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The New Song
Author: A. T. Pierson Meter: 11.12.12.12 Appears in 28 hymnals First Line: With harps and with vials there stand a great throng Refrain First Line: Unto Him Who hath lov'd us and wash'd us from sin Topics: Praise and Opening Used With Tune: THE NEW SONG
The New Song
The Chariot! the chariot! its wheels roll in fire
Author: Henry Hart Milman Meter: 11.12.12.12 Appears in 154 hymnals
The Chariot! the chariot! its wheels roll in fire
God Is Still Speaking
Author: Barbara Hamm, 1943- Meter: 11.12.12.12 Appears in 2 hymnals First Line: God is still speaking when children beg for bread Topics: Attentiveness; Brokenness; Compassion; Continuing Revelation; God's Presence; Injustice; Justice; Mission; New Life in Christ; Peacemaking; Poverty; Suffering Used With Tune: BRANDON
God Is Still Speaking
THE NEW SONG
Meter: 11.12.12.12 Appears in 23 hymnals Composer and/or Arranger: Philipp Bliss Incipit: 34556 71171 21655 Used With Text: The New Song
THE NEW SONG
The New Song
Author: A. T. Pierson Hymnal: Redemption Songs #20 (1937) Meter: 11.12.12.12 First Line: With harps and with vials there stand a great throng Refrain First Line: Unto Him Who hath lov'd us and wash'd us from sin Topics: Praise and Opening Languages: English Tune Title: THE NEW SONG
The New Song
God Is Still Speaking
Author: Barbara Hamm Hymnal: New Hymns of Hope #82 Meter: 11.12.12.12 First Line: God is still speaking when children beg for bread Lyrics: 1. God is still speaking when children beg for bread,
roaming through city streets, their innocence long dead.
How can we close our eyes, complacent in our greed?
God, move our hearts of stone to serve a world in need.
2. God is still speaking when exiles cry in pain,
forced from their homelands or enslaved for others' gain.
How can we leave them to endure the wounds of hate?
God, use our broken hearts, a new world to create.
3. God is still speaking when people pray for peace,
seeing, through eyes of faith, the day when war will cease.
How can we cling to hate as God's name we confess?
God, let our hearts be changed by love, the world to ble Scripture: 1 John 4:20 Languages: English Tune Title: BRANDON
God Is Still Speaking
God Is Still Speaking
Author: Barbara Hamm, 1943- Hymnal: Community of Christ Sings #282 (2013) Meter: 11.12.12.12 First Line: God is still speaking when children beg for bread Topics: Attentiveness; Brokenness; Compassion; Continuing Revelation; God's Presence; Injustice; Justice; Mission; New Life in Christ; Peacemaking; Poverty; Suffering Languages: English Tune Title: BRANDON
God Is Still Speaking
P. P. Bliss
1838 - 1876 Person Name: Philipp Bliss Meter: 11.12.12.12 Composer of "THE NEW SONG" in Redemption Songs Philip P. Bliss (b. Clearfield County, PA, 1838; d. Ashtabula, OH, 1876) left home as a young boy to make a living by working on farms and in lumber camps, all while trying to continue his schooling. He was converted at a revival meeting at age twelve. Bliss became an itinerant music teacher, making house calls on horseback during the winter, and during the summer attending the Normal Academy of Music in Genesco, New York. His first song was published in 1864, and in 1868 Dwight L. Moody advised him to become a singing evangelist. For the last two years of his life Bliss traveled with Major D. W. Whittle and led the music at revival meetings in the Midwest and Southern United States. Bliss and Ira D. Sankey published a popular series of hymn collections entitled Gospel Hymns. The first book of the series, Gospel Songs, was published in 1874. Bliss's tragic death at the age of thirty-eight happened near the end of 1876. Philip P. Bliss and his wife were traveling to Chicago to sing for the evangelistic services led by Daniel W. Whittle at Dwight L. Moody's Tabernacle. But a train wreck and fire en route claimed their lives.
Bert Polman
=================
Bliss, Philip, b. at Clearfield County, Pennsylvania, July 9, 1838. In 1864 he went to Chicago in the employ of Dr. George F. Root, the musician, where he was engaged in conducting musical Institutes, and in composing Sunday School melodies. Originally a Methodist, he became, about 1871, a choirman of the First Congregational Church, Chicago, and the Superintendent of its Sunday Schools. In 1874 he joined D. W. Whittle in evangelical work. To this cause he gave (although a poor man) the royalty of his Gospel Songs, which was worth some thirty thousand dollars. His death was sudden. It occurred in the railway disaster at Ashtabula, Ohio, Dec. 30, 1876. ... Some of his verses have obtained wide popularity in most English-speaking countries. The more widely known, and specially those which are found in collections in use in G. Britain, are in the following American works:—
i. The Prize, 1870.
