Cazenovia, New York (pictured), is a town on Highway 20, southeast of Syracuse. But descriptions of its history and its notable citizens fail to mention Harriet Eugenia Peck (later Mrs. Harriet Buell), though that is where she was born in 1834. It should remind us that the Lord keeps far different records from what society often does. Things that receive acclaim and notoriety down here may not be lauded in heaven. But take heart, if you feel underappreciated for your faithfulness to God. The Bible says:
Those who feared the Lord spoke to one another, and the Lord listened and heard them; so a book of remembrance was written before Him for those who fear the Lord and who meditate on His name.
Mal. 3:16
It is easy to see our hymn writers in this description. Many indeed feared God, meditated on His name, and spoke to one another, and speak to ustoday, about Him. And God has been listening, and He remembers. Among those who are obscure in terms of this world’s historical records is Harriet Buell, who gave us the song A Child of the King.
My Father is rich in houses and lands, He holdeth the wealth of the world in His hands! Of rubies and diamonds, of silver and gold, His coffers are full, He has riches untold.
I’m a child of the King, A child of the King: With Jesus my Savior, I’m a child of the King.
(2) Today in 1845 – Chretien d’Urhan Died
Mr. d’Urhan was a well-known French musician who played the violin in the orchestra of the Paris Opera House, and was the organist of St. Vincent’s Church in that city. He is known in hymnody as the composer of the tune Rutherford, used with the beautiful hymn The Sands of Time Are Sinking.
The sands of time are sinking, the dawn of heaven breaks; The summer morn I’ve sighed for—the fair, sweet morn awakes: Dark, dark hath been the midnight, but dayspring is at hand, And glory, glory dwelleth in Immanuel’s land.
O Christ, He is the fountain, the deep, sweet well of love! The streams of earth I’ve tasted more deep I’ll drink above: There to an ocean fullness His mercy doth expand, And glory, glory dwelleth in Immanuel’s land.
(3) Today in 1874 – Phoebe Palmer Died
Phoebe Worrell Palmer wrote the gospel song The Cleansing Wave. Her daughter Phoebe (Phoebe Palmer Knapp) supplied the tune. The two Phoebes in one family, both involved in hymn writing, have given rise to some confusion.
Oh, now I see the cleansing wave! The fountain deep and wide; Jesus, my Lord, mighty to save, Points to His wounded side.
The cleansing stream I see! I see! I plunge, and oh, it cleanseth me! Oh, praise the Lord! It cleanseth me! It cleanseth me—yes, cleanseth me.
John Willard Peterson is probably the most influential hymn writer of the latter part of the twentieth century. Certainly among the most prolific. By the time of his death in 2006, he had written well over a thousand songs, as well as 35 cantatas and musicals. His songs are singable, and their declaration of Bible truth is clear and helpful. Little wonder that his music is still in wide use. (For more about Mr. Peterson and his songs, see the third item under Today in 1908.) Here is just a sampling of the hymns he wrote:
A Flag to Follow All Glory to Jesus, Begotten of God All Things Work Out for Good God’s Final Call Heaven Came Down and Glory Filled My Soul Isn’t the Love of Jesus Something Wonderful It Took a Miracle It’s Not an Easy road Jesus Is Coming Again Jesus Led Me All the Way Over the Sunset Mountains Shepherd of Love Springs of Living Water Surely Goodness and Mercy
As with many hymn writers, Peterson was sensitive to the spiritual application of events happening around him. Sometimes a random comment, or a meaningful phrase, gave him the idea of a song. On one occasion he was assisting with the music at the Montrose Bible Conference. In a morning meeting, time was given for testimonies. Peterson says:
An old gentleman rose to his feet to tell of the saving work of God in his heart. As he spoke, his face glowed, especially when he rehearsed the night when he came to Jesus Christ. “Heaven came down and glory filled my soul” was the way he explained it.
