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Savior, Like a Shepherd Lead Us
Author: Dorothy Ann Thrupp Meter: 8.7.8.7.4.4.7 D Appears in 1,139 hymnals Lyrics: 1 Savior, like a shepherd lead us,
much we need thy tender care;
in thy pleasant pastures feed us,
for our use thy folds prepare:
blessed Jesus, blessed Jesus,
thou hast bought us, thine we are;
blessed Jesus, blessed Jesus,
thou hast bought us, thine we are.
2 We are thine; do thou befriend us,
be the guardian of our way;
keep thy flock, from sin defend us,
seek us when we go astray:
blessed Jesus, blessed Jesus,
hear, O hear us when we pray;
blessed Jesus, blessed Jesus,
hear, O hear us when we pray.
3 Thou hast promised to receive us,
poor and sinful though we be;
thou hast mercy to relieve us,
grace to cleanse, and pow'r to free:
blessed Jesus, blessed Jesus,
let us early turn to thee;
blessed Jesus, blessed Jesus,
let us early turn to thee.
4 Early let us seek thy favor;
early let us do thy will;
blessed Lord and only Savior,
with thy love our bosoms fill:
blessed Jesus, blessed Jesus,
thou hast loved us, love us still,
blessed Jesus, blessed Jesus,
thou hast loved us, love us still. Topics: Christ Guide; Christ Love and Grace of; Christ Shepherd; Longing for Christ and God Scripture: John 10:14 Used With Tune: SHEPHERD Text Sources: Hymns for the Young, 1836
Savior, Like a Shepherd Lead Us
SICILIAN MARINERS
Meter: 8.7.8.7.8.7 Appears in 600 hymnals Tune Sources: Sicilian melody; The European Magazine and London Review, 1792 Tune Key: D Major Incipit: 56543 45654 35567 Used With Text: Savior, like a shepherd lead us
SICILIAN MARINERS
HER VIL TIES
Meter: 8.7.8.7.8.7 Appears in 7 hymnals Composer and/or Arranger: Ludvig M. Lindeman, 1812-1887 Tune Key: G Major Incipit: 15662 72153 32342 Used With Text: Savior, like a Shepherd Lead Us
HER VIL TIES
Savior, Like a Shepherd Lead Us
Author: Dorothy A. Thrupp Hymnal: Hymns of Faith #408 (1980) Lyrics: 1 Saviour, like a shepherd lead us,
Much we need Thy tender care;
In Thy pleasant pastures feed us,
For our use Thy folds prepare:
Blessèd Jesus, blessèd Jesus,
Thou hast bought us, Thine we are;
Blessèd Jesus, blessèd Jesus,
Thou hast bought us, Thine we are.
2 We are Thine, do Thou befriend us,
Be the guardian of our way;
Keep Thy flock, from sin defend us,
Seek us when we go astray:
Blessèd Jesus, blessèd Jesus,
Hear, O hear us when we pray;
Blessèd Jesus, blessèd Jesus,
Hear, O hear us when we pray.
3 Thou hast promised to receive us,
Poor and sinful though we be;
Thou hast mercy to relieve us,
Grace to cleanse, and pow'r to free:
Blessèd Jesus, blessèd Jesus,
Early let us turn to Thee;
Blessèd Jesus, blessèd Jesus,
Early let us turn to Thee.
4 Early let us seek Thy favour,
Early let us do Thy will;
Blessed Lord and only Saviour,
With Thy love our bosoms fill:
Blessèd Jesus, blessèd Jesus,
Thou hast loved us, love us still;
Blessèd Jesus, blessèd Jesus,
Thou hast loved us, love us still.
Topics: Christ Shepherd; Devotional; Prayer Hymns of; Christ Shepherd; Devotional; Prayer Hymns of Scripture: Luke 15:4 Languages: English Tune Title: [Savior, like a shepherd lead us]
Savior, Like a Shepherd Lead Us
Savior, Like a Shepherd Lead Us
Author: Dorothy A. Thrupp Hymnal: Favorite Hymns of Praise #480 (1967) Lyrics: 1 Savior, like a shepherd lead us,
Much we need Thy tender care;
In Thy pleasant pastures feed us,
For our use Thy folds prepare:
Blessèd Jesus, blessèd Jesus,
Thou hast bought us, Thine we are;
Blessèd Jesus, blessèd Jesus,
Thou hast bought us, Thine we are.
