Month: September 2023

Jesus, Keep Me Close to Thee

The words of this hymn were composed by Frances Fanny Jane Crosby (1820-1915). Her hymn Close to Thee was written in 1874, and it first appeared in the hymn collection SONGS OF GRACE AND GLORY. This collection was compiled by William. F. Sherwin and Silas J. Vail and published by Horace Waters & Son of New York.

William F. Sherwin (1826-1888) was an American Baptist hymn-writer and musician. He was born in Buckland, Massachusetts in 1826. He studied music under Dr. Mason Neal and in due course became a teacher of vocal music. He was passionately involved in Sunday Schools and widely recognized throughout Massachusetts, Hudson, and Albany Counties in New York, and the New York City area where he composed carols and hymn-tunes for the schools. He died in Boston in 1888.

Silas Jones Vail (1818-1884) was, for much of his life, a maker of hats and was employed by Willam H. Beebe who owned a fashionable hat store in New York. Silas later started his own hattery business where he was successful for many years. However, as the times changed, so did his trade and he could not stay in business. In the late 1860s, he devoted himself completely to music and was well known for composing music for use in churches and Sunday Schools. Frances Crosby wrote expressly for him many hymns that he set to music including Close to Thee. His melody for this hymn is widely known throughout Protestant circles and is still used to this day.

Frances Crosby was blinded during infancy and as she grew older, she learned to accept her blindness as a gift and blessing from God. She began writing poetry verses when she was 8 years old, and her first poem was published in 1831 and her first book of poetry The Blind Girl and other Poems was published in 1844. She spent 12 years at the New York Institute for the Blind and another 12 years as a teacher there.

She started writing hymns when she was 40 years of age and continued to do so throughout her lifetime. In her later years, she devoted herself to missionary work and was affectionately called by those to whom she ministered to as Aunt Fanny. Because of her prolificity in writing hymns, publisher’s ascribed to her as many as 40 different pseudonyms. Frances Crosby was a Methodist and some of her more successful hymns include Blessed Assurance, Jesus is Mine; Pass me not, O Gentle Savoir; Safe in the Arms of Jesus and Saved by Grace. She died in the early morning hours of Friday, February 12, 1915, at the age of 95. She wrote at least 8,000 hymns and was one of the most popular and well-respected poets in America.

The Melodies

There are only two melodies for this hymn. The first, as indicated above, was composed by Silas J. Vail, and is commonly found in Protestant hymnals. Another melody was composed by a Sister of Mercy from the Providence, Rhode Island, Community: Sister Mary Alexis Donnelly, R.S.M, (1857-1936). Through the late 19^th and early 20^th centuries, Sister Mary Alexis was one of the leading contributors to American Catholic music. Her contributions to Catholic music, however, have largely been forgotten by all except a few vintage organists and hymnologists. The remainder of this write-up is dedicated to Sister Mary Alexis.

Sister Mary Alexis was born Julia Donnelly in Yorkshire, England during the month of March 1857. When she was a young girl, she came to the United States and settled in the small town of Harrisville, Rhode Island. On November 1, 1877, she entered the Sisters of Mercy at St. Xavier’s Convent, in Providence, Rhode Island. She was recognized by her superiors as a gifted musician and began her first teaching assignment at St. Patrick’s School, Providence.

At the urging and solicitation of friends, she compiled her first hymnal with all original music and dedicated it to the Holy Face of our Lord to whom she had a deep devotion. The HOLY FACE HYMNAL was published by J. Fisher & Bro., of New York in 1891.

The Holy Face Hymnal was a great success and numerous letters of commendation from across the country resulted from its publication.

In a letter from the celebrated poetess Miss Eliza Allen Starr, from St. Joseph’s Cottage in Chicago, she writes: My Dear Sisters of Mercy: — It does not seem a suitable acknowledgement of the honor you have done to my little verses, merely to express my gratification at seeing them really made into a hymn, to be sung by venerated religious in their choirs and by their devout pupils… The little verses referred to by Miss Starr is her poem O Face Divine! The hymn was favored with two separate melodies and is the first and third hymn featured in the collection of one-hundred and twenty-one hymns.

