Onward, Christian Soldiers: Arthur Sullivan’s greatest hit - Telegraph Religion Onward, Christian Soldiers: Arthur Sullivan’s greatest hit Sacred Mysteries: how the hurriedly written words of 'Onward, Christian Soldiers' gained an equallly rushed tune, making it unforgettable Sir Arthur Sullivan, pictured in his Chapel Royal dress Photo: Alamy Comments Arthur Sullivan did not want to be remembered for his comic operas with W S Gilbert. “My sacred music is that on which I base my reputation as a composer,” he wrote. “These works are the offspring of my liveliest fancy, the children of my greatest strength.” Perhaps, but even among his sacred pieces, it is not his oratorios, The Prodigal Son or The Light of the World, that are sung. By far the most popular sacred music that came from Sullivan’s pen is the tune for Onward, Christian Soldiers. Ian Bradley tells the story of its composition in his new book on Sir Arthur Sullivan’s sacred music, Lost Chords and Christian Soldiers (SCM Press, £25).

Sullivan was staying with a couple called Ernest and Gertrude Clay Ker Seymer at their large house at Hanford, Dorset, and, by his own account, dashed it off in a few minutes in the drawing-room, naming the tune “St Gertrude” after his hostess. “We sang it in the private chapel,” she recalled, “Sir Arthur playing the harmonium.” As Dr Bradley notes, Sullivan’s rapid facility for composition was not limited to his hymn tunes, which bear no evidence of more perfunctory treatment than any other class of his work. Indeed, a high proportion of Sullivan’s 50 or so hymn tunes have retained their popularity, though none so strongly as “St Gertrude”. Onward, Christian Soldiers, the hymn for which it was first published, in 1871, had also been written in a rush, by that remarkable figure Sabine Baring-Gould. In 1866 at Horbury Bridge on the rRver Calder outside Wakefield, he was to meet the 16-year-old factory girl Grace Taylor who became his wife. They had 15 children.

Related Articles Held in a blanket between dragons 13 Sep 2013 But in 1864, he was a 30-year-old curate starting out in his efforts to organise a church “mission” in the rough neighbourhood of Horbury Bridge. Horbury itself had a parish church, but at Horbury Bridge, Sunday meetings were in what is now the Post Office. Twenty years later, the parish was able to build the church of St John, with its little stone bell-cote. But, for Whitsun 1864, Baring-Gould had arranged for the local children (who perhaps included, unknown, his future wife) a procession behind a cross and banners. The Saturday before, he sat down for 10 minutes and “knocked off” a hymn for them to sing. To begin with, Onward, Christian Soldiers used the tune “St Alban”, taken from the slow movement of Haydn’s Symphony 53. It wouldn’t provoke a very quick march. Sullivan’s “St Gertrude” seemed made for Onward, Christian Soldiers.

When he introduced musical references to “St Gertrude” in his Boer War Te Deum, the audience would naturally have thought of the hymn. Sullivan’s father had been a sergeant bandmaster at the Royal Military Academy, Sandhurst, and his son did not object to soldiers. Yet the hymn itself is not literally bellicose. The “foe” is the army of Satan, against which Christ leads his followers: “Forward into battle see His banners go.” Baring-Gould, who was of an historical cast of mind, would have had in mind the celebrated Good Friday hymn Vexilla Regis written by Venantius Fortunatus in the sixth century and in use ever since. There, the banners of the king are nothing else than the saving Cross, “from which in the flesh the creator of all flesh is suspended”. But that didn’t stop Baring-Gould’s less informed public from taking his stirring hymn as a mere celebration of Christian militarism.

As Dr Bradley notes, there have been several attempts to rescue the hymn while retaining its popular tune, such as the version by David Wright, after the Falklands war, beginning: Onward Christian pilgrims, Camelot Warfare Library » Onward Christian Soldiers: Anthem for Spiritual Warfare Onward Christian Soldiers: Anthem for Spiritual Warfare Print Page Onward Christian Soldiers Onward Christian Soldiers was written by the Anglican Priest Sabine Baring-Gould (28 January 1834 – 2 January 1924) in 1865 inspired by the Scripture Matthew 16:18: “And I tell you, you are Peter, and on this rock I will build my church, and the powers of death shall not prevail against it.” The music was written by composer Arthur S. Sullivan in 1871 — a tune called St. Gertrude. The story behind the Hymn: Sabine Baring-Gould wrote: “Whit-Monday [the day after Pentecost] is a great day for school festivals in Yorktown. One Whit-Monday, thirty years ago, it was arranged that our school should join forces with that of a neighboring village.

I wanted the children to sing when marching from one village to another, but couldn’t think of anything quite suitable; so I sat up at night, resolved that I would write something myself. ‘Onward, Christian Soldiers’ was the result.” At that time, he called it “A Hymn for Procession with Cross and Banners,” as the children marched with a cross held high and carried various Christian banners. Baring-Gould reportedly wrote this hymn in about 15 minutes. He later apologized, “It was written in great haste, and I am afraid that some of the lines are faulty.” It was due to this fact that he allowed hymn-book compilers to alter the lyrics. The Fellowship Hymn Book, with his permission, changed the phrase ‘one in hope and doctrine’ to ‘one in hope and purpose.” For the 1909 edition of Hymns Ancient and Modern, he changed the fifth line of the same verse from ‘We are not divided’ to ‘Though divisions harass.” However, Baring-Gould’s original words are used in most modern hymnals. Baring-Gould originally set these words to a tune from the slow movement of Hadyn’s Symphony in D, No. 15.

