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Tarry with Me, O, My Saviour
Appears in 238 hymnals First Line: Tarry with me, O, my Saviour! Lyrics: 1 Tarry with me, O, my Savior!
For the day is passing by;
See! the shades of evening gather,
And the night is drawing nigh.
2 Deeper, deeper grow the shadows,
Paler now the glowing west,
Swift the night of death advances;
Shall it be the night of rest?
3 Lonely seems the vale of shadow;
Sinks my heart with troubled fear;
Give me faith for clearer vision,
Speak Thou, Lord! in words of cheer.
4 Tarry with me, O, my Savior,
Lay my head upon Thy breast
Till the morning; then awake me —
Morning of eternal rest. Used With Tune: ST. SYLVESTER
Tarry with Me, O, My Saviour
TARRY WITH ME
Appears in 26 hymnals Composer and/or Arranger: Knowles Shaw Incipit: 12312 12356 55332 Used With Text: Tarry with me, blessed Saviour
TARRY WITH ME
ST. SYLVESTER
Appears in 243 hymnals Composer and/or Arranger: John B. Dykes Incipit: 33332 34533 33332 Used With Text: Tarry with me, O my Saviour
ST. SYLVESTER
Tarry with Me (Smith)
Author: Caroline L. Smith Hymnal: The Cyber Hymnal #6496 Meter: 8.7.8.7 First Line: Tarry with me, O my Savior Lyrics: 1. Tarry with me, O my Savior,
For the day is passing by;
See! the shades of evening gather,
And the night is drawing nigh.
2. Deeper, deeper grow the shadows,
Paler now the glowing west,
Swift the night of death advances;
Shall it be the night of rest?
3. Lonely seems the vale of shadow;
Sinks my heart with troubled fear;
Give me faith for clearer vision,
Speak Thou, Lord, in words of cheer.
4. Let me hear Thy voice behind me,
Calming all these wild alarms;
Let me, underneath my weakness,
Feel the everlasting arms.
5. Feeble, trembling, fainting, dying,
Lord, I cast myself on Thee;
Tarry with me through the darkness;
While I sleep, still watch by me.
6. Tarry with me, O my Savior,
Lay my head upon Thy breast
Till the morning; then awake me—
Morning of eternal rest.
Here is Smith's original version, which can be sung to the following tunes:
BLAGDON, Charles E. Stephens
LAUDA ANIMA, John Goss, 1869
NEALE, William H. Monk, 1868
PICARDY, French carol melody
1. Tarry with me, O my Saviour!
For the day is passing by;
See, the shades of evening gather,
And the night is drawing nigh;
Tarry with me—tarry with me;
Pass me not unheeded by!
2. Many friends were gathered round me,
In the bright days of the past;
But the grave has closed above them,
And I linger here the last!
I am lonely: tarry with me
Till this dreary night is past.
3. Dimmed for me is earthly beauty;
Yet the spirit’s eye would fain
Rest upon thy lovely features:
Shall I seek, dear Lord, in vain?
Tarry with me, O my Saviour!
Let me see thy smile again.
4. Dull my ear to earth-born music:
Speak thou, Lord! in words of cheer;
Feeble, tottering my footstep,
Sinks my heart with sudden fear:
Cast thine arms, dear Lord! around me,
Let me feel thy presence near.
5. Faithful memory paints before me
Every deed and thought of sin;
Open thou the blood-filled fountain,
Cleanse my guilty soul within:
Tarry, thou forgiving Saviour!
Wash me wholly from my sin.
6. Deeper, deeper grow the shadows;
Paler now the glowing west;
Swift the night of death advances,—
Shall it be a night of rest?
Tarry with me, O my Saviour!
Lay my head upon thy breast.
7. Feeble, trembling, panting, dying,
Lord! I cast myself on thee:
Tarry with me through the darkness,
While I sleep, still watch by me,
Till the morning,—then awake me
Dearest Lord! to dwell with thee. Languages: English Tune Title: ST. SYLVESTER
Tarry with Me (Smith)
Tarry with Me, O My Savior
Author: Mrs. C. S. Smith Hymnal: Christian Hymns #81 (1935) Refrain First Line: Tarry with me, blessed Savior Lyrics: 1 Tarry with me, O my Savior,
For the day is passing by;
See, the shades of ev'ning gather,
And the night is drawing nigh.
Chorus:
Tarry with me, blessed Savior;
Leave me not till morning light:
For I'm lonely here without Thee:
Tarry with me thro' the night.
