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Anonymous
Person Name: Anon. Author of "Keep us, Lord, oh, keep us ever!" in Songs for the Service of Prayer In some hymnals, the editors noted that a hymn's author is unknown to them, and so this artificial "person" entry is used to reflect that fact. Obviously, the hymns attributed to "Author Unknown" "Unknown" or "Anonymous" could have been written by many people over a span of many centuries.
Anonymous
Thomas Kelly
1769 - 1855 Author of "Keep us, Lord, O, keep us ever" in Laudes Domini Kelly, Thomas, B.A., son of Thomas Kelly, a Judge of the Irish Court of Common Pleas, was born in Dublin, July 13, 1769, and educated at Trinity College, Dublin. He was designed for the Bar, and entered the Temple, London, with that intention; but having undergone a very marked spiritual change he took Holy Orders in 1792. His earnest evangelical preaching in Dublin led Archbishop Fowler to inhibit him and his companion preacher, Rowland Hill, from preaching in the city. For some time he preached in two unconsecrated buildings in Dublin, Plunket Street, and the Bethesda, and then, having seceded from the Established Church, he erected places of worship at Athy, Portarlington, Wexford, &c, in which he conducted divine worship and preached. He died May 14, 1854. Miller, in his Singers & Songs of the Church, 1869, p. 338 (from which some of the foregoing details are taken), says:—
"Mr. Kelly was a man of great and varied learning, skilled in the Oriental tongues, and an excellent Bible critic. He was possessed also of musical talent, and composed and published a work that was received witli favour, consisting of music adapted to every form of metre in his hymn-book. Naturally of an amiable disposition and thorough in his Christian piety, Mr. Kelly became the friend of good men, and the advocate of every worthy, benevolent, and religious cause. He was admired alike for his zeal and his humility; and his liberality found ample scope in Ireland, especially during the year of famine."
Kelly's hymns, 765 in all, were composed and published over a period of 51 years, as follows:—
(1) A Collection of Psalms and Hymns extracted from Various Authors, by Thomas Kelly, A.B., Dublin, 1802. This work contains 247 hymns by various authors, and an Appendix of 33 original hymns by Kelly.
(2) Hymns on Various Passages of Scripture, Dublin, 1804. Of this work several editions were published: 1st, 1804; 2nd, 1806; 3rd, 1809; 4th, 1812. This last edition was published in two divisions, one as Hymns on Various Passages of Scripture, and the second as Hymns adapted for Social Worship. In 1815 Kelly issued Hymns by Thomas Kelly, not before Published. The 5th edition, 1820, included the two divisions of 1812, and the new hymns of 1815, as one work. To the later editions of 1820, 1826, 1836, 1840, 1846, and 1853, new hymns were added, until the last published by M. Moses, of Dublin, 1853, contained the total of 765.
As a hymn-writer Kelly was most successful. As a rule his strength appears in hymns of Praise and in metres not generally adopted by the older hymn writers. His "Come, see the place where Jesus lay" (from "He's gone, see where His body lay"),"From Egypt lately come"; “Look, ye saints, the sight is glorious"; "On the mountain's top appearing"; "The Head that once was crowned with thorns"; "Through the day Thy love has spared us"; and “We sing the praise of Him Who died," rank with the first hymns in the English language. Several of his hymns of great merit still remain unknown through so many modern editors being apparently adverse to original investigation. In addition to the hymns named and others, which are annotated under their respective first lines, the following are also in common use:—
