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J. Hart

1712 - 1768 Person Name: Rev. Joseph Hart Hymnal Number: 120 Author of "Come, Ye Sinners" in Hymns for Worship Hart, Joseph, was born in London in 1712. His early life is involved in obscurity. His education was fairly good; and from the testimony of his brother-in-law, and successor in the ministry in Jewin Street, the Rev. John Hughes, "his civil calling was" for some time "that of a teacher of the learned languages." His early life, according to his own Experience which he prefaced to his Hymns, was a curious mixture of loose conduct, serious conviction of sin, and endeavours after amendment of life, and not until Whitsuntide, 1757, did he realize a permanent change, which was brought about mainly through his attending divine service at the Moravian Chapel, in Fetter Lane, London, and hearing a sermon on Rev. iii. 10. During the next two years many of his most earnest and impassioned hymns were written. These appeared as:— Hymns composed on Various Subjects, with the Author's Experience, London, 1759. During this year he became the Minister of the Independent Chapel, Jewin Street, London. In 1762 he added a Supplement to his Hymns; and in 1765 an Appendix. In modern editions of his Hymns these three are embodied in one volume as:— Hymns composed on Various Subjects: With the Author's Experience, The Supplement and Appendix. By the Rev. Joseph Hart, late Minister of the Gospel in Jewin Street, London. Allott & Co. [no date]. Hart died on May 24, 1768. At one time his hymns were widely used, especially by Calvinistic Nonconformists. Many of them are of merit, and are marked by great earnestness, and passionate love of the Redeemer. The best known are: “Come, Holy Spirit, come"; “Come, ye sinners, poor and wretched"; "This God is the God we adore"; and "Lord, look on all assembled here." Those which are more limited in their use include:— i. From his Hymns, &c, 1759. 1. Descend from heaven, celestial Dove. Whitsuntide. No. 6, in 6 stanzas of 6 lines. In Snepp's Songs of Grace & Glory., 1872, No. 374, st. iv., v. are omitted. It is in extensive use in America. 2. Great High Priest, we view Thee stooping. High Priesthood of Christ. No. 56, pt. ii., in 3 stanzas of 8 lines. In Snepp's Songs of Grace & Glory, 1872, No. 236; Hatfield's Church Hymn Book, N. Y., 1872, No. 435, &c. 8. How wondrous are the works of God. Redeeming Love. No. 21, in 9 stanzas of 4 lines. In the Scottish Evangelical Union Hymnal, 1878, st. i.-iv. are given as No. 11. 4. If ever it could come to pass. Final Perseverance. No. 58, in 3 stanzas of 6 lines. Repeated in Snepp's Songs of Grace & Glory, 1872, No. 729. 6. Jesus is our God and Saviour . Faith and Repentance. No. 54, in 7 stanzas of 8 lines. In Snepp's Songs of Grace & Glory, 1872, No. 146, st. iv. is omitted. In the London Hymn Book (enlarged), 1879, st. iii. and v. are given as "Nothing but Thy blood, 0 Jesus." 6. Jesus, while He dwelt below. Gethsemane. No. 75, in 23 stanzas of 6 lines. In Snepp's Songs of Grace & Glory, 1872, No. 230, sixteen stanzas are broken up into three parts: (i.) "Jesus, while He dwelt below"; (ii.) "Full of love to man's lost race"; (iii.) "There my God bore all my guilt." A cento is also given in Hatfield's Church Hymn Book, N. Y., 1872, No. 441, as "Many woes had Christ [He] endured." It is composed of st. viii., ix., xiii., xx., xxiii., slightly altered. In the Scottish Evangelical Union Hymnal, 1878, No. 34, 8 stanzas are given in two parts: pt. i. as, "Jesus, while He dwelt below"; pt. ii. "Eden from each flowery bed." 7. Lamb of God, we fall before Thee. Christ All in All. No. 17 in 4 stanzas of 8 lines. It is in various collections, and as altered in Kennedy , 1863, No. 1171, is much improved. 8. Let us all with grateful praises. Christmas. No. 14 in 7 stanzas of 8 lines. In Spurgeon's 0ur Own Hymn Book, 1866, it is reduced to 4 stanzas of 4 lines. 9. Lord, look on all assembled here. For a Public Fast. No. 96, in 8 stanzas of 4 lines. It is in several of the older hymnbooks. 10. Lord, we lie before Thy feet. Lent. No. 74, in 6 stanzas of 6 lines, and based on 2 Chron. xx. 20. In Spurgeon's 0ur Own Hymn Book, 1866, stanza i., iii., vi. are given as No. 585. 11. Mercy is welcome news indeed. God's Mercy in pardoning Sin. No. 51, in 6 stanzas of 4 lines, on St. Luke vii. 42. In Spurgeon, 1866, No. 544. 