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James Montgomery

1771 - 1854 Author of "This Stone to Thee In Faith We Lay" in The A.M.E. Zion Hymnal James Montgomery (b. Irvine, Ayrshire, Scotland, 1771; d. Sheffield, Yorkshire, England, 1854), the son of Moravian parents who died on a West Indies mission field while he was in boarding school, Montgomery inherited a strong religious bent, a passion for missions, and an independent mind. He was editor of the Sheffield Iris (1796-1827), a newspaper that sometimes espoused radical causes. Montgomery was imprisoned briefly when he printed a song that celebrated the fall of the Bastille and again when he described a riot in Sheffield that reflected unfavorably on a military commander. He also protested against slavery, the lot of boy chimney sweeps, and lotteries. Associated with Christians of various persuasions, Montgomery supported missions and the British Bible Society. He published eleven volumes of poetry, mainly his own, and at least four hundred hymns. Some critics judge his hymn texts to be equal in quality to those of Isaac Watts and Charles Wesley . Many were published in Thomas Cotterill's Selection of Psalms and Hymns (1819 edition) and in Montgomery's own Songs of Zion (1822), Christian Psalmist (1825), and Original Hymns (1853). Bert Polman ======================== Montgomery, James, son of John Montgomery, a Moravian minister, was born at Irvine, Ayrshire, Nov. 4, 1771. In 1776 he removed with his parents to the Moravian Settlement at Gracehill, near Ballymena, county of Antrim. Two years after he was sent to the Fulneck Seminary, Yorkshire. He left Fulneck in 1787, and entered a retail shop at Mirfield, near Wakefield. Soon tiring of that he entered upon a similar situation at Wath, near Rotherham, only to find it quite as unsuitable to his taste as the former. A journey to London, with the hope of finding a publisher for his youthful poems ended in failure; and in 1792 he was glad to leave Wath for Shefield to join Mr. Gales, an auctioneer, bookseller, and printer of the Sheffield Register newspaper, as his assistant. In 1794 Mr. Gales left England to avoid a political prosecution. Montgomery took the Sheffield Register in hand, changed its name to The Sheffield Iris, and continued to edit it for thirty-one years. During the next two years he was imprisoned twice, first for reprinting therein a song in commemoration of "The Fall of the Bastille," and the second for giving an account of a riot in Sheffield. The editing of his paper, the composition and publication of his poems and hynms, the delivery of lectures on poetry in Sheffield and at the Royal Institution, London, and the earnest advocacy of Foreign Missions and the Bible Society in many parts of the country, gave great variety but very little of stirring incident to his life. In 1833 he received a Royal pension of £200 a year. He died in his sleep, at the Mount, Sheffield, April 30, 1854, and was honoured with a public funeral. A statue was erected to his memory in the Sheffield General Cemetery, and a stained glass window in the Parish Church. A Wesleyan chapel and a public hall are also named in his honour. Montgomery's principal poetical works, including those which he edited, were:— (1) Prison Amusements, 1797; (2) The Wanderer of Switzerland, 1806; (3) The West Indies, 1807; (4) The World before the Flood, 1813; (5) Greenland and Other Poems, 1819; (6) Songs of Zion, 1822; (7) The Christian Psalmist, 1825; (8) The Christian Poet, 1825; (9) The Pelican Island, 1828; (10) The Poet’s Portfolio, 1835; (11) Original Hymns for Public, Private, and Social Devotion, 1853. He also published minor pieces at various times, and four editions of his Poetical Works, the first in 1828, the second in 1836, the third in 1841, and the fourth in 1854. Most of these works contained original hymns. He also contributed largely to Collyer's Collection, 1812, and other hymnbooks published during the next 40 years, amongst which the most noticeable was Cotterill's Selections of 1819, in which more than 50 of his compositions appeared. In his Christian Psalmist, 1825, there are 100 of his hymns, and in his Original Hymns, 1853, 355 and 5 doxologies. His Songs of Zion, 1822, number 56. Deducting those which are repeated in the Original Hymns, there remain about 400 original compositions. Of Montgomery's 400 hymns (including his versions of the Psalms) more than 100 are still in common use. With the aid of Montgomery's MSS. we have given a detailed account of a large number. The rest are as follows:— i. Appeared in Collyer's Collection, 1812. 1. Jesus, our best beloved Friend. Personal Dedication to Christ. 2. When on Sinai's top I see. Sinai, Tabor, and Calvary. ii. Appeared in Cotterill's Selection, 1819. 3. Come to Calvary's holy mountain. The Open Fountain. 4. God in the high and holy place. God in Nature. The cento in Com. Praise, 1879, and others, "If God hath made this world so fair," is from this hymn. 5. Hear me, O Lord, in my distress. Ps. cxliii. 6. Heaven is a place of rest from sin. Preparation for Heaven. 7. I cried unto the Lord most just. Ps. cxlii. 8. Lord, let my prayer like incense rise. Ps. cxxxix. 9. O bless the Lord, my soul! His grace to thee proclaim. Ps. ciii. 10. Out of the depths of woe. Ps. cxxx. Sometimes "When from the depths of woe." 11. The world in condemnation lay. Redemption. 