i. From the Psalms and Hymns, 1802:—
1. Grant us, Lord, Thy gracious presence. Commencement of Divine Worship.
2. Jesus, Immortal King, go on [display]. Missions.
3. Saviour, through the desert lead us. Divine Guidance Desired.
4. The day of rest once more [again] comes round. Sunday.
5. We've no abiding city here. Seeking Heaven.
ii. From the Hymns on Varous Passages of Scripture, first edition, 1804 :—
6. Boundless glory, Lord, be thine. Praise for the Gospel.
7. By whom shall Jacob now arise? Epiphany.
8. Glory, glory to our King. Praise to Christ as King.
9. How pleasant is the sound of praise. Praise for Redemption.
10. How sweet to leave the world awhile. In Retirement, or For a Retreat.
11. Inform I long had bowed the knee. Jesus, the Saviour, or Praise for Salvation.
12. It is finished! sinners, hear it. Good Friday.
13. Jesus, the Shepherd of the sheep. The Good Shepherd.
14. Let reason vainly boast her power. Death.
15. Poor and afflicted, Lord, are Thine. Affliction.
16. Praise we Him to Whose kind favour. Close of Service.
11. Spared a little longer. Safety in God.
18. Stricken, smitten, and afflicted. Passiontide.
ii. From the Hymns, &c, second edition, 1806:—
19. Far from us be grief and sadness. Joy of Believers.
20. Give us room that we may dwell. Missions.
21. Glory, glory everlasting. Praise of Jesus.
22. God has.turned my grief to gladness. Joy after Sorrow.
23. Happy they who trust in Jesus. Peace in Jesus.
24. Hark, the notes of angels singing. Angels praising Jesus.
25. Hark! 'tis a martial sound. Christian Life a Warfare.
26. I hear a sound [voice] that comes from far. The Gospel Message.
27. Jesus is gone up on high. Divine Worship.
28. Now [O] may the Gospel's conquering power. Home Missions. In the 1853 edition of the Hymns it begins “O may the Gospel's conqu'ring force."
29. O Zion, when I think on thee. Desiring Heaven.
30. Praise the Saviour, ye who know Him. Praise of Jesus.
31. See from Zion's sacred mountain. The Fountain of Life.
32. The atoning work is done. Jesus the High Priest.
33. Zion is Jehovah's dwelling. The Church of God.
34. Zion stands by hills surrounded. The Safety of the Church.
35. Zion's King shall reign victorious. Missions.
iv. From the Hymns, &c, 3rd edition, 1809:—
36. Behold the Temple of the Lord. The Church a Spiritual Temple.
37. Blessed Fountain, full of grace. Fountain for Sin.
38. Brethren, come, our Saviour bids us. Holy Communion.
39. Fly, ye seasons, fly still faster. Second Advent Desired.
40. God of Israel, we adore Thee. Evening.
41. Gracious Lord, my heart is fixed. Trust and Peace.
42. Hark, a voice! it comes from heaven. Death.
43. Hark, that shout of rapt'rous joy. Second Advent.
44. If our warfare be laborious. Labour and Rest .
45. Lo, He comes, let all adore Him. Missions.
46. Nothing know we of the season. Time of Second Advent uncertain.
47. O had I the wings of a dove. Holiness and Heaven desired.
48. O where is now that glowing love. Despondency.
49. Our Father sits on yonder throne. God the Father.
50. Ours is a rich and royal Feast. Holy Communion.
51. Shepherd of the chosen number. Safety in the
Good Shepherd.
52. We're bound for yonder land. Life, a Voyage.
53. Welcome sight! the Lord descending. The Advent.
54. What is life? 'tis but a vapour. Death anticipated.
55. Who is this that comes from Edom? Ascension.
56. Why those fears ? Behold 'tis Jesus. Stilling the Sea.
57. Without blood is no remission. Passiontide.
58. Yes, we trust the day is breaking. Missions.
v. FromHymns: Not before Published, 1815:—
59. Behold the Lamb with glory crowned. Exaltation of Christ.
60. God is love, His word has said it. God is Love.
61. God of our salvation, hear us. Opening or Close of Divine Worship.
62. In Thy Name, O Lord, assembling. Commencement of Divine Worship.
63. Keep us, Lord, O [and] keep us ever. Divine Worship.
64. Let sinners saved give thanks, and sing. Praise for Salvation.
65. Praise the Lord Who died to save us. Passiontide.
66. Salvation is of God alone. God the Author of Salvation.
67. Saviour, come, Thy [saints] friends await Thee [are waiting] . Second Advent desired.
68. Sweet were the sounds that reached our ears. Divine Mercy.
69. We'll sing of the Shepherd that died. The Lost Sheep.
70. When we cannot see our way. Trust and Peace.
71. Who is this that calms the ocean? Stilling the Sea.
vi. From the Hymns on F. Passages of Scripture, &c, eds. 1820 and 1826 :-—
72. Grace is the sweetest sound. Divine Grace.
73. Now let a great effectual door. Missions.
74. Now may the mighty arm awake. Missions.
75. Now may the Spirit from above. Home Missions.
76. Sing, sing His lofty praise. Praise of Jesus.
77. Sound, 6ound the truth abroad. Missions.
78. Speed Thy servants, Saviour, speed them. Departure of Missionaries.
vii. From the Hymns on Various Passages, &c, 1836:—
79. Come, O Lord, the heavens rending. Prayer for Blessings.
80. The night is far spent, the day is at hand. The Second Advent.
viii. From the Hymns on Various Passages, &c, circa 1845:—
81. Joyful be the hours today. Sunday.
82. Lord, behold us few and weak. Opening of Divine Service.
83. Meet Thy people, Saviour, meet us. Meetings for Prayer.
84. Saviour, send a blessing to us. Prayer for Blessings.
85. Sing of Jesus, sing for ever. Praise of Jesus.
ix. From the Hymns on Various Passages, &c, 1853:—
86. Precious volume, what thou doest. Holy Scripture.
87. Unfold to us, O Lord, unfold. Divine aid to reading Holy Scripture.
All these hymns, together with those annotated under their respective first lines are in the 1853 edition of Kelly's Hymns published in Dublin by M. Moses, and in London by Simpkin, Marshall & Co. Kelly's musical editions are issued by the same publishers.