John Peterson jotted down the phrase, and later that week wrote both words and music for a joy-filled gospel song.
O what a wonderful, wonderful day– Day I will never forget; After I’d wandered in darkness away, Jesus my Saviour I met. O what a tender, compassionate Friend– He met the need of my heart; Shadows dispelling, with joy I am telling, He made all the darkness depart.
Heaven came down and glory filled my soul, When at the cross the Saviour made me whole; My sins were washed away, And my night was turned to day– Heaven came down and glory filled my soul!
It may be helpful at this point to mention the hymnal that John Peterson compiled, Great Hymns of the Faith. In my view, it is one of the two or three best options on the market today for an evangelical local church. It contains a good selection of the traditional hymns and gospel songs of the faith. And the musical arrangements are often in slightly lower keys than are used in most older hymnals, making the songs easier to sing. Also, it may be the least expensive hymn book of its size (over 500 songs), a bonus for the smaller church on a limited budget. Mr. Peterson did a great job! Highly recommended.
Choosing A Hymnal For Your Church: While we are on the subject, if your church is considering the purchase of a new hymn book, I encourage you to check out my article. It will give you many good tips as to what to look for, and how to make the final decision.
(2) Saviour, My Heart Is Thine (Data Missing)
Here is a truly beautiful hymn of dedication. We do not know who wrote the text of Saviour, My Heart Is Thine, but George Stebbins provided the tune. It takes us through heart, will, life, and all of the believer–dedicated to the glory of God, and invested in His service. It’s a song that deserves to be better known and more often used.
Saviour, my heart is Thine, Keep it for me; May every thought of mine Glorify Thee. Glorify Thee, glorify Thee; May every thought of mine Glorify Thee.
Saviour, my will is Thine, Keep it for me; May every act of mine Be done for Thee. Be done for Thee, be done for Thee; May every act of mine Be done for Thee.
Saviour, my life is Thine, Keep it for me; May every hour of mine Be lived for Thee. Be lived for Thee, be lived for Thee; May every hour of mione Be lived for Thee.
Saviour, my all is Thine, Keep it for me; May all I have, O Lord, Be used for Thee. Be used for Thee, be used for Thee; May all I have, O Lord, Be used for Thee.
So many in North America recognize this day as Hallowe’en. Costumes and candy have become big money-makers in the retail trade. But the emphasis, more and more, seems to be on gruesome death and the occult. As a result, many Christians have either restricted their children’s involvement or have forbidden it altogether.
But there is another event, largely unrecognized, for which this day should be remembered. On this day, nearly five centuries ago, Martin Luther nailed his 95 theses (subjects for debate) on the door of Wittenberg Church. (Church doors in those days served as community bulletin boards.) The wooden doors from Luther’s time are gone. They have been replaced by the bronze doors, pictured here, which have been engraved with the text of Luther’s theses.
Martin Luther wanted to debate the abuses and false doctrines of the church of his day. And though he originally hoped to bring about reform in the Church of Rome, he was eventually forced to break with it. There were scattered reformers before this (such as Wyclif and Hus), but the day is usually recognized as the beginning of the Protestant Reformation.
The changes that followed affected our hymnody profoundly. Not only did Luther himself write hymns. He encouraged congregational singing, which had been abandoned by the Church of Rome for a thousand years. Further, his emphasis on the authority of the Scriptures, and salvation by God’s grace, through personal faith in Christ, laid the foundation for the Golden Age of Hymnody, the two centuries between 1700 and 1900.
(2) Today in 1875 – Lawrence Tuttiet Born
English hymn writer Lawrence Tuttiet was the son of a surgeon in the British Navy. He trained to be a physician himself, but abandoned this goal to become a clergyman in the Church of England. He also wrote many hymn texts. Among them is his fine New Year’s hymn, Father, Let Me Dedicate, written, he said, to remedy a lack of good hymns for that occasion. (For the full hymn and the tune, see the Cyber Hymnal.)
