Words: Henry Wadsworth Longfellow (1807-1882)
Music: John Baptiste Calkin (1827-1905)
This carol was written on December 25, 1863, when the American Civil War (1861-1865) was at its height. The famous poet, Henry Wadsworth Longfellow was saddened by the horrors of this conflict, for "hate seemed overstrong at the moment." His son, who was serving as lieutenant in the Union Army at the time, had been wounded.
When Longfellow heard the Christmas bells chiming out, he came to the realization, from the depths of his despair, that "God is not dead, nor doth He sleep!" He believed that God is powerful enough to overcome the world's strife, and to bring peace and good will to Earth. And in ending each stanza, the poet stresses this idea with the phrase, "Of peace on Earth, good will to men."
I Heard the Bells on Christmas Day
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.
I thought how, as the day had come,
The belfries of all Christendom
Had rolled along th’unbroken song
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.”
Till, ringing, singing, on its way,
The world revolved from night to day,
A voice, a chime, a chant sublime,
Of peace on earth, good will to men!
Sunday, March 28, 2010
Joy to the World
Words: Isaac Watts (1674-1748)
Music: George Frederick Handel (1685-1759),
Dr. Lowell Mason (1792-1872)
Dramatic changes occurred in the 18th century in the way hymns were written and sung, largely due to the ideas and achievements of Isaac Watts. Born in Southampton, England, the son of a church deacon, and eldest of nine children, Isaac wrote his first poem when he was seven. In the seventy years that followed, he wrote some of the most beautiful hymns in the English language.
Very early in life, Isaac had a passion for hymn singing. His father was imprisoned twice for his religious views, and Isaac's mother used to carry him in her arms as she stood at the prison gate, singing hymns to cheer her husband who was inside.
At an early age, Isaac learned to play the piano, and, to the delight of his parents, often composed little songs. While still a young boy, Isaac noticed the lack of enthusiasm in congregational singing at their church, and questioned the quality of the songs. Around this time, in the late 1600s, congregational church singing was led by a song leader (called a "clerk") who stood up, faced the audience, and selected a Psalm to be sung. Only Psalms were sung in the church, as it was considered sacrilege to use any other writings from the Bible or otherwise for the lyrics of religious songs. The clerk would say or sing one line of the Psalm, and the people, in turn, would repeat what had been said or sung by the clerk. This method was called "lining-out."
Isaac's father challenged him to write new hymns for the people to sing. So Isaac, at about the age of fifteen, composed his first hymn, and it received an enthusiastic response. Soon afterward he produced several others that were readily accepted by his father's congregation.
The people enjoyed singing Watts' hymns. Watts intended his hymns to be sung as complete stanzas, rather than as disconnected lines. He urged congregations to sing Psalms and hymns as they do today, one line immediately after the other. Also, he felt that Christian congregational singing should not be confined to Psalms, but that it should include freely composed hymns on Biblical subjects. In Isaac Watts' day, these were very radical changes!
Isaac continued with his studies, and in 1702, after his ordination as a minister of the Gospel, he became pastor of a church in London, which he served for the rest of his life.
Isaac Watts was a brilliant educator (the textbooks he wrote were used for more than 100 years), a notable poet, and the best known of all London ministers in his day. Declining health compelled Watts to resign his pulpit, and he accepted the position from the Lord Mayor of London--Sir Thomas and Lady Abney--of tutoring their children. Sir Thomas made Watts the private chaplain of his household, and Watts was held in great esteem by the Abneys, who considered it an honor to have him in their home.
Watt's talents and leadership helped raise the standards of both the lyrics and the music of hymns, for which he has been rightly called by some, "the father and liberator of the English hymn."
More than four hundred of his hymns are in common use in English-speaking countries today, the two most famous of which are "When I Survey the Wondrous Cross" and "Joy to the World."
One of Watts' music projects was a volume of hymns based upon the Psalms of David. In preparing this volume, Watts read into Psalm 98 all the joy of the coming of the Messiah. Basing his hymn principally on verses 4, 6, 8 and 9, he wrote his finest Christmas hymn, beginning with the lines:
"Joy to the world,
The Lord is come,
Let Earth receive her King!
Let every heart
Prepare Him room,
And Heav'n and nature sing."
Even 70 years after this milestone publication of Watts', there were still some Christians who believed that God stopped singing when David the Psalmist died, and that for believers to sing anything other than the metrical 12 versions of the Old Testament Psalms was heresy 13 of the worst sort. They despised the works of hymn revolutionists Watts and Charles Wesley, saying they were of "human composition." Yet battles have been fought and victories won by Christians singing these great hymns of faith.