2 We are Thine; do Thou befriend us,
Be the Guardian of our way;
Keep Thy flock, from sin defend us,
Seek us when we go astray:
Blessèd Jesus, blessèd Jesus,
Hear, O hear us when we pray;
Blessèd Jesus, blessèd Jesus,
Hear, O hear us when we pray.
3 Thou hast promised to receive us,
Poor and sinful though we be;
Thou hast mercy to relieve us,
Grace to cleanse, and pow'r to free:
Blessèd Jesus, blessèd Jesus,
Early let us turn to Thee;
Blessèd Jesus, blessèd Jesus,
Early let us turn to Thee.
4 Early let us seek Thy favor,
Early let us do Thy will;
Blessed Lord and only Savior,
With Thy love our bosoms fill:
Blessèd Jesus, blessèd Jesus,
Thou hast loved us, love us still;
Blessèd Jesus, blessèd Jesus,
Thou hast loved us, love us still. Topics: Christ Shepherd; Devotional; Prayer Hymns of; Christ Shepherd; Devotional; Prayer Hymns of Languages: English Tune Title: [Savior, like a shepherd lead us]
Savior, Like a Shepherd Lead Us
The Good Shepherd
Hymnal: Honey Out of the Rock #11 (1894) First Line: Savior, like a shepherd lead us Refrain First Line: Lead us, lead us Lyrics: 1 Savior, like a shepherd lead us,
Much we need Thy tendrest care,
In Thy pleasant pastures feed us,
For our use Thy folds prepare;
Refrain:
Lead us, lead us,
Lead us with Thy tender care;
Lead us, lead us,
For Thy use our souls prepare.
2 We are Thine, do Thou befriend us,
Be the Guardian of our way;
Keep Thy flock, from sin defend us,
Seek us when we go astray; [Refrain]
3 Thou hast promised to receive us,
Poor and sinful though we be;
Thou hast mercy to relieve us,
Grace to cleanse, and pow’r to free; [Refrain]
4 Early let us seek Thy favor,
Early let us do Thy will;
Blessed Lord, and only Savior,
With Thy love our bosoms fill. [Refrain] Languages: English Tune Title: [Savior, like a shepherd lead us]
The Good Shepherd
Dorothy A. Thrupp
1779 - 1847 Person Name: Dorothy Ann Thrupp Attributed to of "Savior, Like a Shepherd Lead Us" in Trinity Hymnal (Rev. ed.) Dorothy Ann Thrupp was born in London, June 10, 1779. She contributed some hymns, under the pseudonym of "Iota," to W. Carus Wilson's Friendly Visitor and his Children's Friend. Other hymns by her, signed "D.A.T.," appeared in Mrs. Herbert Mayo's Selection of Hymns and Poetry for the Use of Infant Schools and Nurseries, 1838. She was also the editor of Hymns for the Young, c. 1830, in which all the hymns were given anonymously. She died in London on December 15, 1847.
--The Hymnal 1940 Companion
================================
Thrupp, Dorothy Ann, daughter of Joseph Thrupp, of Paddington Green, was born at London, June 20, 1779 and died there on Dec. 14, 1847. Her hymns, a few of which have come into extensive use, were contributed to the Rev. W. Carus Wilson's Friendly Visitor and his Children's Friend, under the nom de plume of Iota; to Mrs. Herbert Mayo's Selection of Hymns and Poetry for the use of Infant Schools and Nurseries, 1838 (3rd ed. 1846, with change of title to A Sel. . . . of Infant and Juvenile Schools and Families), in which her signature is "D.A.T."; and also to the Hymns for the Young, which she herself edited for the Religious Tract Society circa 1830, 4th ed., 1836. In 1836 and 1837 she also published Thoughts for the Day (2nd series), in which she embodied many hymns which previously appeared in the Friendly Visitor. In addition to her hymns, which are annotated under their respective first lines there are also in common use:—
1. Come, Holy Spirit, come, 0 hear an infant's prayer. Child's Prayer. Appeared in Mrs. Mayo's Selection of Hymns and Poetry, 1838, No. 14, and signed "D.A.T."