It was first printed the same year it was written, in an English church periodical, the Church Times, and later in several books containing new hymns. It did not receive wide acceptance, however, until Arthur S. Sullivan wrote a new tune for it. This tune, St Gertrude, is the tune that appears in Sullivan’s book, The Hymnal. Paired with the new tune, ‘Onward Christian Soldiers’ literally circled the globe within ten years. The Lyrics Onward, Christian soldiers, marching as to war, With the cross of Jesus going on before. Christ, the royal Master, leads against the foe; Forward into battle see His banners go! Refrain Onward, Christian soldiers, marching as to war, With the cross of Jesus going on before. At the sign of triumph Satan’s host doth flee; On then, Christian soldiers, on to victory! Hell’s foundations quiver at the shout of praise; Brothers lift your voices, loud your anthems raise. Refrain Like a mighty army moves the church of God; Brothers, we are treading where the saints have trod. We are not divided, all one body we, One in hope and doctrine, one in charity.

Refrain Onward then, ye people, join our happy throng, Blend with ours your voices in the triumph song. Glory, laud and honor unto Christ the King, This through countless ages men and angels sing. Refrain Onward Christian Soldiers.........Played On Tyros 2! - YouTube Onward Christian Soldiers.........Played On Tyros 2! Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on May 17, 2009 My arrangement of "Onward, Christian Soldiers." This song is a 19th century English hymn. The words were written by Sabine Baring-Gould in 1865, and the music was composed by Arthur Sullivan in 1871. Sullivan named the tune "St. Gertrude," after the wife of his friend Ernest Clay Ker Seymer, at whose country home he composed the tune.

The theme is taken from references in the New Testament to the Christian being a soldier for Christ, for example II Timothy 2:3 (KJV): "Thou shalt endure hardness, as a good soldier of Jesus Christ." The Salvation Army adopted the hymn as its favored processional. The Spiritualists' National Union hymnbook has a variation on the hymn, entitled "Onward, Comrades, Onward". Another hymn sung to the St. Gertrude tune is "Forward Through the Ages", written by Frederick Lucian Hosmer (1840-1929) in 1908. The lyric was written as a processional hymn for children at Horbury Bridge, near Wakefield, Yorkshire. It was originally entitled, "Hymn for Procession with Cross and Banners." According to the Center for Church Music, Baring-Gould reportedly wrote Onward Christian Soldiers in about 15 minutes, later apologizing, "It was written in great haste, and I am afraid that some of the lines are faulty."[1] He later allowed hymn-book compilers to alter the lyrics.

For example, The Fellowship Hymn Book, with his permission, changed the phrase one in hope and doctrine to one in hope and purpose." For the 1909 edition of Hymns Ancient and Modern, he changed the fifth line of the same verse from We are not divided to Though divisions harass." However, Baring-Goulds original words are used in most modern hymnals. Baring-Gould originally set the lyrics to a melody from the slow movement of Joseph Haydns Symphony in D, No. 15. This was printed in 1871 in an English church periodical, the Church Times. The hymn did not receive wide acceptance, however, until Sullivan wrote the tune "St. Gertrude" for it. Sullivan re-used the tune in his Boer War Te Deum, first performed in 1902, after Sullivan's death. The photos are of the state of Wyoming...taken by me in the "Fall" of 2005.

As always...please feel free to comment, and to "PLEASE RATE" the video..."THANKS!" Category Onward, Christian Soldiers - The Full Wiki The Full Wiki More info on Onward, Christian Soldiers Wikis Note: Many of our articles have direct quotes from sources you can cite, within the Wikipedia article! This article doesn't yet, but we're working on it! See more info or our list of citable articles . Did you know ... after receiving more than 10,000 protest letters, the editors of the United Methodist Hymnal decided not to eliminate " Onward, Christian Soldiers " from it? Encyclopedia From Wikipedia, the free encyclopedia "Onward, Christian Soldiers" is a 19th century English hymn . The words were written by Sabine Baring-Gould in 1865, and the music was composed by Arthur Sullivan in 1871. Sullivan named the tune "St. Gertrude," after the wife of his friend Ernest Clay Ker Seymer, at whose country home he composed the tune. [1] [2] The Salvation Army adopted the hymn as its favoured processional.