12. Where are the dead? In heaven or hell? The Living and the Dead. iii. Appeared in his Songs of Zion, 1822. 13. Give glory to God in the highest. Ps. xxix. 14. Glad was my heart to hear. Ps. cxxii. 15. God be merciful to me. Ps. lxix. 16. God is my strong salvation. Ps. xxvii. 17. Hasten, Lord, to my release. Ps. lxx. 18. Have mercy on me, O my God. Ps. li. 19. Hearken, Lord, to my complaints. Ps. xlii. 20. Heralds of creation cry. Ps. cxlviii. 21. How beautiful the sight. Ps. cxxxiii. 22. How precious are Thy thoughts of peace. Ps. cxxxix. 23. I love the Lord, He lent an ear. Ps. cxvi. 24. In time of tribulation. Ps. lxxvii. 25. Jehovah is great, and great be His praise. Ps. xlviii. Sometimes, "0 great is Jehovah, and great is His Name." 26. Judge me, O Lord, in righteousness. Ps. xliii. 27. Lift up your heads, ye gates, and wide. Ps.xxiv. 28. Lord, let me know mine [my] end. Ps. xxxi. 29. Of old, 0 God, Thine own right hand. Ps. lxxx. 30. O God, Thou art [my] the God alone. Ps. lxiii. 31. 0 Lord, our King, how excellent. Ps. viii. Sometimes, "0 Lord, how excellent is Thy name." 32. O my soul, with all thy powers. Ps. ciii. 33. One thing with all my soul's desire. Ps. xxvii. From this, "Grant me within Thy courts a place." 34. Searcher of hearts, to Thee are known. Ps. cxxxix. 35. Thank and praise Jehovah's name. Ps. cvii. 36. Thee will I praise, O Lord in light. Ps. cxxxviii. 37. The Lord is King; upon His throne. Ps. xciii. 38. The Lord is my Shepherd, no want shall I know. Ps. xxiii. 39. The tempter to my soul hath said. Ps. iii. 40. Thrice happy he who shuns the way. Ps. i. 41. Thy glory, Lord, the heavens declare. Ps. xix. 42. Thy law is perfect, Lord of light. Ps. xix. 43. Who make the Lord of hosts their tower. Ps. cxxv. 44. Yea, I will extol Thee. Ps. xxx. iv. Appeared in his Christian Psalmist. 1825. 45. Fall down, ye nations, and adore. Universal adoration of God desired. 46. Food, raiment, dwelling, health, and friends. The Family Altar. 47. Go where a foot hath never trod. Moses in the desert. Previously in the Leeds Congregational Collection, 1822. 48. Green pastures and clear streams. The Good Shepherd and His Flock. 49. Less than the least of all. Mercies acknowledged. 50. Not to the mount that burned with fire [flame]. Communion of Saints. 51. On the first Christian Sabbath eve. Easter Sunday Evening. 52. One prayer I have: all prayers in one. Resignation. 53. Our heavenly Father hear. The Lord's Prayer. 54. Return, my soul, unto thy rest. Rest in God. 55. Spirit of power and might, behold. The Spirit's renewing desired. 56. The Christian warrior, see him stand. The Christian Soldier. Sometimes, "Behold the Christian warrior stand." 57. The days and years of time are fled. Day of Judgment. 58. The glorious universe around. Unity. 59. The pure and peaceful mind. A Children's Prayer. 60. This is the day the Lord hath made (q. v.). Sunday. 61. Thy word, Almighty Lord. Close of Service. 62. What secret hand at morning light ? Morning. 63. While through this changing world we roam. Heaven. 64. Within these walls be peace. For Sunday Schools. v. Appeared in his Original Hymns, 1853. 65. Behold yon bright array. Opening a Place of Worship. 66. Behold the book whose leaves display. Holy Scriptures. 67. Come ye that fear the Lord. Confirmation. 68. Home, kindred, friends, and country, these. Farewell to a Missionary. 69. Let me go, the day is breaking. Jacob wrestling. 70. Not in Jerusalem alone. Consecration of a Church. 71. Praise the high and holy One. God the Creator. In common with most poets and hymnwriters, Montgomery strongly objected to any correction or rearrangement of his compositions. At the same time he did not hesitate to alter, rearrange, and amend the productions of others. The altered texts which appeared in Cotterill's Selections, 1819, and which in numerous instances are still retained in some of the best hymnbooks, as the "Rock of Ages," in its well-known form of three stanzas, and others of equal importance, were made principally by him for Cotterill's use. We have this confession under his own hand. As a poet, Montgomery stands well to the front; and as a writer of hymns he ranks in popularity with Wesley, Watts, Doddridge, Newton, and Cowper. His best hymns were written in his earlier years. In his old age he wrote much that was unworthy of his reputation. His finest lyrics are "Angels from the realms of glory," "Go to dark Gethsemane," "Hail to the Lord's Anointed," and "Songs of praise the angels sang." His "Prayer is the soul's sincere desire," is an expanded definition of prayer of great beauty; and his "Forever with the Lord" is full of lyric fire and deep feeling. The secrets of his power as a writer of hymns were manifold. His poetic genius was of a high order, higher than most who stand with him in the front rank of Christian poets. His ear for rhythm was exceedingly accurate and refined. His knowledge of Holy Scripture was most extensive. His religious views were broad and charitable. His devotional spirit was of the holiest type. With the faith of a strong man he united the beauty and simplicity of a child. Richly poetic without exuberance, dogmatic without uncharitableness, tender without sentimentality, elaborate without diffusiveness, richly musical without apparent effort, he has bequeathed to the Church of Christ wealth which could onlv have come from a true genius and a sanctified! heart. --John Julian, Dictionary of Hymnology (1907)