In another letter written by Father J. J. Keogh, Pastor of St. John’s Cathedral in Milwaukee, Wisconsin we find, I have examined the hymnals you sent me, and I have selected the Holy Face for our school. The teachers and pupils seem to be very much pleased with it. Please send me 50 copies of the Holy Face Hymnal for the present.

In 1899, after receiving many requests for another volume of hymns, a second hymnal, OUR LADY OF MERCY, was compiled by the Sisters of Mercy and published by J. Fischer & Bro., of New York. This collection of hymns and litanies for use at May Devotions, Sodalities, etc., contained nearly all new and original melodies. Somewhat unique to this hymnal was the setting of the voice parts independent of the accompaniment which proved to be a valuable aid to the children in rendering the hymns.

In the same year, Pope Leo XIII consecrated the world to the Sacred Heart leading to an increased demand for Sacred Heart hymns. OUR LADY OF MERCY HYMNAL features a number of selections to meet this demand including O Sacred Heart, O Sacred Heart, So humble and so meek, the text of this hymn was written by Miss Eleanor C. Donnelly, one of America’s most celebrated Catholic poets.

In 1904, The Catholic Music Publishing Company was founded by James M. McLaughlin and James A. Reilly. Soon afterwards, the company became known as McLaughlin & Reilly Company and was one of the most successful Catholic music publishing companies in America. Sister Mary Alexis had close associations with the company’s president, James A. Reilly, who was a benefactor of the Sisters of Mercy. Some of the first musical selections to appear in the company’s catalog were those by the Sisters of Mercy. These appeared in a series of hymn booklets or hymn pamphlets. The hymn pamphlets were approximately eight pages each and were comprised of various hymns suitable for specific occasions or general use. These hymn pamphlets were extensively sold throughout McLaughlin and Reilly’s existence. Below are a few of these hymn pamphlets by the Sisters of Mercy.

Due to the success of her first two hymnals, Sister Mary Alexis continued to write hymns which appeared in sheet music form. Some of these were privately published the Sisters of Mercy, some by the Oliver Ditson Co., a music publisher with offices in Boston, Chicago, and other major cities throughout United States, and also by McLaughlin & Reilly. She composed at least three Ave Maria’s and several choral pieces including The Day is Done; the Divine Praises; Immaculata Conceptio; O Jesu Deus Magne; Lead, Kindly Light; and Quid Retribaum Domino.

In 1910, Sister Mary Alexis was elected Reverend Mother of the Providence Community of the Sisters of Mercy and served in this capacity for six years. Mother Alexis was a natural concerning business and community affairs and was gifted with foresight and was almost prophetic in many of her duties as Reverend Mother. The health of her sisters was of paramount importance to her, so she conceived of a place in the country for rest and relaxation. During her role as Reverend Mother, she acquired the Fiske Estate which was to become the Mount St. Rita property in Cumberland, Rhode Island. For many years Mount St. Rita served as a retreat and convalescing home for the sisters. Eventually, the Sisters gave up this wonderful facility to a large health care system and it became known as Mount Saint Rita Health Center.

After completing her term as Reverend Mother in 1916, she again took up her role as a music teacher and composing music. In 1924, she composed the Sacred Chorus Ecce Sacerdos Magnus and in 1927, she published her third hymnal, OUR LADY OF MERCY HYMNAL – Volume 2.

Sister Mary Alexis taught music for more than twenty years in many of the schools of the Providence Diocese. In 1935, she asked to go to St. Xavier’s to prepare for her meeting with her beloved Father. Sister Mary Alexis Donnelly died on July 4, 1936 at St. Xavier’s Convent, Providence, Rhode Island. Many of Sister Mary Alexis’ compositions were dear to her and one in particular was her favorite, Jesus, Keep Me Close to Thee, which was played and sung at her funeral Mass.