1. I should like to die. Death anticipated. This is one of his earliest compositions, and is unworthy of the position it holds.
2. Through the valley of the shadow I must go. Death anticipated.
3. Whosoever heareth, shout, shout the sound. Jesus the Way. Written during the winter of 1869-70 after hearing Mr. H. Moorhouse (from England) preach on St. John iii. 16.
ii. The Charm, 1871.
4. Almost persuaded now to believe. Procrastination. This was suggested by the following passage in a sermon by the Rev. Mr. Brundnge, Bliss being present at its delivery:—" He who is almost persuaded is almost saved, but to be almost saved is to be entirely lost."
5. Ho! my comrades! see the signal. Faithfulness.
6. O! Jerusalem, the golden city, bright, &c. Heaven.
7. On what Foundation do [did] you build? Christ the Foundation.
iii. The Song Tree, 1872.
8. Light in the darkness, sailor, day is at hand. Safety. This hymn, “The Life-Boat," has attained to great popularity. The incident upon which it is based, that of the rescue of a ship's crew by a life-boat, is given in detail by Mr. Sankey in his Sacred Songs, &c, No. 99 (large ed.). It is sometimes known by its refrain, "Pull for the shore," &c.
iv. The Joy, 1873.
9. In me ye may have peace. Peace.
10. To die is gain. Death anticipated.
v. Sunshine, 1873.
11. Down life's dark vale we wander. Death anticipated.
12. More holiness give me. For Holiness.
13. Only an armour-bearer. Soldiers of the Cross.
14. Standing by a purpose true. Faithfulness.
15. This loving Saviour stands patiently. Invitation.
vi. Gospel Songs, 1874.
16. A long time I wandered. Peace and Joy.
17. Brightly beams our Father's mercy. Mercy.
18. Come, brethren, as we march along. Praise.
19. Free from the law, O happy condition. Redemption.
20. Have you on the Lord believed? Fullness of Grace. This hymn arose out of the following circumstances :—" A vast fortune was left in the hands of a minister for one of his poor parishioners. Fearing that it might be sqmandered if suddenly bestowed upon him, the wise minister sent him a little at a time, with a note saying, “This is thine; use it wisely; there is more to follow.” Hence also the refrain ‘More to follow,’ by which the hymn is known."
21. How much owest thou? Divine Claims.
22. I know not the hour when my Lord will come. Death anticipated. Suggested by reading the book, The Gates Ajar.
23. See the gentle Shepherd standing. The Good Shepherd.
24. Though the way be sometimes dreary. Divine Leading.
25. Will you meet me at the fountain? Fountain of Living Water. The incident out of which this hymn arose is thus stated in The Christian, No. 365, "At the Industrial Exposition at Chicago it was an everyday appointment to meet at the Central Fountain. Mr. P. P. Bliss, whose mind seemed always set on things above, caught up the words, and wrote this hymn, 'Meet me at the Fountain.'"
vii. Gospel Hymns, No. 1, 1875.
26. One offer of salvation. The Name of Jesus.
27. Wandering afar from the dwellings of men. The Lepers.
viii. The International Lesson Monthly, 1875.
28. Weary gleaner, whence comest thou? Duty.
29. The whole world was lost in the darkness of Sin. Light of the world.
30. Man of sorrows! what a name. Redemption.
31. The Spirit, O sinner, in mercy doth move. Holy Spirit.
ix. Gospel Hymns, No. 2, 1876.
32. At the feet of Jesus. The good choice.
33. Come, sing the Gospel's joyful sound. Salvation.
34. Cut it down, cut it down. Justice and Mercy.
35. Do you see the Hebrew captive? Prayer.
36. Hallelujah, He is risen. Easier. Written in the spring of 1876 and first sung by Bliss on Easter afternoon, 1876, in the Court House Square, Augusta, Georgia, to 5900 people.
37. In Zion's rock abiding. Safety.
38. Repeat the story o'er and o'er. Grace and Peace.
39. Tenderly the Shepherd. The Good Shepherd.
x. Gospel Hymns, No. 3, 1878.