12. Much we talk of Jesu's blood. Passiontide. No. 41, in 4 st. of 8 lines, on Lam. i. 12. In Spurgeon, 1866, it is abridged to 4 stanzas of 4 lines. 13. Bow from the garden to the cross. Good Friday. No. 63, in 9 stanzas of 4 lines, and entitled, "The Crucifixion." In Spurgeon, 1866, No. 274, st. ii.-v., vi.-ix. are given as "See how the patient Jesus stands." 14. The Fountain of Christ Assist me to sing. The Fountain. No. 86, in 8 stanzas of 8 lines on Zech. xiii. 1. In Spurgeon, 1866, st. i., v., vii., viii., are given as No. 375. 15. The moon and stars shall lose their light. Advent. No. 48, in 4 stanzas of 4 lines, on St. Matt. xxiv. 35. In Spurgeon, 1866. 16. The sinner that truly believes. Saving Faith. No. 88, in 5 stanzas of 4 lines, and entitled, "Saving Faith" In Spurgeon, 1866, No. 533, st. ii. is omitted, and the opening line is altered to "The moment a sinner believes." ii. From his Supplement, 1762. 17. Behold what awful pomp. Advent. No. 52, in 8 stanzas of 4 lines. It is usually abridged as in the American Methodist Episcopal Hymns, 1849, No. 1107. 18. Christ is the Eternal Rock. The Offices of Christ. No. 27, in 6 stanzas of 8 lines. In Windle's Metrical Psalter & Hymnal, 1862, stanzas i., ii., v. are given as No. 53. 19. Christians, dismiss your fear. Easter. No. 33, in 4 stanzas of 8 lines into Dr. Alexander's Augustine Hymn Book, 1849, No. 79, in 7 stanzas of 4 lines. 20. Dismiss us with Thy blessing, Lord. Close of Service. No. 78, in 2 stanzas of 4 lines. In a few collections. 21. Gird thy loins up, Christian soldier. The Christian Armour . No. 29, in 5 stanzas of 8 lines, on Eph. vi. 11. Found in several of the older, and a few of the modern collections. 22. Glory to God on high, Our peace, &c. Holy Communion. No. 3, in 6 stanzas of 4 lines. In Hatfield's Church Hymn Book, 1872, No. 704, st. v., vi. are omitted. 23. Holy Ghost, inspire our praises. On behalf of Ministers. No. 77, in 5 stanzas of 8 lines. In the Scottish Evangelical Union Hymnal, 1878, No. 412, st. iii.-v. are given as, "Happy soul that hears and follows." 24. Jesus once for sinners slain. Holy Communion. No. 18, in 6 stanzas of 4 lines. In American use. 25. Lord, help us on Thy word to feed. Close of Service. No. 80, in 2 stanzas of 4 lines. In several modern hymnbooks. 26. O for a glance of heavenly day. Lent. No. 64, in 5 stanzas of 4 lines. In Hatfield's Church Hymn Book, 1872, and other American collections it is usually repeated in full. In Bickersteth's Christian Psalmody, 1833, it was given as, "Lord, shed a beam of heavenly day," and this is repeated in modern hymnbooks. 27. Once more before we part. Close of Service. No. 79, in 2 stanzas of 4 lines. Popular in Great Britain and America. 28. Once more we come before our God. Before a Sermon. No. 21, in 6 stanzas of 4 lines, into Hatfield, 1872, No. 111, and others. 29. Sons of God by bless'd adoption. Burial. No. 45, in 3 stanzas of 8 lines, into Snepp's Songs of Grace & Glory, 1872, No. 981, as "Sons of God by blest adoption." 30. Suffering Saviour, Lamb of God . Holy Communion. No. 14, in 8 stanzas of 4 lines. In W. F. Stevenson's Hymns for Church & Home, 1873, st. iii., vii. are omitted. 31. That doleful night before His death. Holy Communion. No. 17, in 2 stanzas of 8 lines. In the Scottish Evangelical Union Hymnal, 1878, st. i. 11. 4-8, and st. ii., are given as, "To keep Thy Feast, Lord, we are met." iii. From his Appendix, 1765. 32. Christians, in your several stations. Christian Duty. No. 7, in 5 stanzas of 6 lines. It is slightly altered in Snepp's Songs of Grace & Glory, 1872, No. 742, and dated 1759 in error. 33. Prayer was [is] appointed to convey. Prayer. No. 12 in 6 stanzas of 4 lines into Snepp's Songs of Grace & Glory, 1872, No. 542, with alterations and the omission of st. ii., v. In some American collections it begins, "Prayer is to God, the soul's sure way." --John Julian, Dictionary of Hymnology (1907) ======================= Hart, Joseph, p. 492, ii. Other hymns in common use are— 1. The blest memorials of Thy grief (1762). Holy Communion. 2. To comprehend the great Three-One (1759). Holy Trinity. 3. Vain man, thy fond pursuits forbear (1759). Death. 4. When the blest day of Pentecost (1759). Whitsuntide. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