[3] The theme is taken from references in the New Testament to the Christian being a soldier for Christ, for example II Timothy 2:3 ( KJV ): "Thou shalt endure hardness, as a good soldier of Jesus Christ." The Spiritualists' National Union hymnbook has a variation on the hymn, entitled "Onward, Comrades, Onward". Another hymn sung to the St. Gertrude tune is "Forward Through the Ages", written by Frederick Lucian Hosmer (1840–1929) in 1908. [4] Contents 5 External links Early history The lyric was written as a processional hymn for children at Horbury Bridge , near Wakefield , Yorkshire . It was originally entitled, "Hymn for Procession with Cross and Banners." According to the Center for Church Music, Baring-Gould reportedly wrote "Onward, Christian Soldiers" in about 15 minutes, later apologizing, "It was written in great haste, and I am afraid that some of the lines are faulty." [5] He later allowed hymn-book compilers to alter the lyrics.

For example, The Fellowship Hymn Book, with his permission, changed the phrase ‘one in hope and doctrine’ to ‘one in hope and purpose." For the 1909 edition of Hymns Ancient and Modern , he changed the fifth line of the same verse from ‘We are not divided’ to ‘Though divisions harass." However, Baring-Gould’s original words are used in most modern hymnals. Baring-Gould originally set the lyrics to a melody from the slow movement of Joseph Haydn ’s Symphony in D, No. 15 . This was printed in 1871 in an English church periodical, the Church Times. The hymn did not receive wide acceptance, however, until Sullivan wrote the tune "St. Gertrude" for it. Sullivan re-used the tune in his Boer War Te Deum , first performed in 1902, after Sullivan's death. Later history When Winston Churchill and Franklin Roosevelt met in 1941 on the battleship HMS Prince of Wales to agree the Atlantic Charter , a church service was held for which Prime Minister Churchill chose the hymns.

He chose "Onward, Christian Soldiers" and afterwards made a radio broadcast explaining this choice: [6] We sang "Onward, Christian Soldiers" indeed, and I felt that this was no vain presumption, but that we had the right to feel that we serving a cause for the sake of which a trumpet has sounded from on high. When I looked upon that densely packed congregation of fighting men of the same language, of the same faith, of the same fundamental laws, of the same ideals ... it swept across me that here was the only hope, but also the sure hope, of saving the world from measureless degradation. —Winston Churchill The song has been sung at many funerals, including at the funeral of American president Dwight D. Eisenhower at the National Cathedral, Washington, DC, March 1969. [7] Apart from its obvious martial associations, the song has been associated with protest against the established order, as in the cases of civil rights [8] and the attempts to outlaw chiropractry [9] . An attempt was made in 1986 to strip "Onward, Christian Soldiers" from the United Methodist Hymnal due to perceived militarism.

Outrage among church goers caused the committee to back down. [10] However, the hymn was not included in the 1990 hymnal of the Presbyterian Church (USA) . [11] In popular culture Largely because of its association with missionaries of various types, the song is sung in a number of movies and television programmes. The 1939 film, Stanley and Livingstone , depicts Dr David Livingstone (played by Sir Cedric Hardwicke) spiritedly leading a choir of African natives in this anthem; Henry M. Stanley is played by Spencer Tracy in the movie. The piece appears in several other films, including Major Barbara , Mrs. Miniver , A Canterbury Tale , The Russians Are Coming, the Russians Are Coming , M*A*S*H , Taps , Striptease , Walker , Androcles and the Lion , and Flyboys . It is also sung or played in episodes of TV series, including Little House on the Prairie , The Simpsons , Little Britain and Dad's Army . Onward Christian Soldiers is the title of a 1984 album and song by the British anarcho-punk band Icons of Filth .

[12] In the book Sins of the Assassin by Robert Ferrigno , the song is the national anthem of the fictional Bible Belt. In Christopher Webber 's 1993 play Dr Sullivan and Mr Gilbert , the hymn is used with new words about Sullivan's rise to fame, and the artistic compromises that entailed. References Larice Music Enterprises 2014-Onward Christian Sol September Hymn of the Month Just as picturesque scenes can bring peace and calmness to the soul, so does beautiful music The Hymn With lyrics full of soldiers, marching, and banners, and a tune with a military cadence, "Onward, Christian Soldiers" is a stirring, call to action hymn. A careful reading reveals that the message of the text is symbolic, however, and does not literally call for violent military confrontations in defense of the faith. The battles being fought are the age-old every-day encounters of good against evil. The symbolism of the army suggests the need for Christians to work together and be unified behind one leader, Jesus Christ, in order to be successful against the adversary. This is given emphasis in the third verse, "We are not divided, all one body we . .

." The author's use of the term "body" reinforces the message of unity, bringing to mind the Biblical Epistle of the Apostle Paul to the Corinthians where he describes the church of Christ as one body having many members. The text acknowledges that the battle has been going on for thousands of year by reference to the 'Saints' in whose steps we tread. The Author, who was a clergyman of the Church of England, most likely was referring to canonized Saints such as St. Peter. Closer to our time, Joseph and Hyrum Smith, sculptures of whom are shown in the photo above, are a great example of revered, but not canonized, latter-day Saints who, as the text admonishes, were brothers not divided in life or in death. Both were killed for their Christian faith by a mob in 1844, and millions striving to be modern latter-day Saints tread in their footsteps today. In addition to the Biblical account of the Lord going before Joshua into battle, and mention of armies with banners by Solomon, the imagery provided in the hymn text of the Master leading the battle and the soldiers seeing His banner go before them can also be related to military tradition regarding hand-to-hand combat that took place centuries after the Biblical accounts.