Martin Luther

1483 - 1546 Person Name: Luther Composer of "ERFURT" in Methodist Tune Book Luther, Martin, born at Eisleben, Nov. 10, 1483; entered the University of Erfurt, 1501 (B.A. 1502, M.A.. 1503); became an Augustinian monk, 1505; ordained priest, 1507; appointed Professor at the University of Wittenberg, 1508, and in 1512 D.D.; published his 95 Theses, 1517; and burnt the Papal Bull which had condemned them, 1520; attended the Diet of Worms, 1521; translated the Bible into German, 1521-34; and died at Eisleben, Feb. 18, 1546. The details of his life and of his work as a reformer are accessible to English readers in a great variety of forms. Luther had a huge influence on German hymnody. i. Hymn Books. 1. Ellich cristlich lider Lobgesang un Psalm. Wittenberg, 1524. [Hamburg Library.] This contains 8 German hymns, of which 4 are by Luther. 2. Eyn Enchiridion oder Handbuchlein. Erfurt, 1524 [Goslar Library], with 25 German hymns, of which 18 are by Luther. 3. Geystliche Gesangk Buchleyn. Wittenberg, 1524 [Munich Library], with 32 German hymns, of which 24 are by Luther. 4. Geistliche Lieder auffs new gebessert. Wittenberg. J. Klug, 1529. No copy of this book is now known, but there was one in 1788 in the possession of G. E. Waldau, pastor at Nürnberg, and from his description it is evident that the first part of the Rostock Gesang-Buch, 1531, is a reprint of it. The Rostock Gesang-Buch, 1531, was reprinted by C. M. Wiechmann-Kadow at Schwerin in 1858. The 1529 evidently contained 50 German hymns, of which 29 (including the Litany) were by Luther. 5. Geistliche Lieder auffs new gebessert. Erfurt. A. Rauscher, 1531 [Helmstädt, now Wolfenbüttel Library], a reprint of No. 4. 6. Geistliche Lieder. Wittenberg. J. Klug, 1535 [Munich Library. Titlepage lost], with 52 German hymns, of which 29 are by Luther. 7. Geistliche Lieder auffs new gebessert. Leipzig. V. Schumann, 1539 [Wernigerode Library], with 68 German hymns, of which 29 are by Luther. 8. Geistliche Lieder. Wittenberg. J. Klug, 1543 [Hamburg Library], with 61 German hymns, of which 35 are by Luther. 9. Geystliche Lieder. Leipzig. V. Babst, 1545 [Gottingen Library]. This contains Luther's finally revised text, but adds no new hymns by himself. In pt. i. are 61 German hymns, in pt. ii. 40, of which 35 in all are by Luther. For these books Luther wrote three prefaces, first published respectively in Nos. 3, 4, 9. A fourth is found in his Christliche Geseng, Lateinisch und Deudsch, zum Begrebnis, Wittenberg, J. Klug, 1542. These four prefaces are reprinted in Wackernagel’s Bibliographie, 1855, pp. 543-583, and in the various editions of Luther's Hymns. Among modern editions of Luther's Geistliche Lieder may be mentioned the following:— Carl von Winterfeld, 1840; Dr. C. E. P. Wackernagel, 1848; Q. C. H. Stip, 1854; Wilhelm Schircks, 1854; Dr. Danneil, 1883; Dr. Karl Gerok, 1883; Dr. A. F. W. Fischer, 1883; A. Frommel, 1883; Karl Goedeke, 1883, &c. In The Hymns of Martin Luther. Set to their original melodies. With an English version. New York, 1883, ed. by Dr. Leonard Woolsey Bacon and Nathan H. Allen, there are the four prefaces, and English versions of all Luther's hymns, principally taken more or less altered, from the versions by A. T. Russell, R. Massie