Father, let me dedicate, all this year to Thee, In whatever worldly state Thou wilt have me be: Not from sorrow, pain or care, freedom dare I claim; This alone shall be my prayer, glorify Thy name.
Can a child presume to choose where or how to live? Can a Father’s love refuse all the best to give? More Thou givest every day than the best can claim Nor withholdest aught that may glorify Thy name.
(3) Today in 1907 – Daniel Roberts Died
Daniel Crane Roberts served as a private in the American Civil War. Later, he became an American clergyman, and also president of the New Hampshire State Historical Society. Only one hymn is credited to him, God of Our Fathers, a strong national hymn written for the July 4th celebration in 1876. Any nation would do well to espouse the prayer of the second stanza below that God would be “our Ruler, Guardian, Guide and Stay,” and that our lives would be directed according to His Word and in His paths. (For a bit more detail on the hymn, see Today in 1828.)
God of our fathers, whose almighty hand Leads forth in beauty all the starry band Of shining worlds in splendour through the skies Our grateful songs before Thy throne arise.
Thy love divine hath led us in the past, In this free land by Thee our lot is cast, Be Thou our Ruler, Guardian, Guide and Stay, Thy Word our law, Thy paths our chosen way.
Christopher Wordsworth was the nephew of famed English poet William Wordsworth. He was both a fine student and an athlete in his school days. He became headmaster of Harrow Boys School, which Winston Churchill would attend many years later. He later was appointed a bishop in the Church of England. A recognized Greek scholar, he wrote a number of theological works, as well as many hymns. Wordsworth said, “It is the first duty of a hymn to teach sound doctrine and thence to save souls.” (A statement worth pondering, given the shallow nature of some of our songs of worship and testimony!)
Christopher Wordsworth has given us a good hymn in praise of the Lord’s Day. Several songs in our hymnals confuse the Jewish Sabbath with the Lord’s Day, but this hymn does not fall into that trap. His hymn celebrates Sunday, the first day of creation, and the day of Christ’s resurrection.
O day of rest and gladness, O day of joy and light, O balm of care and sadness, most beautiful, most bright: On Thee, the high and lowly, through ages joined in tune, Sing holy, holy, holy, to the great God Triune.
On Thee, at the creation, the light first had its birth; On Thee, for our salvation, Christ rose from depths of earth; On Thee, our Lord, victorious, the Spirit sent from heaven, And thus on Thee, most glorious, a triple light was given.
(2) Today in 1934 – Andrew Skoog Died
Skoog called himself Andrew L. Skoog, adopting a middle initial, though he had no middle name! His family came to America in 1869. In his adult years Andrew Skoog became the director of music in a Chicago church, and taught in a parochial school. For several years he served on the City Council of Minneapolis, and edited a Swedish language paper, as well as several hymnals. Mr. Skoog wrote over 300 hymns himself, but his name comes into our English hymnody more as a translator. (All of this with only a sixth grade education!) He gave us the English version of Lina Sandell’s lovely song, Day by Day.
Day by day, and with each passing moment, Strength I find, to meet my trials here; Trusting in my Father’s wise bestowment, I’ve no cause for worry or for fear. He whose heart is kind beyond all measure Gives unto each day what He deems best— Lovingly, its part of pain and pleasure, Mingling toil with peace and rest.
Born around 1720, Joseph Grigg was the son of poor parents. He worked as a mechanic until he was 25 years old. (A “mechanic” in those days was a manual labourer, or an artisan.) At that point, he turned to full-time Christian ministry, becoming the assistant of a Presbyterian pastor in London. When the pastor died, Grigg retired from pastoral work. He married a wealthy widow and spent his latter years writing. At the time of his death, a friend described him as “the friend of the poor, the charm of the social circle, and the attractive and useful preacher.”
