My Starred Hymns
My FlexScores
My Hymnals
My Purchased Files
Planning worship?
Check out our sister site, ZeteoSearch.org,
for 20+ additional resources related to your search.
- |
User Links
Search Results
The Lord is King, child of the dust
Author: Josiah Conder Appears in 6 hymnals
The Lord is King, child of the dust
The Lord is King; child of the dust!
Author: Josiah Conder Hymnal: Hymns for the Sanctuary and Social Worship #14 (1874) Languages: English
The Lord is King; child of the dust!
The Lord is King; child of the dust
Hymnal: The Baptist Hymn and Tune Book, for Public Worship #52.150 (1871)
The Lord is King; child of the dust
The Lord is King, child of the dust
Author: Josiah Conder Hymnal: The People's Hymnal #86 (1890)
The Lord is King, child of the dust
Josiah Conder
1789 - 1855 Author of "The Lord is King; child of the dust!" in The Otterbein Hymnal Josiah Conder was born in London, in 1789. He became a publisher, and in 1814 became proprietor of "The Eclectic Review." Subsequently to 1824, he composed a series of descriptive works, called the "Modern Traveller," which appeared in thirty volumes. He also published several volumes of poems and hymns. He was the author of the first "Congregational Hymn Book" (1836). He died in 1855.
--Annotations of the Hymnal, Charles Hutchins, M.A. 1872.
==========================
Conder, Josiah, fourth son of Thomas Conder, engraver and bookseller, and grandson of the Rev. John Conder, D.D., first Theological Tutor of Homerton College, was born in Falcon Street (City); London, Sept. 17, 1789, and died Dec. 27, 1855. As author, editor and publisher he was widely known. For some years he was the proprietor and editor of the Eclectic Review, and also editor of the Patriot newspaper. His prose works were numerous, and include:—
The Modern Traveller, 1830; Italy, 1831; Dictionary of Ancient and Modern Geography, 1834; Life of Bunyan, 1835; Protestant Nonconformity, 1818-19; The Law of the Sabbath, 1830; Epistle to the Hebrews (a translation), 1834; Literary History of the New Testament, 1845, Harmony of History with Prophecy, 1849, and others.
His poetical works are:—
(1) The Withered Oak,1805; this appeared in the Athenceum. (2) The Reverie, 1811. (3) Star in the East, 1824. (4) Sacred Poems, Domestic Poems, and Miscellaneous Poems, 1824. (5) The Choir and the Oratory; or, Praise and Prayer, 1837. Preface dated Nov. 8, 1836. (6) Hymns of Praise, Prayer, and Devout Meditation, 1856. This last work was in the press at the time of his death, and was revised and published by his son, the Rev. E. R. Conder, M.A. He also contributed many pieces to the magazines and to the Associated Minstrels, 1810, under the signature of " C." In 1838, selections from The Choir and Oratory were published with music by Edgar Sanderson, as Harmonia Sacra. A second volume was added in 1839. To Dr. Collyer’s (q.v.) Hymns, &c, he contributed 3 pieces signed "C"; and to Dr. Leifchild's Original Hymns, 1843, 8 hymns.
As a hymn-book editor he was also well known. In 1836 he edited The Congregational Hymn Book: a Supplement to Dr. Watts’s Psalms and Hymns (2nd ed. 1844). To this collection he contributed fifty-six of his own hymns, some of which had previously appeared in The Star in the East, &c. He also published in 1851 a revised edition of Dr. Watts's Psalms and Hymns, and in the game year a special paper on Dr. Watte as The Poet of the Sanctuary, which was read before the Congregational Union at Southampton. The value of his work as Editor of the Congregational Hymn Book is seen in the fact that eight out of every ten of the hymns in that collection are still in use either in Great Britain or America.
As a hymn writer Conder ranks with some of the best of the first half of the present century. His finest hymns are marked by much elevation of thought expressed in language combining both force and beauty. They generally excel in unity, and in some the gradual unfolding of the leading idea is masterly. The outcome of a deeply spiritual mind, they deal chiefly with the enduring elements of religion. Their variety in metre, in style, and in treatment saves them from the monotonous mannerism which mars the work of many hymn writers. Their theology, though decidedly Evangelical, is yet of a broad and liberal kind. Doubtless Conder's intercourse with many phases of theological thought as Editor of the Eclectic Review did much to produce this catholicity, which was strikingly shewn by his embodying many of the collects of the Book of Common Prayer, rendered into verse, in his Choir and Oratory. Of his versions of the Psalms the most popular are "How honoured, how dear" (84th), and "O be joyful in the Lord" (100th). His hymns in most extensive use are," Bread of heaven, on Thee I feed; " “Beyond, beyond that boundless sea;" "The Lord is King, lift up thy voice" (this last is one of his best); "Day by day the manna fell;" "How shall I follow him I serve;" "Heavenly Father, to whose eye" (all good specimens of his subdued and pathetic style); and "O shew me not my Saviour dying." This last is full of lyric feeling, and expresses the too often forgotten fact that the Church has a living though once crucified Lord. The popularity of Conder's hymns may be gathered from the fact that at the present time more of them are in common use in Great Britain and America than those of any other writer of the Congregational body, Watts and Doddridge alone excepted. [Rev. W. Garrett Horder]
In addition to the hymns named above and others which are annotated under their respective first lines, the following, including two already named (4,16), are also in common use:—
i. From Dr. Collyer's Hymns, &c, 1812.