It is understood that during the Crusades of the twelfth century the numerous Sovereigns and Lords of Europe whose armies engaged in expeditions to the Holy Land adopted particular marks or ensigns to distinguish themselves in order to marshal their troops under their banner. In battle the banner or ensign was held aloft so it could be seen amid the confusion of the conflict and it gave the soldiers a point of reference. Battle flags continued to be used after that time. A notable example is the crucial American Revolutionary War battle that led to the writing of the national anthem, 'The Star Spangled Banner.' The hymn's reference to "the cross of Jesus going on before," identifies the symbol the author believed would be on Christ's banner or battle flag. In a figurative sense, looking to Christ as we fight our daily battles with whatever challenge we face will help us be victorious, and endure, like Timothy in the Bible, "as a good soldier of Jesus Christ." What is "the sign of triumph" mentioned in the second verse that will cause Satan's host to flee? There are layers of meaning possible in this phrase. On a grand scale, the appearance of the Savior at His Second Coming, as prophesied in scriptures, fits the description perfectly.

On a smaller personal scale, the presence of the Holy Ghost in response to prayer, and triumph over temptation are other possibilities. Likewise, the "victory" sought for can be seen as both the ultimate victory of Christ over death and Satan, and our personal victory over the adversary through repentance and the atonement of Christ. The hymn states that "hell's foundations quiver at the shout of praise," and encourages the soldiers to lift their voices in anthems. This thought, that the power of the adversary can be shaken by Christians singing praises to the Lord together, is significant. Although the military oriented text written in the nineteenth century refers to "Brothers," the messages of courage, unity, tenacity, hope, charity, and blending our voices in praise are equally suited to "Sisters," which makes an enlightening substitution. The text of "Onward, Christian Soldiers" has been sung by all ages, but it was originally written for children in about 1864. At that time in England, society had been strictly divided by classes, but a social movement was in progress. Churches had become involved in providing education for children whose families could not afford the preparatory schools such as Eton.

Prior to this movement, education was reserved for the upper class, and there was little education available for the working class and the poor. In the Church of England a society was established about 1811 with the goal to have a school in every parish. It is said that many of the local clergymen wholeheartedly engaged in this initiative. The schools taught reading, writing, arithmetic and religion (the four 'R's.) The author of our hymn, Reverend Sabine Baring-Gould, was one of these clergymen, and had been ordained as such in the Church of England shortly before he wrote the hymn text. He is reported to have said in regard to the writing of the hymn that the children of his school in Yorkshire were to participate in a school festival at a neighboring village. He wanted the children to sing while marching to the other village about a mile away but couldn't think of anything suitable, so he sat up at night and wrote something himself. "Onward, Christian Soldiers" was the result of his efforts.

Sources variously identify that the festival was in celebration of Whitsuntide, the time surrounding Pentecost, also known as Whitsunday, fifty days after Easter, and specifically Whit-Monday (the Monday after Pentecost) or Whit-Tuesday, which were traditional festival days. The text is believed to have been written some time in advance of the event, and he is understood to have said that it was written in great haste, and he was concerned about its quality. A few changes were made from his handwritten manuscript before the hymn's widespread publication, but they were minor. Its subsequent popularity was a surprise to him. It is reported that the tune originally used was a classical theme by Haydn, and various arrangements of this tune were common in the following years. The text was also set to tunes by other composers, however, a tune named ST. GERTRUDE written for the text by Arthur Sullivan began being used in the early 1870's and is the only tune used today. The wonderful fit of the tune with the text is believed to be a significant factor in the hymn's lasting popularity. The original text is said to have had six verses.

Two verses that are not commonly sung today, included below, show what the author believed the church of God should be. What the saints established, We have Christ's own promise, And that cannot fail. The hymn was originally titled,'Hymn for Procession (of children) with Cross and Banners," and is said to have first been published in 'The Church Times,' October 15, 1864. It has become one of the most enduringly popular hymns, and is reported to have been published in over 1400 hymnals of various denominations. "Onward, Christian Soldiers" appeared in the 1889 edition of "The Latter-Day Saints Psalmody" and in subsequent editions of "Hymns, The Church of Jesus-Christ of Latter-Day Saints" (LDS Hymnal.) The hymn is essentially unchanged over this time period, with only a very few modifications to spelling, punctuation, musical notation, and the wording of the tenor part in the chorus. A slightly lower and simpler key was used in the 1985 edition.

In 2014 we celebrate the 150th anniversary of writing of the hymn text, and the timeless message of encouragement to continue marching in our daily battles, lift our voices in praise to the Lord, and invite others to join with us, is as relevant as ever before. The Author Sabine Baring-Gould was born in January of 1834, the eldest child of Edward Baring-Gould and Sophia Charlotte Bond. He was christened in March of that year at St. Sidwells Church, Exeter, England. Exeter is situated on the river Exe in southwestern England about ten miles north of the English Channel and 35 miles east of Lewtrenchard, the parish where the Baring-Gould family estate was located. According to an 1870 gazetteer, much of the land in the Lewtrenchard parish belonged to the Baring-Gould estate and Lewtrenchard Manor House, also known as Lew House, was the family home. This property near the western border of Dartmoor National Park had been in the Gould family since the 1600's. The area is in what is now known as West Devon.