John Ellerton

1826 - 1893 Person Name: Rev. John Ellerton Hymnal Number: 121 Author of "Saviour, Again to Thy Dear Name We Raise" in Hymns for Worship John Ellerton (b. London, England, 1826; d. Torquay, Devonshire, England, 1893) Educated at King William's College on the Isle of Man and at Trinity College, Cambridge, England, he was ordained in the Church of England in 1851. He served six parishes, spending the longest time in Crewe Green (1860-1872), a church of steelworkers and farmers. Ellerton wrote and translated about eighty hymns, many of which are still sung today. He helped to compile Church Hymns and wrote its handbook, Notes and Illustrations to Church Hymns (1882). Some of his other hymn texts were published in The London Mission Hymn Book (1884). Bert Polman ========================= Ellerton, John, M.A., son of George Ellerton, was born in London, Dec. 16, 1826, and educated at Trinity College, Cambridge (B.A. 1849; M.A. 1854). Taking Holy Orders he was successively Curate of Easebourne, Sussex, 1850; Brighton, and Lecturer of St. Peter's, Brighton, 1852; Vicar of Crewe Green, and Chaplain to Lord Crewe, 1860; Rector of Hinstock, 1872; of Barnes, 1876; and of White Roding, 1886. Mr. Ellerton's prose writings include The Holiest Manhood, 1882; Our Infirmities, 1883, &c. It is, however, as a hymnologist, editor, hymnwriter, and translator, that he is most widely known. As editor he published: Hymns for Schools and Bible Classes, Brighton, 1859. He was also co-editor with Bishop How and others of the Society for Promoting Christian Knowledge Church Hymns, 1871. His Notes and Illustrations of Church Hymns, their authors and translators, were published in the folio edition of 1881. The notes on the hymns which are special to the collection, and many of which were contributed thereto, are full, accurate, and of special value. Those on the older hymns are too general for accuracy. They are written in a popular form, which necessarily precludes extended research, fulness, and exactness of detail. The result is acceptable to the general public, but disappointing to the hymnological expert. Mr. Ellerton's original hymns number about fifty, and his translations from the Latin ten or more. Nearly every one of these are in common use and include:— 1. Before the day draws near its ending. Afternoon. Written April 22, 1880, for a Festival of Choirs at Nantwich, and first published in the Nantwich Festival Book, 1880. In 1883 it passed into the Westminster Abbey Hymn Book. 2. Behold us, Lord, a little space. General for Weekdays. Written in 1870 for a mid-day service in a City Church, and published in Church Hymns in 1871. It has passed into several collections. 3. Come forth, 0 Christian brothers. Processional for Choral Festival. Written for a Festival of Parochial Choirs held at Chester, May, 1870, and 1st printed in the Service-book of the same. In 1871 it passed into Church Hymns. 4. Father, Name of love and fear. Confirmation. Written in 1871 for a Confirmation in the North of England, and published in Church Hymns, 1871, and other collections. 5. God, Creator and Preserver. In Time of Scarcity. Written for and first published in The Hymnary, 1870; and again in the revised edition, 1872, and other hymnbooks. 6. Hail to the Lord Who comes. Presentation of Christ in the Temple. Written Oct. 6, 1880, for Mrs. Brock's Children's Hymn Book, and published therein, 1881. 7. In the Name which earth and heaven. Foundation of a Church. Written for and first published in Church Hymns, 1871, and repeated in several collections. The hymn sung at the re-opening of the Nave of Chester Cathedral, January 25, 1872, was compiled by Mr. Ellerton from this hymn, and his "Lift the strain of high thanksgiving.” 