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'Tis Finished! so the Savior Cried
Author: S. Stennett Appears in 389 hymnals Lyrics: 1 'Tis finished! so the Savior cried,
And meekly bowed His head and died:
'Tis finished! yes, the race is run,
The battle fought, the victory won.
2 'Tis finished! all that heaven decreed
And all the ancient prophets said
Is now fulfilled, as was designed,
In Me, the Savior of mankind.
3 'Tis finished! this My dying groan
Shall sins of ev'ry kind atone;
Millions shall be redeemed from death,
By this My last expiring breath.
4 'Tis finished! let the joyful sound
Be heard thro' all the nations round;
'Tis finished! let the echo fly
Thro' heav'n and hell, thro' earth and sky.
Topics: Church Festivals Passion and Easter; The Lord's Supper; Call and Repentance; Faith and Justification Used With Tune: ST. CROSS
'Tis Finished! so the Savior Cried
HAMBURG
Meter: 8.8.8.8 Appears in 892 hymnals Composer and/or Arranger: Lowell Mason Tune Sources: First appeared in The Boston Handel and Haydn Society Collection of Church Music, third edition, 1825 Tune Key: F Major Incipit: 11232 34323 33343 Used With Text: 'Tis Finished! So the Savior Cried
HAMBURG
MEIN SEEL, O HERR, MUSS LOBEN DICH
Meter: 8.8.8.8 Appears in 22 hymnals Composer and/or Arranger: Bartholomäeus Gesius Tune Key: g minor Incipit: 51712 43223 45342 Used With Text: ’Tis Finished! So the Savior Cried
MEIN SEEL, O HERR, MUSS LOBEN DICH
JAG SER DIG KLÄDD I BLODIG SKRUD
Meter: 8.8.8.8 Appears in 1 hymnal Composer and/or Arranger: Fr. Pira. Used With Text: 'Tis Finished! So the Saviour Cried
JAG SER DIG KLÄDD I BLODIG SKRUD
'Tis Finished! so the Savior Cried
Author: S. Stennett Hymnal: Concordia #82 (1918) Lyrics: 1 'Tis finished! so the Savior cried,
And meekly bowed His head and died:
'Tis finished! yes, the race is run,
The battle fought, the victory won.
2 'Tis finished! all that heaven decreed
And all the ancient prophets said
Is now fulfilled, as was designed,
In Me, the Savior of mankind.
3 'Tis finished! this My dying groan
Shall sins of ev'ry kind atone;
Millions shall be redeemed from death,
By this My last expiring breath.
4 'Tis finished! let the joyful sound
Be heard thro' all the nations round;
'Tis finished! let the echo fly
Thro' heav'n and hell, thro' earth and sky.
Topics: Church Festivals Passion and Easter; The Lord's Supper; Call and Repentance; Faith and Justification Languages: English Tune Title: ST. CROSS
'Tis Finished! so the Savior Cried
'Tis Finished! So The Savior Cried
Author: Samuel Stennett Hymnal: American Lutheran Hymnal #421 (1930) Meter: 8.8.8.8 Lyrics: 1 'Tis finished! so the Savior cried,
And meekly bowed His head and died;
'Tis finished--yes, the race is run,
The battle fought, the vict'ry won.
2 'Tis finished! All that heav'n decreed
And all the ancient prophets said
Is now fulfilled, as was designed,
In Thee, the Savior of mankind.
3 'Tis finished! Aaron now no more
Must stain his robes with purple gore;
The sacred veil is rent in twain,
And Jewish rites no more remain.
4 'Tis finished! man is reconciled
To God and pow'rs of darkness spoiled:
Peace, love and happiness again
Return and dwell with sinful men.
5 'Tis finished! Let the joyful sound
Be heard through all the nations round;
'Tis finished! Let the echo fly
Thro' heav'n and hell, thro' earth and sky.
Amen.
Topics: The Church Year Passion Languages: English Tune Title: ST. CROSS
'Tis Finished! So The Savior Cried
'Tis Finished! So the Savior Cried
Author: Samuel Stennett Hymnal: The Cyber Hymnal #6749 Meter: 8.8.8.8 Lyrics: 1. ’Tis finished! so the Savior cried,
And meekly bowed His head and died;
’Tis finished—yes, the race is run,
The battle fought, the victory won.
2. ’Tis finished—all that Heaven decreed,
And all the ancient prophets said,
Is now fulfilled, as was designed,
In Me the Savior of mankind.
3. ’Tis finished—Heaven is reconciled,
And all the powers of darkness spoiled.
Peace, love, and happiness again
Return and dwell with sinful men.
4. ’Tis finished—let all the joyful sound
Be heard through all the nations round:
’Tis finished—let the echo fly
Thro’ Heav’n and hell, thro’ earth and sky. Languages: English Tune Title: HAMBURG
'Tis Finished! So the Savior Cried
Samuel Stennett
1727 - 1795 Author of "'Tis finished, so the Savior cried, and meekly" in The National Baptist Hymnal Samuel Stennett was born at Exeter, in 1727. His father was pastor of a Baptist congregation in that city; afterwards of the Baptist Chapel, Little Wild Street, London. In this latter pastorate the son succeeded the father in 1758. He died in 1795. Dr. Stennett was the author of several doctrinal works, and a few hymns.