At first, "Joy to the World" was sung to music composed by Dr. Hodges (and his tune is still used at times). But later Dr. Lowell Mason set it to a musical theme from "The Messiah" by George Frederick Handel, making "Joy to the World" one of the most joyous Christmas hymns.
Joy to the World
Joy to the world! the Lord is come;
Let earth receive her King;
Let every heart prepare Him room,
and heaven and nature sing,
and heaven and nature sing,
and heaven, and heaven and nature sing.
Joy to the earth! the Savior reigns;
Let men their songs employ;
while fields and floods,
rocks, hills and plains
Repeat the sounding joy,
Repeat the sounding joy,
Repeat, repeat the sounding joy.
No more let sins and sorrows grow,
nor thorns infest the ground;
He comes to make His blessing flow
far as the curse is found,
far as the curse is found,
far as, far as the curse is found.
He rules the world with truth and grace,
and makes the nations prove
the glories of His righteousness,
and wonders of His love,
and wonders of His love,
and wonders, wonders of His love.
Music: George Frederick Handel (1685-1759),
Dr. Lowell Mason (1792-1872)
Dramatic changes occurred in the 18th century in the way hymns were written and sung, largely due to the ideas and achievements of Isaac Watts. Born in Southampton, England, the son of a church deacon, and eldest of nine children, Isaac wrote his first poem when he was seven. In the seventy years that followed, he wrote some of the most beautiful hymns in the English language.
Very early in life, Isaac had a passion for hymn singing. His father was imprisoned twice for his religious views, and Isaac's mother used to carry him in her arms as she stood at the prison gate, singing hymns to cheer her husband who was inside.
At an early age, Isaac learned to play the piano, and, to the delight of his parents, often composed little songs. While still a young boy, Isaac noticed the lack of enthusiasm in congregational singing at their church, and questioned the quality of the songs. Around this time, in the late 1600s, congregational church singing was led by a song leader (called a "clerk") who stood up, faced the audience, and selected a Psalm to be sung. Only Psalms were sung in the church, as it was considered sacrilege to use any other writings from the Bible or otherwise for the lyrics of religious songs. The clerk would say or sing one line of the Psalm, and the people, in turn, would repeat what had been said or sung by the clerk. This method was called "lining-out."
Isaac's father challenged him to write new hymns for the people to sing. So Isaac, at about the age of fifteen, composed his first hymn, and it received an enthusiastic response. Soon afterward he produced several others that were readily accepted by his father's congregation.
The people enjoyed singing Watts' hymns. Watts intended his hymns to be sung as complete stanzas, rather than as disconnected lines. He urged congregations to sing Psalms and hymns as they do today, one line immediately after the other. Also, he felt that Christian congregational singing should not be confined to Psalms, but that it should include freely composed hymns on Biblical subjects. In Isaac Watts' day, these were very radical changes!
Isaac continued with his studies, and in 1702, after his ordination as a minister of the Gospel, he became pastor of a church in London, which he served for the rest of his life.
Isaac Watts was a brilliant educator (the textbooks he wrote were used for more than 100 years), a notable poet, and the best known of all London ministers in his day. Declining health compelled Watts to resign his pulpit, and he accepted the position from the Lord Mayor of London--Sir Thomas and Lady Abney--of tutoring their children. Sir Thomas made Watts the private chaplain of his household, and Watts was held in great esteem by the Abneys, who considered it an honor to have him in their home.
Watt's talents and leadership helped raise the standards of both the lyrics and the music of hymns, for which he has been rightly called by some, "the father and liberator of the English hymn."
More than four hundred of his hymns are in common use in English-speaking countries today, the two most famous of which are "When I Survey the Wondrous Cross" and "Joy to the World."
One of Watts' music projects was a volume of hymns based upon the Psalms of David. In preparing this volume, Watts read into Psalm 98 all the joy of the coming of the Messiah. Basing his hymn principally on verses 4, 6, 8 and 9, he wrote his finest Christmas hymn, beginning with the lines:
"Joy to the world,
The Lord is come,
Let Earth receive her King!
Let every heart
Prepare Him room,
And Heav'n and nature sing."
Even 70 years after this milestone publication of Watts', there were still some Christians who believed that God stopped singing when David the Psalmist died, and that for believers to sing anything other than the metrical 12 versions of the Old Testament Psalms was heresy 13 of the worst sort. They despised the works of hymn revolutionists Watts and Charles Wesley, saying they were of "human composition." Yet battles have been fought and victories won by Christians singing these great hymns of faith.
At first, "Joy to the World" was sung to music composed by Dr. Hodges (and his tune is still used at times). But later Dr. Lowell Mason set it to a musical theme from "The Messiah" by George Frederick Handel, making "Joy to the World" one of the most joyous Christmas hymns.