As a member of the Sisters of Mercy, Sister Mary Alexis gave up the right to have her name added to her compositions. In keeping with the custom of the time, attribution was given to the Community rather than the individual. Now, since Vatican II, those in religious life are treated as individuals and receive credit for their work. All the music presented in this write-up, including the three hymnals as well as sheet music, hymn pamphlets, and original works formerly attributed to a Sister of Mercy or Sisters of Mercy can be credited to Sister Mary Alexis Donnelly. These musical compositions are a testament to the technique, harmonization, and beauty of expression of this outstanding Catholic musician and Sister of Mercy.

Other Hymnals

The hymn Jesus, Keep Me Close to Thee was found in these Catholic hymnals: the STANDARD CATHOLIC HYMNAL, 1921; SELECTED HYMNS, 1930; and the MOUNT MARY HYMNAL, 1937. All of these have Sister Mary Alexis’ melody.

Reflection

The verses of this hymn are prayerful petitions asking Jesus to be close to us all through life and at its closing. We do not seek relief from worldly pleasures, nor do we seek fame or fortune, we gladly toil and suffer whatever befalls us with a simple request, Jesus keep me close to Thee. In the last verse, Lead me through this vale of sadness, I see an allusion to the famous psalm, The Lord is my shepherd. (Psalm 23), Even though I walk in the dark valley I will fear no evil. How appropriate are the words of this hymn for someone entering into eternal life. This would make a wonderful hymn to sing to honor the Sacred Heart of Jesus, or as a Communion/ Blessed Sacrament hymn, or as a hymn for a funeral Mass.

The life of Sister Mary Alexis Donnelly and her musical compositions shared here in this short write-up are the results of one man’s research efforts: Peter Meggison. Peter began his research on Sister Mary Alexis in 1986. During that time, there were many nuns who knew Sister Mary Alexis from their novitiate days; Peter spoke with many of these nuns, and they all spoke highly of her.

In 1991, an article appeared in The Anchor – a diocesan newspaper serving the Southeast Massachusetts Fall River Diocese which included Cape Cod & the Islands. Peter was at that time a parishioner of St. James Parish in Holbrook. The article was written by Sister Carol Jussaume, R.S.M., who was the archivist at the time and was captioned Former student produces cassette of Mercy Music.

In 2014, Peter was asked to be the speaker on the life of Mother Alexis at the 100th anniversary of the acquisition of the Mount Saint Rita property. He was requested by the nuns because he was the only person who was alive at that time who knew more about Mother Alexis than anyone else.

Today, Peter Meggison produces The Devotional Hymns Project, a personal effort to share and preserve a heritage of Catholic music. Whether you are a student who remembers being taught by the Sisters of Mercy, or a young whippersnapper, or simply curious about Catholic music, I highly encourage you to visit this website and listen to the most comprehensive collection of Catholic hymns and religious songs written in the English language.

A special thank you to Peter Meggison producer of the Devotional Hymns Project for allowing me to share a recording of Jesus, Keep Me Close to Thee. The hymn was sung by the Dorian Concert Choir on June 27, 1990 at Holy Name Church in Providence, Rhode Island.

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Mother Dear, O Pray for Me

Isaac B. Woodbury (1819-1858) composed the text and the original tune of this ballad and dedicated it to his own mother. It was published as sheet music by G. P. Reed & Co., of Boston in 1850. Isaac was a teacher, composer, and publisher of church music. He was born in Beverly, Massachusetts, and studied music in Boston when he was a young boy. By age nineteen he was in London and then Paris furthering his study of music. He returned to America and published several tune books. Isaac was the organist and director of music at the Rutgers Street Church and editor of the American Monthly Musical Review. He is best known for the hymn books THE DULCIMER: or the NEW YORK COLLECTION OF SACRED MUSIC, 1851 and THE THANKSGIVING, 1857.

The Catholic verses and melody that became traditional to this hymn first appeared in PETERS’ CATHOLIC HARP, 1863 and was captioned O Virgin Mother, Pray for Me.

The revised version also appeared in the SACRED WREATH, 1863. Father Edward Sorin, S.J., was the co-editor of the SACRED WREATH and the translator of many hymns. He was also the first editor of The Ave Maria, a weekly Catholic magazine. It is possible that Father Sorin, or Father Felix Barbelin, S.J., altered the text and composed the traditional Catholic melody. Father Barbelin who first made the singing of Catholic hymns popular in Philadelphia also established what would become May Crowning’s and May Processions in this country.