Joseph Grigg wrote quite a number of hymns, but few remain in use today. One that does is Jesus, and Shall It Ever Be, said to have been written when the author was only 10 years old. He called the hymn, Ashamed of Me, and the poetry was rather rough–understandable, given his age. For example, his opening stanza said:
Jesus! and shall it ever be! A mortal man ashamed of Thee? Scorn’d be the thought by rich and poor; O may I scorn it more and more!
However, the basis of a powerful and important message was there. Later revisions improved upon Grigg’s poetry, while retaining his message. It issues a challenge to us to be faithful witnesses for Christ.
Jesus, and shall it ever be, A mortal man, ashamed of Thee? Ashamed of Thee, whom angels praise, Whose glories shine through endless days?
Ashamed of Jesus! yes, I may When I’ve no guilt to wash away; No tear to wipe, no good to crave, No fears to quell, no soul to save.
Ashamed of Jesus! that dear Friend On whom my hopes of heav’n depend! No; when I blush, be this my shame, That I no more revere His name.
(2) Today in 1869 – Ernest Sellers Born
Ernest Orlando Sellers worked for a time as a surveyor and civil engineer, becoming city engineer and superintendent of public works in Lansing, Michigan. In 1895, he became a student at Moody Bible Institute. Then Sellers joined the faculty, serving in both the music and Christian education departments. Later in life he became director of music at the Baptist Bible Institute, in New Orleans. The school named the E. O. Sellers Music Building after him.
Mr. Sellers had a part in the production of the New Baptist Hymnal. He wrote a number of hymn tunes. But the one song still in common use, for which he wrote both words and music, is Thy Word Have I Hid in My Heart. It is based on several verses of Scripture, including Ps. 119:105, 9 and 11.
Thy Word is a lamp to my feet, A light to my path alway, To guide and to save me from sin, And show me the heav’nly way.
Thy Word have I hid in my heart, That I might not sin against Thee; That I might not sin, that I might not sin, Thy Word have I hid in my heart.
Forever, O Lord, is Thy Word Established and fixed on high; Thy faithfulness unto all men Abideth forever nigh.
(3) Today in 1954 – Anna Russell Died
Anna Belle Russell lived in Corning, New York, where she belonged to the First Methodist Church. She and her sister Cora wrote a number of hymns. One of these is Wonderful, Wonderful Jesus, for which Ernest Sellers (see above) wrote the tune. He wrote to the author some years later to ask if there was any story behind the writing of the hymn, but she said there was nothing she could tell him. The song became a favourite of evangelist Gypsy Smith, and was much used in his meetings.
There is never a day so dreary, There is never a night so long, But the soul that is trusting in Jesus Will somewhere find a song.
Wonderful, wonderful Jesus, In the heart He implanteth a song: A song of deliverance, of courage, of strength, In the heart He implanteth a song.
A farmer’s son, Henry Harbaugh worked as a carpenter, a teacher, and a writer. Then, after theological training, he became the pastor of a series of German Reformed Churches in the northeastern United States. Around 1863, he became professor of didactic and practical theology at Mercersburg Theological Seminary, the school from which he had graduated.
Dr. Harbaugh wrote or translated several hymns, among them is a lovely little song of his own, Jesus, I Live to Thee, which became popularly known as the Mercersburg Hymn.
A personal note on this one. My father, Edward Cottrill (pictured here), was organist and choir director for Garside Bible Church (then Garside Gospel Church) in Hamilton, Ontario, for nearly 20 years. Around 1955, he wrote his own tune for Harbaugh’s hymn, and it was sung by the choir. Why not take a few moments to read the full hymn, and hear my father’s tune, Garside.
Jesus, I live to Thee, The loveliest and best; My life in Thee, Thy life in me, In Thy blest love I rest.
Whether to live or die, I know not which is best; To live in Thee is bliss to me, To die is endless rest.
