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I Need Thee, Precious Jesus
Author: Frederick Whitfield (1829-1904) Meter: 7.6.7.6 D Appears in 6 hymnals First Line: I need Thee, precious Jesus, For I am very poor Lyrics: 1 I need Thee precious Jesus, for I am very poor;
A stranger and a pilgrim, I have no earthly store.
I need the love of Jesus to cheer me on my way,
To guide my doubting foot steps, to be my strength and stay.
2 I need the heart of Jesus to feel each anxious care,
To tell my every trial, and all my sorrows share.
I need the Holy Spirit to teach me what I am,
To show me more of Jesus, to point me to the Lamb.
3 I need Thee precious Jesus, I hope to see Thee soon,
Encircled with the rainbow, and seated on Thy throne.
There with Thy blood-bought children, my joy shall ever be
To sing Thy ceaseless praises, to gaze, my Lord, on Thee. Topics: Christan Life Meditation and Prayer Used With Tune: RUTHERFORD
I Need Thee, Precious Jesus
RUTHERFORD
Meter: 7.6.7.6 D Appears in 262 hymnals Composer and/or Arranger: Chretien D'Urhan (1788-1845); Edward F. Rimbault (1816-1876) Tune Key: F Major or modal Incipit: 33322 11144 34225 Used With Text: I Need Thee, Precious Jesus
RUTHERFORD
ANGELS' STORY
Appears in 371 hymnals Composer and/or Arranger: Arthur H. Mann Incipit: 33321 17544 32325 Used With Text: I need Thee precious Jesus
ANGELS' STORY
I Need Thee, Precious Jesus
Author: Frederick Whitfield (1829-1904) Hymnal: Seventh-day Adventist Hymnal #484 (1985) Meter: 7.6.7.6 D First Line: I need Thee, precious Jesus, For I am very poor Lyrics: 1 I need Thee precious Jesus, for I am very poor;
A stranger and a pilgrim, I have no earthly store.
I need the love of Jesus to cheer me on my way,
To guide my doubting foot steps, to be my strength and stay.
2 I need the heart of Jesus to feel each anxious care,
To tell my every trial, and all my sorrows share.
I need the Holy Spirit to teach me what I am,
To show me more of Jesus, to point me to the Lamb.
3 I need Thee precious Jesus, I hope to see Thee soon,
Encircled with the rainbow, and seated on Thy throne.
There with Thy blood-bought children, my joy shall ever be
To sing Thy ceaseless praises, to gaze, my Lord, on Thee. Topics: Christan Life Meditation and Prayer Tune Title: RUTHERFORD
I Need Thee, Precious Jesus
I need thee precious Jesus
Author: Frederick Whitfield Hymnal: Our Sunday-School Songs #65 (1885) Languages: English Tune Title: [I need thee precious Jesus]
I need thee precious Jesus
I need thee precious Jesus
Author: Frederick Whitfield Hymnal: Songs of Praise #61 (1882) Languages: English Tune Title: AURELIA
I need thee precious Jesus
Samuel Sebastian Wesley
1810 - 1876 Person Name: S. S. Wesley Composer of "AURELIA" in Songs of Praise Samuel Sebastian Wesley (b. London, England, 1810; d. Gloucester, England, 1876) was an English organist and composer. The grandson of Charles Wesley, he was born in London, and sang in the choir of the Chapel Royal as a boy. He learned composition and organ from his father, Samuel, completed a doctorate in music at Oxford, and composed for piano, organ, and choir. He was organist at Hereford Cathedral (1832-1835), Exeter Cathedral (1835-1842), Leeds Parish Church (1842-1849), Winchester Cathedral (1849-1865), and Gloucester Cathedral (1865-1876). Wesley strove to improve the standards of church music and the status of church musicians; his observations and plans for reform were published as A Few Words on Cathedral Music and the Music System of the Church (1849). He was the musical editor of Charles Kemble's A Selection of Psalms and Hymns (1864) and of the Wellburn Appendix of Original Hymns and Tunes (1875) but is best known as the compiler of The European Psalmist (1872), in which some 130 of the 733 hymn tunes were written by him.
Bert Polman
Samuel Sebastian Wesley
Edward F. Rimbault
1816 - 1876 Person Name: Edward F. Rimbault (1816-1876) Arranger of "RUTHERFORD" in Seventh-day Adventist Hymnal Edward Francis Rimbault PhD LLD United Kingdom 1816-1876. Born in Soho, London, England, son of an organist and composer of French descent, he was taught music by his father., Samuel Wesley, and Wiliam Crotch. At age 16 he became organist of the Swiss Church in Soho. He later became organist at various churches, including St Peter’s, Vere Street, and St John’s Wood Presbyterian Church. He edited many collections of music, journals, and publications of music, and arranged music compositions. In addition to editing or arranging contemporary operas, he had a strong interest in editing or arranging earlier English music. He studied the musical treatises in the library of Archbishop Tenison, one of the oldest public libraries in London. In 1838, At age 22 he began lecturing about the history of English music, and was in much demand due to the interest aroused. He did editorial work for the Percy Society, the Camden Society, the Motet Society, and the Handel Society. For the latter he edited the “Messiah”, “Saul”, and “Samson” He was elected a Fellow of the Society of Antiquaries, and was granted membership in the Academy of Music in Stockholm, Sweden. Gottingen University also conferred upon him a PhD. His reputation was such that he was offered a teaching position at Harvard University in the U.S., which he turned down. In 1848 he was given an honorary degree by the University of Oxford. In 1849 he published a collection of English nursery rhymes and the tunes to which they were sung. Rimbault authored 76 books, a few named here include : “Bibliotheca madrigaliana” (1847); “The pianoforte” (1860); “Early English organ builders and their works” (1865). In 1855 he co-authored “The organ- its history and construction” with John Hopkins. He did a small amount of composing as well. He wrote an operetta in 1838, and a musical drama. He also composed a large number of pianoforte scores for operas by others. He was an admirable harmonium player. Traveling to various auctions for years, he accumulated a rare collection of books. After his death his extensive collection was auctioned off in 1877, with many items going to the British Library. About 300 items were sold to an individual, and upon his death in 1888, the ‘Drexel collection’ was bequeathed to the Lenox Library (precursor of the New York Public Library). Today, the collection is part of the Music Division of the NY Public Library for the Performing Arts. He was an author, editor, arranger, composer, lithographer, translator, scribe, adapter, and bookseller. He died at London, England. No information found regarding a family.