8 King Messiah, long expected. The Circumcision. Written Jan. 14, 1871, and first published in Church Hymns, 1871. It has passed into other collections. 9. King of Saints, to Whom the number. St. Bartholomew. Written for and first published in Church Hymns., 1871. It is very popular, and has been repeated in many hymnals. 10. Mary at the Master's feet. Catechizing. Written for and first published in Church Hymns, 1871. 11. O Father, all-creating. Holy Matrimony. Written Jan. 29, 1876, at the request of the Duke of Westminster, for the marriage of his daughter to the Marquess of Ormonde. It was published in Thring's Collection, 1880 and 1882. 12 O! how fair the morning broke. Septuagesima. Written March 13, 1880, for Mrs. Brock's Children's Hymn Book, and included therein, 1881. 13. O Lord of life and death, welcome. In Time of Pestilence. Written for and first published in Church Hymns, 1871. 14. O shining city of our God. Concerning the Hereafter. First published in the Rev. R. Brown-Borthwick's Sixteen Hymns with Tunes, &c, 1870; and again in Church Hymns, 1871. 15. O Son of God, our Captain of Salvation. St. Barnabas. Written April 5, 1871, and first published in Church Hymns, 1871; and again in Hymns Ancient & Modern, 1875, Thring's Collection, 1882, and others. 16. O Thou in Whom Thy saints repose. Consecration of a Burial Ground. Written for the consecration of an addition to the Parish Churchyard of Tarporley, Cheshire, 1870, and published in Church Hymns, 1871. 17. O Thou Whose bounty fills the earth. Flower Services. Written for a Flower Service at St. Luke's Church, Chelsea, June 6, 1880, and published in Mrs. Brock's Children's Hymn Book, 1881. 18. Praise to our God, Whose bounteous hand. National Thanksgiving. Written in 1870 for Church Hymns, but first published in the Rev. R. Brown-Borthwick's Select Hymns, &c., 1871, and then in Church Hymns later the same year. 19. The day Thou gavest, Lord, is ended. The darkness, &c. Evening. Written in 1870 for A Liturgy for Missionary Meetings (Frome, Hodges), and revised for Church Hymns, 1871. The revised form has passed into other collections. 20. The Lord be with us when we bend. Close of Afternoon Service. Written [in 1870] at the request of a friend for use at the close of Service on Sunday afternoons when (as in summer) strictly Evening hymns would be unsuitable. It was published in Church Hymns, 1871, Thring's Collection, 1882, and others. 21. This day the Lord's disciples met. Whitsuntide. "Originally written in 1855 for a class of children, as a hymn of 8 verses of 5 lines each, beginning, 'The Fiftieth day was come at last.’ It was abridged, revised, and compressed into C.M. for Mrs. Brock's Children's Hymn Book, 1880," and published therein, 1881. 22. Thou in Whose Name the two or three. Wednesday. Appeared in the Parish Magazine, May, 1871, as a hymn for Wednesday. After revision it was included in Church Hymns, 1871, and repeated in other collections. 23. Thou Who sentest Thine Apostles. SS. Simon and Jude. Written in June, 1874, for the revised edition of Hymns Ancient & Modern, and published in the same in 1875. 24. We sing the glorious conquest. Conversion of St. Paul. Written Feb. 28, 1871, for and published later the same year in Church Hymns. It was repeated in Hymns Ancient & Modern, 1875. 