The unusual parish name is said to have originated with the local River Lew and the Trenchard family who were very early owners of the property. Sabine Baring-Gould's unusual given name was a family name, and he is said to have been named after his great uncle, General Sir Edward Sabine, an arctic explorer and scientist. The family name was hyphenated by his grandfather, William, who was the son of Charles Baring and Margaret Gould. This was done by Royal License. Hyphenation of last names was a fairly common practice at that time. The family name of an heiress would be joined to her husband's to preserve the family name with the property. The Baring family were said to have been in the merchant trade and banking businesses and the Gould's were landowners as mentioned above. Sabine Baring-Gould's father, Edward, had served in the military and gained the rank of Lieutenant in the Madras Light Cavalry. Having traveled abroad as a young man before his marriage, it is said that he tired of country life at Lewtrenchard and in 1849 he leased the manor house and took his family to Europe.

They traveled about living in different places until 1851 when Sabine was about seventeen. These travels were said to have been an influence on his interests and in the direction of his life. Sabine was educated by a private tutor during this time and is said to have become fluent in several languages. He kept a diary in which he appeared to have pondered the meaning of life and become a converted Christian. At the age of seventeen he set out three goals for his life: the moral and spiritual improvement of Lew Parish, the restoration of the parish church and the restoration and reconstruction of the manor-house. In this diary he also recorded numerous poems, self-illustrated stories and accounts. These were the beginning of his prolific authorship. Sabine entered Clare College, Cambridge University; receiving a B.A. degree about 1857, and an M.A. about 1860. He had a desire to enter the ministry, but his parents did not approve, they wanted him to have a gentleman's situation more suited to his family's position in upper class society.

He had a deep religious conviction, however, and is said to have been influenced by the Oxford or "Tractarian' movement which began about 1833. This movement tried to effect change in the Church of England. Sabine appears to have had a corresponding design to make a difference in the world and the church. He worked as a teacher until about 1864 when, at the age of thirty, he went to Yorkshire and was ordained at Ripon prior to his appointment as curate, or assistant priest, at Horbury, about ten miles south of Leeds. His mother had passed away the previous year, and his father is reported to have reconciled to his decision and withdrew his threat of leaving the estate to a younger son. His first work in the ministry involved building a mission at Horbury. The children of the mission school are believed to be those for whom he wrote his "Hymn for procession of children with cross and banners" which we know as "Onward, Christian Soldiers." Here he met his future wife, Grace Taylor, who is said to have been a beautiful girl in her teens who taught a class at the mission school.

Although Grace was much younger and she was reported to have been a poor mill girl, he is believed to have helped with her education and they married in 1868. Although marriage between a couple of such different social standing was frowned on in society at the time, they were reported to be very happy together until her death 48 years later. They had fifteen children, fourteen of whom lived to adulthood. Reverend Baring-Gould became vicar at Dalton, Yorkshire and then in 1871 they were sent to East Mersea, in Essex, where he was Rector for ten years. In 1881, his father having passed away and inheriting the Baring-Gould estate, Sabine took his family to his ancestral home at Lewtrenchard where he became the squire and parson, an unusual position known as squarson. He then commenced the fulfillment of his early goals, restoring the parish church and rebuilding the manor house. In addition to his writing, he also served as Justice of the Peace and was active in archaeological work in the area. He loved the moors and nature, and was skilled in painting.

He was said to be rather eclectic and eccentric, however, he took his church duties seriously and was said to give powerful but brief sermons. He believed that any point could be made in fifteen minutes, and any speech longer than that was unnecessary repetition. With many responsibilities and demands, life was challenging. Sabine said of himself, "I am very much like a buoy, every wave goes over me, and yet I am never completely submerged." According to memoirs of his descendants, he was devoted to his large family, although being very near-sighted he sometimes had difficulties identifying them. Which, in conjunction with a rather stern demeanor led to reports of his being indifferent to them. His wife, Grace, preceded him in death and on her grave he placed a marker with a Latin inscription which meant "Half my soul." Their relationship is believed by a few sources to have provided some inspiration to their acquaintance, George Bernard Shaw, in his writing of "Pygmalion." Sabine Baring-Gould authored a wide variety of books and other publications over the course of his 89 years and was considered one of the top ten authors in England in the late 1800s.

He was known to write while standing and had a special desk made for this purpose. His writings varied from a fifteen volume series on the lives of the Saints, to a collection of local folk-songs, (which was said to be one of his favorite works.) He also wrote numerous hymns, published hymn collections and translations, and wrote books on folklore and many fictional novels. It is believed that he wrote the novels for the income they provided for his rebuilding efforts. He wrote many scholarly works, but is best remembered for those few verses known as "Onward, Christian Soldiers," that were jotted down in a few minutes one evening. After a remarkably productive life, Sabine Baring-Gould passed away in January of 1924, shortly before his 90th birthday, and was buried beside his wife in his own churchyard at Lewtrenchard. The Composer Sir Arthur Seymour Sullivan was born to Thomas and Mary Clementina Sullivan in May of 1842 at Lambeth, England. Lambeth is a borough of London, bordering the River Thames on the south. Thomas Sullivan was reported to have been a theatre musician and was then an army bandmaster.