John Perry
Edward F. Rimbault
Chrétien Urhan
1790 - 1845 Person Name: Chretien D'Urhan (1788-1845) Composer of "RUTHERFORD" in Seventh-day Adventist Hymnal Chrétien Urhan (Baptised as Christian Urhan; 16 February 1790, Montjoie - 2 November 1845, Belleville) was a French violinist, organist, composer and player of the viola and the viola d'amore.
His father first introduced him to the violin. He was first mentioned in 1804 by Joséphine de Beauharnais that he had replaced a violinist for a performance of Haydn's The Creation, at the young age of 14. From there he was sent to work in Paris, where he took instruction from Jean-François Lesueur, master of the chapel of the Tuileries. He also learned from prominent teachers such as François-Antoine Habeneck, Rodolphe Kreutzer and Pierre Rode. He was invited to join the imperial chapel as a violinist in 1810.
In this period the young Urhan shared lodgings with his friends the harpist Franz Anton Stockhausen (father of Julius Stockhausen) and the painter Carl Begas the elder (who was studying with Antoine Jean Gros, 1813-15). In 1815, through a Quartermaster in the Prussian army of occupation, Urhan and Stockhausen (who corresponded with Beethoven) obtained a score of Beethoven's Eroica Symphony and set it before Habeneck, with the result that the work was introduced to Paris. The two were among Amis de Beethoven, or Beethoven-Bruder in Paris, together with Wilhelm Mangold and others. In the early 1820s the violinist Sina, a member of the string quartet led by Schuppanzigh for Andreas Razumovsky, with Urhan gave new encouragement to Habeneck to continue with the master's works. Until Stockhausen's marriage to the singer Margarethe Schmuck, a member of their circle, in 1825, he lived with Urhan, who remained a lifelong friend.
In 1816, Urhan was appointed solo viola at the Opéra de Paris, and became solo violinist in 1825. Strongly Catholic, he was also appointed the organist at the Church of Saint-Vincent-de-Paul in Paris in 1827, a position that he held until his death. In this position he met the young Franz Liszt, with whom he played chamber music, and also the Beethoven Kreutzer Sonata in a mass. A number of composers wrote prominent parts for Urhan. Meyerbeer composed for him solo viola and solo viola d'amore parts in his opera Les Huguenots, and Rudolph Kreutzer, the solo viola d'amore part in his opera Le Paradis de Mahomet. In 1834, Berlioz wrote his Harold en Italie for orchestra with viola obbligato at the request of Niccolò Paganini, who refused to play the work. Berlioz offered the solo viola part to Urhan and the premiere was given on 23 November 1834 at the Paris Conservatory.
According to Ernest Legouvé, he was both entirely religious and entirely devoted to music. He lived like a medieval ascetic, abstaining from almost everything except his daily visit to the Café des Anglais. His love for theatre music created a severe inner conflict, which he overcame by asking the permission of the Archbishop to play in the orchestra of the Opéra (of which he was Leader), being told it was a matter for his own conscience. He accepted this by always being seated with his back to the stage, so that he never saw the singers or dancers for whom he played, even when providing solo accompaniment for a dancer.
Legouvé thought there were several greater violin virtuousi in Paris than Urhan, but that he outshone them through his profound knowledge of the masters and respect for their music, and through the indefinable quality of style which he brought to them. He often differed with Habeneck, when the conductor wanted to make cuts, and actually published and signed an article against Habeneck when he withdrew some double-basses from Beethoven's Choral Symphony. He did not merely guard the reputation of the old masters, but he was also a fierce advocate and defender of the new, and of those of the future. He was the first to introduce a song of Schubert's into France ('L'Adieu'). For Legouvé, to see him play was like watching Fra Angelico painting in his cell, a medieval mystic at work.
The Stockhausens visited Urhan in his fifth-floor Paris apartment in 1839, and found him living in great simplicity in two rooms, with a piano and five stools in his bedroom, where they sat and were made very welcome. In 1843 Urhan encouraged their son Julius while he was in Paris. In November 1845 Julius wrote to inform his parents of Urhan's death. He had been living in pitiable conditions in Belleville, and began to refuse his food: thoughts of suicide made him resolve to starve himself to death. He suffered agonies of pain and descended into a frenzy, giving terrible grief to his friends, none of whom could talk him out of it. All interventions failed, and Urhan, whom the Stockhausen and Legentil families considered their dear friend, and who had formerly taken communion every Sunday, lost his faith in God and his desire for life. Thus he died, quietly at last with friends at his bedside, on 2 November 1845.
--en.wikipedia.org/wiki/ (excerpts)
Chrétien Urhan
