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Hymnal, Number:nss1864

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Hymnals

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The New Shining Star

Publication Date: 1864 Publisher: F. J. Huntington Publication Place: New York Editors: T. E. Perkins; F. J. Huntington

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Jesus is mine

Author: Bonar Appears in 551 hymnals First Line: Fade, fade each earthly joy Used With Tune: [Fade, fade each earthly joy]

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[Fade, fade each earthly joy]

Appears in 225 hymnals Composer and/or Arranger: T. E. Perkins Tune Key: E Flat Major Incipit: 56532 12123 55651 Used With Text: Jesus is mine

Instances

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Jesus paid it all

Hymnal: NSS1864 #3 (1864) First Line: Nothing, either great or small
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Weary pilgrim, cease thy mourning

Author: Fanny Crosby Hymnal: NSS1864 #5 (1864) First Line: Softly on the breath of evening

People

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Mrs. Catherine J. Bonar

1821 - 1884 Person Name: Bonar Hymnal Number: 63 Author of "Jesus is mine" in The New Shining Star Bonar, Jane Catharine, née Lundie, daughter of the Rev. Robert Lundie, some time minister of the parish of Kelso, born at Kelso Manse, December, 1821, married, in 1843, to Dr. H. Bonar, and died in Edinburgh, Dec. 3, 1884. Her hymns appeared in Dr. Bonar's Songs for the Wilderness, 1843-4, and his Bible Hymn Book, 1845. Their use is very limited. Mrs. Bonar is chiefly known through her hymn:— Pass away, earthly joy. Jesus, all in all, which appeared in the Songs for the Wilderness, 2nd Series, 1844, and again in the Bible Hymn Book, 1845, No. 108, in 4 stanzas of 8 lines, including the refrain, "Jesus is mine!" The original text is given in Dr. Hatfield's Church Hymn Book. 1372, No. 661. Sometimes this is altered to "Fade, fade, each earthly joy," as in the American Songs for the Sanctuary, 1865, No. 114, and others. The last stanza of this hymn is also st. iv. of the cento, "Now I have found a friend," &c. (q. v.) -- John Julian, Dictionary of Hymnology (1907)