40. Hear ye the glad good news from heaven. Faith and Salvation.
41. I will sing of my Redeemer. Praise.
xi. Gospel Hymns, No. 4, 1881.
42. 'Tis known on earth and heaven too. More about Jesus.
xii. Various.
43. Sing over again to me. Words of Life. This appeared in a paper entitled Words of Life, 1874, The following are undated:—
44. March to the battle-field. Duty and Victory.
45. There is sin in the camp. Hinderances.
46. 'Tis the promise of God. Praise.
47. While the silvery moon-beams, fall, New Birth.
48. God is always near me. Omnipresence.
Two hymns," I am so glad that our Father in heaven," and " Sowing the seed by the daylight [dawnlight] fair," (sometimes given as " Sowing our seed in the morning fair ") are usually attributed to Mr. Bliss. In his Gospel Songs, Cincinnati, 1874, however, he lays claim to the music only. Mr. Sankey attributes this last to "E. A. Oakey." With the exception of No. 48, these hymns are given in Mr. Sankey's Sacred Songs & Solos, Pts. i. and ii. Their popularity is far beyond their literary merits, and is mainly due to the simple melodies to which they are wedded. As a writer of hymns of this class Mr. Bliss is second only to Mrs. Van Alstyne. Many anecdotes concerning hymns of this class are given in American Evangelists; an Account of their work in England and America, by the Rev. Elias Nason, Boston, U.S., Lathrop & Co., 1877.
Mr. Bliss is usually known as "P. P. Bliss." This is found on the title-pages of his collections. On his own authority, however, we are enabled to say that his name originally stood thus : “Philipp Bliss.” Early in life he separated the final p from his Christian name, constituted it a capital P, and thus produced "P. P. Bliss." (For this article we are mainly indebted to Professor F. M. Bird, and Mr. H. P. Main.)
-John Julian, Dictionary of Hymnology (1907)
========================
Bliss, Philip , p. 151, i. "Sowing the seed by the daylight fair" is in the Family Treasury , Edinburgh, 1861, pt. i., p. 84. It is said to be by Miss Emily Sullivan Oakey; born at Albany, N. York, Oct. 8, 1829, died May 11, 1883. Note also that Bliss's hymn, No. 43. on p. 150, ii., should read, "Sing them over again to me."
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
=====================
Bliss, P., p. 150, i. Two works have been brought to our notice, since the issue of our first edition of this Dictionary, which concern this author, viz.:—
1. Memoirs of Philip P. Bliss. Edited by D. W. Whittle. Contributions by Rev. E. P. Goodwin, Ira D. Sankey, and Geo. F. Root. Introduction by D. L. Moody. New York, &c.: A. S. Barnes & Co., 1877.
2. My Life and Sacred Songs. By Ira D. Sankey. With an Introduction by Theodore L. Cuyler, D.D). London: Hodder & Stoughton, and Morgan & Scott, 1906.
These works have a special interest for those who use I. D. Sankey's Sacred Songs & Solos, and all of P. Bliss's publications. To Mr. Sankey's My Life, &c, we direct special attention for P. Bliss's hymns:—
“Do you see the Hebrew captive kneeling?" p. 294.
"Down life's dark vale we wander." p. 285.
"Ho! my comrades, see the signal." p. 105.
"'Tis the promise of God full salvation to give." p. 99.
--John Julian, Dictionary of Hymnology, New Supplement (1907)
P. P. Bliss
Henry Hart Milman
1791 - 1868 Meter: 11.12.12.12 Author of "The Chariot! the chariot! its wheels roll in fire" Milman, Henry Hart, D.D., the youngest son of Sir Francis Milman (who received his Baronetage as an eminent Court physician), was born Feb. 10th, 1791, and educated at Dr. Burney's at Greenwich, and subsequently at Eton. His career at B. N. C. Oxford, was brilliant. He took a first class in classics, and carried off the Newdigate, Latin Verse, Latin Essay, and English Essay. His Newdigate on the Apollo Belvedere, 1812, is styled by Dean Stanley "the most perfect of Oxford prize poems." His literary career for several years promised to be poetical. His tragedy Fazio was played at Covent Garden, Miss O'Neill acting Bianca. Samor was written in the year of his appointment to St. Mary's, Reading (1817); The Fall of Jerusalem (1820); Belshazzar and The Martyr of Antioch (1822), and Anne Boleyn, gained a brilliant reception from the reviewers and the public. He was appointed Poetry Professor at Oxford in 1821, and was succeeded ten years after by Keble. It must have been before 1823, the date of Heber's consecration to Calcutta, that the 13 hymns he contributed to Heber's Hymns were composed. But his poetry was only the prelude to his larger work.