Joy to the World
Joy to the world! the Lord is come;
Let earth receive her King;
Let every heart prepare Him room,
and heaven and nature sing,
and heaven and nature sing,
and heaven, and heaven and nature sing.
Joy to the earth! the Savior reigns;
Let men their songs employ;
while fields and floods,
rocks, hills and plains
Repeat the sounding joy,
Repeat the sounding joy,
Repeat, repeat the sounding joy.
No more let sins and sorrows grow,
nor thorns infest the ground;
He comes to make His blessing flow
far as the curse is found,
far as the curse is found,
far as, far as the curse is found.
He rules the world with truth and grace,
and makes the nations prove
the glories of His righteousness,
and wonders of His love,
and wonders of His love,
and wonders, wonders of His love.
O Come, All Ye Faithful
Words: Anonymous--Latin hymn; discovered by John Francis Wade (1710-1786);
translated into English by Rev. Frederick Oakeley (1802-1880)
Music: Samuel Webbe, Sr. (1740-1816)
The authorship of "O Come, All Ye Faithful," originally a Latin Christmas song of praise entitled, "Adeste Fidelis," has been attributed to many different poets, but remains somewhat of a mystery. Some think it was an old carol connected with dancing around the manger, and that it might have been used by St. Francis of Assisi. Others claim it came from the 13th century and was the work of a Franciscan friar, St. Bonaventura, an associate of St. Francis. Other historians state that "Adeste Fidelis" was originally written by an unknown French poet between the years 1685 and 1690, during the reign of Louis XIV.
However, it is now generally agreed that Englishman John Francis Wade either came across the stanzas or created them in connection with his music copying and research work in Douay, France, and it first appeared in print in his book, Cantus Diversi, published in 1751.
The first published appearance of the tune to which "O Come, All Ye Faithful" is now sung, was in a collection by another English music copyist 14, Samuel Webbe, Sr. Because Samuel Webbe played the organ in the chapel of the Portuguese embassy in London and used this superb tune on many occasions, the music to this carol became known as "The Portuguese Hymn," leading some historians to believe that it had its origin in Portugal.
So the two music copyists, Wade and Webbe, were instrumental in giving Christendom one of her finest Christmas hymns, "Adeste Fidelis."
Englishman Rev. Frederick Oakeley was so thrilled by the published Latin version of "Adeste Fidelis," that, in 1841, he translated it into his native English, entitling it, "Ye Faithful, Approach Ye."
Eleven years after the translation, Oakeley was determined to improve upon the hymn. He scrupulously studied the original Latin version in an attempt to translate it into more effective and expressive English, with the opening lines of the first stanza reading,
"O come, all ye faithful,
Joyful and triumphant"
Although more than forty different translations were made of "Adeste Fideles," Oakeley's translation, "O Come, All Ye Faithful," was the one most preferred. This carol has been translated into 120 languages and dialects.
Oh, Come, All Ye Faithful
Oh, come, all ye faithful,
Joyful and triumphant!
Oh, come ye, oh come ye to Bethlehem.
Come and behold him,
Born the King of angels;
Chorus
Oh, come, let us adore him;
Oh, come, let us adore him;
Oh, come, let us adore him,
Christ, the Lord.
Sing, choirs of angels,
Sing in exultation;
Sing, all ye citizens of heav’n above!
Glory to God,
Glory in the highest;
Yea, Lord, we greet thee,
Born this happy morning;
Jesus, to thee be all glory giv’n.
Son of the Father,
Now in flesh appearing;
translated into English by Rev. Frederick Oakeley (1802-1880)
Music: Samuel Webbe, Sr. (1740-1816)
The authorship of "O Come, All Ye Faithful," originally a Latin Christmas song of praise entitled, "Adeste Fidelis," has been attributed to many different poets, but remains somewhat of a mystery. Some think it was an old carol connected with dancing around the manger, and that it might have been used by St. Francis of Assisi. Others claim it came from the 13th century and was the work of a Franciscan friar, St. Bonaventura, an associate of St. Francis. Other historians state that "Adeste Fidelis" was originally written by an unknown French poet between the years 1685 and 1690, during the reign of Louis XIV.
However, it is now generally agreed that Englishman John Francis Wade either came across the stanzas or created them in connection with his music copying and research work in Douay, France, and it first appeared in print in his book, Cantus Diversi, published in 1751.
The first published appearance of the tune to which "O Come, All Ye Faithful" is now sung, was in a collection by another English music copyist 14, Samuel Webbe, Sr. Because Samuel Webbe played the organ in the chapel of the Portuguese embassy in London and used this superb tune on many occasions, the music to this carol became known as "The Portuguese Hymn," leading some historians to believe that it had its origin in Portugal.
