Soon after the close of the war a prize of $500 had been offered by a committee of American gentlemen for the best “national hymn” (meaning words and music). Mr. Keller, though a foreigner, was a naturalized citizen and patriot and entered the lists as a competitor with the zeal of a native and the ambition of an artist. Sometime in 1866 he finished and copyrighted the noble anthem that bears his name, and then began the struggle to get it before the public and test its merit. To enable him to bring it out before the New York Academy of Music, where (unfortunately) he determined to make his first trial, his brother kindly lent him four hundred dollars (which he had laid by to purchase a little home), and he borrowed two hundred more elsewhere.
The performance proved a failure, the total receipts being only forty-two dollars, Keller was $500 in debt, and his brother's house-money was gone. But he refused to accept his failure as final. Boston (where he should have begun) was introduced to his masterpiece at every opportunity, and gradually, with the help of the city bands and a few public concerts, a decided liking for it was worked up. It was entered on the program of the Peace Jubilee and sung by a chorus of ten thousand voices. The effect was magnificent. “Keller's American Hymn” became a recognized star number in the repertoire of “best” national tunes; and now few 398 / 346 public occasions where patriotic music is demanded omit it in their menu of song.*
* In Butterworth's “Story of the Tunes,” under the account of Keller's grand motet, the following sacred hymn is inserted as “often sung to it:”—
Father Almighty, we bow at thy feet;
Humbly thy grace and thy goodness we own.
Answer in love when thy children entreat,
Hear our thanksgiving ascend to thy throne.
Seeking thy blessing, in worship we meet,
Trusting our souls on thy mercy alone;