2. God loves the little child that prays. God's love for Children. Given in Miss Thrupp's Hymns for the Young, 4th ed., 1836; and again in Mrs. Mayo's Selection of Hymns and Poetry&c, 2nd ed., 1840, and signed " D.A.T." It is sometimes given as "God loves the child that humbly prays."
3. Have you read the wondrous story? Life and Death of Jesus. This appeared anonymously in Miss Thrupp's Hymns for the Young, R. T. S., 1830, No. 12, in 5 stanzas of 4 lines. In Miss Thrupp's later publications this hymn is omitted, a fact which suggests that it was not her composition, but possibly that of a friend. It is in theLeeds Sunday School Union Hymn Book, 1833-78.
4. Let us sing with one accord. Praise of Jesus. This hymn is usually associated with Miss Thrupp's name, but on insufficient evidence. We find it in the 4th edition of her Hymns for the Young, 1836, and again in the 3rd ed. of Mrs. H. Mayo's Selection of Hymns and Poetry for the Use of Infant and Juvenile Schools, &c, 1846, and in both instances without signature. We know of no evidence which justifies us in ascribing the authorship with certainty to Miss Thrupp. The hymn is in the Leeds S. S. Union Hymn Book, 1833-78, and several others.
5. Poor and needy though I be. Divine Providence. Appeared in Miss Thrupp's Hymns for the Young, 4th ed., 1836, No. 22; and again in Mrs. Mayo's Selection of Hymns and Poetry>, &c, 2nd ed., 1840, and signed "D.A.T."
6. See, my child, the mighty ocean. Love of God compared to the Sea. Given in the R. T. S.'s Hymns for the Young, 4th ed., 1836, No. 26, and in Mrs. Mayo's Selection of Hymns and Poetry, &c, 1st ed., 1838, and signed "D.A. T." In Kennedy, 1863, it begins "Have you seen the mighty ocean."
7. Thou Guardian of my earliest days. Jesus the Children's Friend. This hymn we have traced to her Hymns for the Young, 4th ed., 1836. It is sometimes given as “Thou Guardian of our earliest days."
8. What a strange and wondrous story. Life and Death of Jesus. This hymn is found without signature in her Hymns for the Young, 4th ed., 1836, and again in Mrs. H. Mayo's Selection of Hys. and Poetry, 1838, No. 173, in 4 st. of 4 1, We have found no authority for ascribing it to Miss Thrupp.
9. What led the Son of God? Love of God in Christ. This appeared anonymously in her Hymns for the Young, 1830, and again in the Leeds S. S. Union Hymn Book, 1833. In modern collections it is attributed to Miss Thrupp, on the ground that it is found in the Hys. for the Young, which she edited.
10. Who are they in heaven who stand? All Saints. Published in Mrs. Mayo's Selection of Hys. and Poetry, 3rd ed., 1846, No. 64, in 5 stanzas of 4 lines, and signed A. D.T." It is in the Prim. Methodist Sunday School Hymn Book, 1879, and others.
Several additional hymns to those named above have also been attributed to Miss Thrupp on insufficient authority. This has probably arisen out of the fact that all the hymns in the Hymns for the Young, including her own, were given anonymously.
-- Excerpts from John Julian, Dictionary of Hymnology (1907)
Dorothy A. Thrupp
George F. Root
1820 - 1895 Person Name: G. F. R. Composer of "[Savior, like a shepherd lead us]" in Little Sacred Songs Root, George F., MUS. DOC, born in Sheffield, Berkshire County, Mass., Aug. 30, 1820. He is much more widely known as a composer of popular music than as a hymn writer. Four of his hymns are in I. D. Sankey's Sacred Songs & Solos, 1878. Nos. 16, 100, 293, and 297. A sympathetic biographical sketch, with portrait, is in The Tonic Sol-Fa Reporter, Sep. 1886. He died Aug. 6, 1895.
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
=====================
George Frederick Root was born in Sheffield, Mass., August 30, 1820. His father moved to North Reading, near Boston, when the boy was six years old, and there his youth was spent.
He was always fond of music— not singing at all as a boy, but played upon every kind of instrument that came in his way. At thirteen it was his pride that he could "play a tune" on as many instruments as he was years old. His dream of life was to be a musician, although such an ambition was looked down upon by all his relatives and friends, excepting a fond mother. In the fall of 1838 he went to Boston and made an engagement to work for Mr. A. N. Johnson and take lessons on the piano.