and Miss Winkworth [repub. in London, 1884]. Complete translations of Luther's hymns have been published by Dr. John Anderson, 1846 (2nd ed. 1847), Dr. John Hunt, 1853, Richard Massie, 1854, and Dr. G. Macdonald in the Sunday Magazine, 1867, and his Exotics, 1876. The other versions are given in detail in the notes on the individual hymns. ii. Classified List of Luther's Hymns. Of Luther's hymns no classification can be quite perfect, e.g. No. 3 (see below) takes hardly anything from the Latin, and No. 18 hardly anything from the Psalm. No. 29 is partly based on earlier hymns (see p. 225, i.). No. 30 is partly based on St. Mark i. 9-11, and xvi., 15, 16 (see p. 226, ii.). No. 35 is partly based on St. Luke ii. 10-16. The following arrangement, however, will answer all practical purposes. A. Translations from the Latin. i. From Latin Hymns: 1. Christum wir sollen loben schon. A solis ortus cardine 2. Der du bist drei in Einigkeit. O Lux beata Trinitas. 3. Jesus Christus unser Heiland, Der von. Jesus Christus nostra salus 4. Komm Gott Schopfer, heiliger Geist. Veni Creator Spiritus, Mentes. 5. Nun komm der Beidenheiland. Veni Redemptor gentium 6. Was flirchst du Feind Herodes sehr. A solis ortus cardine ii. From Latin Antiphons, &c.: 7. Herr Gott dich loben wir. Te Deum laudamus. 8. Verleih uns Frieden gnädiglich. Dapacem, Domine 9. Wir glauben all an einen Gott. iii. Partly from the Latin, the translated stanzas being adopted from Pre-Reformation Versions: 10. Komm, heiliger Geist, Herre Gott. 11. Mitten wir im Leben sind. Media vita in morte sumus. B. Hymns revised and enlarged from Pre-Reformation popular hymns. 12. Gelobet seist du Jesus Christ. 13. Gott der Vater wohn uns bei. 14. Gott sei gelobet und gebenedeiet. 15. Nun bitten wir den heiligen Geist. C. Psalm versions. 16. Ach Gott vom Himmel, sieh darein. 17. Aus tiefer Noth schrei ich zu dir. 18. Ein' feste Burg ist unser Gott. 19. Es spricht der Unweisen Mund wohl. 20. Es wollt uns Gott genädig sein. 21. War Gott nicht mit uns diese Zeit. 22. Wohl dem, der in Gotten Furcht steht. D. Paraphrases of other portions of Holy Scripture. 23. Diess sind die heilgen zehn Gebot. 24. Jesaia dem Propheten das geschah. 25. Mensch willt du leben seliglich. 26. Mit Fried und Freud ich fahr dahin. 27. Sie ist mir lieb die werthe Magd. 28. Vater unser im Himmelreich. E. Hymns mainly Original. 29. Christ lag in Todesbanden. 30. Christ unser Herr zum Jordan kam. 31. Ein neues Lied wir heben an. 32. Erhalt uns Herr bei deinem Wort. 33. Jesus Christus unser Heiland, Der den, 34. Nun freut euch lieben Christengemein. 35. Vom Himmel hoch da komm ich her. 36. Vom Himmel kam der Engel Schaar. In addition to these — 37. Fur alien Freuden auf Erden. 38. Kyrie eleison. In the Blätter fur Hymnologie, 1883, Dr. Daniel arranges Luther's hymns according to what he thinks their adaptation to modern German common use as follows:— i. Hymns which ought to be included in every good Evangelical hymn-book: Nos. 7-18, 20, 22, 28, 29, 30, 32, 34, 35, 36, 38. ii. Hymns the reception of which into a hymn-book might be contested: Nos. 2, 3, 4, 19, 21, 22, 23, 24, 25, 33. iii. Hymns not suited for a hymn-book: Nos. 1, 5, 6, 27, 31, 37. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology (1907)