1. When in the hours of lonely woe. Lent.
ii. From The Star in the East, &c, 1824.
2. Be merciful, O God of grace. Ps. lxvii.
3. For ever will I bless the Lord. Ps. xxxiv.
4. How honoured, how dear. Ps. lxxxiv.
5. Now with angels round the throne. Doxology.
6. O Thou God, Who hearest prayer. Lent. Dated Sept. 1820. Usually abbreviated.
iii. From The Congregational Hymn Book, 1836.
7. Blessed be God, He is not strict. Longsuffering of God.
8. Followers of Christ of every name. Communion of Saints.
9. Grant me, heavenly Lord, to feel. Zeal in Missions desired.
10. Grant, 0 Saviour, to our prayers. Collect 5th S. after Trinity.
11. Head of the Church, our risen Lord. Church Meetings.
12. Holy, holy, holy Lord, in the highest heaven, &c. Praise to the Father.
13. Jehovah's praise sublime. Praise.
14. Leave us not comfortless. Holy Communion.
15. Lord, for Thv Name's sake! such the plea. In National Danger.
16. O be joyful in the Lord. Ps. c.
17. 0 breathe upon this languid frame. Baptism of Holy Spirit desired.
18. 0 give thanks to Him Who made. Thanksgiving for Daily Mercies.
19. 0 God, Protector of the lowly. New Year.
20. 0 God, to whom the happy dead. Burial.
21. 0 God, Who didst an equal mate. Holy Matrimony.
22. 0 God, Who didst Thy will unfold. Holy Scriptures.
23. 0 God, Who dost Thy sovereign might. Prayer Meetings.
24. 0 how shall feeble flesh and blood. Salvation through Christ.
25. 0 how should those be clean who bear. Purity desired for God's Ministers.
26. 0 say not, think not in thy heart. Pressing Onward.
27. 0 Thou divine High Priest. Holy Communion.
28. 0 Thou Who givest all their food. Harvest.
29. 0 Thou Whose covenant is sure. Holy Baptism.
30. Praise on Thee, in Zion-gates. Sunday.
31. Praise the God of all creation. Doxology
32. See the ransomed millions stand. Praise to Christ.
33. The heavens declare His glory. Ps. xix.
34. Thou art the Everlasting Word. Praise to Christ.
35. Thy hands have made and fashioned me. Thanks for Daily Mercies.
36. To all Thy faithful people, Lord. For Pardon.
37. To His own world He came. Ascension.
38. To our God loud praises give. Ps. cxxxvi.
39. Upon a world of guilt and night. Purification of B.V.M.
40. Welcome, welcome, sinner, hear. Invitation to Christ.
41. Wheresoever two or three. Continued Presence of Christ desired.
iv. From The Choir and the Oratory, 1837.
42. Baptised into our Saviour's death. Holy Baptism.
43. In the day of my [thy] distress. Ps. xx.
44. 0 comfort to the dreary. Christ the Comforter.
v. From Leifchild's Original Hymns, 1843.
45. I am Thy workmanship, 0 Lord. God the Maker and Guardian.
46. 0 Lord, hadst Thou been here! But when. The Resurrection of Lazarus.
47. 'Tis not that I did choose Thee. Chosen of God. This is altered in the Church Praise Book, N. Y., 1882, to “Lord, 'tis not that I did choose Thee," thereby changing the metre from 7.6 to 8.5.
vi. From Hymns of Praise, Prayer, &c, 1856.
48. Comrades of the heavenly calling. The Christian race.
When to these 48 hymns those annotated under their respective first lines are added, Conder’s hymns in common use number about 60 in all.
--John Julian, Dictionary of Hymnology (1907)
===================
Conder, Josiah, p. 256, i. Other hymns are:—
1. O love beyond the reach of thought. The love of God.
2. O Thou, our Head, enthroned on high. Missions.
3. Son of David, throned in light. Divine Enlightenment desired.
4. Thou Lamb of God for sinners slain. Christ the Head of the Church. From "Substantial Truth, 0 Christ, Thou art."
These hymns are all from his Hymns of Praise, &c, 1856.
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
Josiah Conder
L. O. Emerson
1820 - 1915 Composer of "TRIUMPH" in The Otterbein Hymnal Luther Orlando Emerson was born at Parsonsfield, Maine, August 3, 1820. He descended from distinguished English ancestry. His parents were quite musical, and while the family circle were together, they had a choir and orchestra of their own. The father played the violoncello, the mother was an excellent singer, the flute and violin added their sweet tones, till the quiet homestead rang with melody.