(2) Today in 1820 – John Hopkins Born
John Henry Hopkins Jr. worked in New York City as a reporter, intending to pursue a career in law. But instead he decided to attend the General Theological Seminary there, from which he graduated in 1850. He became the seminary’s first music teacher, and edited the Church Journal, as well as serving later as a clergyman at Trinity Church, Plattsburg, New York.
Hopkins wrote a number of hymns, but he is best known for the carol, We Three Kings, written for a Christmas Pageant at the General Theological Seminary. The hymn is supposed to describe the visit of the wise men to the young Jesus, as recorded in Matthew 2:1-12. It is difficult to imagine, however, that a scholar of his stature could make so many mistakes in the opening line of the song–unless he simply didn’t care!
First, the biblical text nowhere tells us how many men there were. They are referred to in the plural, which could mean there were two or twenty-two. We don’t know. That there were three gifts presented tells us nothing. (If you receive three gifts for Christmas, will that without doubt prove there were three separate gift-givers?)
Second, they were not from the “Orient,” which refers to the Far East, or Eastern Asia. Rather, they were likely from Persia (present day Iraq), in the Middle East. [A reader quite rightly corrected me on this. Before the Orient meant the Far East, it was simply applied to countries east of the Mediterranean. On this one, Hopkins was on solid ground.]
Third, they were not kings at all, but “wise men” or magi. The magi were men expert in the study of the stars. The Persians placed much faith in astrology, which is the reason they needed men trained to know the location and movement of the stars.
To Hopkins’s credit, however, he correctly identifies the symbolic meaning of the three gifts presented to Jesus. Whether the visitors fully comprehended it or not, in the providence of God, each of them is appropriate to the person of Christ.
As Hopkins indicates, gold speaks of Christ’s kingly majesty–“Gold I bring, to crown Him again.”
And “incense [frankincense] owns a Deity nigh,” because its rising smoke symbolizes prayer and worship.
Myrrh’s “bitter perfume breathes a life of gathering gloom,” and points to the Lord’s death, because it was used as an embalming spice. (cf. Jn. 19:39-40).
As John Hopkins’s song says of the Lord Jesus Christ, “Glorious now behold Him arise: / King and God and Sacrifice.” At least in that, he got it right!
We three kings of Orient are; Bearing gifts we traverse afar, Field and fountain, moor and mountain, Following yonder star.
O star of wonder, star of light, Star with royal beauty bright, Westward leading, still proceeding, Guide us to thy perfect light.
The professed conversion of the Roman emperor likely took place on this date. Constantine was a worshiper of Mithra, the Persian sun god. But on the eve of an important battle he claimed he had a vision of a cross above the setting sun, suggesting to him the superiority of Christ over Mithra. In letters of light, the cross bore the words Hoc Signo Vinces–“In this sign conquer!” And when Constantine won the battle the next day–in spite of his forces being greatly outnumbered–he believed he had received help from the Christian God, and declared himself to be a Christian. Or so the story goes.
Did he have some kind of genuine religious experience? Or was it a political ploy, conceived later, to curry the favour of Christians in the empire? Opinions differ. Not everything the emperor did afterward is consistent with his claim to faith in Christ. (He refused Christian baptism until near the end of his life.) However, he did become a strong supporter of the church. The Edict of Milan, published in 313 is a significant milestone in church history. From the latter years of the Apostolic Church (30-100 AD), until the edict, believers had endured wave after wave of persecution. But, across the Roman Empire, with the stroke of a pen, the era of the Heroic Church (100-313) ended, and that of the Institutional Church (313-590) began.
Constantine’s edict said in part:
It has pleased us to remove all conditions whatsoever…and now any one of these who wishes to observe the Christian religion may do so freely and openly, without disturbance or molestation.