25. When the day of toil is done. Eternal Best. Written in Jan., 1870, and first published in the Rev. R. Brown-Borthwick's Sixteen Hymns with Tunes, &c. 1870, Church Hymns, 1871, and subsequently in several Scottish hymn-books. The tune "Preston," in Church Hymns was written for this hymn. To these hymns must be added those which are annotated under their respective first lines, and the translations from the Latin. The grandest of his original compositions is, "Throned upon the awful tree," and the most beautiful and tender, "Saviour, again to Thy dear Name we raise"; and of his translations, "Sing Alleluia forth in duteous praise," and "Welcome, happy morning, age to age shall say," are the most successful and popular. The subjects of Mr. Ellerton's hymns, and the circumstances under which they were written, had much to do with the concentration of thought and terseness of expression by which they are characterized. The words which he uses are usually short and simple; the thought is clear and well stated; the rhythm is good and stately. Ordinary facts in sacred history and in daily life are lifted above the commonplace rhymes with which they are usually associated, thereby rendering the hymns bearable to the cultured, and instructive to the devout. His antitheses are frequent and terse, almost too much so for devotional verse, and are in danger of interrupting the tranquil flow of devotion. His sympathy with nature, especially in her sadder moods, is great; he loves the fading light and the peace of eve, and lingers in the shadows. Unlike many writers who set forth their illustrations in detail, and then tie to them the moral which they are to teach, he weaves his moral into his metaphor, and pleases the imagination and refreshes the spirit together. Now and again he falls into the weakness of ringing changes on words; but taken as a whole his verse is elevated in tone, devotional in spirit, and elegant in diction. -- John Julian, Dictionary of Hymnology (1907) ===================== Ellerton, John, p. 326, i. Other hymns are:— 1. O Father, bless the children. Holy Baptism. Written in 1886, and published in his Hymns, &c, 1888, in 4 stanzas of 8 lines. Also in the 1889 Suppl. Hymns to Hymns Ancient & Modern. 2. O Thou Who givest food to all. Temperance. Written Aug. 30, 1882, and printed in the Church of England Temperance Chronicle, Sept. 1882. Also in his Hymns, &c, 1888. 3. Praise our God for all the wonders. St. Nicholas's Day. Dated in his Hymns, 1888, "December 1882." It was written for the Dedication Festival of St. Nicholas's Church, Brighton, and first printed as a leaflet in 1882. 4. Praise our God, Whose open hand. Bad Harvest. Written as a hymn for the bad harvest of 1881, and printed in the Guardian in August of that year. Also in his Hymns, &c, 1888. 5. Praise to the Heavenly Wisdom. St. Matthias's Day. Dated in his Hymns, &c, 1888, "January, 1888." Also in the 1889 Suppl. Hymns to Hymns Ancient & Modern. 6. Shine Thou upon us, Lord. For a Teachers' Meeting. Contributed to the 1889 Suppl. Hymns to Hymns Ancient & Modern. 7. Thou Who wearied by the well. Temperance. Written for the Opening of a Workmen's Coffee Tavern, and dated in his Hymns, &c, 1888, "September 23, 1882." It was printed in the Church of England Temperance Chronicle the same year. 8. Throned upon the awful Tree. Good Friday. Written in 1875, and published in the 1875 ed. of Hymns Ancient & Modern. It has passed into many collections, and is one of the finest of Mr. Ellerton's productions. Mr. Ellerton's original and translated hymns to the number of 76 were collected, and published by Skeffington & Son in 1888, as Hymns, Original and Translated. By John Ellerton, Rector of White Roding. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) =================== Ellerton, J., pp. 326, ii.; 1561, ii. He was appointed Hon. Canon of St. Albans in 1892. and died June 15, 1893. His Life and Works, by H. Housman, was published in 1896. --John Julian, Dictionary of Hymnology, New Supplement (1907)