2 Many friends were gathered round me
In the bright days of the past;
But the grave has closed above them,
And I linger here the last. [Chorus]
3 Deeper, deeper grow the shadows,
Paler now the glowing west;
Swift the night of death advances;
Shall it be the night of rest? [Chorus]
4 Tarry with me, O my Savior;
Lay my head upon Thy breast
Till the morning; then awake me,
Morning of eternal rest. [Chorus]
Languages: English Tune Title: [Tarry with me, O my Savior]
Tarry with Me, O My Savior
Tarry With Me
Hymnal: Calvary's Praises #159 (1917) First Line: Tarry with me, O my Savior Refrain First Line: Tarry with me, blessed Jesus Lyrics: 1 Tarry with me, O my Savior,
For the day is passing by;
See, the shades of evening gather,
And the night is drawing nigh.
Refrain:
Tarry with me, blessed Jesus,
Leave me not till morning light;
For I’m lonely here without Thee,
Tarry with me thro’ the night.
2 Many friends were gathered round me
In the bright days of the past;
But the grave has closed above them,
And I linger here at last. [Refrain]
3 Deeper, deeper grow the shadows;
Paler now the glowing west;
Swift the night of death advances;
Shall it be the night of rest? [Refrain]
4 Tarry with me, O my Savior;
Lay my head upon Thy breast
Till the morning; then awake me,
Morning of eternal rest. [Refrain] Scripture: Luke 24:29 Languages: English Tune Title: [Tarry with me, O my Savior]
Tarry With Me
Felix Mendelssohn-Bartholdy
1809 - 1847 Person Name: Mendelssohn Composer of "TRUST" in The Christian Hymnal Felix Mendelssohn-Bartholdy (b. Hamburg, Germany, 1809; d. Leipzig, Germany, 1847) was the son of banker Abraham Mendelssohn and the grandson of philosopher Moses Mendelssohn. His Jewish family became Christian and took the Bartholdy name (name of the estate of Mendelssohn's uncle) when baptized into the Lutheran church. The children all received an excellent musical education. Mendelssohn had his first public performance at the age of nine and by the age of sixteen had written several symphonies. Profoundly influenced by J. S. Bach's music, he conducted a performance of the St. Matthew Passion in 1829 (at age 20!) – the first performance since Bach's death, thus reintroducing Bach to the world. Mendelssohn organized the Domchor in Berlin and founded the Leipzig Conservatory of Music in 1843. Traveling widely, he not only became familiar with various styles of music but also became well known himself in countries other than Germany, especially in England. He left a rich treasury of music: organ and piano works, overtures and incidental music, oratorios (including St. Paul or Elijah and choral works, and symphonies. He harmonized a number of hymn tunes himself, but hymnbook editors also arranged some of his other tunes into hymn tunes.
Bert Polman
Felix Mendelssohn-Bartholdy
Robert Lowry
1826 - 1899 Person Name: R. L. Composer of "TARRY WITH ME" in Gospel Hymn and Tune Book Robert Lowry was born in Philadelphia, March 12, 1826. His fondness for music was exhibited in his earliest years. As a child he amused himself with the various musical instruments that came into his hands. At the age of seventeen he joined the First Baptist Church of Philadelphia, and soon became an active worker in the Sunday-school as teacher and chorister.
At the age of twenty-two he gave himself to the work of the ministry, and entered upon a course of study at the University of Lewisburg, Pa. At the age of twenty-eight he was graduated with the highest honors of his class. In the same year of his graduation, he entered upon the work of the ministry. He served as pastor at West Chester, Pa., 1851-1858; in New York City, 1859-1861; in Brooklyn, 1861-1869; in Lewisburg, Pa., 1869-1875. While pastor at Lewisburg, he was also professor of belles lettres in the University, and received the honorary degree of D. D. in 1875.
He then went to Plainfield, N. J., where he became pastor of Park Avenue Church. In each of these fields his work was crowned with marked success.
Dr. Lowry was a man of rare administrative ability, a most excellent preacher, a thorough Bible student, and whether in the pulpit or upon the platform, always a brilliant and interesting speaker. He was of a genial and pleasing disposition, and a high sense of humor was one of his most striking characteristics. Very few men had greater ability in painting pictures from the imagination. He could thrill an audience with his vivid descriptions, inspiring others with the same thoughts that inspired him.
His melodies are sung in every civilized land, and many of his hymns have been translated into foreign tongues. While preaching the Gospel, in which he found great joy, was his life-work, music and hymnology were favorite studies, but were always a side issue, a recreation.
In the year 1880, he took a rest of four years, visiting Europe. In 1885 he felt that he needed more rest, and resigned his pastorate at Plainfield, and visited in the South and West, also spending some time in Mexico. He returned, much improved in health, and again took up his work in Plainfield.
