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Moody would arouse the audience with his preaching, then Sankey would sing, usually accompanied by organ music; in later years, he also led a choir into song. Sankey wrote the music for numerous hymns, many still sung today (The Ninety and Nine, A Shelter in the Time of Storm, Faith Is the Victory, Hiding in Thee, I Am Praying for You, Trusting Jesus, Under His Wings, When the Mists Have Rolled Away) and overall compiled some 1,200 hymns. The first hymn-book bearing the names of Sankey and Moody was published in England in 1873 as 'Sacred Songs and Solos.' A 'Gospel Hymns' series followed, with numbers 1-6 being published 1875-1891. By 1900, more than a million dollars had been paid to Sankey and Moody in royalties for the hymns. Sankey is considered the man who ushered in the gospel song era. |
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"Madam Marion Tweedy, made a hit, a veritable sensation, he might safely say greatly adding to her other laurels and putting the others totally in the shade in the jesuit fathers' church in Upper Gardiner street, the sacred edifice being thronged to the doors to hear her with virtuosos, or virtuosi rather." (U16. 1745) |
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"However, haud ignarus malorum miseris succurrere disco, etcetera, as the Latin poet remarks, especially as luck would have it he got paid his screw after every middle of the month on the sixteenth which was the date of the month as a matter of fact though a good bit of the wherewithal was demolished." (U16.175) |
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"On the roadway which they were approaching whilst still speaking beyond the swingchains, a horse, dragging a sweeper, paced on the paven ground, brushing a long swathe of mire up so that with the noise Bloom was not perfectly certain whether he had caught aright the allusion to sixtyfive guineas and John Bull. He inquired if it was John Bull the political celebrity of that ilk, as it struck him, the two identical names, as a striking coincidence." (U16.1770) |
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"But it was no animal's fault in particular if he was built that way like the camel, ship of the desert, distilling grapes into potheen in his hump. Nine tenths of them all could be caged or trained, nothing beyond the art of man barring the bees;" (U16.1791) |
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"Even more he liked an old German song of Johannes Jeep about the clear sea and the voices of sirens, sweet murderers of men, which boggled Bloom a bit:
Von der Sirenen Listigkeit Tun die Poeten dichten." (U16.1812) |
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Johannes Jeep is a German composer and organist (1581-1644). He is especially known for his more than 100 hymn and psalm settings done mostly in four-part harmony. He also wrote an enduring set of student songs, pieces of popular music that are entirely homophonic and strophic. (Image courtesy of Harald Beck) |
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"A phenomenally beautiful tenor voice like that, the rarest of boons, which Bloom appreciated at the very first note he got out, could easily, if properly handled by some recognised authority on voice production such as Barraclough and being able to read music into the bargain, command its own price where baritones were ten a penny and procure for its fortunate possessor in the near future an entrée into fashionable houses in the best residential quarters, of financial magnates in a large way of business and titled people" (U16.1820) |
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"In fact, he had the ball at his feet and that was the very reason why the other, possessed of a remarkably sharp nose for smelling a rat of any sort, hung on to him at all." (U16.1863) |
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"The horse, having reached the end of his tether, so to speak, halted, and, rearing high a proud feathering tail, added his quota by letting fall on the floor, which the brush would soon brush up and polish, three smoking globes of turds. Slowly, three times, one after another, from a full crupper, he mired. And humanely his driver waited till he (or she) had ended, patient in his scythed car." (U16.1874) |
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"but merely watched the two figures, as he sat on his lowbacked car, both black, one full, one lean, walk towards the railway bridge, to be married by Father Maher." (U16.1885)
'The Low-Backed Car' is a song written in 1846 by Samuel Lover (1797-1868). The tune is said to be a variant of the English folksong 'The Jolly Ploughboy.' This PC starts the last stanza, that continues: "On a cushion made with taste, While Peggy would sit beside me, With my arm around her waist. As we drove in the low-back'd car, To be married by Father Maher, Oh, my heart would beat high At her glance and her sigh, Tho' it beat in a low-back'd car." |