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Johann Sebastian Bach

1685 - 1750 Person Name: Johann Sebastian Bach, 1685 - 1750 Meter: 8.6.8.6 with repeat Harmonizer of "LOBT GOTT, IHR CHRISTEN" in The Hymn Book of the Anglican Church of Canada and the United Church of Canada Johann Sebastian Bach was born at Eisenach into a musical family and in a town steeped in Reformation history, he received early musical training from his father and older brother, and elementary education in the classical school Luther had earlier attended. Throughout his life he made extraordinary efforts to learn from other musicians. At 15 he walked to Lüneburg to work as a chorister and study at the convent school of St. Michael. From there he walked 30 miles to Hamburg to hear Johann Reinken, and 60 miles to Celle to become familiar with French composition and performance traditions. Once he obtained a month's leave from his job to hear Buxtehude, but stayed nearly four months. He arranged compositions from Vivaldi and other Italian masters. His own compositions spanned almost every musical form then known (Opera was the notable exception). In his own time, Bach was highly regarded as organist and teacher, his compositions being circulated as models of contrapuntal technique. Four of his children achieved careers as composers; Haydn, Mozart, Beethoven, Mendelssohn, Schumann, Brahms, and Chopin are only a few of the best known of the musicians that confessed a major debt to Bach's work in their own musical development. Mendelssohn began re-introducing Bach's music into the concert repertoire, where it has come to attract admiration and even veneration for its own sake. After 20 years of successful work in several posts, Bach became cantor of the Thomas-schule in Leipzig, and remained there for the remaining 27 years of his life, concentrating on church music for the Lutheran service: over 200 cantatas, four passion settings, a Mass, and hundreds of chorale settings, harmonizations, preludes, and arrangements. He edited the tunes for Schemelli's Musicalisches Gesangbuch, contributing 16 original tunes. His choral harmonizations remain a staple for studies of composition and harmony. Additional melodies from his works have been adapted as hymn tunes. --John Julian, Dictionary of Hymnology (1907)

Isaac Watts

1674 - 1748 Meter: 8.6.8.6 with repeat Author of "Joy to the World! The Lord is Come" in Trinity Hymnal (Rev. ed.) Isaac Watts was the son of a schoolmaster, and was born in Southampton, July 17, 1674. He is said to have shown remarkable precocity in childhood, beginning the study of Latin, in his fourth year, and writing respectable verses at the age of seven. At the age of sixteen, he went to London to study in the Academy of the Rev. Thomas Rowe, an Independent minister. In 1698, he became assistant minister of the Independent Church, Berry St., London. In 1702, he became pastor. In 1712, he accepted an invitation to visit Sir Thomas Abney, at his residence of Abney Park, and at Sir Thomas' pressing request, made it his home for the remainder of his life. It was a residence most favourable for his health, and for the prosecution of his literary labours. He did not retire from ministerial duties, but preached as often as his delicate health would permit. The number of Watts' publications is very large. His collected works, first published in 1720, embrace sermons, treatises, poems and hymns. His "Horae Lyricae" was published in December, 1705. His "Hymns" appeared in July, 1707. The first hymn he is said to have composed for religious worship, is "Behold the glories of the Lamb," written at the age of twenty. It is as a writer of psalms and hymns that he is everywhere known. Some of his hymns were written to be sung after his sermons, giving expression to the meaning of the text upon which he had preached. Montgomery calls Watts "the greatest name among hymn-writers," and the honour can hardly be disputed. His published hymns number more than eight hundred. Watts died November 25, 1748, and was buried at Bunhill Fields. A monumental statue was erected in Southampton, his native place, and there is also a monument to his memory in the South Choir of Westminster Abbey. "Happy," says the great contemporary champion of Anglican orthodoxy, "will be that reader whose mind is disposed, by his verses or his prose, to imitate him in all but his non-conformity, to copy his benevolence to men, and his reverence to God." ("Memorials of Westminster Abbey," p. 325.) --Annotations of the Hymnal, Charles Hutchins, M.A., 1872. ================================= Watts, Isaac, D.D. The father of Dr. Watts was a respected Nonconformist, and at the birth of the child, and during its infancy, twice suffered imprisonment for his religious convictions. In his later years he kept a flourishing boarding school at Southampton. Isaac, the eldest of his nine children, was born in that town July 17, 1674. His taste for verse showed itself in early childhood. He was taught Greek, Latin, and Hebrew by Mr. Pinhorn, rector of All Saints, and headmaster of the Grammar School, in Southampton. The splendid promise of the boy induced a physician of the town and other friends to offer him an education at one of the Universities for eventual ordination in the Church of England: but this he refused; and entered a Nonconformist Academy at Stoke Newington in 1690, under the care of Mr. Thomas Rowe, the pastor of the Independent congregation at Girdlers' Hall. Of this congregation he became a member in 1693. Leaving the Academy at the age of twenty, he spent two years at home; and it was then that the bulk of the Hymns and Spiritual Songs (published 1707-9) were written, and sung from manuscripts in the Southampton Chapel. The hymn "Behold the glories of the Lamb" is said to have been the first he composed, and written as an attempt to raise the standard of praise. In answer to requests, others succeeded. The hymn "There is a land of pure delight" is said to have been suggested by the view across Southampton Water. The next six years of Watts's life were again spent at Stoke Newington, in the post of tutor to the son of an eminent Puritan, Sir John Hartopp; and to the intense study of these years must be traced the accumulation of the theological and philosophical materials which he published subsequently, and also the life-long enfeeblement of his constitution. Watts preached his first sermon when he was twenty-four years old. In the next three years he preached frequently; and in 1702 was ordained pastor of the eminent Independent congregation in Mark Lane, over which Caryl and Dr. John Owen had presided, and which numbered Mrs. Bendish, Cromwell's granddaughter, Charles Fleetwood, Charles Desborough, Sir John Hartopp, Lady Haversham, and other distinguished Independents among its members. In this year he removed to the house of Mr. Hollis in the Minories. His health began to fail in the following year, and Mr. Samuel Price was appointed as his assistant in the ministry. In 1712 a fever shattered his constitution, and Mr. Price was then appointed co-pastor of the congregation which had in the meantime removed to a new chapel in Bury Street. It was at this period that he became the guest of Sir Thomas Abney, under whose roof, and after his death (1722) that of his widow, he remained for the rest of his suffering life; residing for the longer portion of these thirty-six years principally at the beautiful country seat of Theobalds in Herts, and for the last thirteen years at Stoke Newington. His degree of D.D. was bestowed on him in 1728, unsolicited, by the University of Edinburgh. His infirmities increased on him up to the peaceful close of his sufferings, Nov. 25, 1748. He was buried in the Puritan restingplace at Bunhill Fields, but a monument was erected to him in Westminster Abbey. His learning and piety, gentleness and largeness of heart have earned him the title of the Melanchthon of his day. Among his friends, churchmen like Bishop Gibson are ranked with Nonconformists such as Doddridge. His theological as well as philosophical fame was considerable. His Speculations on the Human Nature of the Logos, as a contribution to the great controversy on the Holy Trinity, brought on him a charge of Arian opinions. His work on The Improvement of the Mind, published in 1741, is eulogised by Johnson. His Logic was still a valued textbook at Oxford within living memory. The World to Come, published in 1745, was once a favourite devotional work, parts of it being translated into several languages. His Catechisms, Scripture History (1732), as well as The Divine and Moral Songs (1715), were the most popular text-books for religious education fifty years ago. The Hymns and Spiritual Songs were published in 1707-9, though written earlier. The Horae Lyricae, which contains hymns interspersed among the poems, appeared in 1706-9. Some hymns were also appended at the close of the several Sermons preached in London, published in 1721-24. The Psalms were published in 1719. The earliest life of Watts is that by his friend Dr. Gibbons. Johnson has included him in his Lives of the Poets; and Southey has echoed Johnson's warm eulogy. The most interesting modern life is Isaac Watts: his Life and Writings, by E. Paxton Hood. [Rev. H. Leigh Bennett, M.A.] A large mass of Dr. Watts's hymns and paraphrases of the Psalms have no personal history beyond the date of their publication. These we have grouped together here and shall preface the list with the books from which they are taken. (l) Horae Lyricae. Poems chiefly of the Lyric kind. In Three Books Sacred: i.To Devotion and Piety; ii. To Virtue, Honour, and Friendship; iii. To the Memory of the Dead. By I. Watts, 1706. Second edition, 1709. (2) Hymns and Spiritual Songs. In Three Books: i. Collected from the Scriptures; ii. Composed on Divine Subjects; iii. Prepared for the Lord's Supper. By I. Watts, 1707. This contained in Bk i. 78 hymns; Bk. ii. 110; Bk. iii. 22, and 12 doxologies. In the 2nd edition published in 1709, Bk. i. was increased to 150; Bk. ii. to 170; Bk. iii. to 25 and 15 doxologies. (3) Divine and Moral Songs for the Use of Children. By I. Watts, London, 1715. (4) The Psalms of David Imitated in the Language of the New Testament, And apply'd to the Christian State and Worship. By I. Watts. London: Printed by J. Clark, at the Bible and Crown in the Poultry, &c, 1719. (5) Sermons with hymns appended thereto, vol. i., 1721; ii., 1723; iii. 1727. In the 5th ed. of the Sermons the three volumes, in duodecimo, were reduced to two, in octavo. (6) Reliquiae Juveniles: Miscellaneous Thoughts in Prose and Verse, on Natural, Moral, and Divine Subjects; Written chiefly in Younger Years. By I. Watts, D.D., London, 1734. (7) Remnants of Time. London, 1736. 454 Hymns and Versions of the Psalms, in addition to the centos are all in common use at the present time. --Excerpts from John Julian, Dictionary of Hymnology (1907) ================================== Watts, I. , p. 1241, ii. Nearly 100 hymns, additional to those already annotated, are given in some minor hymn-books. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) ================= Watts, I. , p. 1236, i. At the time of the publication of this Dictionary in 1892, every copy of the 1707 edition of Watts's Hymns and Spiritual Songs was supposed to have perished, and all notes thereon were based upon references which were found in magazines and old collections of hymns and versions of the Psalms. Recently three copies have been recovered, and by a careful examination of one of these we have been able to give some of the results in the revision of pp. 1-1597, and the rest we now subjoin. i. Hymns in the 1709 ed. of Hymns and Spiritual Songs which previously appeared in the 1707 edition of the same book, but are not so noted in the 1st ed. of this Dictionary:— On pp. 1237, L-1239, ii., Nos. 18, 33, 42, 43, 47, 48, 60, 56, 58, 59, 63, 75, 82, 83, 84, 85, 93, 96, 99, 102, 104, 105, 113, 115, 116, 123, 124, 134, 137, 139, 146, 147, 148, 149, 162, 166, 174, 180, 181, 182, 188, 190, 192, 193, 194, 195, 197, 200, 202. ii. Versions of the Psalms in his Psalms of David, 1719, which previously appeared in his Hymns and Spiritual Songs, 1707:— On pp. 1239, U.-1241, i., Nos. 241, 288, 304, 313, 314, 317, 410, 441. iii. Additional not noted in the revision:— 1. My soul, how lovely is the place; p. 1240, ii. 332. This version of Ps. lxiv. first appeared in the 1707 edition of Hymns & Spiritual Songs, as "Ye saints, how lovely is the place." 2. Shine, mighty God, on Britain shine; p. 1055, ii. In the 1707 edition of Hymns & Spiritual Songs, Bk. i., No. 35, and again in his Psalms of David, 1719. 3. Sing to the Lord with [cheerful] joyful voice, p. 1059, ii. This version of Ps. c. is No. 43 in the Hymns & Spiritual Songs, 1707, Bk. i., from which it passed into the Ps. of David, 1719. A careful collation of the earliest editions of Watts's Horae Lyricae shows that Nos. 1, 7, 9, 10, 11, 12, 14, 16, p. 1237, i., are in the 1706 ed., and that the rest were added in 1709. Of the remaining hymns, Nos. 91 appeared in his Sermons, vol. ii., 1723, and No. 196 in Sermons, vol. i., 1721. No. 199 was added after Watts's death. It must be noted also that the original title of what is usually known as Divine and Moral Songs was Divine Songs only. --John Julian, Dictionary of Hymnology, New Supplement (1907) =========== See also in: Hymn Writers of the Church