Young Arthur was a child musical prodigy who, with access to the band instruments through his father, was said to have been able to play them all by the age of eight. It is said that his father did not encourage him to make a career of music, knowing firsthand the insecurity and difficulties that accompanied the profession. However, Arthur's talent and passion for music prevailed and at the age of eleven he was accepted as one of the choristers, or choir-boys, of the Chapel Royal, although he was older than the usual age. Here he received excellent tutoring. His first published work, a sacred song, was completed at the age of about thirteen. His opportunities increased after winning a scholarship competition, although the youngest contestant, that allowed him to study at the Royal Academy of Music, and to go abroad to study at Leipzig Conservatoire. He returned to England about 1862 and a successful performance of his conservatory final examination piece at the Crystal Palace is said to have brought great recognition and began building his reputation. In these early years, he earned a living as a teacher, church organist, editor and conductor, while increasing his abilities as a composer. He became much in demand for commissioned works.

His numerous compositions varied widely over the course of his career, from the sacred to the secular, from classical symphony to comic opera. His father died suddenly about 1866, and it is said that he expressed his grief in writing the overture "In Memoriam." He was reported to be close to his parents and his only sibling, his older brother Frederic, who died young, ten years after their father. His well-known song "The Lost Chord" was said to have been written during his brother's final illness. In 1871, the same year he composed the hymn tune for "Onward, Christian Soldiers," which was the best known of about seventy hymn tunes written by him, he collaborated for the first time with William Schwenck Gilbert, with whom his name would be paired in later fame. The Gilbert and Sullivan partnership produced ten operas between 1877 and 1889; 'H.M.S. Pinafore,' 'The Pirates of Penzance,' and 'The Mikado' were among the most enduringly popular.

During this time, Arthur Sullivan also wrote a cantata based on Longfellow's 1851 dramatic poem, 'The Golden Legend,' which was said to be one of the most popular sacred works of the time, rivaling Handel's 'Messiah.' He received honorary doctoral degrees from both Oxford and Cambridge Universities, received foreign honors, and in 1883 was knighted by Queen Victoria for his service to music. His success in music unfortunately did not carry over into other areas of his life. He never married, and suffered from ill health. After his brother and sister-in-law died, it is said that he became guardian to their children and took care of them. His oldest nephew is reported to have stayed with him through the end of his life. This end came unseasonably early as Arthur Sullivan passed away in November of 1900 at the age of 58 after a heart attack. His wish to be buried next to his parents and brother was said to have been overruled by the Queen who insisted that his remains be entombed at St. Paul's Cathedral in London.

Onward, Christian Soldiers “Onward, Christian Soldiers” | hymnstudiesblog “Onward, Christian Soldiers” "ONWARD, CHRISTIAN SOLDIERS" "…Endure hardness, as a good soldier of Jesus Christ" (2 Tim. 2.3) INTRO.: One aspect of the Christian’s life is being a soldier, and a song which emphasizes this fact is "Onward, Christian Soldiers" (# 376 in Hymns for Worship Revised, and #220 in Sacred Selections for the Church). The text was written by Sabine Baring-Gould, who was born at Exeter, England, on Jan. 28, 1834, the oldest son of Edward Baring-Gould, a wealthy English squire. He was educated first in Germany and France, and then at Clare College in Cambridge; the School of St. Barnabas at Pimlico in London; and Hurstpierpoint College in Sussex. In 1864, at the age of thirty, he became an Anglican minister. His first work was with the small St. John’s Church at Horbury Bridge on the Calder River, three miles from Wakefield in Yorkshire.

Here he rented a small apartment consisting of a single room on the ground floor, a tiny back kitchen, and a single bedroom above. The bedroom he used for an auditorium on Sunday, and he taught school in the lower room during the week. At night, before retiring, he began his writing career. Shortly after arriving at Horbury Bridge, he was to accompany several boys from his school to a children’s festival in the nearby community of St. Peters. Baring-Gould knew how mischievous the lads could be on a long march, so he looked for a suitable hymn for them to sing while walking on the way. Finding none, he produced these words in about fifteen minutes to fit an already existing melody. They were first published later that year in the Church Times. Also in 1864, the young bachelor minister saved a mill hand’s daughter, Grace Taylor, from drowning during a flood in the Calder River. He fell in love with her and sent her away to be educated. In 1867, he moved to Dalton, near Thirsk in Yorkshire. The following year, he married Miss Taylor and they moved on to East Mersea in Essex.