Christians were now allowed to build churches and hold property. Their worship (and their sacred music) could be shared openly. But not all the changes accompanying the edict were beneficial. Constantine took leadership in summoning the bishops to discuss and rule on church business, and the line between church and state was blurred. Further, it suddenly became popular to say you were a Christian. The emperor made that claim, and it was always healthy to agree with the emperor! As a result, thousands joined the local churches, but numbers aren’t everything. Many were not truly born again, and they brought the baggage of their paganism with them.
(2) Today in 1782 – Robert Williams Born
Born in North Wales, and blind from birth, Robert Williams supported himself by his skill as a basket maker, in the late eighteenth and early nineteenth centuries. He was also a capable amateur musician, and had a fine singing voice. Perhaps his blindness sharpened his memory, as is the case with many who have this disability. It was said he could write out a tune, without a mistake, after hearing it only once. Robert Williams composed the tune (Llanfair) often used with Charles Wesley’s ascension hymn, Hail the Day That Sees Him Rise.
Christ’s return to heaven is an important event. It is recognized in the church calendar of liturgical churches, but many other congregations miss it. The Lord Jesus Christ’s return to Glory signified the Father’s acceptance of His sacrifice. And as our great High Priest, seated at the Father’s right hand, He represents us there (Rom. 8:34; I Jn. 2:1). Wesley’s hymn on the subject alludes to the prophetic words of Ps. 24:7-10.
Hail the day that sees Him rise, Alleluia! To His throne above the skies, Alleluia! Christ, awhile to mortals given, Alleluia! Re-ascends His native heaven, Alleluia!
There the glorious triumph waits, Alleluia! Lift your heads, eternal gates, Alleluia! Christ hath conquered death and sin, Alleluia! Take the King of glory in, Alleluia!
Circled round with angel powers, Alleluia! Their triumphant Lord, and ours, Alleluia! Conqueror over death and sin, Alleluia! “Take the King of glory in! Alleluia!”
(3) Nobody Knows the Trouble I’ve Seen (Data Missing)
In 1788, the first independent African-American church was established in Savannah, Georgia. As well as singing the traditional Protestant hymns with which we are familiar, these churches developed their own genre of music that they called “Spiritual Himes.” They added new words to existing melodies, often changing the words each time the song was used!
At the time, there were laws prohibiting slaves from having drums, horns or other loud instruments. It was felt they might be used to signal rebelling slaves or call them to an illegal assembly. Instead, hand clapping and foot stomping commonly accompanied the singing.
There are various versions of the lyrics of the song Nobody Knowns the Trouble I’ve Seen. Below is a simple one. We don’t know who wrote the song, but its plaintive theme is typical of the black slave songs of the eighteenth and nineteenth centuries. It speaks of the personal nature of each person’s struggle. We may be going through similar circumstances, but pain and suffering is an individual thing. Yet, as well as voicing the miseries of slave life, there is a gleam of Christian faith and hope in the words sometimes included in the song, “Nobody knows but Jesus.” Truly He understands our trials, and invites us to seek help at the throne of grace (cf. Heb. 4:14-16).
Nobody knows the trouble I’ve seen, Nobody knows my sorrow; Nobody knows the trouble I’ve seen, Glory hallelujah! Sometimes I’m up, sometimes I’m down– Oh, yes, Lord! Sometimes I’m almost to the ground– Oh, yes, Lord! Nobody knows the trouble I’ve seen, Nobody knows but Jesus; Nobody knows the trouble I’ve seen, Glory hallelujah!
Here is a version of this spiritual sung by the incomparable Paul Robeson. Robeson (1898-1976) was a college football star, and later a stage and film actor, and an opera and concert singer. The recognition of his amazing achievements was clouded for many years by reaction to his political activism and controversial views. However, recordings of his voice demonstrate that he belongs in the highest rank as one of the greatest bass-baritones ever.
Philip Doddridge was the youngest of 20 children. (Only he and one sister survived past childhood.) In later years, he became a non-conformist clergyman in England, in addition to being known as an educator and author. As one of the dissenting clergy who did not associate themselves with the Church of England, he served an independent congregation, and tutored at a seminary for dissenting ministers from 1739 until his death.