The Bampton Lectures (1827) mark his transition to theological study, and the future direction of it was permanently fixed by his History of the Jews (1829). This book raised a storm of obloquy. It was denounced from the University pulpit, and in the British Critic. "It was the first decisive inroad of German theology into England, the first palpable indication that the Bible could be studied like another book, that the characters and events of the sacred history could be treated at once critically and reverently" (Dean Stanley).
In 1835 he was presented by Sir Robert Peel to a Canonry at Westminster and the Rectory of St. Margaret's. In 1839 appeared his valuable edition of Gibbon's Decline and Fall; and in 1840 his History of Christianity to the Abolition of Paganism in the Roman Empire. Among his minor works in a different field were his Life of Keats and his edition and Life of Horace. It was not till 1854 that his greatest work—-for "vast and varied learning, indefatigable industry, calm impartiality, and subtle and acute criticism, among the most memorable in our language" (Quart Rev.)—-Latin Christianity—-appeared. He had been appointed Dean of St. Paul's in 1849. The great services under the dome originated in his tenure of the Deanery. His latest work, published after his death, Sept. 24, 1868, was The Annals of St. Paul’s. Though one of the most illustrious in the school of English liberal theology, he had no sympathy with the extreme speculations of Germany. The "criticism" of Tübingen "will rarely bear criticism." He "should like an Ewald to criticise Ewald." "Christianity will survive the criticism of Dr. Strauss," and the "bright flashing artillery" of Rénan. His historical style has been compared to Gibbon in its use of epigram and antithesis. His narrative is full of rapidity of movement. His long complex paragraphs have often a splendour of imagination as well as wealth of thought. All the varied powers of his mind found vent in his conversation; he was called, after his death, "the last of the great converters." The catalogue of his friends from the days of Heber, "his early friend," to those of Hallam, Macaulay, and Dean Stanley, was long and distinguished.
Milman's 13 hymns were published in Heber's posthumous Hymns in 1827, and subsequently in his own Selection of Psalms & Hymns, 1837. The fine hymn for The Burial of the Dead, in Thring's Collection, "Brother, thou art gone before us," is from The Martyr of Antioch (1822). Like Heber's, they aim at higher literary expression and lyric grace. He makes free use of refrains. The structure is often excellent. His style is less florid and fuller of burning, sometimes lurid force than Heber's. His hymn for the 16th Sunday after Trinity, "When our heads are bowed with woe," has no peer in its presentation of Christ's human sympathy; the hymn for the 2nd Sunday in Lent, “Oh! help us, Lord! each hour of need," is a piece of pure deep devotion. "Ride on, ride on in majesty," the hymn for Palm Sunday, is one of our best hymns. And the stanzas for Good Friday, "Bound upon the accursed tree," form one of the finest meditations on the Passion. All his hymns are still in common use. [Rev.H.Leigh Bennett, M.A.]
--John Julian, Dictionary of Hymnology (1907)
Henry Hart Milman
Arthur T. Pierson
1837 - 1911 Person Name: A. T. Pierson Meter: 11.12.12.12 Author of "The New Song" in Redemption Songs Rv Arthur Tappan Pierson DD USA 1837-1911. Born at New York City, NY, he professed faith in Christ at age 13 upon attending a Methodist revival meeting. He was educated at Hamilton College, Clinton, NY, (1857), and Union Theological Seminary (1869). He married Sarah Frances Benedict in 1860, and they had seven children: Helen, Laura, Louise, Delavan, Farrand, Edith, and Anna. He entered Presbyterian ministry in 1860. He pastored successfully at the Congregational Church, Winsted, CT, (summers of 1859 & 1869), Binghampton, NY (1860-1863), Waterford, NY (1863-1869) Fort Street Presbyterian Church, Detroit, M (1869-1882)I, and at Bethany Presbyterian Church, Philadelphia, PA (1883-1889), where he ran a missionary training school and developed a national reputation as a promoter of missions. While at Detroit, the largest Presbyterian Church in town, the church burned down in 1876, and services were held in a local opera house. Pierson realized he had become prideful and greedy, seeking approval of the rich. As a result, he led his wealthy congregation to reach out to the poor of Detroit. He banished the practice of pew rents, and committed to accepting his salary on a faith basis. A revival broke out as a result. In 1885, at a Bible conference sponsored by D L Moody, Pierson called on Protestant churches to launch a worldwide missionary