In 1871, the author showed his marching poem to his good friend, Arthur Seymour Sullivan (1842-1900). Sullivan, who composed the tune (St. Gertrude) that we know while visiting in the home of Mrs. Gertrude Clay-Ker-Seymour, was then a 29-year old organist, but he went on to become a well-known British composer of light operas, the Sullivan of Gilbert and Sullivan. It first appeared in the Musical Times of Dec., 1871, and was then published in the 1872 London hymnbook The Hymnary. In 1881, at the death of his father, Baring-Gould inherited his fortune and settled in the family mansion at Lew-Trenchard in North Devonshire, England, where he served as minister at his family’s home church. Throughout his life, he continued his writing. For 52 years, he penned a novel each year.

In all, he published 85 books on religion, mythology, travel, poetry, folklore, history, biography, fiction, sermons, and theology, as well as books of hymns, including the well known evening song "Now the Day Is Over." His most famous work, the Lives of the Saints, covers fifteen volumes itself. In addition, he edited a quarterly review of art and literature, The Sacristy. The Britsh Museum’s catalogue lists more titles by Sabine Baring-Gould than any other author of his time. And all of this he did in longhand, without a secretary. He died at Lew-Trenchard on Jan. 2, 1924, just a month shy of his ninetieth birthday. Among hymnbooks published by members of the Lord’s church during the twentieth century for use in churches of Christ, "Onward, Christian Soldiers" appeared in the 1921 Great Songs of the Church (No. 1) and the 1937 Great Songs of the Church No. 2 both edited by E. L. Jorgenson; the 1948 Christian Hymns No. 2 and the 1966 Christian Hymns No.

3 both edited by L. O. Sanderson; the 1963 Abiding Hymns edited by Robert C. Welch; and the 1963 Christian Hymnal edited by J. Nelson Slater. Today, it may be found in the 1971 Songs of the Church, the 1990 Songs of the Church 21st C. Ed., and the 1994 Songs of Faith and Praise all edited by Alton H. Howard; the 1978/1983 Church Gospel Songs and Hymns edited by V. E. Howard; the 1986 Great Songs Revised edited by Forrest M. McCann; and the 1992 Praise for the Lord edited by John P. Wiegand; in addition to Hymns for Worship, Sacred Selections, and the 2007 Sacred Songs of the Church edited by William D. Jeffcoat. Today, Sabine Baring-Gould is best remembered for this stirring hymn about the spiritual battle with evil. I. Stanza 1 reminds us that as soldiers of Christ, we are engaged in a warfare for God. "Onward, Christian soldiers!

Marching as to war, With the cross of Jesus Going on before; Christ, the royal Master, Leads against the foe; Forward into battle, See His banners go!" A. We are told that we must wage a good warfare: 1 Tim. 1.18 B. Christ is our royal Master who leads us against the foe: Rev. 19.11-14 C. Just as soldiers fighting in a war need a banner around which to rally, so as we go forward into battle, we rally round the spiritual banner of Christ, which is His cross: Ps. 60.4 II. Stanza 2 indicates that this warfare necessarily implies fighting an enemy. "At the sound of triumph, Satan’s host doth flee; On then, Christian soldiers, On to victory! Hell’s foundations quiver At the shout of praise; Brothers, lift your voices, Loud your anthems raise!" A. Of course, our great enemy is Satan: 1 Pet. 5.8 B. However, he is not our only enemy, but we must also fight against the principalities and powers of evil in heavenly places that are built on hell’s foundations: Eph. 6.10-12 C.

Since the outcome of the war has already been decided, those who are with Christ are assured of victory and can shout their loud anthems of praise at the prospect of winning: Ps. 100.1-2 III. Stanza 3 tells us that waging a good warfare require unity "Like a mighty army Moves the church of God: Brothers, we are treading Where the saints have trod; We are not divided, All one body we: One in hope and doctrine, One in charity." A. God’s army is made up of those who are part of the church that Jesus purchased with His blood: Acts 20.28 B. The Lord does not want any division in His ranks: 1 Cor. 1.10 C. Rather, there must be unity in the ranks so that we will all be one body: Eph. 4.4-6 IV. Stanza 4 emphasizes that in our warfare we have continuity with the saints of all ages "What the saints established that I hold for true. What the saints believèd, that I believe too. Long as earth endureth, men the faith will hold, Kingdoms, nations, empires, in destruction rolled." A.

This stanza, which is almost universally omitted today, might be objected to on the grounds that it seems to be based on the idea of the ecclesiastical authority of history, but if we understand "what the saints established" to refer to those saints who revealed God’s word in the first century by the guidance of the Holy Spirit, and "what the saints believed" to refer to those saints to whom it was revealed, then we can sing the stanza as reminiscent of Paul’s statement to the Galatians about the gospel which the apostles and prophets preached and which the early Christians received: Gal. 1:8-9 B. This is the faith, once for all delivered to the saints that men will hold as long as earth endures: Jude v. 3 C. This is in contrast to the kingdoms, nations, and empires which will be rolled in destruction: Rev. 11:15 V. Stanza 5 points out that in warfare, an army must have a leader "Crowns and thrones may perish, Kingdoms rise and wane; But the Church of Jesus constant will remain; Gates of hell can never ‘Gainst that church prevail; We have Christ’s own promise, And that cannot fail." A.