Doddridge was also a prolific hymn writer, and quite a number of his songs are still found in our hymnals. (For more on Philip Doddridge and his hymns, see Today in 1702.) Among the hymns he gave us are:
Awake, My Soul, Stretch Every Nerve Grace, ‘Tis a Charming Sound Great God, We Sing That Mighty Hand How Gentle God’s Commands O God of Bethel, By Whose Hand O Happy Day See Israel’s Gentle Shepherd Stand
Great God, We Sing That Mighty Hand was originally headed by the words:
Help obtained of God. Acts xxvi:22 For New Year’s-Day.
And it would make a fine New Year’s song indeed! The text referenced is from the testimony of the Apostle Paul:
Therefore, having obtained help from God, to this day I stand, witnessing both to small and great, saying no other things than those which the prophets and Moses said would come-that the Christ would suffer, that He would be the first to rise from the dead, and would proclaim light to the Jewish people and to the Gentiles.
Acts 26:22-23
Great God, we sing that mighty hand By which supported still we stand; The opening year Your mercy shows, That mercy crowns it ’til its close.
By day, by night, at home, abroad, Still are we guarded by our God, By His incessant bounty fed, By His unerring counsel led.
With grateful hearts the past we own; The future, all to us unknown, We to Thy guardian care commit, And peaceful leave before Thy feet.
(2) Today in 1909 – Francis Pott Died
Francis Pott was an English clergyman. He wrote several original hymns, but is better known for his translation work, especially of ancient hymns in Latin and Syriac. But one original hymn of Pott’s bears mention here, as it concerns sacred music. It was written for the occasion of the dedication of a new church organ. He says, in Angel Voices Ever Singing:
Angel voices, ever singing, round Thy throne of light, Angel harps, forever ringing, rest not day or night; Thousands only live to bless Thee, and confess Thee Lord of might.
Thou who art beyond the farthest mortal eye can scan, Can it be that Thou regardest songs of sinful man? Can we feel that Thou art near us and wilt hear us? Yea, we can.
Here, great God, today we offer of Thine own to Thee; And for Thine acceptance proffer, all unworthily, Hearts and minds, and hands and voices, in our choicest melody.
In 1859, Francis Pott translated from Latin into English the resurrection hymn The Strife Is O’er. There is some question about the origin of the Latin song in the beginning. Some attribute it to the twelfth century. Others believe it was written by a German Jesuit in the seventeenth century. Likely its first publication, by an anonymous author, was in Colgne, in 1695.
The strife is o’er, the battle done; The victory of life is won; The song of triumph has begun: Alleluia!
Alleluia! Alleluia! Alleluia!
The powers of death have done their worst; But Christ their legions hath dispersed; Let shouts of holy joy outburst: Alleluia!
The three sad days are quickly sped; He rises glorious from the dead; All glory to our risen Head! Alleluia!
Hans Leo Hassler followed in his father Isaac’s footsteps as a skilled church organist. In the sermon preached at his father’s funeral, the speaker said Isaac had “carefully brought up and trained his son, Hans Leo, in the fear of God, in the free arts, and especially in the praiseworthy art of music.” The son is also considered one of the best German composers of the time.
In 1601, Hans Leo Hassler published a secular love song entitled, My Heart is Distracted by a Gentle Maid. A decade later, the tune for this ballad was adopted for use with a German hymn. Another 30 years passed, and the tune was used for a beautiful hymn by Paul Gerhardt. To enhance the singing of Gerhardt’s hymn, Johann Sebastian Bach harmonized Hassler’s tune in 1729, and it became Passion Chorale, which we still use with the English translation of Gerhardt’s reverent text, O Sacred Head Now Wounded.