--Annotations of the Hymnal, Charles Hutchins, M.A. 1872.
======================
Stennett, Samuel, D.D., grandson of Joseph Stennett, named above, and son of the Rev. Joseph Stennett, D.D., was born most pro;bably in 1727, at Exeter, where his father was at that time a Baptist minister. When quite young he removed to London, his father having become pastor of the Baptist Church in Little Wild Street, Lincoln's Inn Fields. In 1748, Samuel Stennett became assistant to his father in the ministry, and in 1758 succeeded him in the pastoral office at Little Wild Street. From that time until his death, on Aug. 24, 1795, he held a very prominent position among the Dissenting ministers of London. He was much respected by some of the statesmen of the time, and used his influence with them in support of the principles of religious freedom. The celebrated John Howard was a member of his congregation and an attached friend. In 1763, the University of Aberdeen conferred on him the degree of D.D. Dr. S. Stennett's prose publications consist of volumes of sermons, and pamphlets on Baptism and on Nonconformist Disabilities. He wrote one or two short poems, and contributed 38 hymns to the collection of his friend, Dr. Rippon (1787). His poetical genius was not of the highest order, and his best hymns have neither the originality nor the vigour of some of his grandfather's. The following, however, are pleasing in sentiment and expression, and are in common use more especially in Baptist congregations:—
1. And have I, Christ, no love for Thee? Love for Christ desired.
2. And will the offended God again? The Body the Temple of the Holy Ghost.
3. As on the Cross the Saviour hung. The Thief on the Cross.
4. Behold the leprous Jew. The healing of the Leper.
5. Come, every pious heart. Praise to Christ.
6. Father, at Thy call, I come. Lent.
7. Great God, amid the darksome night. God, a Sun.
8. Great God, what hosts of angels stand. Ministry of Angels.
9. Here at Thy Table, Lord, we meet. Holy Communion.
10. How charming is the place. Public Worship.
11. How shall the sons of men appear? Acceptance through Christ alone.
12. How soft the words my [the] Saviour speaks. Early Piety.
13. How various and how new. Divine Providence.
14. Not all the nobles of the earth. Christians as Sons of God.
15. On Jordan's stormy banks I stand. Heaven anticipated.
16. Prostrate, dear Jesus, at thy feet. Lent. Sometimes, "Dear Saviour, prostrate at Thy feet."
17. Should bounteous nature kindly pour. The greatest of these is Love. From this, "Had I the gift of tongues," st. iii., is taken.
18. Thy counsels of redeeming grace. Holy Scripture. From "Let avarice, from shore to shore."
19. Thy life 1 read, my dearest Lord. Death in Infancy. From this "'Tis Jesus speaks, I fold, says He."
20. 'Tis finished! so the Saviour cried. Good Friday.
21. To Christ, the Lord, let every tongue. Praise of Christ. From this,"Majestic sweetness sits enthroned," st. iii., is taken.
22. To God, my Saviour, and my King. Renewing Grace.
23. To God, the universal King. Praise to God.
24. What wisdom, majesty, and grace. The Gospel. Sometimes, “What majesty and grace."
25. Where two or three with sweet accord. Before the Sermon.
26. Why should a living man complain? Affliction. From this, "Lord, see what floods of sorrow rise," st. iii., is taken.
27. With tears of anguish I lament. Lent.
28. Yonder amazing sight I see. Good Friday.
All these hymns, with others by Stennett, were given in Rippon's Baptist Selection, 1787, a few having previously appeared in A Collection of Hymns for the use of Christians of all Denominations, London. Printed for the Booksellers, 1782; and No. 16, in the 1778 Supplement to the 3rd edition of the Bristol Baptist Selection of Ash and Evans. The whole of Stennett's poetical pieces and hymns were included in vol. ii. of his Works, together with a Memoir, by W. J. Jones. 4 vols., 1824. [Rev. W. R. Stevenson, M.A.]
--John Julian, Dictionary of Hymnology (1907)
Samuel Stennett
Lowell Mason
1792 - 1872 Composer of "HAMBURG" in The Cyber Hymnal 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
John Bacchus Dykes
1823 - 1876 Person Name: J. B. Dykes Composer of "ST. CROSS" in Gloria Deo As a young child John Bacchus Dykes (b. Kingston-upon-Hull' England, 1823; d. Ticehurst, Sussex, England, 1876) took violin and piano lessons. At the age of ten he became the organist of St. John's in Hull, where his grandfather was vicar. After receiving a classics degree from St. Catherine College, Cambridge, England, he was ordained in the Church of England in 1847. In 1849 he became the precentor and choir director at Durham Cathedral, where he introduced reforms in the choir by insisting on consistent attendance, increasing rehearsals, and initiating music festivals. He served the parish of St. Oswald in Durham from 1862 until the year of his death. To the chagrin of his bishop, Dykes favored the high church practices associated with the Oxford Movement (choir robes, incense, and the like). A number of his three hundred hymn tunes are still respected as durable examples of Victorian hymnody. Most of his tunes were first published in Chope's Congregational Hymn and Tune Book (1857) and in early editions of the famous British hymnal, Hymns Ancient and Modern.
Bert Polman
John Bacchus Dykes