The church that Christ established is the kingdom of God that shall never perish: Dan. 2.44 B. Just as the gates of hell can never prevail against this kingdom just as they could not prevent Jesus from establishing His church: Matt. 16.18 C. And we can have assurance in this fact because Christ Himself has promised it, and we can trust His promises: 2 Pet. 1.3-4 VI. Stanza 6 concludes that those who engage in this warfare for Christ have the hope of victory. "Onward, then, ye people, Join our happy throng; Blend with us your voices In the triumph song; Glory, laud, and honor Unto Christ the King; This through countless ages Men and angels sing." A. Those who join this happy throng are promised victory: 1 Cor. 15.57 B. Blending their voices with the saints of all ages, they can give glory, laud, and honor to Christ the King: Rev. 5.11-12 C. And having fought the good fight of the faith, they can lay hold of eternal life through the countless ages: 1 Tim.

6.12 CONCL.: The short chorus repeats the stirring words of the first four lines of the opening stanza: "Onward, Christian soldiers, Marching as to war, With the cross of Jesus Going on before." In order that we might fight the good fight of the faith and lay hold on eternal life, the Lord commands us to go "Onward, Christian Soldiers." Share this: Reflection – Onward, Christian Soldiers: Arthur Sullivan’s greatest hit | Church News Ireland Reflection – Onward, Christian Soldiers: Arthur Sullivan’s greatest hit August 14, 2013 Christopher Howse writes in the Daily Telegraph how the hurriedly written words of ‘Onward, Christian Soldiers’ gained an equallly rushed tune, making it unforgettable. Arthur Sullivan did not want to be remembered for his comic operas with W S Gilbert. “My sacred music is that on which I base my reputation as a composer,” he wrote. “These works are the offspring of my liveliest fancy, the children of my greatest strength.” Perhaps, but even among his sacred pieces, it is not his oratorios, The Prodigal Son or The Light of the World, that are sung.

By far the most popular sacred music that came from Sullivan’s pen is the tune for Onward, Christian Soldiers. Ian Bradley tells the story of its composition in his new book on Sir Arthur Sullivan’s sacred music, Lost Chords and Christian Soldiers (SCM Press, £25). Sullivan was staying with a couple called Ernest and Gertrude Clay Ker Seymer at their large house at Hanford, Dorset, and, by his own account, dashed it off in a few minutes in the drawing-room, naming the tune “St Gertrude” after his hostess. “We sang it in the private chapel,” she recalled, “Sir Arthur playing the harmonium.” As Dr Bradley notes, Sullivan’s rapid facility for composition was not limited to his hymn tunes, which bear no evidence of more perfunctory treatment than any other class of his work. Indeed, a high proportion of Sullivan’s 50 or so hymn tunes have retained their popularity, though none so strongly as “St Gertrude”. Onward, Christian Soldiers, the hymn for which it was first published, in 1871, had also been written in a rush, by that remarkable figure Sabine Baring-Gould.

In 1866 at Horbury Bridge on the river Calder outside Wakefield, he was to meet the 16-year-old factory girl Grace Taylor who became his wife. They had 15 children. But in 1864, he was a 30-year-old curate starting out in his efforts to organise a church “mission” in the rough neighbourhood of Horbury Bridge. Horbury itself had a parish church, but at Horbury Bridge, Sunday meetings were in what is now the Post Office. Twenty years later, the parish was able to build the church of St John, with its little stone bell-cote. But, for Whitsun 1864, Baring-Gould had arranged for the local children (who perhaps included, unknown, his future wife) a procession behind a cross and banners. The Saturday before, he sat down for 10 minutes and “knocked off” a hymn for them to sing. To begin with, Onward, Christian Soldiers used the tune “St Alban”, taken from the slow movement of Haydn’s Symphony 53. It wouldn’t provoke a very quick march. Sullivan’s “St Gertrude” seemed made for Onward, Christian Soldiers.

When he introduced musical references to “St Gertrude” in his Boer War Te Deum, the audience would naturally have thought of the hymn. Sullivan’s father had been a sergeant bandmaster at the Royal Military Academy, Sandhurst, and his son did not object to soldiers. Yet the hymn itself is not literally bellicose. The “foe” is the army of Satan, against which Christ leads his followers: “Forward into battle see His banners go.” Baring-Gould, who was of an historical cast of mind, would have had in mind the celebrated Good Friday hymn Vexilla Regis written by Venantius Fortunatus in the sixth century and in use ever since. There, the banners of the king are nothing else than the saving Cross, “from which in the flesh the creator of all flesh is suspended”. But that didn’t stop Baring-Gould’s less informed public from taking his stirring hymn as a mere celebration of Christian militarism.

As Dr Bradley notes, there have been several attempts to rescue the hymn while retaining its popular tune, such as the version by David Wright, after the Falklands war, beginning: Onward Christian pilgrims, Day by day we’re praying That all wars may cease. Such inability to discern the metaphor of Baring-Gould’s lyrics is like rewriting “Crown him with many crowns” because a republic has been declared.

Question: Who composed the march-like tune 'St Gertrude' used for the hymn 'Onward Christian Soldiers' ?
Answer: (Arthur) SULLIVAN