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Hark! the Voice of Love and Mercy
Author: Jonathan Evans Meter: 8.7.8.7.8.7 Appears in 549 hymnals Lyrics: 1 Hark! the voice of love and mercy
sounds aloud from Calvary;
see, it tears the temple curtain,
shakes the earth and veils the sky:
“It is finished, it is finished!”--
hear the dying Savior cry.
2 Finished--all the types and shadows
of the ceremonial law;
God fulfills what he has promised--
death and hell shall reign no more:
“It is finished, it is finished!”--
Christ has opened heaven's door.
3 Saints and angels shout his praises,
his great finished work proclaim;
all on earth, and all in heaven,
join to bless Emmanuel’s name:
"Alleluia, alleluia,
endless glory to the Lamb!"
Topics: Redemption in Christ Christ's Saving Work; Adoration of Jesus Christ; Adoration of Jesus Christ; Jesus Christ Death; Saving Work of Christ Scripture: Matthew 27:45 Used With Tune: WESTMINSTER ABBEY Text Sources: Hymns for Today's Church, 1982, rev.
Hark! the Voice of Love and Mercy
CONSUMMATUM EST
Appears in 34 hymnals Composer and/or Arranger: John Stanley Tune Key: B Flat Major Incipit: 12321 76551 12345 Used With Text: Hark! the voice of love and mercy
CONSUMMATUM EST
REDHEAD NO. 1
Meter: 8.7.8.7.4.7 Appears in 13 hymnals Composer and/or Arranger: Richard Redhead Tune Key: E Major Incipit: 13556 66535 43211 Used With Text: Hark! The voice of love and mercy
REDHEAD NO. 1
Hark! The Voice of Love and Mercy
Author: Jonathan Evans, c. 1748-1809 Hymnal: African Methodist Episcopal Church Hymnal #134 (2011) Meter: 8.7.8.7.8.7 Lyrics: 1 Hark! the voice of love and mercy
Sounds aloud from Calvary;
See! it rends the rocks asunder,
Shakes the earth, and veils the sky!
"It is finished, it is finished,"
Hear the dying Savior cry.
2 "It is finished!" O what pleasure
Do these precious words afford!
Heavenly blessings without measure,
Flow to us from Christ the Lord.
"It is finished, it is finished."
Saints, the dying words record.
3 Tune your harps anew, ye seraphs,
Join to sing the pleasing theme;
All on earth and all in heaven
Join to praise Immanuel's name!
Hallelujah! Hallelujah!
Glory to the bleeding Lamb!
Amen. Topics: Jesus Christ Suffering and Death; Cross; Jesus Passion Scripture: Mark 15:25 Languages: English Tune Title: SEGUR
Hark! The Voice of Love and Mercy
Hark! the Voice
Author: J. Evans Hymnal: Crown of Beauty #137 (1902) First Line: Hark, the voice of love and mercy Languages: English Tune Title: [Hark, the voice of love and mercy]
Hark! the Voice
Hark! The Voice of Love and Mercy
Author: Jonathan Evans Hymnal: Hymns to the Living God #166 (2017) Meter: 8.7.8.7.4.7 Lyrics: 1 Hark! the voice of love and mercy
sounds aloud from Calvary;
see, it rends the rocks asunder,
shakes the earth, and veils the sky:
"It is finished!
It is finished!
It is finished!"
Hear the dying Savior cry;
hear the dying Savior cry.
2 "It is finished!" O what pleasure
do these precious words afford;
heav'nly blessings, without measure,
flow to us from Christ the Lord:
"It is finished!
It is finished!
It is finished!"
Saints, the dying words record;
saints, the dying words record.
3 Finished all the types and shadows
of the ceremonial law;
finished all that God had promised;
death and hell no more shall awe:
"It is finished!
It is finished!
It is finished!"
Saints, from hence your comfort draw;
saints, from hence your comfort draw.
4 Tune your harps anew, ye seraphs,
join to sing the glorious theme;
all in earth, and all in heaven,
join to praise Emmanuel's Name:
Alleluia!
Alleluia!
Alleluia!
Glory to the bleeding Lamb!
Glory to the bleeding Lamb!