So the two music copyists, Wade and Webbe, were instrumental in giving Christendom one of her finest Christmas hymns, "Adeste Fidelis."
Englishman Rev. Frederick Oakeley was so thrilled by the published Latin version of "Adeste Fidelis," that, in 1841, he translated it into his native English, entitling it, "Ye Faithful, Approach Ye."
Eleven years after the translation, Oakeley was determined to improve upon the hymn. He scrupulously studied the original Latin version in an attempt to translate it into more effective and expressive English, with the opening lines of the first stanza reading,
"O come, all ye faithful,
Joyful and triumphant"
Although more than forty different translations were made of "Adeste Fideles," Oakeley's translation, "O Come, All Ye Faithful," was the one most preferred. This carol has been translated into 120 languages and dialects.
Oh, Come, All Ye Faithful
Oh, come, all ye faithful,
Joyful and triumphant!
Oh, come ye, oh come ye to Bethlehem.
Come and behold him,
Born the King of angels;
Chorus
Oh, come, let us adore him;
Oh, come, let us adore him;
Oh, come, let us adore him,
Christ, the Lord.
Sing, choirs of angels,
Sing in exultation;
Sing, all ye citizens of heav’n above!
Glory to God,
Glory in the highest;
Yea, Lord, we greet thee,
Born this happy morning;
Jesus, to thee be all glory giv’n.
Son of the Father,
Now in flesh appearing;
O Come, O Come, Emmanuel
Words: Latin origin from the 12th century;
first translated into English by John Mason Neale (1818-1866)
Music: Anonymous--13th century
The roots of this carol can be found in the medieval Roman Church of the 12th century and possibly even earlier. Each of the carol's stanzas begins with a short statement called an "antiphon." Antiphons were used at the beginning of Vespers 30 during the Advent season,31 and were greetings sung to the Savior--each antiphon using one of the many titles given to Jesus in the Scriptures.
This carol's modal 32 melody is an example of the earliest form of singing in the Church. During the 19th century there were a number of ministers and scholars, such as John M. Neale (born in London), who developed an interest in rediscovering and translating into English many of the ancient Greek, Latin and German hymns. Neale himself wrote more than sixty original hymns.
Although the original carol contained many more antiphons, most hymn books that have been printed contain only five of the original antiphons, which are as follows. In verse 1: "Emmanuel." ("Therefore the Lord Himself shall give you a sign; Behold, a virgin shall conceive, and bear a Son, and shall call His Name Immanuel."--Isaiah 7:14.)
In verse 2: "Rod of Jesse." ("And there shall come forth a rod out of the stem of Jesse, and a Branch shall grow out of his roots."--Isaiah 11:1.)
In verse 3: "Dayspring"--meaning "sunrising." ("Through the tender mercy of our God; whereby the Dayspring from on High hath visited us."--Luke 1:78.)
In verse 4: "Key of David." ("And the key of the house of David will I lay upon His shoulder."--Isaiah 22:22a.)
And in verse 5: "Lord of Might"--which addresses God Who revealed Himself on Mount Sinai in the awesome accompaniment of lightning and thunder. ("There were thick clouds upon the mount, and the voice of the trumpet exceeding loud."--Exodus 19:16.)
O Come, O Come, Emmanuel
O come, O come, Emmanuel,
and ransom captive Israel,
that mourns in lonely exile here
until the Son of God appear.
Refrain:
Rejoice! Rejoice!
Emmanuel shall come to thee, O Israel.
O come, thou Wisdom from on high,
who orderest all things mightily;
to us the path of knowledge show,
and teach us in her ways to go. Refrain
O come, thou Rod of Jesse, free
thine own from Satan's tyranny;
from depths of hell thy people save,
and give them victory over the grave. Refrain
O come, thou Dayspring, come and cheer
our spirits by thine advent here;
disperse the gloomy clouds of night,
and death's dark shadows put to flight. Refrain
O come, thou Key of David, come,
and open wide our heavenly home;
make safe the way that leads on high,
and close the path to misery. Refrain
O come, O come, great Lord of might,
who to thy tribes on Sinai's height
in ancient times once gave the law
in cloud and majesty and awe. Refrain
O come, thou Root of Jesse's tree,
an ensign of thy people be;
before thee rulers silent fall;
all peoples on thy mercy call. Refrain
O come, Desire of nations, bind
in one the hearts of all mankind;
bid thou our sad divisions cease,
and be thyself our King of Peace. Refrain
O come, O come, Emmanuel,
and ransom captive Israel,
that mourns in lonely exile here
until the Son of God appear. Refrain
first translated into English by John Mason Neale (1818-1866)
Music: Anonymous--13th century
The roots of this carol can be found in the medieval Roman Church of the 12th century and possibly even earlier. Each of the carol's stanzas begins with a short statement called an "antiphon." Antiphons were used at the beginning of Vespers 30 during the Advent season,31 and were greetings sung to the Savior--each antiphon using one of the many titles given to Jesus in the Scriptures.
