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The Silver Chime
Publication Date: 1862 Publisher: Henry Tolman & Co. Publication Place: Boston, Mass. Editors: G. F. Root; Henry Tolman & Co.
The Silver Chime
Hymn 9--Parting
Appears in 19 hymnals First Line: Still one in life and one in death Lyrics: 1 Still one in life and one in death,
One in our hope of rest above;
One in our joy, our trust, our faith,
One in each other's faithful love.
2 Yet must we part, and, parting, weep;
What else has earth for us in store?
Our farewell pains, how sharp and deep!
Our farewell words, how sad and sore!
3 Yet shall we meet again in peace,
To sing the song of festal joy,
Where none shall bid our gladness cease,
And none our fellowship destroy.
4 There, hand in hand, firm-linked at last,
And, heart to heart, enfolded all,
We'll smile upon the troubled past,
And wonder why we wept at all. Used With Tune: ROCKINGHAM
Hymn 9--Parting
One Sweetly Solemn Thought
Appears in 712 hymnals Lyrics: 1 One sweetly solemn thought
Comes to me o’er and o’er,
I'm nearer home to day,
Than I've ever been before.
2 Nearer my Father's house,
Where the many mansions be,
Nearer the great white throne,
Nearer the Jasper sea.
3 Nearer the bound of life,
Where we lay our burdens down,
Nearer leaving the cross,
Nearer gaining the crown.
4 Saviour, perfect my trust,
Strengthen my feeble faith,
Let me feel as I would when I stand
On the shore of the river of death. Used With Tune: [One sweetly solemn thought]
One Sweetly Solemn Thought
Never Forget the Dear Ones
Appears in 13 hymnals Lyrics: 1 Never forget the dear ones
Around the social hearth,
The sunny smiles of gladness,
The songs of artless mirth;
Though other scenes may woo thee,
In other lands to roam,
Never forget the dear ones
That cluster round thy home.
2 Ever their hearts are turning
To thee when far away,
Their love so pure and tender,
Is with thee on thy way;
Where ever thou may'st wander,
Where ever thou may'st roam,
Never forget the dear ones
That cluster round thy home.
3 Never forget thy father,
Who cheerful toils for thee,
Within thy heart may ever,
Thy mother's image be;
Thy sister dear and brother,
They long for thee to come,
Never forget, dear ones
That cluster round thy home.
Used With Tune: [Never forget the dear ones]
Never Forget the Dear Ones
[My days are gliding swiftly by]
Appears in 181 hymnals Tune Sources: From the Sabbath Bell Tune Key: G Major or modal Incipit: 55112 31235 32161 Used With Text: The Shining Shore
[My days are gliding swiftly by]
[One sweetly solemn thought]
Appears in 1 hymnal Tune Key: E Flat Major Incipit: 34322 54323 Used With Text: One Sweetly Solemn Thought
[One sweetly solemn thought]
The Silver Chime
Author: Mrs. Mary A. Whitaker Hymnal: SC1862 #3 (1862) First Line: Ring out, ring out, sweet silver bells Refrain First Line: Thrice blessed is the gladsome sound Lyrics: 1 Ring out, ring out, sweet silver bells,
A joyous, joyous chime,
Your welcome music ever tells
A Saviour's love divine.
Thrice blessed is the gladsome sound
Now pealing on the air,
With willing hearts and feet we bound
To God's own house of prayer.
2 Ring out, sweet bells, a happy strain,
Awake each tuneful voice
To praise His dear and holy name,
In Him let all rejoice.
We are the children of His love,
United may we live;
He stoops from His bright throne above,
To pity and forgive.
3 Ring out your free, inspiring call,
Sweet bells of silver tongue,
Before His footstool here we fall,
And breathe our grateful song;
To us ye speak of joys unseen,
Immortal life and light,
A world of purity serene,
Where faith is changed to sight.
Tune Title: [Ring out, ring out, sweet silver bells]
The Silver Chime
We Come With Joyful Song
Hymnal: SC1862 #4 (1862) Refrain First Line: Be joyful, be joyful Lyrics: 1 We come with joyful song
To the place we love so dearly,
We join the happy throng
Of friends and teachers true.