His father and one of the brothers were at the time in South America, and the mother, with six younger children, was at home on the farm. When he secured the engagement with Mr. Johnson to receive three dollars a week and board and lessons, the neighbors became interested and encouraged him to go ahead, they promising to help look after the farm and see that the family got along. The young man's happiness over these events can better be imagined than described.
On the second day of October, 1838, he entered upon his duties in his new heaven on earth located at Harmony Hall, Mr. Johnson's music-room, in Boston. His duties were to see to the fires, care for the room, answer callers, give information about Mr. Johnson when he was out, and practice his lessons when not otherwise engaged. He worked industriously and made steady progress. It was but a few weeks till Mr. Johnson had him playing for the prayer-meeting, and but a few more till he began turning over pupils to him. In about seven weeks' time Mr. Johnson encouraged him by a considerable increase of salary. A most important event to him was meeting Dr. Lowell Mason and being accepted as a bass singer in the celebrated Bowdoin Street choir. Also, on Mr. Johnson's recommendation, he began taking private voice lessons of Mr. Geo. Jas. Webb, the then celebrated voice teacher of Boston. He continued at least a year with Mr. Webb.
His first real singing class was taught the following fall, 1839, at the North End. It lasted nearly through the winter, and on the closing night his class made him a present of a silver goblet, suitably engraved, which he kept among his treasures.
Before the first year was up Mr. Johnson proposed a five year partnership, by which Mr. Root was to receive one-third of their earnings, and the former was to have the privilege of visiting Germany part of the time if he chose. They then changed their quarters to three rooms in the basement of Park Street Church. The annual rental was six hundred dollars. They were kept quite busy.
At this time Dr. Mason's music teaching in the public schools was a growing success, and Messrs. Johnson and Root were employed to assist him. Drs. Mason and Webb had introduced what is now called Musical Conventions a year or two previous to this. They called them "The Teachers' Class." Teachers and singers were called to Boston from surrounding territory to study and practice pretty much as they do now at normals.
In 1841 Mr. Root became one of the teachers in this class. He taught vocal training and continued this work for years afterward in Dr. Mason's teachers' classes, and later incorporated the same method in his own normals. During this year Mr. Johnson went to Germany, and left the two large church choirs (Winter Street and Park Street) in charge of Mr. Root. One of the organs was played by a pupil — Mr. S. A. Bancroft.
Everything went smoothly during Mr. Johnson's absence as it did also after his return. During the last year of the five-year partnership, Mr. Root was called to take the organ at Bowdoin Street, Mr. Mason changing to Winter Street. An amicable settlement was made between Messrs. Johnson and Root, and the partnership dissolved.
In 1811, Mr. Jacob Abbott (father of Lyman Abbott)and his three brothers had established a young ladies' school in New York City. They wanted a music teacher, and offered the position to Mr. Root. They also secured him the organ and choir of the Mercer Street Church, with prospects for other good work. It required pretty strong persuasive arguments to tempt Mr. Root to leave Boston, he was doing well there, and as the sequel shows, there was an attraction in Boston that held him in too tight a grasp to be relinquished by the mere offer of greater power and place. He made up his mind, however, only after getting the consent of the powders of Boston to take with him this [to him] the greatest attraction of the city — Miss Mary Olive Woodman — an accomplished lady, a sweet singer, and a member of a prominent family of musicians. He went to New York first to prepare a home, and in August, 1845, returned for his bride, who took her place in his New York choir as leading soprano, and through his long and eventful career she was ever at his side, a true helpmeet.
He was soon employed at Rutger's Female Institute, Miss Haines' School for Young Ladies, Union Theological Seminary and the New York State Institution for the Blind. Within six weeks after he arrived in New York his time was fully occupied. He continued with Mr. Abbott's young ladies' school ten years.
While teaching in New York he continued his summer work with Messrs. Mason and Webb in Teachers' Classes. Up to the year 1849 he had written but little music; only a few hymn tunes while in Boston. He needed more music for the young ladies of his schools, so he made his first book, The Young Ladies' Choir, of which he had enough copies made for his own use, as he had no thought of offering it to the public. Then in connection with Mr. J. E. Sweetser, they compiled the Root and Sweetser's Collection.