This carol's modal 32 melody is an example of the earliest form of singing in the Church. During the 19th century there were a number of ministers and scholars, such as John M. Neale (born in London), who developed an interest in rediscovering and translating into English many of the ancient Greek, Latin and German hymns. Neale himself wrote more than sixty original hymns.
Although the original carol contained many more antiphons, most hymn books that have been printed contain only five of the original antiphons, which are as follows. In verse 1: "Emmanuel." ("Therefore the Lord Himself shall give you a sign; Behold, a virgin shall conceive, and bear a Son, and shall call His Name Immanuel."--Isaiah 7:14.)
In verse 2: "Rod of Jesse." ("And there shall come forth a rod out of the stem of Jesse, and a Branch shall grow out of his roots."--Isaiah 11:1.)
In verse 3: "Dayspring"--meaning "sunrising." ("Through the tender mercy of our God; whereby the Dayspring from on High hath visited us."--Luke 1:78.)
In verse 4: "Key of David." ("And the key of the house of David will I lay upon His shoulder."--Isaiah 22:22a.)
And in verse 5: "Lord of Might"--which addresses God Who revealed Himself on Mount Sinai in the awesome accompaniment of lightning and thunder. ("There were thick clouds upon the mount, and the voice of the trumpet exceeding loud."--Exodus 19:16.)
O Come, O Come, Emmanuel
O come, O come, Emmanuel,
and ransom captive Israel,
that mourns in lonely exile here
until the Son of God appear.
Refrain:
Rejoice! Rejoice!
Emmanuel shall come to thee, O Israel.
O come, thou Wisdom from on high,
who orderest all things mightily;
to us the path of knowledge show,
and teach us in her ways to go. Refrain
O come, thou Rod of Jesse, free
thine own from Satan's tyranny;
from depths of hell thy people save,
and give them victory over the grave. Refrain
O come, thou Dayspring, come and cheer
our spirits by thine advent here;
disperse the gloomy clouds of night,
and death's dark shadows put to flight. Refrain
O come, thou Key of David, come,
and open wide our heavenly home;
make safe the way that leads on high,
and close the path to misery. Refrain
O come, O come, great Lord of might,
who to thy tribes on Sinai's height
in ancient times once gave the law
in cloud and majesty and awe. Refrain
O come, thou Root of Jesse's tree,
an ensign of thy people be;
before thee rulers silent fall;
all peoples on thy mercy call. Refrain
O come, Desire of nations, bind
in one the hearts of all mankind;
bid thou our sad divisions cease,
and be thyself our King of Peace. Refrain
O come, O come, Emmanuel,
and ransom captive Israel,
that mourns in lonely exile here
until the Son of God appear. Refrain
O Holy Night
Words and Music: Adolphe Adam (1803-1856)
The inspiring hymn, "Cantique de Noël" ("O Holy Night"), was written by a distinguished French composer, Adolphe Adam. His father was a pianist, yet he did not want his son to become a musician. At first, Adolphe taught himself music, and, later, his father allowed him to follow this profession.
Adolphe Adam's life ambition was to be a composer of grand opera. He did not achieve success in this, but he did compose many stage works and ballets, the most frequently performed of these being the ballet, "Giselle."
"O Holy Night" received repeated attacks from ecclesiastical 21 authorities on music, saying that the song "lacks of good musical taste, and has a total absence of the spirit of religion." However, a century after its composition, "O Holy Night" remains one of the most popular and stirring Christmas songs ever written.
Oh Holy Night
O holy night!
The stars are brightly shining.
It is the night of the dear Savior's birth!
Long lay the world in sin and error pining
Till he appear'd and the soul felt its worth.
A thrill of hope the weary world rejoices
For yonder breaks a new and glorious morn!
Chorus
Fall on your knees
Oh hear the angel voices
Oh night divine
Oh night when Christ was born
Oh night divine
Oh night divine
Led by the light of Faith serenely beaming
With glowing hearts by His cradle we stand
So led by light of a star sweetly gleaming
Here come the wise men from Orient land
Te King of Kings lay thus in lowly manger
In all our trials born to be our friend.
Truly He taught us to love one another
His law is love and His gospel is peace
Chains shall He break for the slave is our brother
And in His name all oppression shall cease
Sweet hymns of joy in grateful chorus raise we,
Let all within us praise His holy name.
