Richard Jose = Ira D. Sankey hymn "The Ninety and Nine" = There were ninety and nine that safely lay скачать в хорошем качестве

Richard Jose = Ira D. Sankey hymn "The Ninety and Nine" = There were ninety and nine that safely lay

1906 Victor 4755 Music is by Ira David Sankey. He was inspired by a poem written by Elizabeth Cecilia Clephane. She lived from 1830 to 1869. She lived in Melrose, Scotland. In 1874--five years after the poet's death--composer Sankey set "The Ninety and Nine" to music. He lived in Glascow, Scotland, at the time. The words of this hymn are based on Luke 15:4: "Suppose one of you has a hundred sheep and loses one of them. Doesn't he leave the ninety-nine in the open country and go after the lost sheep until he finds it?" Here is the wording according to Matthew 18:12: "If a man owns a hundred sheep, and one of them wanders away, will he not leave the ninety-nine on the hills and go to look for the one that wandered off?" There were ninety and nine that safely lay in the shelter of the fold, but one was out on the hills away, far off from the gates of gold — away on the mountains wild and bare, away from the tender Shepherd's care, away from the tender Shepherd's care. "Lord, thou hast here thy ninety and nine; are they not enough for thee?" But the Shepherd made answer: "This of mine has wandered away from me, and although the road be rough and steep, I go to the desert to find my sheep, I go to the desert to find my sheep." But none of the ransomed ever knew how deep were the waters crossed; nor how dark was the night that the Lord passed thro' ere he found his sheep that was lost. Out in the desert he heard its cry — sick and helpless, and ready to die, sick and helpless, and ready to die. "Lord, whence are those blood-drops all the way that mark out the mountain's track?" "They were shed for one who had gone astray ere the Shepherd could bring him back." "Lord, whence are thy hands so rent and torn?" "They're pierced tonight by many a thorn, they're pierced tonight by many a thorn." But all thro' the mountains, thunder-riv'n, and up from the rocky steep, there arose a glad cry to the gate of heav'n, "Rejoice! I have found my sheep!" And the angels echoed around the throne, "Rejoice, for the Lord brings back his own! Rejoice, for the Lord brings back his own!" Sankey wrote, "Mr. Moody had just been conducting a series of meetings in Glasgow, and I had been assisting him in his work as director of the singing. We were at the railway station at Glasgow and about to take the train for Edinburgh...As we were about to board the train I bought a weekly newspaper, for a penny. Being much fatigued by our incessant labors at Glasgow, and intending to begin work immediately upon our arrival at Edinburgh, we did not travel second- or third-class, as was our custom, but sought the seclusion and rest which a first-class railway carriage in Great Britain affords. In the hope of finding news from America I began perusing my lately purchased newspaper. This hope, however, was doomed to disappointment, as the only thing in its columns to remind an American of home and native land was a sermon by Henry Ward Beecher. I threw the paper down, but shortly before arriving in Edinburgh I picked it up again with a view to reading the advertisements. While thus engaged my eyes fell upon a little piece of poetry in a corner of the paper. I carefully read it over, and at once made up my mind that this would make a great hymn for evangelistic work—if it had a tune....I cut out the poem and placed it in my musical scrap-book—which, by the way, has been the seed-plot from which sprang many of the Gospel songs that are now known throughout the world." __________________ Richard Jose was the first countertenor to make records, including brown wax cylinders in 1892, such as "Poor Blind Boy." The terms "alto" and "contra-tenor" were used more often in the 1890s than "counter-tenor." Sheet music for Monroe R. Rosenfeld's "Remember Your Father and Mother" (1890) states, "Written for and sung by America's Most Famous Alto, Mr. Richard José." Most of Jose's discs, including the earliest with Monarch and Deluxe labels (Victor used these words on early ten- and twelve-inch discs, respectively), identify him as "counter-tenor" though on some labels Jose is identified as "tenor." Jose was more often billed as a tenor than as a countertenor in minstrel shows. A countertenor's pitch like a contralto's. Whereas nearly all modern countertenors rely on falsetto, which is a "head voice" with little or no chest resonance. Jose achieved an unusually high range without reliance on falsetto, instead using full lung power. Jose could color his voice's tone in a way that is difficult for anyone using falsetto. No singer relying on falsetto could have produced the volume needed to fill concert halls, as Jose did. Newspapers at the time insisted that Jose had the voice of a boy, which may have been true in terms of tone. But Jose could project his voice and be heard throughout an auditorium as no boy soprano could.