Lewis Hartsough

1828 - 1919 Person Name: L. H. Hymnal Number: 126 Author of "I Hear Thy Welcome Voice" in Hymns for Worship Hartsough, Lewis, was born at Ithaca, New York, Aug. 31, 1823. Of his hymns the following are in common use:—- 1. I hear Thy welcome voice. The Divine Invitation. 2. In the rifted Rock I'm resting. Safety in Jesus. 3. Lead me to the Rock that's higher. Safety in Jesus. 4. O who'll stand up for Jesus? All for Jesus Nos. 1-3 are in I. D. Sankey's Sacred Songs & Solos, 1878 (1 and 3 with music by Hartsough). --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) ================= Hartsough, Lewis, p. 1569, ii. Mr. Hartsough entered the ministry of the Methodist Episcopal Church in 1851, and is now (1905) residing in Mount Vernon, Indiana. He was musical editor of J. Hillman's Revivalist, Troy, 1868, and co-editor of The Sacred Harmonist, Boston, 1864, and Beulah Songs, Phila., 1879. In addition to the hymns named on p. 1569, ii., "Let me go where saints are going" [Heav'n desired] (1861) has come into common use. It appeared in W. B. Bradbury's Clarion, 1867, p. 83. Concerning his hymn, "I hear Thy welcome voice," Mr. Sankey says in his My Life and Sacred Songs, 1906, p. 11(3:— The words and music of this beautiful hymn were first published in a monthly, entitled, Guide to Holiness, a copy of which was sent to me in England. I immediately adopted it, and had it published in Sacred Songs and Solos. It proved to be one of the most helpful of the revival hymns, and was often used as an invitation hymn in England and America." [Rev. L. F. Benson, D.D.] --John Julian, Dictionary of Hymnology, New Supplement (1907) ================ Hartsough, Lewis. (August 31, 1823--January 1, 1919). Details of his early life are lacking. After being admitted to the Oneida, New York, Conference of the Methodist Episcopal Church in 1851 and serving several pastorates in that state, his health failed and he went to Utah where he was influential in establishing the Utah Mission, later becoming its superintendent. Upon relinquishing that position he moved to Mt. Vernon, Iowa, where he spent the remainder of his life. Bird's statement that he lived in Indiana is erroneous. He was minister of the South Street Methodist Episcopal Church, Utica, New York, when he first became associated with Joseph Hillman, who chose him to act as musical editor of The Revivalist, a gospel hymn book which went through eleven editions in five years, 1868-1872. This book had a remarkable sale and was doubtless used in more churches during the 1870s than any other of similar character. To it the Reverend Hartsough contributed, in one edition, twelve texts, fourteen tunes, and thirty arrangements of tunes, several of the latter being of the religio-folk variety which had been so popular in the early camp meetings. It is a valuable source work. "I love to think of the heavenly land" (p.1573) is by Hartsough. "I hear thy welcome voice (p.1569), originally in six four-line stanzas, with Refrain, in full S/1931; with the first three stanzas, slightly emended, Brethren/1951; with stanzas 1, 2, 3, and 5, also emended, in Hymns of the Living Faith, 1951. Writeen in 1872 with musical settings by the author, it is the only one of his many songs which has continued in use. Source: Metcalf, Frank J. American Writers and Compilers of Sacred Music; several editions of The Revivalist. --Robert G. McCutchan, DNAH Archives