The inspiring hymn, "Cantique de Noël" ("O Holy Night"), was written by a distinguished French composer, Adolphe Adam. His father was a pianist, yet he did not want his son to become a musician. At first, Adolphe taught himself music, and, later, his father allowed him to follow this profession.
Adolphe Adam's life ambition was to be a composer of grand opera. He did not achieve success in this, but he did compose many stage works and ballets, the most frequently performed of these being the ballet, "Giselle."
"O Holy Night" received repeated attacks from ecclesiastical 21 authorities on music, saying that the song "lacks of good musical taste, and has a total absence of the spirit of religion." However, a century after its composition, "O Holy Night" remains one of the most popular and stirring Christmas songs ever written.
Oh Holy Night
O holy night!
The stars are brightly shining.
It is the night of the dear Savior's birth!
Long lay the world in sin and error pining
Till he appear'd and the soul felt its worth.
A thrill of hope the weary world rejoices
For yonder breaks a new and glorious morn!
Chorus
Fall on your knees
Oh hear the angel voices
Oh night divine
Oh night when Christ was born
Oh night divine
Oh night divine
Led by the light of Faith serenely beaming
With glowing hearts by His cradle we stand
So led by light of a star sweetly gleaming
Here come the wise men from Orient land
Te King of Kings lay thus in lowly manger
In all our trials born to be our friend.
Truly He taught us to love one another
His law is love and His gospel is peace
Chains shall He break for the slave is our brother
And in His name all oppression shall cease
Sweet hymns of joy in grateful chorus raise we,
Let all within us praise His holy name.
O Little Town of Bethlehem
Words: Phillips Brooks (1835-1893)
Music: Lewis Redner (1831-1908)
Although not a professional poet, Phillips Brooks could write a hymn, a carol or a poem with almost effortless ease. Born in Boston, Massachusetts, he came from a Christian family which excelled both academically and musically. Even as a child, Phillips was always singing, and by the time he was 16 years old, he knew 200 songs by heart!
As a young man, he was a miserable failure in his first position as a Latin professor, and it was only when he surrendered himself wholly and completely to God, that he found his calling in life.
At the age of 24, Brooks was ordained a pastor, and took charge of a church in the city of Philadelphia, Pennsylvania.
Although he remained a bachelor all his life, Brooks was especially fond of children. It is said that he kept a supply of toys, dolls and other objects of interest to children in his study so that youngsters would be encouraged to drop in and chat with him. A familiar sight was this important man sitting on the floor of his study, having a fun time with a group of children.
Brooks was especially interested in Sunday School music. He loved to hear children sing, and so it's not surprising that he wrote his best song for them, the story of which is as follows:
In 1865, Brooks made a trip to Palestine. The experience found the 33-year-old Brooks with his travelling party in Bethlehem during Christmas week. The trip made an unforgettable impression upon him, but the song he was eventually to write as a result of his travels was almost three years away.
Three years later as Brooks prepared his Christmas program and services, he reflected upon his visit to the Holy Land three years earlier, the impressions and inspiration of which seemed to be permanently stamped upon his heart. The still vivid memory moved the pastor-poet to express his feelings and sentiments in a lovely poem, written especially with the children of his parish 24 in mind. He captured the mystery of that first Christmas in a carol which began with these lines:
"O little town of Bethlehem,
How still we see thee lie;
Above thy deep and dreamless sleep
The silent stars go by.
Yet in thy dark streets shineth
The Everlasting Light;
The hopes and fears of all the years
Are met in thee tonight."
--And in the last stanza, Brooks prayed that the Holy Child of Bethlehem would be born anew in each heart.
The following day when Mr. Lewis Redner, the church organist and also the Sunday School superintendent, came into the minister's study, Brooks handed him a piece of paper on which he had written a copy of this new poem.
"Lewis," he said to his friend and co-worker, "why not write a new tune for my poem?"
Redner smiled as he glanced over the five stanzas and replied, "I'll do what I can, Phillips." Brooks urged Redner to do what he could as quickly as possible, since the Christmas services were only days away!
Although he had ample time in which to compose a suitable tune, Redner delayed until it was almost too late. When Brooks questioned him about the tune, Redner gave the pastor the age-old answer of frustrated composers, "No inspiration!"
Upon retiring, the night before Brooks had planned for a group of children to introduce the song, Redner had still not come up with a single line of music. During the night, Redner suddenly awakened from his sleep, the new tune ringing in his ears! He jotted the melody down as rapidly as he could and then went back to bed for a few hours of contented and undisturbed sleep.
Very early the next morning, he harmonized his original melody, declaring that it "was a gift from Heaven." A group of six Sunday School teachers and thirty-six children sang it from newly printed leaflets on December 27, 1868. Brooks, sitting in the back of the room, was thrilled to hear the children sing his song. The carol was an immediate favorite with everyone--especially the children.