Theodore E. Perkins

1831 - 1912 Person Name: T. E. Perkins Hymnal Number: 63 Composer of "[Fade, fade each earthly joy]" in The New Shining Star Theodore E. Perkins was born at Poughkeepsie, on the Hudson, N.Y., July 21, 1831. His father was a Baptist clergyman. The family of ten brothers and sisters sang and played various instruments, forming among themselves both choir and orchestra. His musical education began at the early age of three years. During his father's pastorate at Hamilton, N. Y., the choir rehearsals were often held at the parsonage, and the leader used to place the three-year-old on a small stool, on the table around which the choir was assembled, giving him a chance to both see and hear. Later on he played the violincello in church, standing on a stool in order to finger the instrument. The home gatherings — especially on Thanksgiving Day, are the recollections among the happiest of his childhood. His father became pastor of the Berean Baptist Church in New York City, in 1839, giving him the opportunity of studying the pianoforte, of which he became a proficient player. His fine alto voice soon gave him notoriety. At the age of nineteen while filling a position as clerk in New York, all his spare time was given to the study of voice and piano. In 1851 he went to Hamilton, N. Y., taught music in Madison University (now Colgate), and in the Female Seminary. In 1854 he went to Port Jervis, N. Y., where he taught singing school, and April 30, 1855, married Mary Frances Caskey, who was for years his soprano soloist in many musical Festivals and Conventions. Soon after marriage he removed to Salem, N. J., where his lifework as singing school teacher really began, including Bridgeton and prominent towns in southern New Jersey. During the summer of 1856 he and his wife were pupils of the Normal Academy of Music at North Reading, Mass., conducted by Drs. Lowell Mason and Geo. F. Root. During 1856-1858 he was given the position of assistant teacher and manager. His association with these two great men gave an inspiration to all his future work. In 1859 he was co-principal with Wm. B. Bradbury at the Normal Academy of Music, Geneseo, N. Y. He remained at Geneseo until 1863. Professor Perkins also held very successful schools in North Pelham Province of Ontario, Canada, and in 1864-1868 was principal in schools at Tunkhannock and Meadville, Pa. In 1860, The Olive Branch, his first book of church music, was published by F. J. Huntington, New York City, the sales reaching 100,000. Next was Oriental, which sold over 30,000. The Union, Glees and Anthems, and Sabbath Anthems followed ; then The Sacred Lute, which sold over 300,000. His Sunday-school books commenced with The Evergreen, followed by the Shining Star and New Shining Star. Then came Psalm King, which was the last of the books published by Mr. Huntington. Hallowed Songs was published by Philip Phillips; The Sunday School Banner was published by Wm. B. Bradbury. The Royal Standard was published in Toronto, Canada. The Golden Promise, Sabbath Carols, The Mount Zion Collection were published under his own supervision. His Free Sunday School Songs several times numbered over 500,000 a month. Coronation Songs with Rev. Dr. Deems as hymn editor was published by A. S. Barnes Co., who also published Psalms and Hymns and Spiritual Songs, in which Dr. C. S. Robinson was hymn editor, who with Professor Perkins edited Calvary Songs, published by the American S. S. Union. Gospel Tent Songs was evangelical. The Safe-Guard Singer was his temperance book. Mr. Perkins was musical director in the following churches in Brooklyn: The Lafayette Avenue Presbyterian Church, Rev. Dr. Cuyler; Strong Place Baptist Church, Rev. E. E. L. Taylor, D. D.; Madison Avenue Baptist Church, Rev. H. G. Weston, D. D., L. L. D.; Fifth Avenue Presbyterian Church, Rev. Dr. Rice, followed by Dr. John Hall; The Memorial Presbyterian Church, Rev. Dr. C. S. Robinson, who was his close friend; The Church of the Holy Trinity, Rev. Dr. Tyng, Jr. ; Trinity Baptist Church, Rev. Dr. J. B. Simmons, and Washington Square M. E. Church. In Philadelphia: The Fifth Baptist Church, Rev. Dr. Chase; The Eleventh Baptist Church, Rev. Dr. Colman; The Tabernacle M. E. Church, Rev. George Gaul, D. D. He was leader and singer in Evangelistic Services, at the Rink, The Old Madison Square Garden and Cooper Union, all of New York City. The music of the first great meeting of the world's Evangelical Alliance, held for ten days in New York City, was under his direction, as was the first National Sunday School convention, held in Newark, N. J. He was also conductor at the Golden Anniversary of the Female Guardian Society, leading a chorus of forty-two hundred children. In the opening chorus, Great is the Lord, by Dr. Calcott, the word "Great" was given with so much decision and power that the clergymen on the platform sprang to their feet and remained standing until the chorus was finished. He taught voice culture in Princeton and Lafayette Universities, The Union Theological Seminary, New York City; Crozer Seminary, Chester, Pa., and organized the music department of Temple University, Philadelphia, continuing in charge four years. He had charge of the children's choir of Howard Mission, New York City, for twenty-five years, and thinks that some of the happiest and most restful of the working hours were spent in teaching the poor children of the fourth and sixth wards to sing the Gospel. Mr. Sankey said to Mr. Perkins that " Jesus of Nazareth was my banner song for eight years." Jesus is Mine has been sung at the Christian's death-bed, the grave, and once as the convict was going to the scaffold. His Christmas Carol Sweetly Carol had a very large sale in this country, and was republished in England, France, Italy, and Germany. For a period of forty years he has made the study of the voice special work. The most thorough investigations of the voice and its possibilities were made with the assistance of the late John Howard, extending over a period of twenty-five years, during which he has had the care of over two thousand voices. He published a work entitled, Physiological Yoice Culture, edited by his son, the late T. Edward Perkins, M. D., physician and throat specialist of Philadelphia. Mr. Perkins also completed a method of voice culture based on the principles of John Howard's Physiology of Artistic Singing." During these years of work he has found time to edit thirty-four books of church, Sunday-school, day-school, and glee music, the larger portion having been previously mentioned. Also songs and ballads in sheet form, and a cantata entitled, The Excursion, libretto by Fanny Crosby, with whom there has existed an unbroken friendship for over forty years. -Biography of Gospel Song and hymn Writers

Lydia Baxter

1809 - 1874 Person Name: Mrs. Lydia Baxter Hymnal Number: 23 Author of "We are coming, blessed Saviour" in The New Shining Star Baxter, Lydia, an American Baptist, was b. at Petersburg, N. York, Sep. 2, 1800, married to Mr. Baxter, and d. in N. Y. June 22, 1874. In addition to her Gems by the Wayside, 1855, Mrs. Baxter contributed many hymns to collections for Sunday Schools, and Evangelistic Services. Of these, the following are the best known:— 1. Cast thy net again, my brother. Patient toil. Given in the Royal Diadem, N. Y., 1873. 2. Go, work in my vineyard. Duty. Also given in the Royal Diadem, 1873, and Mr. Sankey's S. & Solos, No. 4. 3. I'm kneeling, Lord, at mercy's gate. Lent. In Coronation Hymns, &c, N. Y., 1879. 4. I'm weary, I'm fainting, my day's work is done. Longing for rest. Royal Diadem. 1873. 5. In the fadeless spring-time. Heavenly Reunion. In the Royal Diadem, 1873, I. D. Sankey's S. S. & Solos, No. 256, and others. It was written for Mr. H. P. Main in 1872. 6. One by one we cross the river. Death. In Songs of Salvation, N. Y., 1870, I. D. Sankey's S. S. & Solos, No. 357, &c. It dates cir. 1866. 7. Take the name of Jesus with you. Name of Jesus. Written late in 1870, or early in 1871, for W. H. Doane, and pub. in Pure Gold, 1871. It is No. 148 of I. D. Sankey's S. S. & Solos. 8. The Master is coming. Invitation. In Songs of Salvation, 1870, No. 38. 9. There is a gate that stands ajar. Mercy. In New Hallowed Songs, and also the Gospel Songs of P. Bliss, 1874. It was written for S. J. Vail about 1872. It has attained to some popularity. It is given in Mr. Sankey's S. & Solos, No. 2. -John Julian, Dictionary of Hymnology (1907)
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