Samuel Stennett

1727 - 1795 Meter: 8.6.8.6 with repeat Author of "Majestic Sweetness Sits Enthroned" in Hymns for the Living Church Samuel Stennett was born at Exeter, in 1727. His father was pastor of a Baptist congregation in that city; afterwards of the Baptist Chapel, Little Wild Street, London. In this latter pastorate the son succeeded the father in 1758. He died in 1795. Dr. Stennett was the author of several doctrinal works, and a few hymns. --Annotations of the Hymnal, Charles Hutchins, M.A. 1872. ====================== Stennett, Samuel, D.D., grandson of Joseph Stennett, named above, and son of the Rev. Joseph Stennett, D.D., was born most pro;bably in 1727, at Exeter, where his father was at that time a Baptist minister. When quite young he removed to London, his father having become pastor of the Baptist Church in Little Wild Street, Lincoln's Inn Fields. In 1748, Samuel Stennett became assistant to his father in the ministry, and in 1758 succeeded him in the pastoral office at Little Wild Street. From that time until his death, on Aug. 24, 1795, he held a very prominent position among the Dissenting ministers of London. He was much respected by some of the statesmen of the time, and used his influence with them in support of the principles of religious freedom. The celebrated John Howard was a member of his congregation and an attached friend. In 1763, the University of Aberdeen conferred on him the degree of D.D. Dr. S. Stennett's prose publications consist of volumes of sermons, and pamphlets on Baptism and on Nonconformist Disabilities. He wrote one or two short poems, and contributed 38 hymns to the collection of his friend, Dr. Rippon (1787). His poetical genius was not of the highest order, and his best hymns have neither the originality nor the vigour of some of his grandfather's. The following, however, are pleasing in sentiment and expression, and are in common use more especially in Baptist congregations:— 1. And have I, Christ, no love for Thee? Love for Christ desired. 2. And will the offended God again? The Body the Temple of the Holy Ghost. 3. As on the Cross the Saviour hung. The Thief on the Cross. 4. Behold the leprous Jew. The healing of the Leper. 5. Come, every pious heart. Praise to Christ. 6. Father, at Thy call, I come. Lent. 7. Great God, amid the darksome night. God, a Sun. 8. Great God, what hosts of angels stand. Ministry of Angels. 9. Here at Thy Table, Lord, we meet. Holy Communion. 10. How charming is the place. Public Worship. 11. How shall the sons of men appear? Acceptance through Christ alone. 12. How soft the words my [the] Saviour speaks. Early Piety. 13. How various and how new. Divine Providence. 14. Not all the nobles of the earth. Christians as Sons of God. 15. On Jordan's stormy banks I stand. Heaven anticipated. 16. Prostrate, dear Jesus, at thy feet. Lent. Sometimes, "Dear Saviour, prostrate at Thy feet." 17. Should bounteous nature kindly pour. The greatest of these is Love. From this, "Had I the gift of tongues," st. iii., is taken. 18. Thy counsels of redeeming grace. Holy Scripture. From "Let avarice, from shore to shore." 19. Thy life 1 read, my dearest Lord. Death in Infancy. From this "'Tis Jesus speaks, I fold, says He." 20. 'Tis finished! so the Saviour cried. Good Friday. 21. To Christ, the Lord, let every tongue. Praise of Christ. From this,"Majestic sweetness sits enthroned," st. iii., is taken. 22. To God, my Saviour, and my King. Renewing Grace. 23. To God, the universal King. Praise to God. 24. What wisdom, majesty, and grace. The Gospel. Sometimes, “What majesty and grace." 25. Where two or three with sweet accord. Before the Sermon. 26. Why should a living man complain? Affliction. From this, "Lord, see what floods of sorrow rise," st. iii., is taken. 27. With tears of anguish I lament. Lent. 28. Yonder amazing sight I see. Good Friday. All these hymns, with others by Stennett, were given in Rippon's Baptist Selection, 1787, a few having previously appeared in A Collection of Hymns for the use of Christians of all Denominations, London. Printed for the Booksellers, 1782; and No. 16, in the 1778 Supplement to the 3rd edition of the Bristol Baptist Selection of Ash and Evans. The whole of Stennett's poetical pieces and hymns were included in vol. ii. of his Works, together with a Memoir, by W. J. Jones. 4 vols., 1824. [Rev. W. R. Stevenson, M.A.] --John Julian, Dictionary of Hymnology (1907)

Thomas Hastings

1784 - 1872 Meter: 8.6.8.6 with repeat Composer of "ORTONVILLE" in Trinity Hymnal (Rev. ed.) Hastings, Thomas, MUS. DOC., son of Dr. Seth Hastings, was born at Washington, Lichfield County, Connecticut, October 15, 1784. In 1786, his father moved to Clinton, Oneida Co., N. Y. There, amid rough frontier life, his opportunities for education were small; but at an early age he developed a taste for music, and began teaching it in 1806. Seeking a wider field, he went, in 1817, to Troy, then to Albany, and in 1823 to Utica, where he conducted a religious journal, in which he advocated his special views on church music. In 1832 he was called to New York to assume the charge of several Church Choirs, and there his last forty years were spent in great and increasing usefulness and repute. He died at New York, May 15, 1872. His aim was the greater glory of God through better musical worship; and to this end he was always training choirs, compiling works, and composing music. His hymn-work was a corollary to the proposition of his music-work; he wrote hymns for certain tunes; the one activity seemed to imply and necessitate the other. Although not a great poet, he yet attained considerable success. If we take the aggregate of American hymnals published duriug the last fifty years or for any portion of that time, more hymns by him are found in common use than by any other native writer. Not one of his hymns is of the highest merit, but many of them have become popular and useful. In addition to editing many books of tunes, Hastings also published the following hymnbooks:— (1) Spiritual Songs for Social Worship: Adapted to the Use of Families and Private Circles in Seasons of Revival, to Missionary Meetings, &c, Utica, 1831-2, in which he was assisted by Lowell Mason; (2) The Mother's Hymn-book, 1834; (3) The Christian Psalmist; or, Watts's Psalms and Hymns, with copious Selections from other Sources, &c, N. Y., 1836, in connection with "William Patton; (4) Church Melodies, N. Y., 1858, assisted by his son, the Rev. T. S. Hastings; (5) Devotional Hymns and Poems, N. Y., 1850. The last contained many, but not all, of his original hymns. (6) Mother's Hymn-book, enlarged 1850. The authorship of several of Hastings's hymns has been somewhat difficult to determine. All the hymns given in the Spiritual Songs were without signatures. In the Christian Psalmist some of his contributions were signed "Anon." others "M. S.," whilst others bore the names of the tune books in which they had previously appeared; and in the Church Melodies some were signed with his name, and others were left blank. His MSS [manuscript] and Devotional Hymns, &c, enable us to fix the authorship of over 50 which are still in common use. These, following the chronological order of his leading work, are:— i. From the Spiritual Songs, 1831:— 1. Before Thy footstool kneeling. In Sickness. No. 358, in 3 stanzas of 8 lines. 2. Bleeding hearts defiled by sin. Fulness of Christ. No. 261, in 5 stanzas of 4 lines. 3. Child of sin and sorrow, Filled with dismay. Lent. No. 315, in 2 stanzas of 8 lines. It is sometimes given as "Child of sin and sorrow, Where wilt thou flee?" It is in extensive use. 4. Delay not, delay not, 0 sinner draw near. Exhortation to Repentance. No. 145, in 5 stanzas of 4 lines. Given in several important collections. 5. Forgive us, Lord, to Thee we cry. Forgiveness desired. No. 165, in 4 stanzas of 4 lines. 6. Gently, Lord, 0 gently lead us. Pilgrimage of Life. No. 29, in 2 stanzas of 8 lines. It is given in several collections. The first two lines are taken from a hymn which appeared in the Christian Lyre, 1830. 7. Go forth on wings of fervent prayer. For a blessing on the distribution of Books and Tracts. No. 250, in 4 stanzas of 5 lines. It is sometimes given as “Go forth on wings of faith and prayer," as in the Baptist Praise Book, N. Y., 1871, No. 1252; but the alterations are so great as almost to constitute it a new hymn. 8. Hail to the brightness of Zion's glad morning. Missionary Success. No. 239, in 4 stanzas of 4 lines. In several hymnbooks in Great Britain and America. 9. How calm and beautiful the morn. Easter. No. 291, in 5 stanzas of 6 lines. Very popular. 10. In this calm, impressive hour. Early Morning. No. 235, pt. i. in 3 stanzas of 6 lines. In several collections. 11. Jesus, save my dying soul. Lent. No. 398, in 4 stanzas of 4 lines. A deeply penitential hymn. 12. Now be the gospel banner. Missions. No. 178, in 2 stanzas of 8 lines. In several collections (see below). 13. Now from labour, and from care. Evening. No. 235. Pt. ii. in 3 stanzas of 6 lines. This hymn, with No. 10 above, "In this calm," &c, constitute one hymn of 6 st. in the Spiritual Songs, but divided into two parts, one for Morning and the other for Evening. Both parts are popular as separate hymns. 14. 0 God of Abraham, hear. Prayer on behalf of Children. No. 288, in 5 stanzas of 4 lines. In use in Great Britain. 15. 0 tell me, Thou Life and delight of my soul. Following the Good Shepherd. No. 151, in 5 stanzas of 4 lines, on Cant. i. 7, 8. 16. Return, O wanderer, to thy home. The Prodigal recalled. No. 183, in 3 stanzas of 4 lines, with the refrain, " Return, return " (see below). 17. Soft and holy is the place. Public Worship. No. 351, in 4 stanzas of 4 lines. In Dr. Hatfield's Church Hymn Book, N. Y., 1872, and some other collections, the opening line is altered to "Sweet and holy is the place." 18. That warning voice, 0 sinner, hear. Exhortation to Repentance. No. 231, in 4 stanzas of 6 lines. 19. To-day the Saviour calls. Lent. No. 176, in 4 stanzas of 4 lines. Dr. Hastings says, in a communication to Dr. Stevenson (Hymns for Church and Home, 1873), this hymn “was offered me in a hasty sketch which I retouched." The sketch was by the Rev. S. F. Smith. 20. Why that look of sadness. Consolation. No. 268, in 3 stanzas of 8 lines. 21. Zion, dreary and in anguish. The Church Comforted. No. 160, in 4 stanzas of 4 lines. Concerning the two hymns, No. 12, "Now be the gospel banner"; and No. 16, "Beturn, O wanderer, to thy home," Dr. Stevenson has the following note in his Hymns for Church and Home, London, 1873:— "In a letter to the Editor, Dr. Hastings wrote, not more than a fortnight before his death, 'These two hymns of mine were earlier compositions, the former ["Now be," &c.] for a Utica Sunday School celebration, the latter ["Return, 0 wanderer," &c.] after hearing a stirring revival sermon on the Prodigal Son, by the Rev. Mr. Kint, at a large union meeting in the Presbyterian Church, where two hundred converts were present. The preacher at the close eloquently exclaimed with tender emphasis, "Sinner, come home! come home! come home!" It was easy afterwards to write, "Return, 0 wanderer."'" Several additional hymns in the Spiritual Songs, 1831, have been ascribed to Dr. Hastings, but without confirmation. The sum of what can be said on his behalf is that the hymns are in his style, and that they have not been claimed by others. They are:— 22. Drooping souls, no longer mourn. Pardon promised. No. 40, in 3 stanzas of 8 1., of which st. i., ii. are altered from J. J. Harrod's Public, Parlour, and Cottage Hymns, Baltimore, 1823, that is, 8 years before the Spiritual Songs were published. 23. Dying souls, fast bound in sin. Pardon offered. No. 41, in 5 stanzas of 8 lines. It is usually given in an abridged form. ii. From his Mother's Hymn Book, 1834:—- 24. Forbid them not, the Saviour cried. Holy Baptism. No. 44. 25. God of mercy, hear our prayer. On behalf of Cliildrcn, No. 48, in 5 stanzas of 4 lines. It was included in J. Campbell's Comprehensive Hymn Book, Lond., 1837, and subsequently in several collections. 26. God of the nations, bow Thine ear. Missions. No. 115, in 4 stanzas of 6 lines. In several collections. 27. How tender is Thy hand. Affliction. No. 99, in 5 stanzas of 41. 28. Jesus, while our hearts are bleeding. Death. Resignation. No. 95, in 5 stanzas of 4 lines. This is in extensive use and is one of his best and most popular hymns. 29. Lord, I would come to Thee. Self-dedication of a Child. No. 72, in 4 stanzas of 4 lines. 30. 0 Lord, behold us at Thy feet. Lent. No. 59, in 4 stanzas of 4 lines. It is doubtful if this is by Hastings. It is sometimes signed "Mrs. T." 31. The rosy light is dawning. Morning. No. 11, in 3 stanzas of 8 lines. 32. The Saviour bids us [thee] watch and pray. Watch and Pray. No. 119, in 4 stanzas of 4 lines. 33. Thou God of sovereign grace. On behalf of Children. No. 66, in 6 stanzas of 4 lines. 34. Wherever two or three may meet. Divine Service. No. 56. 35. Within these quiet walls, 0 Lord. Mothers' Meetings. No. 58, in 5 stanzas of 4 lines. In Spurgeon's Our Own Hymn Book, 1866, No. 1010, it begins, "Within these peaceful walls." This reading is from J. Campbell's Comprehensive Hymn Book, London, 1837. It is very doubtful if this is by Hastings. iii. From the Christian Psalmist, 1836:— 36. Children, hear the melting story. On the life of Christ. No. 430, in 3 stanzas of 6 lines. It is given as from the Union Minstrel, and the statement that it is by Hastings is very doubtful, no evidence to that effect being in the possession of his family. Dr. Hatfield, in his Church Hymn Book, dates it 1830, and gives it as "Anon." 37. Go, tune thy voice to sacred song. Praise No. 190, in 5 stanzas of 5 lines, and given as from "ms." 38. He that goeth forth with weeping. Missions No. 212, in 2 stanzas of 8 lines, and given as from "ms." It is in several collections. 39. I love the Lord, Whose gracious ear. Ps. cxvi. Page 186, in 4 stanzas of 6 lines, as from "ms." 40. Lord of the harvest, bend Thine ear. For the Increase of the Ministry. No. 407, in 6 stanzas of 4 lines, as from "ms." This hymn Dr. Hastings altered for his Devotional Hymns & Poems, 1850, but it has failed to replace the original in the hymnbooks. iv. From the Reformed Dutch Additional Hymns, 1846:— 41. Child of sorrow, child of care [woe]. Trust. No. 168, in 2 stanzas of 8 lines, appeared in W. Hunter's Minstrel of Zion, 1845. 42. Heirs of an immortal crown. Christian Warfare. No. 136, in 2 stanzas of 8 lines. 43. O Saviour, lend a listening ear. Lent. No. 175. Stanzas vi., i., iv., v., altered. 44. The Lord Jehovah lives. Ps. xviii. No. 26, in 4 stanzas of 6 lines. These three hymns, together with many others, are given in the Dutch Reformed Hymns of the Church, N. Y., 1869. In the 1847 Psalms & Hymns there were, including these, 38 hymns by Hastings, and 2 which are doubtful. v. From Dr. Hastings's Devotional Hymns and Religious Poems, 1850:— 45. In time of fear, when trouble's near. Encouragement in Trial. Page 95, in 3 stanzas of 4 lines. In use in Great Britain. vi. From Church Melodies, 1858:—- 46. For those in bonds as bound with them. Missions. No. 416, in 5 stanzas of 4 lines, on Heb. xiii. 3. 47. Forget thyself, Christ bids thee come. Holy Communion. No. 683, in 3 stanzas of 6 lines. 48. Jesus, Merciful and Mild. Leaning on Christ. No. 585, in 4 stanzas of 8 1. In several collections. 49. Pilgrims in this vale of sorrow. Self-denial. No. 397, in 4 stanzas of 4 lines. 50. Saviour, I look to Thee. Lent. In time of Trouble. No. 129, in 4 stanzas of 7 lines. 51. Saviour of our ruined race. Holy Communion. No. 379, in 3 stanzas of 6 lines. 52. Why that soul's commotion? Lent. No. 211, in 3 stanzas of 8 lines. It is doubtful if this is by Hastings. vii. In Robinson's Songs of the Church, 1862: 53. Be tranquil, 0 my soul. Patience in Affliction. No. 519, in 4 stanzas of 4 lines. Altered in Robinson's Songs for the Sanctuary, 1865. 54. Peace, peace, I leave with you. Peace, the benediction of Christ. No. 386, in 3 stanzas of 7 lines. 55. Saviour, Thy gentle voice. Christ All in All. No. 492, in 3 stanzas of 7 lines. viii. In Bobinson's Songs for the Sanctuary, 1865:— 56. God of the morning ray. Morning. No. 53, in 2 stanzas of 7 lines. Of Hastings's hymns about 40 are in the Reformed Dutch Psalms & Hymns, 1847; 39 in Robinson's Songs for the Sanctuary, 1865; 15 in Hatfield's Church Hymn Book, 1872; and 13 in the Lyra Sacra Americana, 1868. They are also largely represented in other collections. Many other of his compositions are found in collections now or recently in common use, but these are not of the highest merit. [Rev. F. M. Bird, M.A.] --John Julian, Dictionary of Hymnology (1907) ======================== Hastings, T., p. 494, i. Additional hymns are:— 1. Children hear the wondrous story; and "Sinners, hear the melting story," are altered forms of No. 36, on p. 495, i. 2. Father, we for our children plead. On behalf of Children. 3. Forgive my folly, O Lord most holy. Lent. 4. Hosanna to the King, That for, &c. Praise to Jesus. 5. I look to Thee, O Lord, alone. Pardon desired. 6. Jesus, full of every grace. Pardon desired. 7. O why should gloomy thoughts arise? The Mourner Encouraged. 8. Peace to thee, O favoured one. Peace in Jesus. 9. Saviour, hear us through Thy merit. Forgiveness. Of these hymns, No. 3 is in Hasting’s Spiritual Songs, 1831; No. 9 in his Mother's Hymn Book, 1834, and his Devotional Hymns, 1850; and Nos. 4, 5 & 8 in his Devotional Hymns, 1850. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