Topics: Jesus Christ Resurrection and Exaltation Languages: English Tune Title: BRYN CALFARIA
Hark! The Voice of Love and Mercy
Lowell Mason
1792 - 1872 Person Name: Lowell Mason (1792-1872) Composer of "BREST" in Songs of Praise with Tunes Dr. Lowell Mason (the degree was conferred by the University of New York) is justly called the father of American church music; and by his labors were founded the germinating principles of national musical intelligence and knowledge, which afforded a soil upon which all higher musical culture has been founded. To him we owe some of our best ideas in religious church music, elementary musical education, music in the schools, the popularization of classical chorus singing, and the art of teaching music upon the Inductive or Pestalozzian plan. More than that, we owe him no small share of the respect which the profession of music enjoys at the present time as contrasted with the contempt in which it was held a century or more ago. In fact, the entire art of music, as now understood and practiced in America, has derived advantage from the work of this great man.
Lowell Mason was born in Medfield, Mass., January 8, 1792. From childhood he had manifested an intense love for music, and had devoted all his spare time and effort to improving himself according to such opportunities as were available to him. At the age of twenty he found himself filling a clerkship in a banking house in Savannah, Ga. Here he lost no opportunity of gratifying his passion for musical advancement, and was fortunate to meet for the first time a thoroughly qualified instructor, in the person of F. L. Abel. Applying his spare hours assiduously to the cultivation of the pursuit to which his passion inclined him, he soon acquired a proficiency that enabled him to enter the field of original composition, and his first work of this kind was embodied in the compilation of a collection of church music, which contained many of his own compositions. The manuscript was offered unavailingly to publishers in Philadelphia and in Boston. Fortunately for our musical advancement it finally secured the attention of the Boston Handel and Haydn Society, and by its committee was submitted to Dr. G. K. Jackson, the severest critic in Boston. Dr. Jackson approved most heartily of the work, and added a few of his own compositions to it. Thus enlarged, it was finally published in 1822 as The Handel and Haydn Society Collection of Church Music. Mason's name was omitted from the publication at his own request, which he thus explains, "I was then a bank officer in Savannah, and did not wish to be known as a musical man, as I had not the least thought of ever making music a profession." President Winchester, of the Handel and Haydn Society, sold the copyright for the young man. Mr. Mason went back to Savannah with probably $500 in his pocket as the preliminary result of his Boston visit.
The book soon sprang into universal popularity, being at once adopted by the singing schools of New England, and through this means entering into the church choirs, to whom it opened up a higher field of harmonic beauty. Its career of success ran through some seventeen editions. On realizing this success, Mason determined to accept an invitation to come to Boston and enter upon a musical career. This was in 1826. He was made an honorary member of the Handel and Haydn Society, but declined to accept this, and entered the ranks as an active member. He had been invited to come to Boston by President Winchester and other musical friends and was guaranteed an income of $2,000 a year. He was also appointed, by the influence of these friends, director of music at the Hanover, Green, and Park Street churches, to alternate six months with each congregation. Finally he made a permanent arrangement with the Bowdoin Street Church, and gave up the guarantee, but again friendly influence stepped in and procured for him the position of teller at the American Bank.
In 1827 Lowell Mason became president and conductor of the Handel and Haydn Society. It was the beginning of a career that was to win for him as has been already stated the title of "The Father of American Church Music." Although this may seem rather a bold claim it is not too much under the circumstances. Mr. Mason might have been in the average ranks of musicianship had he lived in Europe; in America he was well in advance of his surroundings. It was not too high praise (in spite of Mason's very simple style) when Dr. Jackson wrote of his song collection: "It is much the best book I have seen published in this country, and I do not hesitate to give it my most decided approbation," or that the great contrapuntist, Hauptmann, should say the harmonies of the tunes were dignified and churchlike and that the counterpoint was good, plain, singable and melodious.
Charles C. Perkins gives a few of the reasons why Lowell Mason was the very man to lead American music as it then existed. He says, "First and foremost, he was not so very much superior to the members as to be unreasonably impatient at their shortcomings. Second, he was a born teacher, who, by hard work, had fitted himself to give instruction in singing. Third, he was one of themselves, a plain, self-made man, who could understand them and be understood of them."