-- John Julian, Dictionary of Hymnology (1907)
==================
Kelly, Thomas, p. 615, i. Other hymns in common use are:
1. Behold the Man! How glorious He. (1809.) Good Friday.
2. Jesus the [Thou] Shepherd of the Sheep. (1804.) Good Shepherd.
3. Saved ourselves by Jesu's blood. (1802.) For a Revival.
4. Saviour, 'tis to [unto] Thee. (1853*.) Lent.
5. See the vineyard lately planted. (1806.) Missions. Sometimes given as "See, O Lord, the vineyard planted."
6. Sing aloud to God our strength. (1809.) Praise to the Father.
7. Sing, sing His lofty praise. (1820.) Praise to Jesus. Sometimes as "Hail our eternal King" (p. 615, No. 76).
8. Sing of Him Who bore our guilt. (1853*.) Praise to Jesus.
9. Sing we praise to God above, God our Saviour, &c. (1815.) Praise for Divine Mercy.
10. Sing we praise to God above, Sing we praise, &c. (1853*.) Praise.
11. Sons of Zion, raise your songs. (1820-26) The Exalted Saviour.
12. The Lord Himself will keep. (1809.) From “We're bound for yonder land" (sec p. 615, No. 52.)
13. The God [Lord] of glory dwells on high. (1809.) Humility and Love of Christ.
14. The people of the Lord Are on their way, &c. (1820.) Life a Pilgrimage.
15. Thus saith God of His Anointed. (1809.) Missions.
16. 'Tis to us no cause of sorrow. (1815.) Resignation.
17. To the Ark away, or perish. (1815.) Safety in Jesus only.
18. To our Lord a throne is given. (1838.) Christ the King.
19. Trust ye in the Lord for ever. (1853*.) Trust in God.
20. We'll sing in spite of scorn. (1806.) Christmas. From this "The long-expected morn" is taken.
21. What tongue can tell, what fancy paint. (1806.) Saints in Glory
22. What were Sinai's awful wonders. (1809.) Advent.
23. Whence those sounds symphonious? (1815.) Christmas.
24. While in the [this] world we still [yet] remain. (1806.) Communion of Saints.
25. Yes, 'tis a rough and thorny road. (1809.) Resignation. Sometimes given as "Though rough and thorny be the way."
The dates given above are those of the various editions of Kelly's Hymns. The date 1853* indicates that the hymn is in the 1853 ed. of the Hymns, but had also appeared in a previous edition which we have not seen.
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
Thomas Kelly
Joseph P. Holbrook
1822 - 1888 Person Name: J. P. Holbrook Composer of "NELSON" in Laudes Domini Joseph P. Holbrook was a tune writer in the parlor music style, and used the popular melodies of Mason and Hastings, Bradbury and Root, Greatorex and Kingsley in his collections. He furnished settings for the choir hymns in Songs for the Sanctuary in his Quartet and chorus Choir (New York, 1871, and sought more recogniation than had been given him in a hymnal of his own, Worship in Song (New York, 1880); a book that found no welcome.
from The English hymn: its development and use in worship
By Louis FitzGerald Benson
Joseph P. Holbrook
L. O. Emerson
1820 - 1915 Person Name: E. Composer of "MERLO" in Praise in Song Luther Orlando Emerson was born at Parsonsfield, Maine, August 3, 1820. He descended from distinguished English ancestry. His parents were quite musical, and while the family circle were together, they had a choir and orchestra of their own. The father played the violoncello, the mother was an excellent singer, the flute and violin added their sweet tones, till the quiet homestead rang with melody.
Mr. Emerson's education was obtained at the district school, Parsonsfield Seminary and Effingham Academy. He was full of energy, quick and versatile, an apt scholar, and with a view to entering the profession of medicine he entered Dracut Academy, Mass. But his great love for music swerved him from that course, and now, having far better opportunities for cultivating and enjoying this taste and ability, he soon determined upon music as the profession of his choice. He accordingly commenced a course of musical instruction under the late I. B. Woodbury, then a popular teacher of music. After several years of study on the voice, piano, organ and in harmony, Mr. Emerson went to Salem, Mass., began teaching, and took charge of his first choir at a salary of one hundred dollars per year. Here he commenced the composition of music for his own choir, whiich was so popular with its members and the congregation, that Mr. Emerson was encouraged to seek a larger hearing by publishing a collection of church music. Among the tunes was that of Sessions, named after his pastor, which was destined to have a perennial popularity, and is often used in worship in the place of Old Hundred, for the Doxology. At the great Peace Jubilee it was received with applause when sung by a chorus of ten thousand voices, accompanied by an orchestra of two hundred instruments and a great pipe organ. The effect was sublime beyond expression.