Lowell Mason

1792 - 1872 Arranger of "MENDON" in The Wesleyan Methodist Hymnal Dr. Lowell Mason (the degree was conferred by the University of New York) is justly called the father of American church music; and by his labors were founded the germinating principles of national musical intelligence and knowledge, which afforded a soil upon which all higher musical culture has been founded. To him we owe some of our best ideas in religious church music, elementary musical education, music in the schools, the popularization of classical chorus singing, and the art of teaching music upon the Inductive or Pestalozzian plan. More than that, we owe him no small share of the respect which the profession of music enjoys at the present time as contrasted with the contempt in which it was held a century or more ago. In fact, the entire art of music, as now understood and practiced in America, has derived advantage from the work of this great man. Lowell Mason was born in Medfield, Mass., January 8, 1792. From childhood he had manifested an intense love for music, and had devoted all his spare time and effort to improving himself according to such opportunities as were available to him. At the age of twenty he found himself filling a clerkship in a banking house in Savannah, Ga. Here he lost no opportunity of gratifying his passion for musical advancement, and was fortunate to meet for the first time a thoroughly qualified instructor, in the person of F. L. Abel. Applying his spare hours assiduously to the cultivation of the pursuit to which his passion inclined him, he soon acquired a proficiency that enabled him to enter the field of original composition, and his first work of this kind was embodied in the compilation of a collection of church music, which contained many of his own compositions. The manuscript was offered unavailingly to publishers in Philadelphia and in Boston. Fortunately for our musical advancement it finally secured the attention of the Boston Handel and Haydn Society, and by its committee was submitted to Dr. G. K. Jackson, the severest critic in Boston. Dr. Jackson approved most heartily of the work, and added a few of his own compositions to it. Thus enlarged, it was finally published in 1822 as The Handel and Haydn Society Collection of Church Music. Mason's name was omitted from the publication at his own request, which he thus explains, "I was then a bank officer in Savannah, and did not wish to be known as a musical man, as I had not the least thought of ever making music a profession." President Winchester, of the Handel and Haydn Society, sold the copyright for the young man. Mr. Mason went back to Savannah with probably $500 in his pocket as the preliminary result of his Boston visit. The book soon sprang into universal popularity, being at once adopted by the singing schools of New England, and through this means entering into the church choirs, to whom it opened up a higher field of harmonic beauty. Its career of success ran through some seventeen editions. On realizing this success, Mason determined to accept an invitation to come to Boston and enter upon a musical career. This was in 1826. He was made an honorary member of the Handel and Haydn Society, but declined to accept this, and entered the ranks as an active member. He had been invited to come to Boston by President Winchester and other musical friends and was guaranteed an income of $2,000 a year. He was also appointed, by the influence of these friends, director of music at the Hanover, Green, and Park Street churches, to alternate six months with each congregation. Finally he made a permanent arrangement with the Bowdoin Street Church, and gave up the guarantee, but again friendly influence stepped in and procured for him the position of teller at the American Bank. In 1827 Lowell Mason became president and conductor of the Handel and Haydn Society. It was the beginning of a career that was to win for him as has been already stated the title of "The Father of American Church Music." Although this may seem rather a bold claim it is not too much under the circumstances. Mr. Mason might have been in the average ranks of musicianship had he lived in Europe; in America he was well in advance of his surroundings. It was not too high praise (in spite of Mason's very simple style) when Dr. Jackson wrote of his song collection: "It is much the best book I have seen published in this country, and I do not hesitate to give it my most decided approbation," or that the great contrapuntist, Hauptmann, should say the harmonies of the tunes were dignified and churchlike and that the counterpoint was good, plain, singable and melodious. Charles C. Perkins gives a few of the reasons why Lowell Mason was the very man to lead American music as it then existed. He says, "First and foremost, he was not so very much superior to the members as to be unreasonably impatient at their shortcomings. Second, he was a born teacher, who, by hard work, had fitted himself to give instruction in singing. Third, he was one of themselves, a plain, self-made man, who could understand them and be understood of them." The personality of Dr. Mason was of great use to the art and appreciation of music in this country. He was of strong mind, dignified manners, sensitive, yet sweet and engaging. Prof. Horace Mann, one of the great educators of that day, said he would walk fifty miles to see and hear Mr. Mason teach if he could not otherwise have that advantage. Dr. Mason visited a number of the music schools in Europe, studied their methods, and incorporated the best things in his own work. He founded the Boston Academy of Music. The aim of this institution was to reach the masses and introduce music into the public schools. Dr. Mason resided in Boston from 1826 to 1851, when he removed to New York. Not only Boston benefited directly by this enthusiastic teacher's instruction, but he was constantly traveling to other societies in distant cities and helping their work. He had a notable class at North Reading, Mass., and he went in his later years as far as Rochester, where he trained a chorus of five hundred voices, many of them teachers, and some of them coming long distances to study under him. Before 1810 he had developed his idea of "Teachers' Conventions," and, as in these he had representatives from different states, he made musical missionaries for almost the entire country. He left behind him no less than fifty volumes of musical collections, instruction books, and manuals. As a composer of solid, enduring church music. Dr. Mason was one of the most successful this country has introduced. He was a deeply pious man, and was a communicant of the Presbyterian Church. Dr. Mason in 1817 married Miss Abigail Gregory, of Leesborough, Mass. The family consisted of four sons, Daniel Gregory, Lowell, William and Henry. The two former founded the publishing house of Mason Bros., dissolved by the death of the former in 19G9. Lowell and Henry were the founders of the great organ manufacturer of Mason & Hamlin. Dr. William Mason was one of the most eminent musicians that America has yet produced. Dr. Lowell Mason died at "Silverspring," a beautiful residence on the side of Orange Mountain, New Jersey, August 11, 1872, bequeathing his great musical library, much of which had been collected abroad, to Yale College. --Hall, J. H. (c1914). Biographies of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company.