Brooks passed away on January 23, 1893, in his 58th year. He was loved by all who came in contact with him, and his sudden death was greatly mourned by everyone who knew him. The story is told of a five-year-old girl who was upset because she hadn't seen her preacher friend for several days. When told by her mother that Dr. Bishop Phillips Brooks had gone to Heaven, the child exclaimed, "Oh, Mama, how happy the angels will be!"
O Little Town of Bethlehem
O little town of Bethlehem,
How still we see thee lie.
Above thy deep and dreamless sleep
The silent stars go by;
Yet in thy dark streets shineth
The everlasting Light.
The hopes and fears of all the years
Are met in thee tonight.
For Christ is born of Mary,
And, gathered all above
While mortals sleep, the angels keep
Their watch of wond’ring love.
O morning stars, together
Proclaim the holy birth,
And praises sing to God the King,
And peace to men on earth.
How silently, how silently
The wondrous gift is giv’n!
So God imparts to human hearts
The blessings of his heav’n.
No ear may hear his coming;
But in this world of sin,
Where meek souls will receive him, still
The dear Christ enters in.
Music: Lewis Redner (1831-1908)
Although not a professional poet, Phillips Brooks could write a hymn, a carol or a poem with almost effortless ease. Born in Boston, Massachusetts, he came from a Christian family which excelled both academically and musically. Even as a child, Phillips was always singing, and by the time he was 16 years old, he knew 200 songs by heart!
As a young man, he was a miserable failure in his first position as a Latin professor, and it was only when he surrendered himself wholly and completely to God, that he found his calling in life.
At the age of 24, Brooks was ordained a pastor, and took charge of a church in the city of Philadelphia, Pennsylvania.
Although he remained a bachelor all his life, Brooks was especially fond of children. It is said that he kept a supply of toys, dolls and other objects of interest to children in his study so that youngsters would be encouraged to drop in and chat with him. A familiar sight was this important man sitting on the floor of his study, having a fun time with a group of children.
Brooks was especially interested in Sunday School music. He loved to hear children sing, and so it's not surprising that he wrote his best song for them, the story of which is as follows:
In 1865, Brooks made a trip to Palestine. The experience found the 33-year-old Brooks with his travelling party in Bethlehem during Christmas week. The trip made an unforgettable impression upon him, but the song he was eventually to write as a result of his travels was almost three years away.
Three years later as Brooks prepared his Christmas program and services, he reflected upon his visit to the Holy Land three years earlier, the impressions and inspiration of which seemed to be permanently stamped upon his heart. The still vivid memory moved the pastor-poet to express his feelings and sentiments in a lovely poem, written especially with the children of his parish 24 in mind. He captured the mystery of that first Christmas in a carol which began with these lines:
"O little town of Bethlehem,
How still we see thee lie;
Above thy deep and dreamless sleep
The silent stars go by.
Yet in thy dark streets shineth
The Everlasting Light;
The hopes and fears of all the years
Are met in thee tonight."
--And in the last stanza, Brooks prayed that the Holy Child of Bethlehem would be born anew in each heart.
The following day when Mr. Lewis Redner, the church organist and also the Sunday School superintendent, came into the minister's study, Brooks handed him a piece of paper on which he had written a copy of this new poem.
"Lewis," he said to his friend and co-worker, "why not write a new tune for my poem?"
Redner smiled as he glanced over the five stanzas and replied, "I'll do what I can, Phillips." Brooks urged Redner to do what he could as quickly as possible, since the Christmas services were only days away!
Although he had ample time in which to compose a suitable tune, Redner delayed until it was almost too late. When Brooks questioned him about the tune, Redner gave the pastor the age-old answer of frustrated composers, "No inspiration!"
Upon retiring, the night before Brooks had planned for a group of children to introduce the song, Redner had still not come up with a single line of music. During the night, Redner suddenly awakened from his sleep, the new tune ringing in his ears! He jotted the melody down as rapidly as he could and then went back to bed for a few hours of contented and undisturbed sleep.
Very early the next morning, he harmonized his original melody, declaring that it "was a gift from Heaven." A group of six Sunday School teachers and thirty-six children sang it from newly printed leaflets on December 27, 1868. Brooks, sitting in the back of the room, was thrilled to hear the children sing his song. The carol was an immediate favorite with everyone--especially the children.
Brooks passed away on January 23, 1893, in his 58th year. He was loved by all who came in contact with him, and his sudden death was greatly mourned by everyone who knew him. The story is told of a five-year-old girl who was upset because she hadn't seen her preacher friend for several days. When told by her mother that Dr. Bishop Phillips Brooks had gone to Heaven, the child exclaimed, "Oh, Mama, how happy the angels will be!"