Jeremiah Eames Rankin

1828 - 1904 Person Name: Rev. J. E. Rankin Hymnal Number: 128 Author of "God be With You" in Hymns for Worship Pseudonym: R. E. Jeremy. Rankin, Jeremiah Eames, D.D., was born at Thornton, New Haven, Jan. 2, 1828, and educated at Middleburg College, Vermont, and at Andover. For two years he resided at Potsdam, U.S. Subsequently he held pastoral charges as a Congregational Minister at New York, St. Albans, Charlestown, Washington ( District of Columbia), &c. In 1878 he edited the Gospel Temperance Hymnal, and later the Gospel Bells. His hymns appeared in these collections, and in D. E. Jones's Songs of the New Life, 1869. His best known hymn is "Labouring and heavy laden" (Seeking Christ). This was "written [in 1855] for a sister who was an inquirer," was first printed in the Boston Recorder, and then included in Nason's Congregational Hymn Book, 1857. Another of his hymns is "Rest, rest, rest, brother rest." He died in 1904. [Rev. F. M. Bird, M.A.] --John Julian, Dictionary of Hymnology (1907) ======================== Rankin, J. 33., p. 951, ii. Dr. Rankin, b. in N. H. (not New Haven), and received his D.D. 1869, LL.D. 1889 from his Alma Mater. He was President for several years of Howard University, Washington, D.C. His publications included several volumes of Sermons, German-English Lyrics, Sacred and Secular, 1897; 2nd ed. 1898, &c. In addition to his hymns noted on p. 951, ii., he has written and published mainly in sheet form many others, the most important and best-known being:— 1. God be with you till we meet again. [Benediction.] Dr. Rankin's account of this hymn, supplied to us, in common with Mr. Brownlie, for his Hymns and H. Writers of The Church Hymnary, 1899, is: "It was written as a Christian good-bye, and first sung in the First Congregational Church, of which I was minister for fifteen years. We had Gospel meetings on Sunday nights, and our music was intentionally of the popular kind. I wrote the first stanza, and sent it to two gentlemen for music. The music which seemed to me to best suit the words was written by T. G. Tomer, teacher of public schools in New Jersey, at one time on the staff of General 0. 0. Howard. After receiving the music (which was revised by Dr. J. W. Bischoff, the organist of my church), I wrote the other stanzas." The hymn became at once popular, and has been translated into several languages. In America it is in numerous collections; and in Great Britain, in The Church Hymnary, 1898, Horder's Worship Song, 1905, The Methodist Hymn Book, 1904, and others. It was left undated by Dr. Rankin, but I.D. Sankey gives it as 1882. 2. Beautiful the little hands. [Little ones for Jesus.] Given without date in Gloria Deo, New York, 1900. Dr. Rankin's translations include versions of German, French, Latin, and Welsh hymns. His contributions to the periodical press have been numerous. --John Julian, Dictionary of Hymnology, New Supplement (1907)

William Henry Monk

1823 - 1889 Person Name: William H. Monk Hymnal Number: 15 Composer of "EVENTIDE" in Hymns for Worship William H. Monk (b. Brompton, London, England, 1823; d. London, 1889) is best known for his music editing of Hymns Ancient and Modern (1861, 1868; 1875, and 1889 editions). He also adapted music from plainsong and added accompaniments for Introits for Use Throughout the Year, a book issued with that famous hymnal. Beginning in his teenage years, Monk held a number of musical positions. He became choirmaster at King's College in London in 1847 and was organist and choirmaster at St. Matthias, Stoke Newington, from 1852 to 1889, where he was influenced by the Oxford Movement. At St. Matthias, Monk also began daily choral services with the choir leading the congregation in music chosen according to the church year, including psalms chanted to plainsong. He composed over fifty hymn tunes and edited The Scottish Hymnal (1872 edition) and Wordsworth's Hymns for the Holy Year (1862) as well as the periodical Parish Choir (1840-1851). Bert Polman

John Bacchus Dykes

1823 - 1876 Person Name: Rev. John B. Dykes Hymnal Number: 1 Composer of "NICAEA" in Hymns for Worship As a young child John Bacchus Dykes (b. Kingston-upon-Hull' England, 1823; d. Ticehurst, Sussex, England, 1876) took violin and piano lessons. At the age of ten he became the organist of St. John's in Hull, where his grandfather was vicar. After receiving a classics degree from St. Catherine College, Cambridge, England, he was ordained in the Church of England in 1847. In 1849 he became the precentor and choir director at Durham Cathedral, where he introduced reforms in the choir by insisting on consistent attendance, increasing rehearsals, and initiating music festivals. He served the parish of St. Oswald in Durham from 1862 until the year of his death. To the chagrin of his bishop, Dykes favored the high church practices associated with the Oxford Movement (choir robes, incense, and the like). A number of his three hundred hymn tunes are still respected as durable examples of Victorian hymnody. Most of his tunes were first published in Chope's Congregational Hymn and Tune Book (1857) and in early editions of the famous British hymnal, Hymns Ancient and Modern. Bert Polman

Lowell Mason

1792 - 1872 Hymnal Number: 3 Composer of "LABAN" in Hymns for Worship 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.