With greetings kind to all,
We raise our voices cheerily,
For in the Sabbath school
Are pleasures ever new.
Chorus:
Be joyful, be joyful,
be joyful, be joyful,
be joyful, be joyful,
In the Sabbath school.
2 We come with thankful hearts
To the book of life eternal,
For here its light imparts
The knowledge of our Lord.
And seeds that now are sown
Will bloom in joy supernal,
If while our sins we own
We love and trust his word. [Chorus]
Tune Title: [We come with joyful song]
We Come With Joyful Song
O Bless Us, Heavenly Father
Hymnal: SC1862 #5 (1862) Refrain First Line: O hear us! O hear us! Lyrics: 1 O bless us, heavenly Father,
While once again we meet
To seek thy heavenly wisdom,
And bow before thy feet.
Chorus:
O hear us! O hear us!
And give us light divine,
With every needed blessing,
That we may all be thine.
2 O grant us, while we ponder
The lessons of thy word,
That peace which passeth knowledge,
Of those that fear the Lord. [Chorus]
3 Accept, O heavenly Father,
Our prayers and praises too,
And may thy spirit guide us,
In all that we shall do. [Chorus] Tune Title: [O bless us, heavenly Father]
O Bless Us, Heavenly Father
George F. Root
1820 - 1895 Person Name: G. F. Root Editor of "" in The Silver Chime Root, George F., MUS. DOC, born in Sheffield, Berkshire County, Mass., Aug. 30, 1820. He is much more widely known as a composer of popular music than as a hymn writer. Four of his hymns are in I. D. Sankey's Sacred Songs & Solos, 1878. Nos. 16, 100, 293, and 297. A sympathetic biographical sketch, with portrait, is in The Tonic Sol-Fa Reporter, Sep. 1886. He died Aug. 6, 1895.
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
=====================
George Frederick Root was born in Sheffield, Mass., August 30, 1820. His father moved to North Reading, near Boston, when the boy was six years old, and there his youth was spent.
He was always fond of music— not singing at all as a boy, but played upon every kind of instrument that came in his way. At thirteen it was his pride that he could "play a tune" on as many instruments as he was years old. His dream of life was to be a musician, although such an ambition was looked down upon by all his relatives and friends, excepting a fond mother. In the fall of 1838 he went to Boston and made an engagement to work for Mr. A. N. Johnson and take lessons on the piano.
His father and one of the brothers were at the time in South America, and the mother, with six younger children, was at home on the farm. When he secured the engagement with Mr. Johnson to receive three dollars a week and board and lessons, the neighbors became interested and encouraged him to go ahead, they promising to help look after the farm and see that the family got along. The young man's happiness over these events can better be imagined than described.
On the second day of October, 1838, he entered upon his duties in his new heaven on earth located at Harmony Hall, Mr. Johnson's music-room, in Boston. His duties were to see to the fires, care for the room, answer callers, give information about Mr. Johnson when he was out, and practice his lessons when not otherwise engaged. He worked industriously and made steady progress. It was but a few weeks till Mr. Johnson had him playing for the prayer-meeting, and but a few more till he began turning over pupils to him. In about seven weeks' time Mr. Johnson encouraged him by a considerable increase of salary. A most important event to him was meeting Dr. Lowell Mason and being accepted as a bass singer in the celebrated Bowdoin Street choir. Also, on Mr. Johnson's recommendation, he began taking private voice lessons of Mr. Geo. Jas. Webb, the then celebrated voice teacher of Boston. He continued at least a year with Mr. Webb.
His first real singing class was taught the following fall, 1839, at the North End. It lasted nearly through the winter, and on the closing night his class made him a present of a silver goblet, suitably engraved, which he kept among his treasures.
Before the first year was up Mr. Johnson proposed a five year partnership, by which Mr. Root was to receive one-third of their earnings, and the former was to have the privilege of visiting Germany part of the time if he chose. They then changed their quarters to three rooms in the basement of Park Street Church. The annual rental was six hundred dollars. They were kept quite busy.