O Little Town of Bethlehem
O little town of Bethlehem,
How still we see thee lie.
Above thy deep and dreamless sleep
The silent stars go by;
Yet in thy dark streets shineth
The everlasting Light.
The hopes and fears of all the years
Are met in thee tonight.
For Christ is born of Mary,
And, gathered all above
While mortals sleep, the angels keep
Their watch of wond’ring love.
O morning stars, together
Proclaim the holy birth,
And praises sing to God the King,
And peace to men on earth.
How silently, how silently
The wondrous gift is giv’n!
So God imparts to human hearts
The blessings of his heav’n.
No ear may hear his coming;
But in this world of sin,
Where meek souls will receive him, still
The dear Christ enters in.
Once in Royal David's City
Words: Cecil Frances Alexander (1818-1895)
Music: Henry J. Gauntlett (1805-1876)
Mrs. Frances Alexander, born in Ireland, is said to have been a quiet and reserved person, who wrote her poems for certain special occasions. She had no idea that they would ever appear in print and bring her recognition. Her eight books of hymns, including such favorites like There Is a Green Hill Far Away and Jesus Calls Us O'er the Tumult, contain about 400 songs.
Her Christmas poem, "Once in Royal David's City," was first published in 1848 in Hymns for Little Children. According to one source, the song was written by Mrs. Alexander for her godchildren 36, because they "told her that their Bible lessons were getting dreary." She wrote this nativity poem to help inspire their Bible study time.
In the carol, Mrs. Alexander tells the Christmas story simply, so all ages of children may understand it. She also wanted the children to realize what Jesus' birth meant personally to them, and in the third stanza told them:
"For He is our childhood's pattern,
Day by day like us He grew;
He was little, weak and helpless,
Tears and smiles, like us, He knew;
And He feeleth for our sadness,
And He shareth in our gladness."
The melody was written by the Englishman Henry J. Gauntlett, an organist, organ designer, and composer, who wrote over ten thousand hymn tunes.
Once in Royal David’s City
Once in royal Davids city,
Stood a lowly cattle shed,
Where a mother laid her Baby,
In a manger for His bed:
Mary was that mother mild,
Jesus Christ, her little Child.
He came down to earth from heaven,
Who is God and Lord of all,
And His shelter was a stable,
And His cradle was a stall:
With the poor, and mean, and lowly,
Lived on earth our Saviour holy.
For He is our childhood's pattern;
Day by day, like us, He grew;
He was little, weak, and helpless,
Tears and smiles, like us He knew;
And He cares when we are sad,
And he shares when we are glad.
And our eyes at last shall see Him,
Through His own redeeming love;
For that Child so dear and gentle,
Is our Lord in heaven above:
And He leads His children on,
To the place where He is gone.
Music: Henry J. Gauntlett (1805-1876)
Mrs. Frances Alexander, born in Ireland, is said to have been a quiet and reserved person, who wrote her poems for certain special occasions. She had no idea that they would ever appear in print and bring her recognition. Her eight books of hymns, including such favorites like There Is a Green Hill Far Away and Jesus Calls Us O'er the Tumult, contain about 400 songs.
Her Christmas poem, "Once in Royal David's City," was first published in 1848 in Hymns for Little Children. According to one source, the song was written by Mrs. Alexander for her godchildren 36, because they "told her that their Bible lessons were getting dreary." She wrote this nativity poem to help inspire their Bible study time.
In the carol, Mrs. Alexander tells the Christmas story simply, so all ages of children may understand it. She also wanted the children to realize what Jesus' birth meant personally to them, and in the third stanza told them:
"For He is our childhood's pattern,
Day by day like us He grew;
He was little, weak and helpless,
Tears and smiles, like us, He knew;
And He feeleth for our sadness,
And He shareth in our gladness."
The melody was written by the Englishman Henry J. Gauntlett, an organist, organ designer, and composer, who wrote over ten thousand hymn tunes.
Once in Royal David’s City
Once in royal Davids city,
Stood a lowly cattle shed,
Where a mother laid her Baby,
In a manger for His bed:
Mary was that mother mild,
Jesus Christ, her little Child.
He came down to earth from heaven,
Who is God and Lord of all,
And His shelter was a stable,
And His cradle was a stall:
With the poor, and mean, and lowly,
Lived on earth our Saviour holy.
For He is our childhood's pattern;
Day by day, like us, He grew;
He was little, weak, and helpless,
Tears and smiles, like us He knew;
And He cares when we are sad,
And he shares when we are glad.
And our eyes at last shall see Him,
Through His own redeeming love;
For that Child so dear and gentle,
Is our Lord in heaven above:
And He leads His children on,
To the place where He is gone.
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