In 1847 occurred the marriage of Mr. Emerson to Miss Mary Gore, daughter of a prominent Boston merchant. She was a lady of much musical taste and ability.
In 1853 he decided to make an effort to put his music before the public, and accordingly went to Boston in search of a publisher. Like most young and unknown authors, he met with but little encouragement, but finally found a publisher in the person of Mr. B. B. Muzzy. Thus was the Romberg Collection published. The book was not pushed — hence it found no market.
After a residence of eight years in Salem, Mr. Emerson removed to Boston, accepting the position of organist and musical director at the Bulfinch Street Church, then under the pastoral care of Rev. Wm. R. Alger, which he filled for four years. He eagerly improved the rare means of culture which were once more enjoyed, meanwhile teaching and composing music.
In 1857 he formed the connection with Oliver Ditson Company, of Boston, of author and publisher, which has continued to the present time with but one interruption (a single volume brought out by another firm), the Golden Wreath, which at once became popular, and sold forty thousand during the first year, this being the initial volume in the long series since brought out by these publishers. In 1858 came the Golden Harp, which was also a success. These successes gave him not only encouragement, but reputation.
Mr. Emerson now entered upon a career of usefulness and popularity for which he had been preparing during the years of self-denying struggle and discipline. He was called to take charge of the music in the Second Congregational Church, Greenfield, Mass., and also of the musical department of Power's Institute, at Bernardston. Amid nature's most beautiful surroundings, he had a quiet retreat for the pursuit of his true vocation, the composition of church music.
The first fruit of his genius here was the Sabbath Harmony, in 1860. This book was also a success. In 1863 followed the Harp of Judah, which had the remarkable sale of nearly fifty thousand copies in the first three months. This book probably gave Mr. Emerson his preeminence as a composer of church music, containing as it did his anthem, Guide Me, O Thou Great Jehovah, and many of his finest compositions.
Having declined the solicitations of Dr. Lowell Mason to become his associate in music, Mr. Emerson started forth on his own plans, and attained the highest rank among those who loved the pure and beautiful in song. Mr. W. S. B. Mathews, a musical critic, pronounces him the best melodist of all the psalmodic writers.
In 1866 the equally successful Jubilate appeared, followed by the Choral Tribute, the Standard and the Leader. In the last two Dr. I. R. Pahner was associated with him. Later on came the Salutation, Voice of Worship, Herald of Praise, etc. The diligence with which Mr. Emerson plied his pen can be estimated when one recalls the fact that he has made seventy-two collections of music, embracing music for churches, singing schools, public schools, choral societies and conventions, instruction books for voice, organ, etc. He has also composed and published scores of songs, quartets and instrumental pieces.
The great amount of work this represents can only be appreciated by those who have undertaken similar labors. Some years ago the degree of Doctor of Music was conferred upon Professor Emerson by the Faculty of Findlay College, Findlay, Ohio.
For many years past. Dr. Emerson has devoted his energies to the grand purpose of elevating the general character of music in our churches, and thus largely advancing the interests of true worship. He places great stress upon the mission of church music. He regards sacred music as the best expression of devotional feeling that exists. He looks upon sacred song as prayer, and believes that it inspires and intensifies prayer. With this view he has taken an active and prominent part in musical festivals and conventions, of which he has conducted over three hundred throughout the United States and Canada. As a conductor, he stands in the front rank. As a teacher. Dr. Emerson has an exceedingly happy faculty of imparting in a concise manner to his classes. His very pleasing address enables him to command the undivided attention of his pupils.
As a singer, he has always held high rank, and has sung much in public. His voice is a baritone of great compass, and quite powerful. As a lecturer upon music, Dr. Emerson has attracted much attention. His most popular lecture is entitled The World of Music, in which he traces its origin and progress, and gives some excellent traits of the lives of the great composers. In this lecture he also shows the design of music, and how it has been prized in every age of the world, among all nations — its power in the Church and State, and the need of its influence in the family — in joy and sorrow — for this life and the life to come.
-Biography of Gospel Song and Hymn Writers
L. O. Emerson