Another well-known hymn-writer whose name and contributions have been forgotten in the history of Catholic musicians may have been responsible for the revised hymn text. She was a close friend to both Father Sorin and Father Barbelin. She was a regular contributor to The Ave Maria, a weekly Catholic magazine and helped to enlist other men and women in the field of Catholic literature to contribute.

She was the author of the Memoir of Father Felix J. Barbelin, S.J., founder of the Sodality of the Blessed Virgin Mary in Philadelphia, and the Life of Sister Mary Gonzaga Grace of the Daughters of Charity of St. Vincent De Paul. To learn more about this Catholic hymn writer and her contributions to Catholic music follow the link given here: Daughter of a Mighty Father.

The hymn next appeared in the CATHOLIC YOUTH’S HYMN BOOK, 1871 where it gained greater popularity, but it was from the ST. BASIL’S HYMNAL that the hymn gained wide use rather than its original source. This hymn would become one of the most beloved Catholic novena hymns of the late nineteenth and twentieth century period.

The Melodies

Apart from the melody that became traditional, I found four other melodies for this hymn. The first melody was composed by Augustus Cull (ca. 1865). He was a German composer and arranger living in New York and was particularly active during the American Civil War. His works included polkas, ballads, and various arrangements of hymns and national songs. Most of his compositions were published by Horace Waters, a music publisher living in New York City.

A second melody appeared in the 1925 edition of Sursum Corda – A Collection of Hymns for the use of Catholic Schools. This collection was compiled by the Sisters of St. Francis from Stella Niagara, New York, with organ accompaniment by Father Florian Zettel, O.F.M. (1879-1947). He was the organist at the Church of the Ascension in Portland, Oregon. The star in the upper right of the hymn indicates an original melody.

A third melody was composed by Cleveland Ohio’s Bishop Joseph Schrembs, D.D., (1911-1945) and it appeared in his Diocesan Hymnal Part Two – Devotional Hymns. Bishop Schrembs was elevated to Archbishop in 1935 and hosted the Seventh National Eucharistic Congress in Cleveland in the same year. The melody was arranged by Monsignor Peter Griesbacher (1864-1933). Msgr. Griesbacher was responsible for a large number of harmonization’s of the hymns found in the Diocesan Hymnals. He was German born and ordained a priest in 1886. He edited a number of publications of Catholic church music and has composed several mass settings, a number of cantatas, various choral works, and organ manuals.

A fourth melody appeared in the Alverno Hymnal and Choir Book Part Three – Hymns for Low Mass. The Alverno Hymnal consisted of three volumes and was compiled by Sister Mary Cherubim Schaefer, O.S.F. (1886-1977). Her musical accomplishments are many. She was a regular contributor to the Caecilia Magazine in the late 1930s.

Other Catholic Hymnals

In addition to the hymnals mentioned so far, Mother Dear, O Pray for Me appeared in the following Catholic hymnals: LAUDIS CORONA (1880 and 1885); ST. BASIL’S HYMNAL (1888 thru 1953); the HOLY FAMILY HYMN BOOK, 1904; the SUNDAY SCHOOL YOUTH’S MANUAL – CANTICA SACRA, 1908; the CROWN HYMNAL, 1912; the DE LA SALLE HYMNAL, 1913; MANUAL OF CATHOLIC HYMNS, 1916; HYMNS used by the Pupils of the Sisters of Notre Dame, (1920 and 1948); SELECTED HYMNS, 1930 compiled by the Sisters of St. Joseph of the Archdiocese of Boston; the CATHOLIC SCHOOL HYMNAL, 1930; ST. JOSEPH’S HYMNAL, 1930 compiled by the Sisters of St. Joseph, Michigan; A CATHOLIC HYMN BOOK, 1932; NOVENA HYMNS for Soldiers and Sailors, 1943 with variation Mother Dear, O Pray for Them; MANUAL OF HYMNS FOR CATHOLIC SCHOOLS, 1948; the PARISH HYMNAL, 1954 compiled by St. Francis Parish in Cleveland, Ohio; THE CATHOLIC CHAPEL HYMNAL* (1944 thru 1968); OUR PARISH PRAYS AND SINGS, 1977; A CATHOLIC BOOK OF HYMNS, 2020.