George Frideric Handel

1685 - 1759 Person Name: George Frederick Handel Meter: 8.6.8.6 with repeat Composer of "ANTIOCH" in Trinity Hymnal (Rev. ed.) 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

Lowell Mason

1792 - 1872 Meter: 8.6.8.6 with repeat Arranger of "ANTIOCH" in Trinity Hymnal (Rev. ed.) 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.

Anonymous

Person Name: Other authors Meter: 8.6.8.6 with repeat Author of "All hail the power of Jesus' Name!" in The Hymnary for use in Baptist churches In some hymnals, the editors noted that a hymn's author is unknown to them, and so this artificial "person" entry is used to reflect that fact. Obviously, the hymns attributed to "Author Unknown" "Unknown" or "Anonymous" could have been written by many people over a span of many centuries.

Nikolaus Herman

1500 - 1561 Person Name: N Herman Meter: 8.6.8.6 with repeat Composer (Adapted from) of "LOBT GOTT, IHR CHRISTEN" in The Hymn Book of the Anglican Church of Canada and the United Church of Canada Herman, Nicolaus, is always associated with Joachimsthal in Bohemia, just over the mountains from Saxony. The town was not of importance till the mines began to be extensively worked about 1516. Whether Herman was a native of this place is not known, but he was apparently there in 1518, and was certainly in office there in 1524. For many years he held the post of Master in the Latin School, and Cantor or Organist and Choirmaster in the church. Towards the end of his life he suffered greatly from gout, and had to resign even his post as Cantor a number of years before his death. He died at Joachimsthal, May 3, 1561. (Koch, i. 390-398; Allgemeine Deutsche Biographie, xii. 186-188, &c.) He was a great friend and helper of J. Mathesius (q.v.) (who in 1532 became rector of the school, but in 1541 diaconus and in 1545 pastor of the church), and it was said that whenever Mathesius preached a specially good sermon Herman straightway embodied its leading ideas in a hymn. His hymns, however, were not primarily written for use in church, but were intended for the boys and girls in the schools, to supplant profane songs in the mouths of the young men and women, or for the daily life of the “housefathers and housemothers" in Joachimsthal, at home, and in their work in the mines. He is a poet of the people, homely, earnest, and picturesque in style; by his naiveté reminding us of Hans Sachs. He was an ardent lover of music and a very good organist. The chorales which he published with his hymns are apparently all of his own composition, and are among the best of the Reformation period. Many of Herman's hymns soon passed into Church use in Germany, and a number are found in almost all books in present use. About 190 in all, they appeared principally in:— (1) Die Sontags Evangelia uber des gantze Jar, in Gesenge verfasset, für die Kinder und christlichen Haussvetter, &c, Wittenberg, 1560 (dedication by Herman dated Trinity Sunday, 1559), with 101 hymns and 17 melodies. The best are those interspersed specially meant for children and not directly founded on the Gospel for the day. (2) Die Historien von der Sindfludt, Joseph, Mose, Helia, Elisa und der Susanna, sampt etlichen Historien aus den Evangelisten, &c., Wittenberg, 1562 (preface by Herman dated St. Bartholomew's Day, 1560), with 73 hymns and 20 melodies. In this case also the general hymns are the best. A selection of 60 (really 61) of his hymns, with a memoir by K. F. Ledderhose, was published at Halle, 1855. One of Herman's hymns is noted under “Wenn mein Stündlein vorhanden ist." The others which have passed into English are:— i. Bescher uns, Herr, das täglioh Brod. Grace before Meat. 1562, as above, and thence in Wackernagel, iii. p. 1228, in 6 stanzas of 4 lines; in Ledderhose, p. 70; and in the Berlin Geistliche Lieder, ed. 1863, No. 1133. Translated as:— 1. Thou art our Father and our God. This, by P. H. Molther, a translation of stanza vi., as No. 180 in the Moravian Hymn Book, 1789 (1849, No. 220, st. v.). 2. As children we are owned by Thee, a translation of stanza vi., as st. iii. of No. 191 in the Moravian Hymn Book, 1801 (1849, No. 220, stanza iii.). ii. Die helle Sonn leucht jetzt herfür. Morning. 1560, as above, and thence in Wackernagel, iii. p. 1184, in 4 stanzas of 4 lines, in Ledderhose, p. 87; and in the Unverfälschter Liedersegen, 1851, No. 450. Translated as:— The morning beam revives our eyes, a good and full translation by. A. T. Russell, as No. 71 in the Dalston Hospital Hymn Book 1848. iii. Erschienen ist der herrliche Tag. Easter. 1560, as above, in 14 stanzas of 4 lines, entitled, "A new Spiritual Song of the Joyful Resurrection of our Saviour Jesus Christ; for the maidens of the girls' school in Joachimsthal”; and thence in Wackernagel, iii. p. 1175; in Ledderhose p. 23, and Unverfälschter Liedersegen, 1851, No. 134. It has reminiscences of the "Erstanden ist der heil'ge Christ". Translated as:— The day hath dawn'd—-the day of days, a good translation by A. T. Russell of stanzas i., ii., xiii., xiv., as No. 113 in his Psalms & Hymns, 1851. Another tr. is, "At length appears the glorious day," by Dr. G. Walker, 1860, p. 28. iv. Hinunter ist der Sonnen Schein. Evening. 1560, as above, and thence in Wackernagel, iii. p. 1184, in 4 stanzas of 4 lines; in Ledderhose, p. 88; and in the Unverfälschter Liedersegen1851, No. 523. Some of the phrases may have been suggested by the "Christe qui lux es et dies" (q. v.). Translated as:— 1. Sunk is the sun's last beam of light, a full and good translation by Miss Cox in her Sacred Hymns from the German, 1841, p. 57. Included in Alford's Psalms & Hymns, 1844, and Tear of Praise, 1867; in Dale's English Hymn Book, 1875; in the Pennsylvania Lutheran Church Book, 1868, and others. It is also given considerably altered and beginning, "Sunk is the Sun! the daylight gone," in W. J. Blew's Church Hymn and Tune Book, 1851-55. 2. The happy sunshine all is gone, in full, by Miss Winkworth in her Lyra Germanica, 1st Ser., 1855, p. 225; repeated in her Chorale Book for England, 1863, and the Ohio Lutheran Hymnal, 1880. Other translations are: (1) "Did I perhaps Thee somewhat grieve," a translation of stanza iii. in the Moravian Hymn Book, 1789, No. 756. In the 1801 and later eds. (1886, No. 1181, st. iii.), it begins, "Where'er I Thee this day did grieve." (2) "The sun’s fair sheen is past and gone," by H. J. Buckoll, 1842, p. 68. (3) "The sun hath run his daily race," by Lady E. Fortescue, 1843, p. 14. v. Lobt Gott, ihr Christen alle gleich. Christmas. Written c. 1554, but first published 1560 as above, as the first of "Three Spiritual Christmas Songs of the new-born child Jesus, for the children in Joachimsthal." Thence in Wackernagel iii. p. 1169, in 8 stanzas of 4 lines; in Ledderhose, p. 1; and in the Unverfälschter Liedersegen, 1851, No. 47. It is one of the most popular German Christmas hymns. The melody set to it in 1560 is also by Herman; in 1554 to his "Kommt her ihr liebsten Schwesterlein" [in the Hymnal Companioncalled "St. George's (old)"]. Translated as :— 1. Let all together praise our God, a good translation of stanzas i., iii., vi., viii., by A. T. Russell, as No. 52 in his Psalms & Hymns, 1851. Repeated in Kennedy, 1863, adding a translation of st. ii., and beginning, "Let all creation praise our God." 2. Praise ye the Lord, ye Christians I yea, in full, by E. Cronenwett, as No. 31 in the Ohio Lutheran Hymnal 1880. Other translations are: (1) "A wondrous change He with us makes," a tr. of stanza viii., ix. as No. 438 in pt. i. of the Moravian Hymn Book, 1754, repeated 1789-1826. (2) "Come, brethren, lets the song arise," by Dr. G. Walker, 1860, p. 26. (3) "Praise God, now Christians, all alike," by Miss Manington, 1864, p. 9. (4) "Praise God, upon His throne on high," in the Sunday Magazine, 1874, p. 384, signed "P. J." The hymn “Shepherds rejoice, lift up your eyes," given by J. C. Jacobi in his Psalmodia Germanica, 1722, p. 8, to Herman's melody (which was first published 1554) is, as stated in his Preface, taken from Bk. i. of Isaac Watts's Horse Lyricae vi. So wahr ich leb, spricht Gott der Herr. Absolution. 1560, as above, in 11 stanzas of 4 lines, entitled "A hymn on the power of the keys and the virtue of holy absolution; for the children in Joachimsthal." Thence in Wackernagel, iii. p. 1183; in Ledderhose, p. 47; and the Unverfälschter Liedersegen, 1851, No. 429. It probably suggested the better known hymn, "So wahr ich lebe," q. v., by Johann Heermann. Translated as:— Yea, as I live, Jehovah saith, I do not wish the sinner's death, in full, by Dr. M. Loy, as No. 245, in the Ohio Lutheran Hymnal, 1880. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology (1907)