At this time Dr. Mason's music teaching in the public schools was a growing success, and Messrs. Johnson and Root were employed to assist him. Drs. Mason and Webb had introduced what is now called Musical Conventions a year or two previous to this. They called them "The Teachers' Class." Teachers and singers were called to Boston from surrounding territory to study and practice pretty much as they do now at normals.
In 1841 Mr. Root became one of the teachers in this class. He taught vocal training and continued this work for years afterward in Dr. Mason's teachers' classes, and later incorporated the same method in his own normals. During this year Mr. Johnson went to Germany, and left the two large church choirs (Winter Street and Park Street) in charge of Mr. Root. One of the organs was played by a pupil — Mr. S. A. Bancroft.
Everything went smoothly during Mr. Johnson's absence as it did also after his return. During the last year of the five-year partnership, Mr. Root was called to take the organ at Bowdoin Street, Mr. Mason changing to Winter Street. An amicable settlement was made between Messrs. Johnson and Root, and the partnership dissolved.
In 1811, Mr. Jacob Abbott (father of Lyman Abbott)and his three brothers had established a young ladies' school in New York City. They wanted a music teacher, and offered the position to Mr. Root. They also secured him the organ and choir of the Mercer Street Church, with prospects for other good work. It required pretty strong persuasive arguments to tempt Mr. Root to leave Boston, he was doing well there, and as the sequel shows, there was an attraction in Boston that held him in too tight a grasp to be relinquished by the mere offer of greater power and place. He made up his mind, however, only after getting the consent of the powders of Boston to take with him this [to him] the greatest attraction of the city — Miss Mary Olive Woodman — an accomplished lady, a sweet singer, and a member of a prominent family of musicians. He went to New York first to prepare a home, and in August, 1845, returned for his bride, who took her place in his New York choir as leading soprano, and through his long and eventful career she was ever at his side, a true helpmeet.
He was soon employed at Rutger's Female Institute, Miss Haines' School for Young Ladies, Union Theological Seminary and the New York State Institution for the Blind. Within six weeks after he arrived in New York his time was fully occupied. He continued with Mr. Abbott's young ladies' school ten years.
While teaching in New York he continued his summer work with Messrs. Mason and Webb in Teachers' Classes. Up to the year 1849 he had written but little music; only a few hymn tunes while in Boston. He needed more music for the young ladies of his schools, so he made his first book, The Young Ladies' Choir, of which he had enough copies made for his own use, as he had no thought of offering it to the public. Then in connection with Mr. J. E. Sweetser, they compiled the Root and Sweetser's Collection.
Mr. Root did work enough for two men, hence broke down in health. Mr. Abbott suggested that he take a trip to Paris. After weighing the matter carefully, in December, 1853, he sailed, and in due time arrived at Paris, where he began studying French, voice culture and piano under celebrated teachers. After spending nearly a year abroad, he returned home in improved health and ready for active work. He began to feel the need of new music for his classes, and after some thought decided upon a musical play ; the subject and title, The Flower Queen.
At the Institution for the Blind was a young lady, a former pupil, but now a teacher who had shown some poetical talent. He asked her to help him with the words. He would suggest in prose what the flowers might say and she would put it into rhyme. She did it so well that it seldom needed any alteration. This lady was the now famous Fanny Crosby. The cantata became very popular. About this time Mr. Root wrote a half dozen simple songs for the people. They all sold pretty well, but Hazel Dell and Rosalie, the Prairie Flower, became the most popular, and had a large sale.
It was in the summer of 1853 that the first real normal was held. Mr. Root originated it, and held it in New York. The principal teachers were Messrs. Mason, Root, Hastings, and Bradbury. This school became famous. Sessions were also held at North Reading, Mass., a village near Mr. Root's "Willow Farm Home," with Dr. Mason, Mr. Webb, Mr. Bradbury and himself as principal teachers.
About this time Mr. Root decided to give up his work in New York, and devote himself entirely to conventions, normal work and authorship. He was eminently successful. Among the most eminent teachers and composers of our country have been students in Dr. Geo. F. Root's Normal Musical Institute.
