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Lord, Who throughout These Forty Days (En Tu Cuarsema, Oh Salvador)
Author: Claudia F. Hernaman, 1838-1898; Dimas Planas-Belfort, 1934-1992; Rosa María Icaza, CCVI Meter: 8.6.8.6 Appears in 86 hymnals Topics: Tiempo de Cuaresma First Line: Lord, who throughout these forty days (En tu cuaresma, oh Salvador) Scripture: Matthew 4:1-11 Used With Tune: ST. FLAVIAN
Lord, Who throughout These Forty Days (En Tu Cuarsema, Oh Salvador)
Tal como soy
Author: Charlotte Elliott; Tomás M. Westrup Meter: 8.8.8.8 Appears in 31 hymnals Topics: Cuaresma; Cuaresma First Line: Tal como soy de pecador Scripture: John 5:36-40 Used With Tune: WOODWORTH
Tal como soy
Nunca, Dios mío
Author: Juan Bautista Cabrera Meter: 11.11.11.5 Appears in 31 hymnals Topics: Cuaresma; Cuaresma First Line: Nunca, Dios mío, cesará mi labio Scripture: Psalm 51:10-17 Used With Tune: FLEMMING
Nunca, Dios mío
PASSION CHORALE
Meter: 7.6.7.6 D Appears in 504 hymnals Composer and/or Arranger: Hans Leo Hassler; J. S. Bach Topics: Jesucristo Redentor Cuaresma Tune Key: a minor or modal Incipit: 51765 45233 2121 Used With Text: Cabeza ensagrentada
PASSION CHORALE
Oración de Cuaresma (Prayer for Desert Times)
Author: Joel N. Martínez Hymnal: Fiesta Jubilosa #119 (2022) Topics: El Año Cristiano Cuaresma First Line: Señor y Pastor de nuestras jornadas en el desierto (Lord and Shepherd of our journeys in the desert) Languages: English; Spanish
Oración de Cuaresma (Prayer for Desert Times)
Lord, Who throughout These Forty Days (En Tu Cuarsema, Oh Salvador)
Author: Claudia F. Hernaman, 1838-1898; Dimas Planas-Belfort, 1934-1992; Rosa María Icaza, CCVI Hymnal: Oramos Cantando = We Pray In Song #410 (2013) Meter: 8.6.8.6 Topics: Tiempo de Cuaresma First Line: Lord, who throughout these forty days (En tu cuaresma, oh Salvador) Scripture: Matthew 4:1-11 Tune Title: ST. FLAVIAN
Lord, Who throughout These Forty Days (En Tu Cuarsema, Oh Salvador)
Cruzando el mundo, triste y sediento
Author: Desconocido Hymnal: Culto Cristiano #39 (1964) Meter: 10.9.10.9 Topics: El Año Cristiano Septuagésima a Cuaresma; Cuaresma Lyrics: 1 Cruzando el mundo, triste y sediento,
Ya sin aliento, en mi dolor,
Oi tu acento que me llamaba
Y que clamaba con tierno amor:
2 "Si estás cansado, y en pena amarga,
Ven, esa carga te quitaré;
Dulce descanso, tranquila calma,
Para tu alma te ofreceré."
3 Dios adorado, soy indigente,
Ten hoy, clemente, piedad de mí;
La dura carga de mi pecado,
Fardo pesado, te traigo a Ti. Languages: Spanish Tune Title: REYNOLDS
Cruzando el mundo, triste y sediento
Juan Bautista Cabrera Ivars
1837 - 1916 Person Name: Juan Bautista Cabrera Topics: Cuaresma; Cuaresma Author of "Nunca, Dios mío" in El Himnario Juan Bautista Cabrera Ivars was born in Benisa, Spain, April 23, 1837. He attended seminary in Valencia, studying Hebrew and Greek, and was ordained as a priest. He fled to Gibraltar in 1863 due to religious persecution where he abandoned Catholicism. He worked as a teacher and as a translator. One of the works he translated was E.H. Brown's work on the thirty-nine articles of the Anglican Church, which was his introduction to Protestantism. He was a leader of a Spanish Reformed Church in Gibraltar. He continued as a leader in this church when he returned to Spain after the government of Isabel II fell, but continued to face legal difficulties. He then organized the Spanish Reformed Episcopal Church and was consecrated as bishop in 1894. He recognized the influence of music and literature on evangelism which led him to write and translate hymns.
Dianne Shapiro, from Real Academia de la Historia (https://dbe.rah.es/biografias/39825/juan-bautista-cabrera-ivars) and Himnos Cristanos (https://www.himnos-cristianos.com/biografia-juan-bautista-cabrera/) (accessed 7/30/2021)
Juan Bautista Cabrera Ivars
Richard Proulx
1937 - 2010 Person Name: Richard Proulx, 1937-2010 Topics: Tiempo de Cuaresma Harmonizer of "WONDROUS LOVE" in Oramos Cantando = We Pray In Song Richard Proulx (b. St. Paul, MN, April 3, 1937; d. Chicago, IL, February 18, 2010). A composer, conductor, and teacher, Proulx was director of music at the Holy Name Cathedral in Chicago, Illinois (1980-1997); before that he was organist and choirmaster at St. Thomas' Episcopal Church in Seattle, Washington. He contributed his expertise to the Roman Catholic Worship III (1986), The Episcopal Hymnal 1982, The United Methodist Hymnal (1989), and the ecumenical A New Hymnal for Colleges and Schools (1992). He was educated at the University of Minnesota, MacPhail College of Music in Minneapolis, Minnesota, St. John's Abbey in Collegeville, Minnesota, and the Royal School of Church Music in England. He composed more than 250 works.
Bert Polman
Richard Proulx
Lowell Mason
1792 - 1872 Topics: Jesucristo Redentor Cuaresma Composer of "HAMBURG" in Mil Voces para Celebrar 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