Edward Perronet

1721 - 1792 Meter: 8.6.8.6 with repeat Author of "All Hail the Power of Jesus' Name" in The Worshiping Church Edward Perronet was the son of the Rev. Vincent Perronet, Vicar of Shoreham, Kent. For some time he was an intimate associate of the Wesleys, at Canterbury and Norwich. He afterwards became pastor of a dissenting congregation. He died in 1792. In 1784, he published a small volume, entitled "Occasional Verses, Moral and Social;" a book now extremely rare. At his death he is said to have left a large sum of money to Shrubsole, who was organist at Spafield's Chapel, London, and who had composed the tune "Miles Lane" for "All hail the power of Jesus' Name!" --Annotations of the Hymnal, Charles Hutchins, M.A. 1872. ------ Perronet, Edward. The Perronets of England, grandfather, father, and son, were French emigres. David Perronet came to England about 1680. He was son of the refugee Pasteur Perronet, who had chosen Switzerland as his adopted country, where he ministered to a Protestant congregation at Chateau D'Oex. His son, Vincent Perronet, M.A., was a graduate of Queen's College, Oxford, though his name is not found in either Anthony Woods's Athenae Oxonienses nor his Fasti, nor in Bliss's apparatus of additional notes. He became, in 1728, Vicar of Shoreham, Kent. He is imperishably associated with the Evangelical Revival under the Wesleys and Whitefield. He cordially cooperated with the movement, and many are the notices of him scattered up and down the biographies and Journals of John Wesley and of Selina, Countess of Huntingdon. He lived to the venerable age of ninety-one; and pathetic and beautiful is the account of John Wesley's later visits to the white-haired saint (b. 1693, d. May 9, 1785).* His son Edward was born in 1726. He was first educated at home under a tutor, but whether he proceeded to the University (Oxford) is uncertain. Born, baptized, and brought up in the Church of England, he had originally no other thought than to be one of her clergy. But, though strongly evangelical, he had a keen and searching eye for defects. A characteristic note to The Mitre, in referring to a book called The Dissenting Gentleman's answer to the Rev. Mr. White, thus runs:—"I was born, and am like to die, in the tottering communion of the Church of England; but I despise her nonsense; and thank God that I have once read a book that no fool can answer, and that no honest man will". The publication of The Mitre is really the first prominent event in his life. A copy is preserved in the British Museum, with title in the author's holograph, and manuscript notes; and on the fly-leaf this:— "Capt. Boisragon, from his oblig'd and most respectful humble servt. The Author. London, March 29th, 1757." The title is as follows:— The Mitre; a Sacred Poem (1 Samuel ii. 30). London: printed in the year 1757. This strangely overlooked satire is priceless as a reflex of contemporary ecclesiastical opinion and sentiment. It is pungent, salted with wit, gleams with humour, hits off vividly the well-known celebrities in Church and State, and is well wrought in picked and packed words. But it is a curious production to have come from a "true son" of the Church of England. It roused John Wesley's hottest anger. He demanded its instant suppression; and it was suppressed (Atmore's Methodist Memorial, p. 300, and Tyerman, ii. 240-44, 264, 265); and yet it was at this period the author threw himself into the Wesleys' great work. But evidences abound in the letters and journals of John Wesley that he was intermittently rebellious and vehement to even his revered leader's authority. Earlier, Edward Perronet dared all obloquy as a Methodist. In 1749 Wesley enters in his diary: "From Rochdale went to Bolton, and soon found that the Rochdale lions were lambs in comparison with those of Bolton. Edward Perronet was thrown down and rolled in mud and mire. Stones were hurled and windows broken" (Tyerman's Life and Times of the Rev. John Wesley, M.A., 3 vols., 1870 ; vol. ii. 57). In 1750 John Wesley writes: ”Charles and you [Edward Perronet] behave as I want you to do; but you cannot, or will not, preach where I desire. Others can and will preach where I desire, but they do not behave as I want them to do. I have a fine time between the one and the other. I think Charles and you have in the general a right sense of what it is to serve as sons in the gospel; and if all our helpers had had the same, the work of God would have prospered better both in England and Ireland. I have not one preacher with me, and not six in England, whose wills are broken to serve me" (ibid. ii. 85, and Whitehead's Life of Wesley, ii. 259). In 1755 arrangements to meet the emergency created by its own success had to be made for Methodism. As one result, both Edward and Charles Perronet broke loose from John Wesley's law that none of his preachers or "helpers" were to dispense the Sacraments, but were still with their flocks to attend the parish churches. Edward Perronet asserted his right to administer the Sacraments as a divinely-called preacher ibid. ii. 200). At that time he was resident at Canterbury, "in a part of the archbishop's old palace" (ibid. ii. 230. In season and out of season he "evangelized." Onward, he became one of the Countess of Huntingdon's "ministers" in a chapel in Watling Street, Canterbury. Throughout he was passionate, impulsive, strong-willed; but always lived near his divine Master. The student-reader of Lives of the Wesleys will be "taken captive" by those passages that ever and anon introduce him. He bursts in full of fire and enthusiasm, yet ebullient and volatile. In the close of his life he is found as an Independent or Congregational pastor of a small church in Canterbury. He must have been in easy worldly circumstances, as his will shows. He died Jan. 2, 1792, and was buried in the cloisters of the great cathedral, Jan. 8. His Hymns were published anonymously in successive small volumes. First of all came Select Passages of the Old and New Testament versified; London: Printed by H. Cock, mdcclvi. … A second similar volume is entitled A Small Collection of Hymns, &c, Canterbury: printed in the year dcclxxxii. His most important volume was the following:— Occasional Verses, moral and sacred. Published for the instruction and amusement of the Candidly Serious and Religious. London, printed for the Editor: And Sold by J. Buckland in Paternoster Row; and T. Scollick, in the City Road, Moorfields, mdcclxxxv. pp. 216 (12°). [The British Museum copy has the two earlier volumes bound up with this.] The third hymn in this scarce book is headed, “On the Resurrection," and is, ”All hail the power of Jesus' name". But there are others of almost equal power and of more thorough workmanship. In my judgment, "The Lord is King" (Psalm xcvi. 16) is a great and noble hymn. It commences:— “Hail, holy, holy, holy Loud! Let Pow'rs immortal sing; Adore the co-eternal Word, And shout, the Lord is King." Very fine also is "The Master's Yoke—the Scholar's Lesson," Matthew xi. 29, which thus opens:— O Grant me, Lord, that sweet content That sweetens every state; Which no internal fears can rent, Nor outward foes abate." A sacred poem is named "The Wayfaring Man: a Parody"; and another, "The Goldfish: a Parody." The latter has one splendid line on the Cross, "I long to share the glorious shame." "The Tempest" is striking, and ought to be introduced into our hymnals; and also "The Conflict or Conquest over the Conqueror, Genesis xxxii. 24". Still finer is "Thoughts on Hebrews xii.," opening:— "Awake my soul—arise! And run the heavenly race; Look up to Him who holds the prize, And offers thee His grace." "A Prayer for Mercy on Psalm cxix. 94," is very striking. On Isaiah lxv. 19, is strong and unmistakable. "The Sinner's Resolution," and "Thoughts on Matthew viii. 2," and on Mark x. 51, more than worthy of being reclaimed for use. Perronet is a poet as well as a pre-eminently successful hymnwriter. He always sings as well as prays. It may be added that the brief paraphrase after Ovid given below, seems to echo the well-known lines in Gray's immortal elegy:— "How many a gem unseen of human eyes, Entomb'd in earth, a sparkling embryo lies; How many a rose, neglected as the gem, Scatters its sweets and rots upon its stem: So many a mind, that might a meteor shone, Had or its genius or its friend been known; Whose want of aid from some maternal hand, Still haunts the shade, or quits its native land." [Rev. A. B. Grosart, D.D., LL.D.] * Agnew's Protestant Exiles from France in the Reign of Louis XIV. confounds Vincent the father with Edward his son. -- John Julian, Dictionary of Hymnology (1907)