* Of the hymnals above, THE CATHOLIC CHAPEL HYMNAL is of particular significance. This collection of hymns is a result of a survey of 118 Chaplains in the Armed Forces during WWII. The survey was conducted by McLaughin & Reilly, one of the most successful Catholic music publishing companies of the twentieth century. The Chaplains furnished the title of the hymns best known by the servicemen and women as indicated by spontaneous congregational participation during chapel services.

In addition, Mother Dear, O Pray for Me was number three in a list of ten Catholic hymns voted most popular in a national contest conducted by Extension Magazine in 1947, confirming the selections made by the Chaplains in 1943. The contest rules were simple, name your favorite Catholic hymn and tell in not more than one hundred words, why this hymn is your favorite.

Mother Dear, O Pray for Me and Holy God, We Praise Thy Name were two of the best known hymns of the 20th century. These hymns were regularly featured on many of the Catholic radio programs of the 1930s and 1940s including Father Finn’s Catholic Hour, a weekly radio program that often featured The Paulist Choristers directed by Edward Slattery.

Reflection

This is a favorite hymn of mine and was a favorite hymn at St. Mary’s when I sang in the choir (1977-2010). We used the arrangement from the St. Basil’s Hymnal which was one of the most widely used hymnals in Catholic parishes throughout the United States. Singing a Marian hymn just before Mass or during Mass was somewhat of a tradition at St. Mary’s and the parish greatly benefited from this devotion to Our Lady. The choir would often sing this hymn right after the Rosary on Sunday mornings.

The nautical allusion found in the first verse, I wander in a fragile bark o’re life’s tempestuous sea, reminds me of the apostles out on the sea of Galilee when a great storm arose. How many times do we find ourselves in a bark, which in ancient times referred to a small boat, and we are tossed about to and fro on the sea of life. How many times have we stumbled, scraped our hands and knees, only to be comforted by our attentive mother’s care and her sweet smile of love?

In today’s world we are confronted with so many distractions, at home, at work, or even in church and the authors nautical allusion continues when he writes Should pleasure’s siren lay, e’er tempt thy child to wander far, From virtues path away. I am reminded of my old high school mythology teacher who spoke of the sirens, mythical and dangerous creatures, incredibly sensuous, who would lure sailors into ship wrecks on the rocky coast of their island. What a painful lesson to learn when the sirens sing their enchanting songs, when thorns beset life’s devious way, and darkling waters flow, then Mary aid thy weeping child, Thyself a mother show.

Many times, when I am doing some work around the house, when some troubling event or some anxiety ebbs its way into my life or when the sirens call, I ask my mother to pray for me. She is in heaven, and she can do more for me now than she ever could here on earth. I would like very much to have this be the entrance hymn for my funeral for just as I ask my earthly mother to pray for me, I ask my Blessed Mother to pray for me.

This is an excellent congregation hymn, and we often neglect singing hymns that honor Our Blessed Mother because it’s not in season. If we can honor Our Lady in the Liturgy, and in the Eucharistic prayers every day, then we can honor her by singing her praises. Be spontaneous and see what great graces will flow when we honor Our Lady just because…because we lover her! Take a few moments to reflect on these verses and ask your music director to make this lovely Marian hymn part of your parish repertoire.

I want to thank Peter Meggison, producer of The Devotional Hymns Project for granting permission to link to a recording by a choir of professional voices at St. Cecilia Church, Boston, Massachusetts.

A special thank you to Noel Jones, AAGO in granting permission to link to A Catholic Book of Hymns & Chants with nearly 300 time-honored traditional Catholic hymns and Chants including Mother Dear, O Pray for Me.

Below are the recordings mentioned above and several computer-generated sound files of the melodies described in this write-up. The tempo is approximate but should give the listener a good sense of what the hymns sound like.

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