I note this rather complicated history to indicate that though the music came from a secular source, long ago, it has been delivered from that association for nearly 400 years. There is a myth abroad that many (or most) of our hymn tunes began is melodies used with “barroom songs.” But such is not the case. This is one of the few examples found in most of our hymn books of a hymn tune that originally began as the melody for a secular song. Whether it was ever sung in a bar, I don’t know. But it has entirely lost any such association today.
O sacred Head, now wounded, with grief and shame weighed down, Now scornfully surrounded with thorns, Thine only crown; O sacred Head, what glory, what bliss till now was Thine! Yet, though despised and gory, I joy to call Thee mine.
What Thou, my Lord, hast suffered, was all for sinners’ gain; Mine, mine was the transgression, but Thine the deadly pain. Lo, here I fall, my Saviour! ’Tis I deserve Thy place; Look on me with Thy favour, vouchsafe to me Thy grace.
(2) Today in 1808 – Placide Cappeau Born
When he was only 8 years old, Placide Cappeau lost a hand in a firearms accident. He went on to become a wine merchant in the town of Roquemaure, in France, and later mayor of the town. He wrote poetry for his own enjoyment, and it is Cappeau who gave us the original French version of the carol, O Holy Night (Cantique de Noel). You can hear the great Enrico Caruso sing it here.
O holy night, the stars are brightly shining; It is the night of the dear Saviour’s birth! Long lay the world in sin and error pining, Till He appeared and the soul felt its worth. A thrill of hope, the weary soul rejoices, For yonder breaks a new and glorious morn. Fall on your knees, O hear the angel voices! O night divine, O night when Christ was born! O night, O holy night, O night divine!
Hymn writer William Bingham Tappan was trained first as a clockmaker, in his youth. Later, he was licensed to preach by the Congregational denomination. He had a fruitful evangelistic ministry in America. Tappan also took special interest in the work of the Sunday School, and had a lifelong association with the American Sunday School Union. He published ten books of poetry, and a number of his poems were turned into hymns. William Tappen died of cholera in 1849, at the age of 55.
The hymn of his in widest use today is ‘Tis Midnight and on Olives Brow, a stirring picture of Christ in Gethsemane.
’Tis midnight, and on Olive’s brow The star is dimmed that lately shone; ’Tis midnight, in the garden now The suffering Saviour prays alone.
’Tis midnight, and from all removed Emmanuel wrestles lone with fears E’en the disciple whom He loved Heeds not his Master’s grief and tears.
(2) Today in 1932 – Palmer Hartsough Died
Palmer Hartsough’s parents were Wells and Thankful Palmer. The son had a full life of employment and ministry for the Lord. He traveled widely for a time as a singing teacher, in Michigan, Illinois, Iowa, Ohio, Kentucky and Tennessee. Then he opened a music studio in Rock Island, Illinois around 1877, taught vocal and instrumental music, and also directed music at a Baptist church.
In 1893 he moved to Cincinnati, Ohio, and was employed by the Fillmore Music Company. He was later ordained as a pastor. After several brief church ministries, he became the pastor of the Baptist church in Ontario, Michigan, at the age of seventy, and had a fruitful ministry for fourteen years, until his retirement. Palmer Harsough wrote more than a thousand gospel song texts, often using the pen name Uncle Frank. Only one or two of his songs are remembered today.
Gospel musician James Fillmore wrote words and music for a song to be used at a Christian Endeavour convention. Afterward, he asked Hartsough, then a writer on the staff of Fillmore’s music company, if he could write words for the tune that would be more widely useful. Hartsough responded with the challenging gospel song I Am Resolved.
I am resolved no longer to linger, Charmed by the world’s delight, Things that are higher, things that are nobler, These have allured my sight.
I will hasten to Him, hasten so glad and free; Jesus, greatest, highest, I will come to Thee.
I am resolved, and who will go with me? Come, friends, without delay, Taught by the Bible, led by the Spirit, We’ll walk the heav’nly way.