campaign. In 1886 he authored “The crisis of missions”, the major missions promotional book of the era. He spoke on missions to a group of YMCA collegians at a summer conference convened by Moody in MA. As a result, 100 young men volunteered to be foreign missionaries, and the Student Volunteer Movement for Foreign Missions (SVM) was born. In 1889-90 he nade a missionary tour of the UK. He was editor of the ‘Missionary Review of the world’ (1888-1911), and he lectured on missions at Rutgers College in 1891 and was Duff lecturer in Scotland in 1892. He was a consulting editor for the original “Scofield Reference Bible” (1909), for his friend, C I Scofield. He was also a friend of Dwight L Moody, George Muller, Adoniram Judson Gordon, and Charles H Spurgeon, whom he succeeded in the pulpit of the Metropolitan Tabernacle, London, England, 1891-1893, when Spurgeon suffered from Bright’s disease and asked him to fill his pulpit while he recovered. When Spurgeon died, Pierson was asked to stay on in the pulpit, which he did for two more years. It is notable that Spurgeon asked Pierson to fill his pulpit, when Pierson, a Presbyterian, had not been baptized as a believer. In 1896 Pierson became convinced that believer baptism was correct, and he was then baptized by Spurgeon’s brother, James, at the age of 58. This caused Pierson’s excommunication from the Presbyterian Church, but he continued to worship as a Presbyterian. Pierson spoke with Moody at the Northfield, England, Conferences, and was also a speaker at the Keswick convention, where holiness piety was promoted. Pierson was influential in convincing several Nobel Peace Prize winners to give their lives to missions. Filling several pulpit positions around the world as an urban pastor, he cared passionately for the poor. He was also a pioneer advocate of faith missions, determined to see the world evangelized in his generation. Prior to 1870 there had been only about 2000 missionaries from the U.S. in full-time service, roughly 10% engaged in work among native Americans. In the 1880s a great movement of foreign missions began, in part due to the work of Pierson. He acted as elder statesman of the student missionary movement and was the leading evangelical advocate of foreign missions in the late 19th century. When liberalism began seeping through mainline denominations, Pierson joined other concerned Christian leaders in publishing “The fundamentals”, a series of booklets designed to answer the critics of Christianity. Because of his apologetic abilities, Pierson was invited to write five of the major articles. Each booklet was distributed freely to pastors throughout America, marking the beginning of the Fundamental-Modernist Controversy in American churches. Eventually the booklets were combined into a twelve volume set, available today as a five-volume set. Pierson was called “the Father of Fundamentalism”. In 1898 he wrote a book, “In Christ Jesus”, concluding that a preposition followed by a proper name was the key to understanding the entire New Testament. He was an advocate of ‘day-age creationism’. He pastored at Christ Church, London, England (1902-1903). After retiring, he continued to preach at churches at home and abroad. He visited Korea in 1910 where he taught the Bible in a few churches and was instrumental in founding the Pierson Memorial Bible Institute (presently Pyeongtaek University). Many pastors and scholars came from it. That year he set out to tour missions in East Asia, but grew ill and returned to Brooklyn, NY where he died. It is said that he preached 13,000+ sermons, wrote over 50 books, and he gave Bible lectures as part of a transatlantic preaching ministry that made him famous in Scotland, England, and Korea. All of Pierson’s children professed conversion to Christianity as teens and served as missionaries, pastors, or lay leaders.
John Perry
===========
Pierson, Arthur Tappan, D.D., was born in New York city, March 6, 1837, and educated at Hamilton College. He entered the Presbyterian ministry in 1830, and was pastor successively in Binghampton and in Waterford, New York, and Fort Street, Detroit; his last charge being the Bethany Presbyterian Church, Philadelphia. (Duffield's English Hymns, 1886, p. 576.) Dr. Pierson's hymns include:—
1. Once I was dead in sin. Praise for Salvation.
2. The Gospel of Thy grace. The Love of God in Christ.
3. To Thee, O God [Lord], we raise. Divine Beneficence.
4. With harps and with viols there stand a great throng. The New Song.
Of these hymns, No. 3 is in Hymns and Songs of Praise, N. Y., 1874, and the Laudes Domini, N. Y., 1884; and Nos. 1, 2, 4, are in I. D. Sankey's Sacred Songs and Solos.
-- John Julian, Dictionary of Hymnology (1907)
Arthur T. Pierson