On the death of Wm. B. Bradbury, Messrs. Biglow & Main, successors to Mr. Bradbury in the publishing business, selected Dr. Lowry for editor of their Sunday-school book, Bright Jewels, which was a great success. Subsequently Dr. W. Doane was associated with him in the issue of the Sunday-school song book, Pure Gold, the sales of which exceeded a million copies. Then came Royal Diadem, Welcome Tidings, Brightest and Best, Glad Refrain, Good as Gold, Joyful Lays, Fountain of Song, Bright Array, Temple Anthems, and numerous other volumes. The good quality of their books did much to stimulate the cause of sacred song in this country.
When he saw that the obligations of musical editorship were laid upon him, he began the study of music in earnest, and sought the best musical text-books and works on the highest forms of musical composition. He possessed one of the finest musical libraries in the country. It abounded in works on the philosophy and science of musical sounds. He also had some musical works in his possession that were over one hundred and fifty years old.
One of his labors of love some years ago was an attempt to reduce music to a mathematical basis. On the established fact that Middle C has two hundred and fifty-six vibrations per second, he prepared a scale and went to work on the rule of three. After infinite calculation and repeated experiments, he carried it far enough to discover that it would not work.
A reporter once asked him what was his method of composition — "Do you write the words to fit the music, or the music to fit the words?" His reply was, "I have no method. Sometimes the music comes and the words follow, fitted insensibly to the melody. I watch my moods, and when anything good strikes me, whether words or music, and no matter where I am, at home or on the street, I jot it down. Often the margin of a newspaper or the back of an envelope serves as a notebook. My brain is a sort of spinning machine, I think, for there is music running through it all the time. I do not pick out my music on the keys of an instrument. The tunes of nearly all the hymns I have written have been completed on paper before I tried them on the organ. Frequently the words of the hymn and the music have been written at the same time."
The Doctor frequently said that he regarded "Weeping Will Not Save Me" as the best and most evangelistic hymn he ever wrote. The following are some of his most popular and sweetest gospel melodies: "Shall We Gather at the River?," "One More Day's Work for Jesus," "Where is My Wandering Boy To-night?," "I Need Thee Every Hour," "The Mistakes of My Life," "How Can I Keep from Singing?," "All the Way My Saviour Leads Me," "Saviour, Thy Dying Love," "We're Marching to Zion," etc. "Shall We Gather at the River?" is perhaps, without question, the most widely popular of all his songs. Of this Mr. Lowry said: "It is brass band music, has a march movement, and for that reason has become popular, though for myself I do not think much of it." Yet he tells us how, on several occasions, he had been deeply moved by the singing of that hymn, "Going from Harrisburg to Lewisburg once I got into a car filled with half-drunken lumbermen. Suddenly one of them struck up, "Shall We Gather at the River?" and they sang it over and over again, repeating the chorus in a wild, boisterous way. I did not think so much of the music then as I listened to those singers, but I did think that perhaps the spirit of the hymn, the words so flippantly uttered, might somehow survive and be carried forward into the lives of those careless men, and ultimately lift them upward to the realization of the hope expressed in my hymn." "A different appreciation of it was evinced during the Robert Raikes' Centennial. I was in London, and had gone to meeting in the Old Bailey to see some of the most famous Sunday-school workers in the world. They were present from Europe, Asia, and America. I sat in a rear seat alone. After there had been a number of addresses delivered in various languages, I was preparing to leave, when the chairman of the meeting announced that the author of "Shall We Gather at the River?" was present, and I was requested by name to come forward. Men applauded and women waved their handkerchiefs as I went to the platform. It was a tribute to the hymn; but I felt, when it was over, that, after all, I had perhaps done some little good in the world, and I felt more than ever content to die when God called." On Children's Day in Brooklyn, in 1865, this song was sung by over forty thousand voices.
While Dr. Lowry said, "I would rather preach a gospel sermon to an appreciative, receptive congregation than write a hymn," yet in spite of his preferences, his hymns have gone on and on, translated into many languages, preaching and comforting thousands upon thousands of souls, furnishing them expression for their deepest feelings of praise and gratitude to God for His goodness to the children of men. What he had thought in his inmost soul has become a part of the emotions of the whole Christian world. We are all his debtors.
Rev. Robert Lowry, D. D., died at his residence in Plainfield, K J., November 25, 1899. Dead, yet he lives and his sermons in gospel song are still heard and are doing good. Dr. Lowry was a great and good man, and his life, well spent, is highly worthy of a place among the world's greatest gospel song and hymn writers.