George Frideric Handel

1685 - 1759 Person Name: George F. Handel Hymnal Number: 4 Composer of "ANTIOCH" in Hymns for Worship 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

Joseph Barnby

1838 - 1896 Person Name: Sir Joseph Barnby Hymnal Number: 5 Composer of "LAUDES DOMINI" in Hymns for Worship Joseph Barnby (b. York, England, 1838; d. London, England, 1896) An accomplished and popular choral director in England, Barby showed his musical genius early: he was an organist and choirmaster at the age of twelve. He became organist at St. Andrews, Wells Street, London, where he developed an outstanding choral program (at times nicknamed "the Sunday Opera"). Barnby introduced annual performances of J. S. Bach's St. John Passion in St. Anne's, Soho, and directed the first performance in an English church of the St. Matthew Passion. He was also active in regional music festivals, conducted the Royal Choral Society, and composed and edited music (mainly for Novello and Company). In 1892 he was knighted by Queen Victoria. His compositions include many anthems and service music for the Anglican liturgy, as well as 246 hymn tunes (published posthumously in 1897). He edited four hymnals, including The Hymnary (1872) and The Congregational Sunday School Hymnal (1891), and coedited The Cathedral Psalter (1873). Bert Polman

Michael Haydn

1737 - 1806 Person Name: Michael Haydn, (1737-1806) Hymnal Number: 6 Composer of "LYONS" in Hymns for Worship Johann Michael Haydn Austria 1737-1806. Born at Rohrau, Austria, the son of a wheelwright and town mayor (a very religious man who also played the harp and was a great influence on his sons' religious thinking), and the younger brother of Franz Joseph Haydn, he became a choirboy in his youth at the Cathedral of St. Stephen in Vienna, as did his brother, Joseph, an exceptional singer. For that reason boys both were taken into the church choir. Michael was a brighter student than Joseph, but was expelled from music school when his voice broke at age 17. The brothers remained close all their lives, and Joseph regarded Michael's religious works superior to his own. Michael played harpsichord, violin, and organ, earning a precarious living as a freelance musician in his early years. In 1757 he became kapellmeister to Archbishop, Sigismund of Grosswardein, in Hungary, and in 1762 concertmaster to Archbishop, Hieronymous of Salzburg, where he remained the rest of his life (over 40 years), also assuming the duties of organist at the Church of St. Peter in Salzburg, presided over by the Benedictines. He also taught violin at the court. He married the court singer, Maria Magdalena Lipp in 1768, daughter of the cathedral choir-master, who was a very pious women, and had such an affect on her husband, trending his inertia and slothfulness into wonderful activity. They had one daughter, Aloysia Josepha, in 1770, but she died within a year. He succeeded Wolfgang Amadeus Mozart, an intimate friend, as cathedral organist in 1781. He also taught music to Carl Maria von Weber. His musical reputation was not recognized fully until after World War II. He was a prolific composer of music, considered better than his well-known brother at composing religious works. He produced some 43 symphonies,12 concertos, 21 serenades, 6 quintets, 19 quartets, 10 trio sonatas, 4 due sonatas, 2 solo sonatas, 19 keyboard compositions, 3 ballets, 15 collections of minuets (English and German dances), 15 marches and miscellaneous secular music. He is best known for his religious works (well over 400 pieces), which include 47 antiphons, 5 cantatas, 65 canticles, 130 graduals, 16 hymns, 47 masses, 7 motets, 65 offertories, 7 oratorios, 19 Psalms settings, 2 requiems, and 42 other compositions. He also composed 253 secular vocals of various types. He did not like seeing his works in print, and kept most in manuscript form. He never compiled or cataloged his works, but others did it later, after his death. Lothar Perger catalogued his orchestral works in 1807 and Nikolaus Lang did a biographical sketch in 1808. In 1815 Anton Maria Klafsky cataloged his sacred music. More complete cataloging has been done in the 1980s and 1990s by Charles H Sherman and T Donley Thomas. Several of Michael Haydn's works influenced Mozart. Haydn died at Salzburg, Austria. John Perry