John Warrington Hatton

1710 - 1793 Person Name: John Hatton, d 1798 Composer of "DUKE STREET" in The A.M.E. Zion Hymnal 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

George Frideric Handel

1685 - 1759 Person Name: George F. Handel Composer of "SAMSON" in The Seventh-Day Adventist Hymn and Tune Book George Frideric Handel (b. Halle, Germany, 1685; d. London, England, 1759) became a musician and composer despite objections from his father, who wanted him to become a lawyer. Handel studied music with Zachau, organist at the Halle Cathedral, and became an accomplished violinist and keyboard performer. He traveled and studied in Italy for some time and then settled permanently in England in 1713. Although he wrote a large number of instrumental works, he is known mainly for his Italian operas, oratorios (including Messiah, 1741), various anthems for church and royal festivities, and organ concertos, which he interpolated into his oratorio performances. He composed only three hymn tunes, one of which (GOPSAL) still appears in some modern hymnals. A number of hymnal editors, including Lowell Mason, took themes from some of Handel's oratorios and turned them into hymn tunes; ANTIOCH is one example, long associated with “Joy to the World.” Bert Polman

L. O. Emerson

1820 - 1915 Composer of "SESSIONS" in The Harp of Glory 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

William Knapp

1698 - 1768 Person Name: W. Knapp Composer of "WAREHAM" in Hymns and Psalms Born: 1698, Wareham, Dorsetshire, England. Died: September 26, 1768, Poole, Dorsetshire, England. Buried: Poole, Dorsetshire, England.

