet.
John Burton Sr. lived in Nottingham, England, for the first 40 years of his life, then moved to Leicester. He is described as a dedicated Baptist layman, who wrote his early hymns for the children in his Sunday School. He helped compile the Sunday School Union Hymn Book of 1810, that went through 20 editions over the following half century.
There is only one of Mr. Burton’s hymns in common use now, Holy Bible, Book Divine. He first published the words in 1803, in a book he wrote–with a long title, often typical of those times: Youth’s Monitor in Verse, a Series of Little Tales, Emblems, Poems and Songs. The hymn is valuable because it lists many of the important uses of God’s Word.
Holy Bible, Book divine, Precious treasure, thou art mine; Mine to tell me whence I came; Mine to teach me what I am.
Mine to chide me when I rove; Mine to show a Saviour’s love; Mine thou art to guide and guard; Mine to punish or reward.
Mine to comfort in distress; Suffering in this wilderness; Mine to show, by living faith, Man can triumph over death.
Mine to tell of joys to come, And the rebel sinner’s doom; O thou holy Book divine, Precious treasure, thou art mine.
(2) Today in 1846 – George Stebbins Born
George Coles Stebbins was one of the preeminent gospel tunesmiths of the nineteenth century. And since he lived until 1945, dying at the age of 99, he provides an important bridge back to the sacred music of those earlier times. Stebbins knew and worked with many of the important figures in the evangelistic world, Dwight Moody, Ira Sankey, Fanny Crosby, and many more. His book, Reminiscences and Gospel Hymn Stories gives us a colourful personal look at many of these men and women, with anecdotes relating to hymn history.
For example, here is Stebbins account of making a recording of My Redeemer, Philip Bliss’s last-known hymn, back in the 1800’s, when Thomas Edison’s invention was new. Mr. Stebbins is reported to have had a wonderful tenor voice, but keep in mind that until this time, nobody had actually been able to hear himself or herself sing!
I had been singing it [Bliss’s hymn] a great deal in New England, and near the close of our meetings in one city, an Edison phonograph–the most startling invention of that age–was being exhibited….I was accordingly invited to “make a record,” as it is now called, which I did.
The record was made on a cylinder wrapped in tinfoil, which was turned by hand both in recording and reproducing…and when it was made I stepped aside and heard myself sing. I remember as if it were but yesterday the novel experience, as I had never seen a phonograph before, and the hearing of my own voice, and every word with striking distinctness enunciated, and even my characteristic manner of singing, modulation of voice and phrasing, produced a unique sensation.
In common with other gospel musicians of the time, such as Philip Bliss, George Stebbins not only wrote music, he was also an evangelist. Around the year 1900, he spent a year preaching in India, Egypt, Italy, Palestine, France and England, touring these countries with his wife Elma. But it was in music that Stebbins made his own distinctive mark.
Among the many tunes he composed are a host of melodies for texts by Fanny Crosby, plus: Green Hill, for There Is a Green Hill Far Way; and tunes for Ye Must Be Born Again; Have Thine Own Way, Lord;Must I Go, and Empty Handed; Take Time to Be Holy; and, in 1878, the tune Evening Prayer, for Saviour, Breathe an Evening Blessing.
Saviour, breathe an evening blessing Ere repose our spirits seal; Sin and want we come confessing: Thou canst save, and Thou canst heal.
Though the night be dark and dreary, Darkness cannot hide from Thee; Thou art He who, never weary, Watchest where Thy people be.
Father, to Thy holy keeping Humbly we ourselves resign; Saviour, who hast slept our sleeping, Make our slumbers pure as Thine.
Here is an organ rendition of Mr. Stebbins’s tune. The organist (quite unnecessarily, I think) apologizes to the one doing the recording for an almost unnoticeable slip in one stanza. To be fair to her, this was not a public event, and she felt free to chat with the unseen recorder. But it’s perhaps a good place to talk about mistakes made in actual services of the church.
Most of us are not professional musicians. I’ve made slips playing the organ or piano, and also singing solos. (And even professionals can make mistakes!) In Christian ministry, often the best thing to do is ignore them and move on. As much as possible, let’s keep the focus on the song, not on us. The less that is made of the flub, the less likely it is to be remembered. We are trying to convey a message and honour the Lord, not show how skilled we are (cf. Jn. 3:30; I Cor. 2:1-5).
