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Das offene Thor
Author: Lydia Baxter Appears in 9 hymnals First Line: Geöffnet steht für mich ein Tor Refrain First Line: Erbarmung, wie erfaß ich dich? Used With Tune: [Geöffnet steht für mich ein Tor]
Das offene Thor
[Geöffnet steht für mich ein Thor]
Appears in 114 hymnals Composer and/or Arranger: S. J. Vail Incipit: 55351 16536 53131 Used With Text: Das offene Thor
[Geöffnet steht für mich ein Thor]
[Geöffnet steht für mich ein Thor]
Appears in 1 hymnal Composer and/or Arranger: Tillie W. Vollmer Incipit: 55171 25321 12117 Used With Text: Erbarmung, wie erfass' ich dich?
[Geöffnet steht für mich ein Thor]
Das offene Thor
Author: Lydia Baxter Hymnal: Neue Zions-Lieder #122 (1919) First Line: Geöffnet steht für mich ein Tor Refrain First Line: Erbarmung, wie erfaß ich dich? Languages: German Tune Title: [Geöffnet steht für mich ein Tor]
Das offene Thor
Das offene Tor
Author: Lydia Baxter Hymnal: Evangeliums-Saenger #d64 (1910) First Line: Geoffnet steht fuer mich ein Tor Refrain First Line: Erbarmung, wie erfass' ich dich Languages: German
Das offene Tor
Erbarmung, wie erfass' ich dich
Author: Lydia Baxter Hymnal: English and German Gospel Songs, or The Ebenezer Hymnal #d69 (1887) First Line: Geoffnet steht fuer mich ein Tor Languages: English
Erbarmung, wie erfass' ich dich
S. J. Vail
1818 - 1883 Composer of "[Geöffnet steht für mich ein Thor]" in Evangeliums-Lieder 1 und 2 (Gospel Hymns) In his youth Silas Jones Vail learned the hatter's trade at Danbury, Ct. While still a young man, he went to New York and took employment in the fashionable hat store of William H. Beebe. Later he established himself in business as a hatter at 118 Fulton Street, where he was for many years successful. But the conditions of trade changed, and he could not change with them. After his failure in 1869 or 1870 he devoted his entire time and attention to music. He was the writer of much popular music for use in churches and Sunday schools. Pieces of music entitled "Scatter Seeds of Kindness," "Gates Ajar," "Close to Thee," "We Shall Sleep, but not Forever," and "Nothing but Leaves" were known to all church attendants twenty years ago. Fanny Crosby, the blind authoress, wrote expressly for him many of the verses he set to music.
--Vail, Henry H. (Henry Hobart). Genealogy of some of the Vail family descended from Jeremiah Vail at Salem, Mass., 1639, p. 234.
S. J. Vail
Lydia Baxter
1809 - 1874 Author of "Das offene Thor" in Evangeliums-Lieder 1 und 2 (Gospel Hymns) Baxter, Lydia, an American Baptist, was b. at Petersburg, N. York, Sep. 2, 1800, married to Mr. Baxter, and d. in N. Y. June 22, 1874. In addition to her Gems by the Wayside, 1855, Mrs. Baxter contributed many hymns to collections for Sunday Schools, and Evangelistic Services. Of these, the following are the best known:—
1. Cast thy net again, my brother. Patient toil. Given in the Royal Diadem, N. Y., 1873.
2. Go, work in my vineyard. Duty. Also given in the Royal Diadem, 1873, and Mr. Sankey's S. & Solos, No. 4.
3. I'm kneeling, Lord, at mercy's gate. Lent. In Coronation Hymns, &c, N. Y., 1879.
4. I'm weary, I'm fainting, my day's work is done. Longing for rest. Royal Diadem. 1873.
5. In the fadeless spring-time. Heavenly Reunion. In the Royal Diadem, 1873, I. D. Sankey's S. S. & Solos, No. 256, and others. It was written for Mr. H. P. Main in 1872.
6. One by one we cross the river. Death. In Songs of Salvation, N. Y., 1870, I. D. Sankey's S. S. & Solos, No. 357, &c. It dates cir. 1866.
7. Take the name of Jesus with you. Name of Jesus. Written late in 1870, or early in 1871, for W. H. Doane, and pub. in Pure Gold, 1871. It is No. 148 of I. D. Sankey's S. S. & Solos.
8. The Master is coming. Invitation. In Songs of Salvation, 1870, No. 38.
9. There is a gate that stands ajar. Mercy. In New Hallowed Songs, and also the Gospel Songs of P. Bliss, 1874. It was written for S. J. Vail about 1872. It has attained to some popularity. It is given in Mr. Sankey's S. & Solos, No. 2.
-John Julian, Dictionary of Hymnology (1907)
Lydia Baxter
Anonymous
Translator of "Das offene Tor" In some hymnals, the editors noted that a hymn's author is unknown to them, and so this artificial "person" entry is used to reflect that fact. Obviously, the hymns attributed to "Author Unknown" "Unknown" or "Anonymous" could have been written by many people over a span of many centuries.
Anonymous