-- Biography of Gospel Song and Hymn Writers
-------
Lowry, Robert, D.D., son of Crozier Lowry, was born at Philadelphia, Pennsylvania, March 12, 1826, and educated at Lewisburg University. Having received ordination as a Baptist Minister, his first charge was at West Chester, Pennsylvania. From thence he passed to New York City, and then to Brooklyn, N. Y. In 1876 he was appointed Professor of Rhetoric in his University. On resigning his Professorship he undertook the charge of the 2nd Baptist Church, New Jersey. Dr. Lowry has been associated with some of the most popular Sunday School hymn-books published in the States, including Happy Voices, 1865; Chapel Melodies, 1868; Bright Jewels, 1869; Pure Gold, 1871; Royal Diadem, 1873; Tidal Wave, 1874; Fountain of Song1877; Welcome Tidings, 1877, &c. Of Dr. Lowry's hymns those which have attained the widest circulation are:—
1. Jerusalem, for ever bright. Heaven. Appeared in the American Tract Society's Happy Voices, 1865, with music by the author.
2. Low in the grave He lay. Resurrection of Christ. Written in 1874 and published in Brightest and Best, 1875.
3. Marching on, marching on. Sunday School Battle Song. Appeared, with music by the author, in Happy Voices, 1865.
4. My home is in heaven, my rest is not here. In Happy Voices, 1865, with music by the author.
5. My life flows on in endless song. Joy in God. In Bright Jewels, 1869; the Royal Diadem, 1873, and others in America and Great Britain, with music by the author.
6. One more day's work for Jesus. Work for Christ. Published, with music by the author, in Bright Jewels, 1869.
7. Shall we gather at the river? Mutual recognition in the Hereafter. The origin of this hymn is thus set forth in E. W. Long's Illustrated History of Hymns and their Authors, Philadelphia, 1876, p. 64:—
”On a very hot summer day, in 1864, a pastor was seated in his parlour in Brooklyn, N. Y. It was a time when an epidemic was sweeping through the city, and draping many persons and dwellings in mourning. All around friends and acquaintances were passing away to the spirit land in large numbers. The question began to arise in the heart, with unusual emphasis, ‘Shall we meet again? We are parting at the river of death, shall we meet at the river of life?' ‘Seating myself at the organ,’ says he, ‘simply to give vent to the pent up emotions of the heart, the words and music of the hymn began to flow out, as if by inspiration:—
‘Shall we gather at the river,
Where bright angel feet have trod?’"
In 1865 the hymn and music were given in Happy Voices, No. 220, in 5 stanzas of 4 lines and a chorus. The hymn has since passed into a great number of hymnals in Great Britain and America.
8. Take the wings of the morning; speed quickly thy flight. Exhortation to Repentance. Written for, and published with music by the author in, the Royal Diadem, 1873.
9. Weeping will not save me. Salvation through Faith. Published in the Chapel Melodies, 1868.
10. What can wash away my stain? Precious Blood of Jesus. Given in the Welcome Tidings, 1877, with music by the author.
11. Where is my wandering boy tonight! The absent Child. In the Fountain of Song, 1877, together with music by the author.
Most of these hymns are given in Mr. I. D. Sankey's Sacred Songs & Solos, Pts. i., ii.
--John Julian, Dictionary of Hymnology (1907)
Robert Lowry
Thoro Harris
1874 - 1955 Composer of "[Tarry with me, O my Saviour]" in Echoes of Paradise Born: March 31, 1874, Washington, DC.
Died: March 27, 1955, Eureka Springs, Arkansas.
Buried: International Order of Odd Fellows Cemetery, Eureka Springs, Arkansas.
After attending college in Battle Creek, Michigan, Harris produced his first hymnal in Boston, Massachusetts, in 1902. He then moved to Chicago, Illinois at the invitation of Peter Bilhorn, and in 1932, to Eureka Springs, Arkansas. He composed and compiled a number of works, and was well known locally as he walked around with a canvas bag full of handbooks for sale. His works include:
Light and Life Songs, with William Olmstead & William Kirkpatrick (Chicago, Illinois: S. K. J. Chesbro, 1904)
Little Branches, with George J. Meyer & Howard E. Smith (Chicago, Illinois: Meyer & Brother, 1906)
Best Temperance Songs (Chicago, Illinois: The Glad Tidings Publishing Company, 1913) (music editor)
Hymns of Hope (Chicago, Illinois: Thoro Harris, undated, circa 1922)
--www.hymntime.com/tch
Thoro Harris