Charles Wesley

1707 - 1788 Person Name: Charles Wesley, 1707-1788 Meter: 8.6.8.6 with repeat Author of "O For A Thousand Tongues To Sing" in The Hymn Book of the Anglican Church of Canada and the United Church of Canada Charles Wesley, M.A. was the great hymn-writer of the Wesley family, perhaps, taking quantity and quality into consideration, the great hymn-writer of all ages. Charles Wesley was the youngest son and 18th child of Samuel and Susanna Wesley, and was born at Epworth Rectory, Dec. 18, 1707. In 1716 he went to Westminster School, being provided with a home and board by his elder brother Samuel, then usher at the school, until 1721, when he was elected King's Scholar, and as such received his board and education free. In 1726 Charles Wesley was elected to a Westminster studentship at Christ Church, Oxford, where he took his degree in 1729, and became a college tutor. In the early part of the same year his religious impressions were much deepened, and he became one of the first band of "Oxford Methodists." In 1735 he went with his brother John to Georgia, as secretary to General Oglethorpe, having before he set out received Deacon's and Priest's Orders on two successive Sundays. His stay in Georgia was very short; he returned to England in 1736, and in 1737 came under the influence of Count Zinzendorf and the Moravians, especially of that remarkable man who had so large a share in moulding John Wesley's career, Peter Bonier, and also of a Mr. Bray, a brazier in Little Britain. On Whitsunday, 1737, [sic. 1738] he "found rest to his soul," and in 1738 he became curate to his friend, Mr. Stonehouse, Vicar of Islington, but the opposition of the churchwardens was so great that the Vicar consented that he "should preach in his church no more." Henceforth his work was identified with that of his brother John, and he became an indefatigable itinerant and field preacher. On April 8, 1749, he married Miss Sarah Gwynne. His marriage, unlike that of his brother John, was a most happy one; his wife was accustomed to accompany him on his evangelistic journeys, which were as frequent as ever until the year 1756," when he ceased to itinerate, and mainly devoted himself to the care of the Societies in London and Bristol. Bristol was his headquarters until 1771, when he removed with his family to London, and, besides attending to the Societies, devoted himself much, as he had done in his youth, to the spiritual care of prisoners in Newgate. He had long been troubled about the relations of Methodism to the Church of England, and strongly disapproved of his brother John's "ordinations." Wesley-like, he expressed his disapproval in the most outspoken fashion, but, as in the case of Samuel at an earlier period, the differences between the brothers never led to a breach of friendship. He died in London, March 29, 1788, and was buried in Marylebone churchyard. His brother John was deeply grieved because he would not consent to be interred in the burial-ground of the City Road Chapel, where he had prepared a grave for himself, but Charles said, "I have lived, and I die, in the Communion of the Church of England, and I will be buried in the yard of my parish church." Eight clergymen of the Church of England bore his pall. He had a large family, four of whom survived him; three sons, who all became distinguished in the musical world, and one daughter, who inherited some of her father's poetical genius. The widow and orphans were treated with the greatest kindness and generosity by John Wesley. As a hymn-writer Charles Wesley was unique. He is said to have written no less than 6500 hymns, and though, of course, in so vast a number some are of unequal merit, it is perfectly marvellous how many there are which rise to the highest degree of excellence. His feelings on every occasion of importance, whether private or public, found their best expression in a hymn. His own conversion, his own marriage, the earthquake panic, the rumours of an invasion from France, the defeat of Prince Charles Edward at Culloden, the Gordon riots, every Festival of the Christian Church, every doctrine of the Christian Faith, striking scenes in Scripture history, striking scenes which came within his own view, the deaths of friends as they passed away, one by one, before him, all furnished occasions for the exercise of his divine gift. Nor must we forget his hymns for little children, a branch of sacred poetry in which the mantle of Dr. Watts seems to have fallen upon him. It would be simply impossible within our space to enumerate even those of the hymns which have become really classical. The saying that a really good hymn is as rare an appearance as that of a comet is falsified by the work of Charles Wesley; for hymns, which are really good in every respect, flowed from his pen in quick succession, and death alone stopped the course of the perennial stream. It has been the common practice, however for a hundred years or more to ascribe all translations from the German to John Wesley, as he only of the two brothers knew that language; and to assign to Charles Wesley all the original hymns except such as are traceable to John Wesley through his Journals and other works. The list of 482 original hymns by John and Charles Wesley listed in this Dictionary of Hymnology have formed an important part of Methodist hymnody and show the enormous influence of the Wesleys on the English hymnody of the nineteenth century. -- Excerpts from John Julian, Dictionary of Hymnology (1907) ================== Charles Wesley, the son of Samuel Wesley, was born at Epworth, Dec. 18, 1707. He was educated at Westminster School and afterwards at Christ Church, Oxford, where he graduated M.A. In 1735, he took Orders and immediately proceeded with his brother John to Georgia, both being employed as missionaries of the S.P.G. He returned to England in 1736. For many years he engaged with his brother in preaching the Gospel. He died March 29, 1788. To Charles Wesley has been justly assigned the appellation of the "Bard of Methodism." His prominence in hymn writing may be judged from the fact that in the "Wesleyan Hymn Book," 623 of the 770 hymns were written by him; and he published more than thirty poetical works, written either by himself alone, or in conjunction with his brother. The number of his separate hymns is at least five thousand. --Annotations of the Hymnal, Charles Hutchins, M.A., 1872.

John R. Sweney

1837 - 1899 Meter: 8.6.8.6 with repeat Composer of "[Just as a little tired child] (Sweney)" John R. Sweney (1837-1899) was born in West Chester, Pennsylvania, and exhibited musical abilities at an early age. At nineteen he was studying with a German music teacher, leading a choir and glee club, and performing at children’s entertainments. By twenty-two he was teaching at a school in Dover, Delaware. Soon thereafter, he was put in charge of the band of the Third Delaware Regiment of the Union Army for the duration of the Civil War. After the war, he became Professor of Music at the Pennsylvania Military Academy, and director of Sweney’s Cornet Band. He eventually earned Bachelor and Doctor of Music degrees at the Academy. Sweney began composing church music in 1871 and became well-known as a leader of large congregations. His appreciators stated “Sweney knows how to make a congregation sing” and “He had great power in arousing multitudes.” He also became director of music for a large Sunday school at the Bethany Presbyterian Church in Philadelphia of which John Wanamaker was superintendent (Wanamaker was the founder of the first major department store in Philadelphia). In addition to his prolific output of hymn melodies and other compositions, Sweney edited or co-edited about sixty song collections, many in collaboration with William J. Kirkpatrick. Sweney died on April 10, 1899, and his memorial was widely attended and included a eulogy by Wanamaker. Joe Hickerson from "Joe's Jottings #9" used by permission

William Cowper

1731 - 1800 Meter: 8.6.8.6 with repeat Author of "The Spirit Breathes upon the Word" in Trinity Hymnal (Rev. ed.) William Cowper (pronounced "Cooper"; b. Berkampstead, Hertfordshire, England, 1731; d. East Dereham, Norfolk, England, 1800) is regarded as one of the best early Romantic poets. To biographers he is also known as "mad Cowper." His literary talents produced some of the finest English hymn texts, but his chronic depression accounts for the somber tone of many of those texts. Educated to become an attorney, Cowper was called to the bar in 1754 but never practiced law. In 1763 he had the opportunity to become a clerk for the House of Lords, but the dread of the required public examination triggered his tendency to depression, and he attempted suicide. His subsequent hospitalization and friendship with Morley and Mary Unwin provided emotional stability, but the periods of severe depression returned. His depression was deepened by a religious bent, which often stressed the wrath of God, and at times Cowper felt that God had predestined him to damnation. For the last two decades of his life Cowper lived in Olney, where John Newton became his pastor. There he assisted Newton in his pastoral duties, and the two collaborated on the important hymn collection Olney Hymns (1779), to which Cowper contributed sixty-eight hymn texts. Bert Polman ============ Cowper, William, the poet. The leading events in the life of Cowper are: born in his father's rectory, Berkhampstead, Nov. 26, 1731; educated at Westminster; called to the Bar, 1754; madness, 1763; residence at Huntingdon, 1765; removal to Olney, 1768; to Weston, 1786; to East Dereham, 1795; death there, April 25, 1800. The simple life of Cowper, marked chiefly by its innocent recreations and tender friendships, was in reality a tragedy. His mother, whom he commemorated in the exquisite "Lines on her picture," a vivid delineation of his childhood, written in his 60th year, died when he was six years old. At his first school he was profoundly wretched, but happier at Westminster; excelling at cricket and football, and numbering Warren Hastings, Colman, and the future model of his versification. Churchill, among his contemporaries or friends. Destined for the Bar, he was articled to a solicitor, along with Thurlow. During this period he fell in love with his cousin, Theodora Cowper, sister to Lady Hesketh, and wrote love poems to her. The marriage was forbidden by her father, but she never forgot him, and in after years secretly aided his necessities. Fits of melancholy, from which he had suffered in school days, began to increase, as he entered on life, much straitened in means after his father's death. But on the whole, it is the playful, humorous side of him that is most prominent in the nine years after his call to the Bar; spent in the society of Colman, Bonnell Thornton, and Lloyd, and in writing satires for The Connoisseur and St. James's Chronicle and halfpenny ballads. Then came the awful calamity, which destroyed all hopes of distinction, and made him a sedentary invalid, dependent on his friends. He had been nominated to the Clerkship of the Journals of the House of Lords, but the dread of appearing before them to show his fitness for the appointment overthrew his reason. He attempted his life with "laudanum, knife and cord,"—-in the third attempt nearly succeeding. The dark delusion of his life now first showed itself—a belief in his reprobation by God. But for the present, under the wise and Christian treatment of Dr. Cotton (q. v.) at St. Albans, it passed away; and the eight years that followed, of which the two first were spent at Huntingdon (where he formed his lifelong friendship with Mrs. Unwin), and the remainder at Olney in active piety among the poor, and enthusiastic devotions under the guidance of John Newton (q. v.), were full of the realisation of God's favour, and the happiest, most lucid period of his life. But the tension of long religious exercises, the nervous excitement of leading at prayer meetings, and the extreme despondence (far more than the Calvinism) of Newton, could scarcely have been a healthy atmosphere for a shy, sensitive spirit, that needed most of all the joyous sunlight of Christianity. A year after his brother's death, madness returned. Under the conviction that it was the command of God, he attempted suicide; and he then settled down into a belief in stark contradiction to his Calvinistic creed, "that the Lord, after having renewed him in holiness, had doomed him to everlasting perdition" (Southey). In its darkest form his affliction lasted sixteen months, during which he chiefly resided in J. Newton's house, patiently tended by him and by his devoted nurse, Mrs. Unwin. Gradually he became interested in carpentering, gardening, glazing, and the tendance of some tame hares and other playmates. At the close of 1780, Mrs. Unwin suggested to him some serious poetical work; and the occupation proved so congenial, that his first volume was published in 1782. To a gay episode in 1783 (his fascination by the wit of Lady Austen) his greatest poem, The Task, and also John Gilpin were owing. His other principal work was his Homer, published in 1791. The dark cloud had greatly lifted from his life when Lady Hesketh's care accomplished his removal to Weston (1786): but the loss of his dear friend William Unwin lowered it again for some months. The five years' illness of Mrs. Unwin, during which his nurse of old became his tenderly-watched patient, deepened the darkness more and more. And her death (1796) brought “fixed despair," of which his last poem, The Castaway, is the terrible memorial. Perhaps no more beautiful sentence has been written of him, than the testimony of one, who saw him after death, that with the "composure and calmness" of the face there “mingled, as it were, a holy surprise." Cowper's poetry marks the dawn of the return from the conventionality of Pope to natural expression, and the study of quiet nature. His ambition was higher than this, to be the Bard of Christianity. His great poems show no trace of his monomania, and are full of healthy piety. His fame as a poet is less than as a letter-writer: the charm of his letters is unsurpassed. Though the most considerable poet, who has written hymns, he has contributed little to the development of their structure, adopting the traditional modes of his time and Newton's severe canons. The spiritual ideas of the hymns are identical with Newton's: their highest note is peace and thankful contemplation, rather than joy: more than half of them are full of trustful or reassuring faith: ten of them are either submissive (44), self-reproachful (17, 42, 43), full of sad yearning (1, 34), questioning (9), or dark spiritual conflict (38-40). The specialty of Cowper's handling is a greater plaintiveness, tenderness, and refinement. A study of these hymns as they stood originally under the classified heads of the Olney Hymns, 1779, which in some cases probably indicate the aim of Cowper as well as the ultimate arrangement of the book by Newton, shows that one or two hymns were more the history of his conversion, than transcripts of present feelings; and the study of Newton's hymns in the same volume, full of heavy indictment against the sins of his own regenerate life, brings out the peculiar danger of his friendship to the poet: it tends also to modify considerably the conclusions of Southey as to the signs of incipient madness in Cowper's maddest hymns. Cowper's best hymns are given in The Book of Praise by Lord Selborne. Two may be selected from them; the exquisitely tender "Hark! my soul, it is the Lord" (q. v.), and "Oh, for a closer walk with God" (q. v.). Anyone who knows Mrs. Browning's noble lines on Cowper's grave will find even a deeper beauty in the latter, which is a purely English hymn of perfect structure and streamlike cadence, by connecting its sadness and its aspiration not only with the “discord on the music" and the "darkness on the glory," but the rapture of his heavenly waking beneath the "pathetic eyes” of Christ. Authorities. Lives, by Hayley; Grimshaw; Southey; Professor Goldwin Smith; Mr. Benham (attached to Globe Edition); Life of Newton, by Rev. Josiah Bull; and the Olney Hymns. The numbers of the hymns quoted refer to the Olney Hymns. [Rev. H. Leigh Bennett, M.A.] --John Julian, Dictionary of Hymnology (1907) ================ Cowper, W. , p. 265, i. Other hymns are:— 1. Holy Lord God, I love Thy truth. Hatred of Sin. 2. I was a grovelling creature once. Hope and Confidence. 3. No strength of nature can suffice. Obedience through love. 4. The Lord receives His highest praise. Faith. 5. The saints should never be dismayed. Providence. All these hymns appeared in the Olney Hymns, 1779. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) ===================== Cowper, W., p. 265, i. Prof. John E. B. Mayor, of Cambridge, contributed some letters by Cowper, hitherto unpublished, together with notes thereon, to Notes and Queries, July 2 to Sept. 24, 1904. These letters are dated from Huntingdon, where he spent two years after leaving St. Alban's (see p. 265, i.), and Olney. The first is dated "Huntingdon, June 24, 1765," and the last "From Olney, July 14, 1772." They together with extracts from other letters by J. Newton (dated respectively Aug. 8, 1772, Nov. 4, 1772), two quotations without date, followed by the last in the N. & Q. series, Aug. 1773, are of intense interest to all students of Cowper, and especially to those who have given attention to the religious side of the poet's life, with its faint lights and deep and awful shadows. From the hymnological standpoint the additional information which we gather is not important, except concerning the hymns "0 for a closer walk with God," "God moves in a mysterious way," "Tis my happiness below," and "Hear what God, the Lord, hath spoken." Concerning the last three, their position in the manuscripts, and the date of the last from J. Newton in the above order, "Aug. 1773," is conclusive proof against the common belief that "God moves in a mysterious way" was written as the outpouring of Cowper's soul in gratitude for the frustration of his attempted suicide in October 1773. --John Julian, Dictionary of Hymnology, New Supplement (1907)