Mr. Root did work enough for two men, hence broke down in health. Mr. Abbott suggested that he take a trip to Paris. After weighing the matter carefully, in December, 1853, he sailed, and in due time arrived at Paris, where he began studying French, voice culture and piano under celebrated teachers. After spending nearly a year abroad, he returned home in improved health and ready for active work. He began to feel the need of new music for his classes, and after some thought decided upon a musical play ; the subject and title, The Flower Queen.
At the Institution for the Blind was a young lady, a former pupil, but now a teacher who had shown some poetical talent. He asked her to help him with the words. He would suggest in prose what the flowers might say and she would put it into rhyme. She did it so well that it seldom needed any alteration. This lady was the now famous Fanny Crosby. The cantata became very popular. About this time Mr. Root wrote a half dozen simple songs for the people. They all sold pretty well, but Hazel Dell and Rosalie, the Prairie Flower, became the most popular, and had a large sale.
It was in the summer of 1853 that the first real normal was held. Mr. Root originated it, and held it in New York. The principal teachers were Messrs. Mason, Root, Hastings, and Bradbury. This school became famous. Sessions were also held at North Reading, Mass., a village near Mr. Root's "Willow Farm Home," with Dr. Mason, Mr. Webb, Mr. Bradbury and himself as principal teachers.
About this time Mr. Root decided to give up his work in New York, and devote himself entirely to conventions, normal work and authorship. He was eminently successful. Among the most eminent teachers and composers of our country have been students in Dr. Geo. F. Root's Normal Musical Institute.
In 1860 Dr. Root settled in Chicago and entered the music publishing business with his brother E. T. Root, and C. M. Cady, as "Root & Cady," Mr. Root's reputation being the most important capital of the firm. His books and popular songs soon made the new firm prosperous. Then came the war with its horror. Dr. Root wielded his musical sword in the way of writing war songs, which made him famous. The Battle Cry of Freedom, Just Before the Battle, Mother, and others, made thousands of dollars for the music house.
In the great Chicago fire of 1871 the interests of the firm of Root & Cady became engulfed in the general ruin. Their loss was upward of a quarter of a million dollars. They then sold their book catalogue, plates and copyrights to John Church & Co., of Cincinnati, and the sheet music plates and copyrights to S. Brainard's Sons, Cleveland. These sales realized about §130,000. The final result was that Dr. Root, his talented son F. W., and others became connected with John Church & Co. Under this new business relationship Mr. Root went right on with his normal and convention work; also issued a great many new books and cantatas. In 1872 the Chicago University very worthily conferred upon him the degree Doctor of Music.
In 1886 he made a trip to Scotland and England, and arranged with publishers to issue some of his cantatas. He was royally received.
Dr. Root was the author of about seventy-five books, nearly two hundred songs in sheet form, and many popular gospel songs. Dr. Root occupies a prominent place in the musical history of this country. It was Dr. Mason who lifted music from almost nothing and gave it an impetus, but he left no better follower than Dr. Root to carry on his work. He was a man of spotless integrity and high Christian character, and to know him was to love him.
At the time of Dr. Root's death he was at Bailey Island, Maine, a summer resort, where he and other relatives had cottages. On August 6, 1895, he was seized with neuralgia of the heart — and died within one hour. He was buried at North Reading, Mass., his old home.
--Hall, J. H. (c1914). Biographies of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company.
George F. Root
Ludvig Mathias Lindeman
1812 - 1887 Person Name: Ludvig M. Lindeman, 1812-1887 Composer of "HER VIL TIES" in Lutheran Book of Worship Ludvig M. Lindeman (b. 1812; d. 1887) was a Norwegian composer and organist. Born in Trondheim, he studied theology in Oslo where he remained the rest of his life. In 1839 he succeeded his brother as the organist and cantor of Oslo Cathedral, a position he held for 48 years up until his death. Lindeman was appointed Knight of the Royal Norwegian Order of St. Olav, and was invited to both help christen the new organ in Royal Albert Hall in London, as well as compose for the coronation of King Oscar II and Queen Sophie of Sweden. In 1883, he and his son started the Organist School in Oslo. Lindeman is perhaps best known for his arrangements of Norwegiam folk tales; over the course of his life he collected over 3000 folk melodies and tunes.
Laura de Jong
Ludvig Mathias Lindeman
