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John Warrington Hatton

1710 - 1793 Person Name: J. Hatton Composer of "[Willkommen, lieber Ostertag]" in Glockenklänge John Warrington Hatton (b. Warrington, England, c. 1710; d, St. Helen's, Lancaster, England, 1793) was christened in Warrington, Lancashire, England. He supposedly lived on Duke Street in Lancashire, from where his famous tune name comes. Very little is known about Hatton, but he was most likely a Presbyterian, and the story goes that he was killed in a stagecoach accident. Bert Polman

L. O. Emerson

1820 - 1915 Person Name: Emerson Composer of "[Willkommen, lieber Ostertag]" in Gesangbuch der Evangelischen Gemeinschaft 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

Meta Heusser-Schweizer

1797 - 1876 Person Name: Meta Heußer-Schweizer Author of "Willkommen, lieber Ostertag" in Glockenklänge Heusser-Schweizer, Meta, daughter of Diethelm Schweizer, pastor of the Reformed Church at Hirzel near Zurich, was born at Hirzel, April 6, 1797, and was married in 1821, to Johann Jakob Heusser, a physician at Hirzel. Dr. Heusser died at Hirzel in 1859, and his widow continued to reside there till her death on January 2, 1876 (Koch, vii. 377-381; Allgemeine Deutsche Biographie, xii. 339, 340). She was of a true poetic genius, and may fairly be regarded as the most important of modern German female sacred poets. The Holy Scriptures and the mountain scenery of her lonely home were the chief sources of her poetic inspiration. She was trained in the school of affliction, and her poems breathe the spirit of deep and sincere piety and childlike dependence, are free from all affectation, and speak from the heart to the heart. Her poems first appeared at intervals in Albert Knapp's Christoterpe. The first series of them were published at Leipzig in 1858 as Lieder einer Verborgenen; reprinted with her name as her Gedichte at Leipzig, 1863. A second series was published at Leipzig in 1867. A large number of her hymns are found in Knapp's Evangelischer Lieder-Schatz, 1850 and 1865; and in the Deutsches Gesang-Buch, 1860, of her friend Dr. Schaff, afterwards adopted as the official book of the American Reformed Church. A full selection of her poems was translated by Miss Jane Borthwick, and was published by Nelson in 1875 as Alpine Lyrics, and included as part of the new edition of Hymns from the Land of Luther, 1884. The dates of composition, unless otherwise stated, have been kindly supplied by her daughter, Fraulein Ega Heusser. I. Hymns in English common use. i. Herz, du hast viel geweinet. Consolation. Written in 1837, on her return from Pfäfers (Pfefiers). First published in Knapp's Christoterpe, 1841, p. 330, in 9 stanzas of 4 lines, beginning "Du hast, O Herz geweinet," as "A Floweret from Pfäfers." Repeated 1858, p. 90, and in Knapp's Christenlieder, 1841, No. 190, and Evangelischer Lieder-Schatz. 1850, No. 2060 (1865, No. 2120). Translated as:— Long hast thou wept and sorrowed, in full, by Miss Borthwick, in Hymns from the Land of Luther, 4th Ser., 1862, p. 33. The translations of stanzas i., vii.-ix., were included in Wilson's Service of Praise, 1865, and the whole in Schaff’s Christ in Song, 1870. Another translation is:—"Heart, thou hast long been weeping," in Reid's Praise Book, 1872. ii. Schweige still. Consolation. Written Jan. 25, 1849, and 1st published in Knapp's Christoterpe, 1852, p. 128, in 6 stanzas of 5 lines, entitled "Be still," and repeated 1858, p. 108. Translated as:— Heart be still! a good translation, omitting stanzas iv., in the Christian Treasury, June, 1853, p. 142. Included in the Shadow of the Rock, N. Y., 1869, and thence in full in Horder's Congregational Hymnal, 1884, and, omitting stanzas iii., iv., in W. F. Stevenson's Hymns for Church & Home, 1873. Other translations are:— (1) "Peace, be still! In this night," in the Christian Examiner, Boston, U.S., Nov. 1860. (2) "Peace, be still, Through the night," by Miss Borthwick, 1875, p. 94. II. Hymns not in English common use:-- iii. Danket für alles; ihr Kinder der gottlichen Liebe. Thanksgiving . On 1 Thess. v. 18. Written April 1, 1821. First published in her Lieder, 1858, p. 117, in 9 stanzas. Translated as "Give thanks for all things, children of your God," by Miss Borthwick, 1875. iv. Der du trugst die Schmerzen aller. Supplication. Written 1833. First published in Knapp's Christoterpe, 1835, p. 276, in 12 stanzas. Translated as "Thou hast borne our sins and sorrows," by Miss Borthwick, 1875. v. Dunkel ists! des Lebens laute Tone. The Mother's Prayer. Written 1827. First published in Knapp's Christoterpe, 1834, p. 45, in 14 stanzas, entitled, "At midnight, by the children's