Bartholomäus Crasselius

1667 - 1724 Person Name: Crasselius Composer of "WINCHESTER (New)" in Church Hymnal Crasselius, Bartholomäus, son of Johannes Crasselt, sheepmaster at Wemsdorf near Glauchau, Saxony; was born at Wernsdorf, Feb. 21, 1667. After studying at Halle, under A. H. Francke, he became, in 1701, pastor at Nidda, in Wetteravia, Hesse. In 1708 he was appointed Lutheran pastor at Düsseldorf, where he died Nov. 30, 1724, after a somewhat troubled pastorate, during which he felt called upon to testify strongly and somewhat bitterly against the shortcomings of the place and of the times (Koch, iv. 418-421; Allg. Deutsche Biographie, iv. 566-67; Bode, p. 55; manuscript from Pastor Baltzer, Wernsdorf; the second dating his call to Dusseldorf 1706). Of the 9 hymns by him which Freylinghausen included in his Geistreiches Gesang-Buch, 1704, two have been translated:— i. Dir, dir, Jehovah, will ich singen. Prayer. A hymn of supplication for the spirit of grace rightly to praise and worship God, founded on St. John, xvi. 23-28, the Gospel for Rogation Sunday. First published in the Geistreiches Gesang-Buch &., Halle, 1697, p. 587, in 8 stanzas of 6 lines. Repeated as No. 291 in Freylinghausen's Gesang-Buch, 1704, and since in almost all collections, as in the Berlin Geistliche Liedersegen. ed. 1863, No. 936. The well-known tune (known in England as Winchester New as reduced to L. M. in Hymns Ancient & Modern, No. 50) which appeared with this hymn in Freylinghausen, 1704, is altered from a melody to “Wer nur den lieben Gott lasst walten," in the Musicalisch Handbuch der Geistlichen Melodien, Hamburg, 1690. See L. Erk's Choralbuch, 1863, No. 63, and p. 247; also No. 261. The common, but erroneous ascription of this tune to Crasselius arose from confusion between the authorship of the tune and the words. There is no evidence that Crasselius wrote any tunes. Translations in common use:— 1. Jehovah, let me now adore Thee, a good and full translation by Miss Winkworth, as No. 117, in her Chorale Buch for England, 1863, set to the 1704 melody. 2. To Thee, 0 Lord, will I sing praises, in full, by Dr. M. Loy, in the Evangelical Review, Gettysburg, July 1861, and as No. 216 in the Ohio Lutheran Hymnal, 1880. Other translations are:— (i) "To Thee, Jehovah, I'll be singing," in the Supplement to German Psalmody, ed. 1765, p. 41, and in Select Hymns from German Psaltery, Tranquebar, 1754, p. 72. (2) "Draw me, O Father, to the Son," a translation of stanza ii., by P. H. Molther, as No. 185 in the Moravian Hymn Book, 1789. In the ed. of 1886 it is enlarged to 3 stanzas by the addition of the translation of stanzas i. and viii., and in this form it begins:—“To Thee, Jehovah, will I sing." (3) "To Thee, O Lord, I come with singing," by Miss Burlingham, in the British Herald, April, 1866, p. 248, repeated as No. 402 in Reid's Praise Book, 1872. ii. Erwach, 0 Mensch, erwache. Lent. Appeared in Freylinghausen's Gesang-Buch, 1704, No. 266, in 4 stanzas of 9 lines. Included in Bunsen's Versuch, 1833, No. 298, and Allgemeine Gesang-Buch 1846, No. 13. Translated as "Awake, O man, and from thee shake," by Miss Winkworth, 1855, p. 61. The hymn, "Heiligster Jesu, Heiligungsquelle," ascribed to Crasselius, is noted under J. v. Lodenstein. See also "Hallelujah! Lob, Preis und Ehr." [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology (1907)

William Henry Gladstone

1840 - 1891 Person Name: William Henry Gladstone, 1840-1891 Composer of "OMBERSLEY" in The Irish Presbyterian Hymnbook Born: June 3, 1840, Hawarden, Flintshire, Wales. Died: July 4, 1892, Westminster, London, England. Eldest son of British prime minister William Gladstone, William attended Eton College and read Greek and Latin at Christ Church College, Oxford University. A Member of Parliament for a total of 20 years, representing Chester for 3; Whitby, Yorkshire for 12; and East Worcestershire for 5. A singer and organist, he was well versed in musical history, especially the development of Anglican church music. He wrote on musical topics, and one of the views he expressed was that choral church services were to be deplored because "the choirs often discourage the congregations from singing." He wrote the anthems "Gracious and Righteous" and "Withdraw Not Thou", & chants, anthems, introits & organ voluntaries. His works include: A Selection of Hymns and Tunes, 1882 --www.hymntime.com/tch/

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