Philip Doddridge

1702 - 1751 Meter: 8.6.8.6 with repeat Author of "Awake, My Soul, Stretch Every Nerve" in Trinity Hymnal (Rev. ed.) Philip Doddridge (b. London, England, 1702; d. Lisbon, Portugal, 1751) belonged to the Non-conformist Church (not associated with the Church of England). Its members were frequently the focus of discrimination. Offered an education by a rich patron to prepare him for ordination in the Church of England, Doddridge chose instead to remain in the Non-conformist Church. For twenty years he pastored a poor parish in Northampton, where he opened an academy for training Non-conformist ministers and taught most of the subjects himself. Doddridge suffered from tuberculosis, and when Lady Huntington, one of his patrons, offered to finance a trip to Lisbon for his health, he is reputed to have said, "I can as well go to heaven from Lisbon as from Northampton." He died in Lisbon soon after his arrival. Doddridge wrote some four hundred hymn texts, generally to accompany his sermons. These hymns were published posthumously in Hymns, Founded on Various Texts in the Holy Scriptures (1755); relatively few are still sung today. Bert Polman ======================== Doddridge, Philip, D.D., was born in London, June 26, 1702. His grandfather was one of the ministers under the Commonwealth, who were ejected in 1662. His father was a London oilman. He was offered by the Duchess of Bedford an University training for ordination in the Church of England, but declined it. He entered Mr. Jennings's non-conformist seminary at Kibworth instead; preached his first sermon at Hinckley, to which Mr. Jennings had removed his academy. In 1723 he was chosen pastor at Kibworth. In 1725 he changed his residence to Market Harborough, still ministering at Kibworth. The settled work of his life as a preceptor and divine began in 1729, with his appointment to the Castle Hill Meeting at Northampton, and continued till in the last stage of consumption. He sailed to Lisbon, in 1751, where he died October 26, the same year. Two hundred pupils in all, gathered from England, Scotland and Holland, were prepared in his seminary, chiefly for the dissenting ministry, but partly for professions. The wide range of subjects, including daily readings in Hebrew and Greek, Algebra, Trigonometry, Watts' Logic, outline of Philosophy, and copious Divinity, is itself a proof of Doddridge's learning. He was presented with his D.D. degree by the University of Aberdeen. His fame as a divine, combined with his wide sympathies and gentle, unaffected goodness, won for him the friendship of Watts, Col. Gardiner and Hervey, and the esteem of Seeker and Warburton. He welcomed the work of Wesley and Whitefield, and entertained the latter on his visit to Northampton. His Rise and Progress of Religion in the Soul and The Family Expositor both did good work in their day. For criticism of his hymns see English Hymnody, Early, § XIV. [Rev. H. Leigh Bennett, M.A.] After Dr. Doddridge's death his hymns were published by his friend Job Orton, in 1755, as:— "Hymns founded on Various Texts in the Holy Scriptures. By the late Reverend Philip Doddridge, D.D. Published from the Author's Manuscript by Job Orton . . . Salop. Printed by J. Eddowes and J. Cotton, &c. MDCCLV." Concerning the text of the hymns, Orton says in his Preface:— "There may perhaps be some improprieties, owing to my not being able to read the author's manuscript in particular places, and being obliged, without a poetical genius, to supply those deficiencies, whereby the beauty of the stanza may be greatly defaced, though the sense is preserved." The 1st edition contained 370 hymns; the 2nd, 1759, 374; and the 3rd, 1766, and later editions, 375. In 1839 Doddridge's great-grandson re-edited the hymns from the original manuscript and published the same as:— Scriptural Hymns by the Rev. Philip Doddridge, D.D. New and corrected edition containing many hymns never before printed. Edited from the Original Documents by the Author's great-grandson, John Doddridge Humphreys, Esq. Lond. Darton & Clark, 1839. This work contains 22 additional hymns. The text differs in many instances from Orton's, but these changes have not come into common use. In addition to the manuscript used by Orton and J. D. Humphreys, another containing 100 hymns (five of which are not in any edition of the Hymns), all in the author's handwriting, and most of them dated, is referred to in this Dictionary as the "D. Manuscripts." It is the property of Mr. W. S. Booker and family. A manuscript, not in Doddridge's handwriting, of 77 "Hymns by P. Doddridge, Mar. 16, 1739/1740," is in the possession of Mr. W. T. Brooke. The existence of these manuscripts is accounted for from the fact that Doddridge's hymns were freely circulated in manuscript during his lifetime. It is from his correspondence with R. Blair (q.v.) that the few compositions traceable to him in the Scottish Trans. & Paraphrases were derived. The hymns by Doddridge which have attained to the greatest popularity are:— “Awake, my soul, stretch every nerve"; " Do not I love Thee, O my Lord? " "Grace 'tis a charming sound”; " Hark, the glad sound, the Saviour comes"; "My God, and is Thy table spread?" "O happy day, that fixed my choice"; "O God of Jacob [Bethel], by Whose hand”; " See Israel's gentle Shepherd stand"; "Ye servants of the Lord." These hymns, with many besides, are annotated under their respective first lines. Of the rest, taken from the Hymns, &c, 1755, the following are also in common use:— 1. Behold the gloomy vale. Death anticipated. 2. Behold the Great Physician stands. Christ the Physician. 3. Captives of Israel, hear. Spiritual Deliverance. 4. Eternal God, our wondering souls. Enoch's Piety and Translation. 5. Eternal Source of life and thought. Subjection to the Father. G. Exalted Prince of Life, we own. Christ the Prince and Saviour. 7. Father Divine, the Saviour cried. Christ's Submission to the Father. 8. Father Divine, Thy piercing eye. Secret Prayer. 9. Father of mercies, send Thy grace. Sympathy. The Good Samaritan. 10. Go, saith the Lord, proclaim my grace. Forgiveness. 11. God of Eternity, from Thee. Redeeming the Time. 12. God of my life, through all its [my] days. Praising God continually. 13. God. of salvation, we adore. Praise to God for Redemption. 14. Great Father of mankind. Gentiles brought into the Church. 15. Great God, we sing that mighty hand. The New Tear. 16. Great Leader of Thine Israel's host. During Persecution. 17. Great Lord of angels, we adore. Ordination. 18. Great Spirit of immortal love. Purity of Heart desired. 19. Great Teacher of Thy Church, we own. The Divine Precepts. 20. Hail, everlasting Prince of Peace. Sympathy. 21. Hail to the Prince of life and peace. Praise to Christ. 22. Hear, gracious [Saviour] Sovereign, from Thy throne. The Blessings of the Holy Spirit desired. 23. How gentle God's commands. God's Care of His Own. 24. How rich Thy favours, God of grace. God and His Living Temple. 25. How swift the torrent flows [rolls]. Our Fathers, where are they? 26. Jesus the Lord, our souls adore. Christ the Forerunner. 27. Jesus, we own Thy Sovereign hand. Christ to be fully known hereafter. 28. Loud let the tuneful trumpet sound. Gospel Jubilee. 29. My gracious Lord, I own Thy right. Life in Jesus. 30. My [Dear] Saviour, I am [we are] Thine. Joined to Christ through the Spirit. 31. My soul, with all thy waking powers. The Choice of Moses. 32. Now let our voices join. Singing in the ways of God. 33. 0 injured Majesty of heaven. Lent. 34. 0 Zion, tune thy voice. Glory of the Church of Christ. 35. Peace, 'tis the Lord Jehovah's hand. Resignation. 36. Praise the Lord of boundless might. The Father of Lights. 37. Praise to Thy Name, Eternal God. Growth in Grace desired. 38. Remark, my soul, the narrow bounds. The New Year. 39. Repent, the Voice celestial cries. Lent. 40. Return, my roving heart, return. Heart communing. 41. Salvation, O melodious sound. God our Salvation. 42. Saviour of men, and Lord of love. Ministry and Death of Christ. 43. Searcher of hearts, before Thy face. Peter to Simon Magus. 44. Shepherd of Israel, Thou dost keep. Induction or Settlement of a Minister. 45. Shine forth, eternal Source of light. Knowledge of God desired. 46. Shine on our souls, eternal God. Sunday. 47. Sing, ye redeemed of the Lord. Joy on the Homeward Way. 48. Sovereign of life, before Thine eye. Life and Death in God's hands. 49. The darkened sky, how thick it lours. Sorrow followed by Joy. 50. The day approacheth, O my soul. Judgment anticipated. 51. The King of heaven His table spreads. The Gospel Feast. 52. The promises I sing. The unchanging promises of God. 53. The swift-declining day. Walk in the Light. 54. These mortal joys, how soon they fade. Treasures, Perishable and Eternal. 55. Thy judgments cry aloud. Retributive Providence. 56. Thy presence, Everlasting God. Omnipresence of the Father. 57. 'Tis mine, the covenant of His grace. Death anticipated. 58. To Thee, my God; my days are known. Life under the eye of God. 59. Tomorrow, Lord, is Thine. Uncertainty of Life. 60. Triumphant Lord, Thy goodness reigns. The Divine Goodness. 61. Triumphant Zion, lift thy head. The Church Purified and Guarded. 62. Unite my roving thoughts, unite. Peace. 63. What mysteries, Lord, in Thee combine. Christ, the First and Last. 64. While on the verge of life I stand. Death anticipated with Joy. 65. With ecstacy of Joy. Christ the Living Stone. 66. Ye golden lamps of heaven, farewell. Heaven opening. 67. Ye hearts with youthful vigour warm. The Young encouraged. 68. Ye humble souls, that seek the Lord. Easter. 69. Ye sons of men, with joy record. Praise of the Works of God. 70. Yes, the Redeemer rose. Easter In Dr. Hatfield's Church HymnBook, N. Y., 1872, Nos. 9, 12, 14, 15, 21, 23, 25, 29, 30, 32, 34, 35, 39, 40, 44, 47, 51, 61, 64, 65, 67, 69, 70, as above, are dated 1740. What authority there may be for this date we cannot say, these hymns not being in any “D. MSS." with which we are acquainted, and no dates are given in the Hymns, &c, 1755. Some later American editors have copied this date from Dr. Hatfield. Doddridge's hymns are largely used by Unitarians both in Great Britain and America. As might be expected, the Congregationalists also draw freely from his stores. The Baptists come next. In the hymnals of the Church of England the choicest, only are in use. Taken together, over one-third of his hymns are in common usage at the present time. -- John Julian, Dictionary of Hymnology (1907) ================ Doddridge, Philip, D.D. At p. 305 an account is given of a manuscript volume of Doddridge's Hymns, which is the property of the Rooker family. Since that article was written another manuscript vol. has been found. It was the property of Lady Frances Gardiner, née Erskine, an intimate friend of Doddridge, and wife of Col. Gardiner. It is a copy of the Rooker manuscipt, with the revised text, as in the margin of that ms., and is in Doddridge's hand¬writing. It was from this manuscript that the Doddridge hymns were taken for the Scottish Translationsand Paraphrases, 1745. Additional hymns by Dr. Doddridge still in common use include:— 1. My God, how cheerful is the sound. All in Christ. 2. My Saviour, let me hear Thy voice. Pardon desired. 3. My soul, triumphant in the Lord. Divine Guidance assured. 4. No «iore, ye wise, your wisdom boast. Glorying in God alone. From Hymns, No. 128. 5. Now be that Sacrifice survey'd. Christ our Sacrifice. 6. 0 Israel, blest beyond compare. Happiness of God's Israel. 7. Our fathers, where are they? Considering the Past. From Hymns, No. 164. 8. Praise to the Lord on high. Missions. 9. Praise to the radiant Source of bliss. Praise for Divine Guidance. 10. Return, my soul, and seek thy rest. Rest in Jesus. 11. Salvation doth to God belong. National Thanksgiving. 12. Sovereign of Life, I own Thy hand. On Recovery from Sickness. 13. The sepulchres, how thick they stand. Burial. 14. There is a Shepherd kind and strong. The Good Shepherd. From Hymns, No. 216. 15. Wait on the Lord, ye heirs of hope. Waiting on God. 16. We bless the eternal Source of light. Christ's care of the Church. 17. With transport, Lord, our souls proclaim. Immutability of Christ. 18. Ye mourning saints, whose streaming tears. Death and Burial. These all appeared in Dr. Doddridge's Hymns, 1755. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