The personality of Dr. Mason was of great use to the art and appreciation of music in this country. He was of strong mind, dignified manners, sensitive, yet sweet and engaging.
Prof. Horace Mann, one of the great educators of that day, said he would walk fifty miles to see and hear Mr. Mason teach if he could not otherwise have that advantage.
Dr. Mason visited a number of the music schools in Europe, studied their methods, and incorporated the best things in his own work. He founded the Boston Academy of Music. The aim of this institution was to reach the masses and introduce music into the public schools. Dr. Mason resided in Boston from 1826 to 1851, when he removed to New York. Not only Boston benefited directly by this enthusiastic teacher's instruction, but he was constantly traveling to other societies in distant cities and helping their work. He had a notable class at North Reading, Mass., and he went in his later years as far as Rochester, where he trained a chorus of five hundred voices, many of them teachers, and some of them coming long distances to study under him. Before 1810 he had developed his idea of "Teachers' Conventions," and, as in these he had representatives from different states, he made musical missionaries for almost the entire country. He left behind him no less than fifty volumes of musical collections, instruction books, and manuals.
As a composer of solid, enduring church music. Dr. Mason was one of the most successful this country has introduced. He was a deeply pious man, and was a communicant of the Presbyterian Church. Dr. Mason in 1817 married Miss Abigail Gregory, of Leesborough, Mass. The family consisted of four sons, Daniel Gregory, Lowell, William and Henry. The two former founded the publishing house of Mason Bros., dissolved by the death of the former in 19G9. Lowell and Henry were the founders of the great organ manufacturer of Mason & Hamlin. Dr. William Mason was one of the most eminent musicians that America has yet produced.
Dr. Lowell Mason died at "Silverspring," a beautiful residence on the side of Orange Mountain, New Jersey, August 11, 1872, bequeathing his great musical library, much of which had been collected abroad, to Yale College.
--Hall, J. H. (c1914). Biographies of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company.
Lowell Mason
Joseph P. Holbrook
1822 - 1888 Composer of "SEGUR" in The New Christian Hymnal Joseph P. Holbrook was a tune writer in the parlor music style, and used the popular melodies of Mason and Hastings, Bradbury and Root, Greatorex and Kingsley in his collections. He furnished settings for the choir hymns in Songs for the Sanctuary in his Quartet and chorus Choir (New York, 1871, and sought more recogniation than had been given him in a hymnal of his own, Worship in Song (New York, 1880); a book that found no welcome.
from The English hymn: its development and use in worship
By Louis FitzGerald Benson
Joseph P. Holbrook
E. J. Hopkins
1818 - 1901 Person Name: E. J. Hopkins, 1818-1901 Composer of "ST. RAPHAEL" in Church Hymns Dr Edward John Hopkins MusDoc United Kingdom 1818-1901. Born at Westminster, England, the son of a clarinetist with the Royal Opera House orchestra, he became an organist (as did two of his brothers) and a composer. In 1826 he became a chorister of the Chapel Royal and sang at the coronation of King William IV in Westminster Abbey. He also sang in the choir of St. Paul’s Cathedral, a double schedule requiring skill and dexterity. On Sunday evenings he would play the outgoing voluntary at St. Martin’s in-the-field. He left Chapel Royal in 1834 and started studying organ construction at two organ factories. He took an appointment at Mitcham Church as organist at age 16, winning an audition against other organists. Four years later he became organist at the Church of St. Peter, Islington. In 1841 he became organist at St. Luke’s, Berwick St., Soho. Two Years later he was organist at Temple Church, which had a historic organ (built in 1683). He held this position for 55 years. In 1845 he married Sarah Lovett, and they had four sons and five daughters. He was closely associated with the Bach Society and was organist for the first English performances of Bach’s St. Matthew Passion. In 1855 he collaborated with Edward Rimbault publishing “The organ, its history and construction” (3 editions 1855-70-77). In 1864 he was one of the founders of the “College of organists”. In 1882 he received an honorary Doctorate of Music from the Archbishop of Canterbury. He composed 30+ hymn tunes and some psalm chants, used by the Church of England. He died in London, England.
John Perry
E. J. Hopkins