Mr. Emerson's education was obtained at the district school, Parsonsfield Seminary and Effingham Academy. He was full of energy, quick and versatile, an apt scholar, and with a view to entering the profession of medicine he entered Dracut Academy, Mass. But his great love for music swerved him from that course, and now, having far better opportunities for cultivating and enjoying this taste and ability, he soon determined upon music as the profession of his choice. He accordingly commenced a course of musical instruction under the late I. B. Woodbury, then a popular teacher of music. After several years of study on the voice, piano, organ and in harmony, Mr. Emerson went to Salem, Mass., began teaching, and took charge of his first choir at a salary of one hundred dollars per year. Here he commenced the composition of music for his own choir, whiich was so popular with its members and the congregation, that Mr. Emerson was encouraged to seek a larger hearing by publishing a collection of church music. Among the tunes was that of Sessions, named after his pastor, which was destined to have a perennial popularity, and is often used in worship in the place of Old Hundred, for the Doxology. At the great Peace Jubilee it was received with applause when sung by a chorus of ten thousand voices, accompanied by an orchestra of two hundred instruments and a great pipe organ. The effect was sublime beyond expression.
In 1847 occurred the marriage of Mr. Emerson to Miss Mary Gore, daughter of a prominent Boston merchant. She was a lady of much musical taste and ability.
In 1853 he decided to make an effort to put his music before the public, and accordingly went to Boston in search of a publisher. Like most young and unknown authors, he met with but little encouragement, but finally found a publisher in the person of Mr. B. B. Muzzy. Thus was the Romberg Collection published. The book was not pushed — hence it found no market.
After a residence of eight years in Salem, Mr. Emerson removed to Boston, accepting the position of organist and musical director at the Bulfinch Street Church, then under the pastoral care of Rev. Wm. R. Alger, which he filled for four years. He eagerly improved the rare means of culture which were once more enjoyed, meanwhile teaching and composing music.
In 1857 he formed the connection with Oliver Ditson Company, of Boston, of author and publisher, which has continued to the present time with but one interruption (a single volume brought out by another firm), the Golden Wreath, which at once became popular, and sold forty thousand during the first year, this being the initial volume in the long series since brought out by these publishers. In 1858 came the Golden Harp, which was also a success. These successes gave him not only encouragement, but reputation.
Mr. Emerson now entered upon a career of usefulness and popularity for which he had been preparing during the years of self-denying struggle and discipline. He was called to take charge of the music in the Second Congregational Church, Greenfield, Mass., and also of the musical department of Power's Institute, at Bernardston. Amid nature's most beautiful surroundings, he had a quiet retreat for the pursuit of his true vocation, the composition of church music.
The first fruit of his genius here was the Sabbath Harmony, in 1860. This book was also a success. In 1863 followed the Harp of Judah, which had the remarkable sale of nearly fifty thousand copies in the first three months. This book probably gave Mr. Emerson his preeminence as a composer of church music, containing as it did his anthem, Guide Me, O Thou Great Jehovah, and many of his finest compositions.
Having declined the solicitations of Dr. Lowell Mason to become his associate in music, Mr. Emerson started forth on his own plans, and attained the highest rank among those who loved the pure and beautiful in song. Mr. W. S. B. Mathews, a musical critic, pronounces him the best melodist of all the psalmodic writers.
In 1866 the equally successful Jubilate appeared, followed by the Choral Tribute, the Standard and the Leader. In the last two Dr. I. R. Pahner was associated with him. Later on came the Salutation, Voice of Worship, Herald of Praise, etc. The diligence with which Mr. Emerson plied his pen can be estimated when one recalls the fact that he has made seventy-two collections of music, embracing music for churches, singing schools, public schools, choral societies and conventions, instruction books for voice, organ, etc. He has also composed and published scores of songs, quartets and instrumental pieces.
The great amount of work this represents can only be appreciated by those who have undertaken similar labors. Some years ago the degree of Doctor of Music was conferred upon Professor Emerson by the Faculty of Findlay College, Findlay, Ohio.
For many years past. Dr. Emerson has devoted his energies to the grand purpose of elevating the general character of music in our churches, and thus largely advancing the interests of true worship. He places great stress upon the mission of church music. He regards sacred music as the best expression of devotional feeling that exists. He looks upon sacred song as prayer, and believes that it inspires and intensifies prayer. With this view he has taken an active and prominent part in musical festivals and conventions, of which he has conducted over three hundred throughout the United States and Canada. As a conductor, he stands in the front rank. As a teacher. Dr. Emerson has an exceedingly happy faculty of imparting in a concise manner to his classes. His very pleasing address enables him to command the undivided attention of his pupils.
As a singer, he has always held high rank, and has sung much in public. His voice is a baritone of great compass, and quite powerful. As a lecturer upon music, Dr. Emerson has attracted much attention. His most popular lecture is entitled The World of Music, in which he traces its origin and progress, and gives some excellent traits of the lives of the great composers. In this lecture he also shows the design of music, and how it has been prized in every age of the world, among all nations — its power in the Church and State, and the need of its influence in the family — in joy and sorrow — for this life and the life to come.
-Biography of Gospel Song and Hymn Writers
L. O. Emerson