In 1860 Dr. Root settled in Chicago and entered the music publishing business with his brother E. T. Root, and C. M. Cady, as "Root & Cady," Mr. Root's reputation being the most important capital of the firm. His books and popular songs soon made the new firm prosperous. Then came the war with its horror. Dr. Root wielded his musical sword in the way of writing war songs, which made him famous. The Battle Cry of Freedom, Just Before the Battle, Mother, and others, made thousands of dollars for the music house.
In the great Chicago fire of 1871 the interests of the firm of Root & Cady became engulfed in the general ruin. Their loss was upward of a quarter of a million dollars. They then sold their book catalogue, plates and copyrights to John Church & Co., of Cincinnati, and the sheet music plates and copyrights to S. Brainard's Sons, Cleveland. These sales realized about §130,000. The final result was that Dr. Root, his talented son F. W., and others became connected with John Church & Co. Under this new business relationship Mr. Root went right on with his normal and convention work; also issued a great many new books and cantatas. In 1872 the Chicago University very worthily conferred upon him the degree Doctor of Music.
In 1886 he made a trip to Scotland and England, and arranged with publishers to issue some of his cantatas. He was royally received.
Dr. Root was the author of about seventy-five books, nearly two hundred songs in sheet form, and many popular gospel songs. Dr. Root occupies a prominent place in the musical history of this country. It was Dr. Mason who lifted music from almost nothing and gave it an impetus, but he left no better follower than Dr. Root to carry on his work. He was a man of spotless integrity and high Christian character, and to know him was to love him.
At the time of Dr. Root's death he was at Bailey Island, Maine, a summer resort, where he and other relatives had cottages. On August 6, 1895, he was seized with neuralgia of the heart — and died within one hour. He was buried at North Reading, Mass., his old home.
--Hall, J. H. (c1914). Biographies of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company.
George F. Root
George Cooper
1840 - 1927 Person Name: Geo. Cooper Hymnal Number: 46 Author of "Withhold the Angry Word" in The Silver Chime George Cooper, poet, was born in the city of New York, May 14, 1840 son of John and Hepzibah Cooper, He was educated in the public schools of his native city, and afterwards studied law under the late Chester A. Arthur. After practicing for a short time, he renounced his profession to devote himself to the vocation to which his natural gifts inclined him. In his early years, he had developed a taste for writing, and before his sixteenth year had begun to contribute acceptable verses to several leading magazines. Encouraged by the success that met his early productions, he wrote constantly, and became a regular contributor to such periodicals as “The Independent,” “Harpers’ Young People,” and “Harper’s Magazine,” “Atlantic Monthly,” “Putman’s Monthly,” “Our Young Folks,” and “Appleton’s Journal.” Writing constantly for more than a decade, Mr. Cooper has frequently enriched the periodical literature of America by verses of much felicity, and has attracted a wide circle, among his poems are always welcomed with pleasure. His happiest verse has been written for children, and in it lies his chief claim to remembrance. A number of his children’s poems have been published in the collection known as “School and Home Melodies;” and he also issued a volume of hymns consisting exclusively of his own writing and entitled, “The Chaplet.” Among his best-known songs are: “Beautiful Isle of the Sea,” “Must We Then Meet as Strangers,” “Sweet Genevieve,” “While the days Are Going By,” and “God Bless the Little Church Around the Corner.” He has written song words for such composers as Wallace, Abt, Thomas, Millard, and Foster. Of His Other poems, “After,” and “Hereafter” are general favorites; the “Ballad of the Storming of Stony Point” was awarded a prize, and “Learning to Walk” was honored by a commendation from the late William Cullen Bryant. Mr. Cooper was married, in 1877, to Mary E., Daughter of William Tyson, and has since resided at Jersey Heights, where he still employs his leisure in writing.
--http://www.mamalisa.com/blog/only-one-mother-–-a-poem
George Cooper
Henry C. Work
1832 - 1884 Hymnal Number: 27 Author of "There Is a River We All Must Cross" in The Silver Chime b. 10-1-1832, Middletown, CT, d. 6-8-1884, Hartford, CT; composer
LOC Name Authority Files
Henry C. Work