Nahum Tate

1652 - 1715 Meter: 8.6.8.6 with repeat Author of "While Shepherds Watched Their Flocks" in Trinity Hymnal (Rev. ed.) Nahum Tate was born in Dublin and graduated from Trinity College, Dublin, B.A. 1672. He lacked great talent but wrote much for the stage, adapting other men's work, really successful only in a version of King Lear. Although he collaborated with Dryden on several occasions, he was never fully in step with the intellectual life of his times, and spent most of his life in a futile pursuit of popular favor. Nonetheless, he was appointed poet laureate in 1692 and royal historiographer in 1702. He is now known only for the New Version of the Psalms of David, 1696, which he produced in collaboration with Nicholas Brady. Poverty stricken throughout much of his life, he died in the Mint at Southwark, where he had taken refuge from his creditors, on August 12, 1715. --The Hymnal 1940 Companion See also in: Hymn Writers of the Church

John Rippon

1751 - 1836 Meter: 8.6.8.6 with repeat Adapter of "All Hail the Power of Jesus' Name" in The Worshiping Church Rippon, John, D.D., was born at Tiverton, Devon, April 29, 1751, and was educated for the ministry at the Baptist College, Bristol. In 1773 he became Pastor of the Baptist church in Carter Lane, Tooley Street (afterwards removed to New Park Street), London, and over this church he continued to preside until his death, on Dec. 17, 1836. The degree of D.D. was conferred on him in 1792 by the Baptist College, Providence, Rhode Island. Dr. Rippon was one of the most popular and influential Dissenting ministers of his time. From 1790 to 1802 he issued the Baptist Annual Register, a periodical containing an account of the most important events in the history of the Baptist Denomination in Great Britain and America during that period, and very valuable now as a book of reference. But his most famous work is his Selection of hymns for public worship, which appeared in 1787. The full title of the first edition is A selection of Hymns from the best authors, intended as an Appendix to Dr. Watts's Psalms and Hymns. In 1791 he published a Selection of Psalm and Hymn Tunes from the Best Authors, adapted to Dr. Watts's Psalms and Hymns, and to his own Selection, and from that time the names of tunes were prefixed to the hymns in the successive editions of his hymn-book. In 1800 he published the 10th ed. of his Selections, containing more than sixty additional hymns. In 1827 it was still further enlarged, and in 1844, after his death, appeared The Comprehensive Edition, commonly known as The Comprehensive Rippon, containing most of the additional hymns, with about 400 then first added, making in all upwards of 1170, in 100 metres. A rival to the Comprehensive was also afterwards published under the old title, somewhat enlarged. In the preparation of the original book, and its subsequent improvement, Dr. Rippon performed an important service to Baptist Hymnody, and also, it is said, gained for himself "an estate" through its immense sale. In the preface to the tenth edition lie claims for himself the authorship of some of the hymns, but as he refrained from affixing his name to any of the hymns it is impossible now to say with certainty which ought to be ascribed to him. There can, however, be no reasonable doubt that hymn 535, 3rd part, "The day has dawned, Jehovah comes" (q.v.), is one of his compositions. Other hymns, probably by him, are, "Amid the splendours of Thy state" (Love of God), 1800; and "There is joy in heaven, and joy on earth" (Joy over the Repenting Sinner), 1787. He also altered the texts of and made additions to several of the older hymns. Some of these altered texts are still in common use. In 1830 the additions given in the 27th ed., 1827, of Rippon's Selections were reprinted, with notes by Dr. Slater, as:— Hymns Original and Selected; interspersed in the Twenty-seventh edition of the Selection, with Numerous Doxologies, in the Usual, the Peculiar, and in the less Common metres. By John Rippon, D.D. A second edition of this pamphlet of 82 hymns and doxologies appeared in 1832. [Rev. W. R. Stevenson, M.A.] --John Julian, Dictionary of Hymnology (1907)

Oliver Holden

1765 - 1844 Meter: 8.6.8.6 with repeat Composer of "CORONATION" in The Worshiping Church Holden, Oliver, one of the pioneers of American psalmody, was born in 1765, and was brought up as a carpenter. Subsequently he became a teacher and music-seller. He died at Charlestown, Massachusetts, 1844. His published works are American Harmony, 1793; the Worcester Collection, 1797; and other Tune books. One of his most popular tunes is "Coronation." It is thought that he edited a small hymn-book, published at Boston before 1808, in which are 21 of his hymns with the signature "H." A single copy only of this book is known, and that is without title-page. Of his hymns the following are in common use:— 1. All those who seek a throne of grace. [God present where prayer is offered.] Was given in Peabody's Springfield Collection, 1835, No. 92, in a recast form as, “They who seek the throne of grace." This form is in extensive use in America, and is also in a few collections in Great Britain. 2. With conscious guilt, and bleeding heart. [Lent.] This, although one of the best of Holden's hymns, has passed out of use. It appeared, with two others, each bearing bis signature, in the Boston Collection (Baptist), 1808. 3. Within these doors assembled now. [Divine Worship.] [Rev. F. M. Bird, M.A.] -- John Julian, Dictionary of Hymnology

Carl P. Daw Jr.

b. 1944 Person Name: Carl P. Daw, Jr., 1944- Meter: 8.6.8.6 with repeat Author (st. 3-4) of "How lovely is thy dwelling-place" in CPWI Hymnal Carl P. Daw, Jr. (b. Louisville, KY, 1944) is the son of a Baptist minister. He holds a PhD degree in English (University of Virginia) and taught English from 1970-1979 at the College of William and Mary, Williamsburg, Virginia. As an Episcopal priest (MDiv, 1981, University of the South, Sewanee, Tennesee) he served several congregations in Virginia, Connecticut and Pennsylvania. From 1996-2009 he served as the Executive Director of The Hymn Society in the United States and Canada. Carl Daw began to write hymns as a consultant member of the Text committee for The Hymnal 1982, and his many texts often appeared first in several small collections, including A Year of Grace: Hymns for the Church Year (1990); To Sing God’s Praise (1992), New Psalms and Hymns and Spiritual Songs (1996), Gathered for Worship (2006). Other publications include A Hymntune Psalter (2 volumes, 1988-1989) and Breaking the Word: Essays on the Liturgical Dimensions of Preaching (1994, for which he served as editor and contributed two essays. In 2002 a collection of 25 of his hymns in Japanese was published by the United Church of Christ in Japan. He wrote Glory to God: A Companion (2016) for the 2013 hymnal of the Presbyterian Church (U.S.A.). Emily Brink

Robert Campbell

1814 - 1868 Meter: 8.6.8.6 with repeat Translator of "Sing, Choirs of New Jerusalem" in Trinity Hymnal (Rev. ed.) Robert Campbell was an advocate residing in Edinburgh. He is not much known as an author, but some of his hymns have been adopted in several hymnals. He was Roman Catholic. His death occurred in 1868. --Annotations of the Hymnal, Charles Hutchins, M.A. 1872. ==================== Campbell, Robert. Advocate, of Sherrington, Scotland, was born at Trochmig, Ayrshire, Dec. 19, 1814. When quite a boy he attended the University of Glasgow. Though showing from his earliest years a strong predilection for Theological studies, eventually he fixed upon the Scottish law as a profession. To this end he entered the Law Classes of the University of Edinburgh, and in due course entered upon the duties of an advocate. Originally a Presbyterian, at an early age he joined the Episcopal Church of Scotland. He became a zealous and devoted Churchman, directing his special attention to the education of the children of the poor. His classical attainments were good, and his general reading extensive. In 1848 he began a series of translations of Latin hymns. These he submitted to Dr. Neale, Dr. Mills of Ely, and other competent judges. In 1850, a selection therefrom, together with a few of his original hymns, and a limited number from other writers, was published as Hymns and Anthems for Use in the Holy Services of the Church within the United Diocese of St. Andrews, Dunkeld, and Dunblane. Edinburgh, R. Lendrum & Co. This collection, known as the St. Andrews Hymnal, received the special sanction of Bishop Torry, and was used throughout the Diocese for some years. Two years after its publication he joined the Roman Catholic Church. During the next sixteen years he devoted much time to the young and poor. He died at Edinburgh, Dec. 29, 1868. From his collection of 1850, four translations were given in Hymns Ancient & Modern, 1861, "At the Lamb's high feast we sing;" “Come, pure hearts, in sweetest measures;" "Ye Choirs of New Jerusalem;" " Ye servants of a martyr'd God" (altered). Attention was thereby directed to his translations. They are smooth, musical, and well sustained. A large number, not included in his 1850 collection, were left by him in manuscript. From these Mr. O.Shipley has printed several in his Annus Sanctus, 1884. (C. MSS.) --John Julian, Dictionary of Hymnology (1907)

James Ellor

1819 - 1899 Meter: 8.6.8.6 with repeat Composer of "DIADEM" in The Worshiping Church James Ellor United Kingdom 1819-1899. Born at Droylesden, Lancashire, England, he was trained as a hat maker. By age 18 he was leading the Methodist Wesleyan Chapel choir. He later worked for the railroad. In 1838 he brought his choir a new tune he had written for the hymn, “All hail the power of Jesus' name”. It became well received and has been used with the hymn ever since. In 1843 he emigrated to America and resumed the hat making trade. He died in New York City. It is the only hymn he is now remembered for. John Perry

James Leith Macbeth Bain

1840 - 1925 Person Name: James Leith MacBeth Bain, 1840-1924 Meter: 8.6.8.6 with repeat Composer of "BROTHER JAMES; AIR" in CPWI Hymnal James Leith Macbeth Bain (b. Scotland, c. 1840; d. Liverpool, England, 1925), was a healer, mystic, and poet known simply as Brother James. The tune BROTHER JAMES AIR was first published in his volume The great peace: being a New Year's greeting ... (1915). Born in a devout Christian home, Bain came to doubt the faith but later regained a mystical belief with the aid of the Christo Theosophic Society. He founded the Brotherhood of Healers, and he and his fellow healers often sang to their patients during healing sessions. In the latter years of his life he worked among the poor in the slums of Liverpool. He published a book on healing entitled The Brotherhood of Healers ... (1906). Psalter Hymnal Handbook, 1988

John Morison

1750 - 1798 Meter: 8.6.8.6 with repeat Author of "The People That in Darkness Sat" in Trinity Psalter Hymnal Morison, John, D.D., was born in Aberdeenshire in 1749. He studied at the University of Aberdeen (King's College), where he graduated M.A. in 1771. In 1780 he became parish minister of Canisbay, Caithness. He received the degree of D.D. from the University of Edinburgh in 1792. He died at Canisbay, June 12, 1798. He was one of the members added on May 26, 1781, to the Committee appointed by the General Assembly of 1775 to revise the Translations and Paraphrases of 1745. To him are ascribed Nos. 19, 21, 29, 30 and 35, in the 1781 collection, and he is said to have been joint author with John Logan of Nos. 27 and 28. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology (1907)

Thomas Jarman

1776 - 1861 Meter: 8.6.8.6 with repeat Composer of "LYNGHAM" in Trinity Hymnal (Rev. ed.) Thomas Jarman was born on 21st December 1776 in Clipston, a small village near the northern border of the County of Northampton. His father was not only a Baptist lay preacher, but also a tailor, and Thomas was brought up in the same trade, although his brother, John, followed his father’s calling to become a minister. His natural taste for music, however, considerably interfered with his work, and he was frequently reduced to dire straits, from which only the extreme liberality of his publishers relieved him. He was a man of fine, commanding presence, but self-willed, and endowed with a considerable gift of irony, as choirs frequently found to their cost. Weston quotes from Kant that Jarman neglected his work and ‘this kept him poor and soured his temper’. He joined the choir of the Baptist chapel in his native village when quite a youth, and soon became the choirmaster there. He adopted music as a profession (with occasional returns to his old trade), and was engaged as teacher of harmony and singing in many of the neighbouring villages. He was a successful choir-trainer, spending several years at Leamington, and conducted concerts as well as services, for which he was ‘constantly composing works’. The village choir festival held under his direction at Naseby, in 1837, is said to have been the talk of the district for long after. He spent some six or seven years at Leamington, during which time he enjoyed the friendship of C. Rider, a wealthy Methodist who did much good for the psalmody of Lancashire and elsewhere some fifty or sixty years ago. Jarman published an enormous quantity of music, including over six hundred hymn-tunes, besides anthems, services, and similar pieces. Amongst his many anthems written for special occasions there is one for the opening of the new Baptist chapel at Clipston. Another is a MAGNIFICAT for Dr Marsh's Episcopal chapel at Leamington, where Thomas Jarman was called to assist the quire in their study and performance of psalmody. Thomas Jarman lived to the good old age of eighty-five, dying in 1861, and lies buried in the graveyard attached to the Baptist chapel at Clipston in Northants. --immanuelsground.com/composers/ (excerpts)