bedside." Translated as "Darkness reigns—the hum of life's commotion," by Miss Borthwick, in Hymns from the Land of Luther, 1854, p. 21. vi. Endlich, endlich, wirst auch du. Encouragement. Written 1823. First published in Knapp's Christoterpe , 1834, p. 41, in 14 stanzas. Translated as "Doubt it not—thou too shalt come," by Miss Borthwick, 1875. vii. Hör’ich euch wieder, ihr Töne des Frühlings erklingen. Spring. This noble hymn was written in March, 1833 (1831?), after many troublous days and nights, during a journey from the snow-clad heights of Hirzel to the neighbouring Lake of Zug, where Spring had already begun. (Koch, vii. 380.) First published in Knapp's Christoterpe, 1836, p. 238, in 21 stanzas, entitled “Hymn of Praise. In early Spring amid the first songs of the birds." In the hymnals the second part, "Lamm, das gelitten, und Lowe, der siegreich gerungen" (st. x.), is given for Ascensiontide. The translations are, (1) "Voices of Spring, with what gladness I hear you again," by Miss Borthwick, in Hymns from the Land of Luther, 1862, p. 8. (2) "Lamb, that hast suffered, and Lion of Judah victorious," by Dr. H. Harbaugh, in the German Reformed Guardian, July, 1865. (3) "Lamb, the once crucified! Lion, by triumph surrounded," tr. April, 1868, by T. C. Porter, for Schaff's Christ in Song , 1869. viii. Ich weiss, dass mein Erl'dser lebet. Consolation. Written March 20, 1859, on Job xix. 25, and included from her manuscript in Dr. Schaff’s Deutsches Gesang-Buch, 1860, in 5 stanzas (see his note there), and then in her Gedichte, 1863, p. 145. Translated as "Yes! my Redeemer lives, to save us," by Dr. H. Mills, in Schaff’s Christ in Song, 1870. ix. Ich weiss was mien erfreuet. Joy in Believing. Written 1850, and first published in Knapp's Christoterpe, 1852, p. 132, in 8 stanzas. Translated as "I know what bringeth gladness," in the British Herald, July 1866, and in Reid's Praise Book, 1872. x. Nun ein wenig Schweiss und Thränen. Pilgrim Song. Written 1835, and first published in Knapp's Christo-terpe, 1836, p. 244, in 5 stanzas. Translated as "A few more conflicts, toils, and tears," by Miss Borthwick, 1875. xi. O Jesus Christ, mein Leben. Love to Christ. First published as No. 185 in the Zurich Gesang-Buch, 1853, in 6 stanzas. H. Weber, in his Das Zürcher-Gesangbuch, Zurich, 1872, p. 287, quotes from a letter of the authoress, by which it appears that about the year 1844 some of her friends wished a hymn to the fine old melody, "Esist ein Kos entsprungen." She came upon No. 1527 in Knapp's Evangelischer Lieder-Schatz, 1837, "Jesus, der ist mein Leben," recast it, and adapted it to the required metre. As the hymn is thus only partly original, she did not include it in her published works. Translated as "0 Christ, my Life, my Saviour," by Miss Borthwick, 1875, p. 69. xii. So zieh in Gottes Frieden denn. Farewell to a Foreign Missionary. First published in Knapp's Christoterpe, 1852, p. 134, in 11 stanzas. Translated as "Now, in the peace of God," by Miss Borthwick, 1875, p. 66. xiii. Theuer ist der Tod der deinen. Death of the Righteous. Written on the death of a friend in 1849. First published in Knapp's Christoterpe, 1852, p. 136, in 6 stanzas. Translated as "Dear to Thee, 0 Lord, and precious," by Miss Borthwick, 1875, p. 49. xiv. "Ueber ein Kleines," so sprach erinnachtlicher Stunde. Eternal Life. Founded on St. John xvi. 16. Written 1841, and 1st pub. in Knapp's Christoterpe, 1846, p. 30, in 10 stanzas. Translated as "A little while! so spake our gracious Lord," by Miss Borthwick in Hymns from the Land of Luther, 1858, p. 22. xv. Willkommen, lieber, lieber Tag. Easter. Written 1825. First published in Knapp's Christoterpe, 1834, p. 54, in 12 stanzas. Translated as "We welcome thee, dear Easter day," by Dr. H. Mills in 1859, printed in Schaff’s Christ in Song, 1870 (1879, p. 225). xvi. Wir werden bei dem Herrn sein allezeit. Eternal Life. Founded on 1 Thess. iv. 17. Written 1845, and first pub. in Knapp's Christoterpe , 1846, p. 32, in 7 stanzas. The translations are, (1) “O sweet home echo on the pilgrim's way," by Miss Borthwick, in Hymns from the Land of Luther, 1858, p. 62. (2) "O blessed Voice—that Voice from Home," by Dr. R. Maguire, 1883, p. 162. xvii. Zu deinen Fussen lass mich liegen. Cross and Consolation. Written 1865. First published in her Gedichte, 1867, p. 126, in 11 stanzas. Translated as "Low at Thy feet my spirit lies," by Miss Borthwick, 1875, p. 83. Besides the above, many pieces have been translated by Miss Borthwick, Miss Burlingham, Rev. J. Kelly and others. Being poems rather than hymns, they are omitted from this list. [Rev. James Mearns, M.A.] -- John Julian, Dictionary of Hymnology