John Hampden Gurney

1802 - 1862 Person Name: John Hampden Gurney, 1802-1862 Meter: 8.6.8.6 with repeat Author of "Lord, as to Thy dear Cross we flee" in The Hymnary of the United Church of Canada Gurney, John Hampden, M.A., eldest son of Sir John Gurney, a Baron of the Exchequer, was born in Serjeants’ Inn, London, Aug. 15, 1802, and educated at Trinity College, Cambridge, where he graduated in 1824. On taking Holy Orders he became Curate of Lutterworth (1827-1844), and subsequently Rector of St. Mary's, Marylebone, and Prebendary of St. Paul's Cathedral. He died in London, March 8, 1862. The Society for Promoting Christian Knowledge and other religious societies had his cordial sympathy, and received his active support. His publications include several small volumes in prose, and the following:— (1) Church Psalmody; Hints for the improvement of a Collection of Hymns published by the Society for Promoting Christian Knowledge, 1853; (2) A Collection of Hymns for Public Worship. Lutterworth, 1838. This contains 300 hymns, and is known as his Lutterworth Collection; (3) Psalms and Hymns for Public Worship, selected for some of the Churches of Marylebone. London, 1851. This collection of 300 hymns and psalm versions is known as his Marylebone Collection. The Preface is signed by "Charles Baring," "Thomas Garnier," and "John Hampden Gurney," but the work was practically done by Gurney. To the Lutterworth Collection 1838, he contributed :— 1. Earth to earth, and dust to dust. Burial. 2. Great King of nations, hear our prayer. Fast Day. 3. Lord, as to Thy dear Cross we flee. Lent. 4. Lord, at Thy word the constant sun. Harvest. 5. Saviour, what wealth was Thine. Passiontide. 6. Soon to the dust we speed. Heaven anticipated. 7. Thou God of mercy and of might. Good Friday. 8. Thou plenteous source of light and love. Advent. 9. Thou Who of old didst raise. Ascension. 10. Through centuries of sin and woe. For Peace. 11. We praise Thee, everlasting God. Te Deum. These hymns were all signed "J. H. G.," and Nos. 1, 2, 3, 7, 8, 9 and 11, were repeated in the Marylebone Collection, 1851; and to these were added:— 12. Fair waved the golden corn. Child's Hymn. 13. How vast the debt we owe. Offertory. 14. Lord of the Harvest, Thee we hail. Harvest. This is No. 4 above rewritten. 15. Lord, we lift our eyes above. Love of Christ. In addition to these we are specially indebted to Gurney for, "We saw Thee not when Thou didst come" (q.v.), and "Yes, God is good," &c. (q.v.). Several of the above-named hymns are in extensive use in Great Britain and America. The most popular are annotated under their respective first lines. -- John Julian, Dictionary of Hymnology (1907)

William Shrubsole

1760 - 1806 Person Name: William Shrubsole, 1760-1806 Meter: 8.6.8.6 with repeat Composer of "MILES LANE" in The Hymnary of the United Church of Canada William Shrubsole (bap. 1760, d. 1806), organist. United Kingdom.When young, he sang in the choir at Canterbury Cathedral, He became organist at Bangor Cathedral, when he was dismissed for attending non-comformist meetings. He then became organist of Spa Fields Chapel, London, holding that post until his death. He was a successful teacher. He was an alto singer and sung at Westminster Abbey and Drury Lane churches. He knew Edward Perronet, who wrote the words to the hymn he composed music for. Perronet left Schrubsole property in his will. John Perry Not to be confused with W. (William) Shrubsole 1759-1829 bank clerk and hymn writer.

Henry Lahee

1826 - 1912 Person Name: Henry Lahee, 1826-1912 Meter: 8.6.8.6 with repeat Composer of "NATIVITY" in The Hymnary for use in Baptist churches Born: April 11, 1826, Chelsea, London, England. Died: April 29, 1912, London, England. Lahee studied under John Goss and William Sterndale Bennett. He played the organ at several churches, including Holy Trinity Church, Brompton (1847-74). He won prizes for his compositions in Bristol, Manchester, Glasgow, and London, and set to music poems by Edgar Allen Poe ("The Bells"), Henry Wadsworth Longfellow ("Building of the Ship") and Alfred Tennyson ("Sleeping Beauty"). His works include: Metrical Psalter, with William Irons, 1855 Famous Singers of Today and Yesterday, 1898 One Hundred Hymn Tunes Sources: Frost, p. 680 CS Concordance, pp. 246-47 Nutter, p. 460 --www.hymntime.com/tch

Rosamond E. Herklots

1905 - 1987 Meter: 8.6.8.6 with repeat Author of "Forgive Our Sins As We Forgive" in Trinity Hymnal (Rev. ed.) Rosamond E. Herklots was born of British parents in North India. Educated at Leeds University in England, she worked for many years as secretary to an eminent neurologist, and later in the head office of the Association for Spina Bifida and Hydrocephalus in London. She began writing hymns late in life, and some achieved an immediate success. --www.societyholytrinity.org/2007gr-hymnfestcommentary.htm Herklots began writing poetry in her childhood and turned to hymn writing in her adult years. She wrote over seventy hymns, many specifically with children in mind. --Presbyterian Hymnal Companion

John Randall

1717 - 1799 Person Name: John Randall, 1715-1799 Meter: 8.6.8.6 with repeat Composer of "CAMBRIDGE NEW" in The Hymnary of the United Church of Canada

William Rowan

b. 1951 Meter: 8.6.8.6 with repeat Composer of "TIMOTHY"

James Edmund Jones

1866 - 1939 Meter: 8.6.8.6 with repeat Composer of "WALDEN" in The Hymnary for use in Baptist churches

Frederick Lucian Hosmer

1840 - 1929 Person Name: Frederick Lucian Hosmer, 1840-1929 Meter: 8.6.8.6 with repeat Author of "From Age to Age" in Singing the Living Tradition Hosmer, Frederick Lucian, B.A., was born at Framingham, Mass., in 1840, and educated at Harvard, where he graduated B.A. in 1869. Entering the Unitarian Ministry in 1872 he has held charges in Quincy, Ill., 1872-77; Cleveland, Ohio, 1878-92; St. Louis, 1894-99; and since 1899, at Berkeley, Cal. His Way of Life, 1877, was a compilation of Prayers and Responsive Services for Sunday Schools. Of Unity Hymns and Carols, 1880, he was joint editor with W. C. Gannett and J. V. Blake. His hymns were published jointly by him and W. C. Gannett (q.v.), as The Thought of God in Hymns and Poems (Boston: Little, Brown & Co.), 1st Series, 1885; 2nd Series, 1894. Of his 56 hymns in this work the following have come into common use, for the most part during the past ten years:— 1. Father, to Thee we look in all our sorrow. [Trust in God.] Written in 1881 upon the death of a member of the author's congregation, and published in The Thought of God, 1st Series, 1885. 2. From age to age how grandly rise. [Unity.] Written for the annual festival of the Free Religious Assoc, Boston, June 2, 1899, and first published in Souvenir Festival Hymns, 1899. Subsequently altered by the author to "From age to age the prophet's vision." 3. From age to age they gather, all the brave of heart and strong. [Victory of Truth.] "Written in 1891 for the Dedication of Unity Church, Decorah, Iowa, and published in The Thought of God, 2nd Series, 1894. 4. From many ways and wide apart. [College or School Reunion.] Dated in The Thought of God, 2nd Series, 1894, as having been written in 1890. 5. Go not, my soul, in search of Him. [God Within.] Written in 1879, printed in the Boston Christian Register, May 31, 1879, and included in The Thought of God, 1st Series, 1885, with the title, "The Indwelling God." 6. I cannot think of them as dead. [Eternal Life.] Written in 1882, and first published in The Thought of God, 1st Series, 1885, and entitled "My Dead." in the English collections it is usually given as "We cannot think of them as dead." 7. I little see, I little know. [Trust.] "A Psalm of Trust," written in 1883, first appeared in the Boston Christian Register, and again in The Thought of God, 1st Series, 1885. 8. Immortal by their deed and word. [The Spirit of Jesus.] Written in 1880, and first published in Unity Hymns and Carols, Chicago, Ill., 1880, and then in The Thought of God, 1st Series, 1885. 9. Many things in life there are. [Mystery in all Things.] Written in 1885, and first published in The Thought of God, 1st Series, 1885, with the title "Passing Understanding," and the quotation "The Peace of God which passeth all understanding." 10. Not always on the mount may we. [On the Mount.] This lesson from the Transfiguration was written in 1882, and published in the Chicago Unity, April 1, 1884. After revision by the author, it was included in the 1st Series of The Thought of God, 1885. 11. Not when, with self dissatisfied. [Lent.] Written in 1891, and given in The Thought of God, 2nd series, 1894, p. 33. It is in The Public School Hymn Book, 1903, and others. 12. O beautiful, my country. [National Hymn.] As “Our Country," written in 1884, and published in the Chicago Unity Festivals, 1884; and again in The Thought of God, 1885. 13. O Light, from age to age the same. [Dedication Anniversary.] Written in 1890 for the fiftieth anniversary of the Second Congregational Church (Unitarian), Quincy, 111. Included in The Thought of God, 2nd Series, 1894, and entitled "From Generation to Generation." 14. O Lord of Life, where'er they be. [Life in God.] "Written in 1888 for Easter service in Author's own church," and first published in the Chicago Unit, and again in The Thought of God, 2nd Series, 1894. The "Alleluia!" refrain, which is added in some collections to each verse, is appended, in the original, to the last verse only. 15. O Name, all other names above. [Trust in God.] Under the title "Found. 'They that know Thy name will put their trust in Thee!’ this hymn, written in 1878, was given in The Thought of God, 1st Series, 1885. 16. O Prophet souls of all the years. [Unity.] “Written in 1893 for, and sung at, the Unitarian gathering in connection with The World's Parliament of Religions (World's Fair), Chicago, Sep., 1893," and included in The Thought of God, 2nd Series, 1894, and entitled "One Law, One Life, one Love." 17. O Thou, in all Thy might so far. [God All in All.] This hymn, given in The Thought of God, 1st Series, 1885, with the title "The Mystery of God," was written in 1876, and first published in the New York Inquirer. 18. O thou in lonely vigil led. This encouragement for lonely workers was written for the "Emerson Commemoration, W. U. C, 1888," and included in The Thought of God, 2nd Series, 1894. 19. O Thou, Who art of all that is. [Divine Guidance.] Under the title "Through unknown paths," this hymn was included in The Thought of God, 1st Series, 1885. It was written in 1877. 20. O Thou, Whose Spirit witness bears. [Dedication of a Place of Worship.] Written for the Dedication of First Unitarian Church, Omaha, Feb. 6, 1891, and published in The Thought of God, 2nd Series, 1894, with the title "The Inward Witness," and the subscription "For T. K., Omaha, 1801." 21. On eyes that watch through sorrow's night. [Easter] A Carol for Easter Morn, written in 1890 for the author's congregation, and published in The Thought of God, 2nd Series, 1894. 22. One thought I have, my ample creed. [The Thought of God.] This is the initial hymn to the collection The Thought of God, 1st Series, 1885, and supplies the title to the work. It was written in 1880, and first published in the Chicago Unity Hymns and Carols, 1880, and then in The Thought of God, 1885. 23. The rose is queen among the flowers. [Flower Service.] "Written in 1875, first published in The Sunnyside, a song book for Sunday Schools, and again in The Thought of God, 1st Series, 1885, under the title "Flower Sunday." 24. Thy kingdom come, — on bended knee. [Missions.] "Written in 1891 for the Commencement of the Meadville Theological School (Meadville, Pa.), June 12, 1891, and published in The Thought of God, 2nd Series, 1894," under the title "The Day of God," and the subscription, "M. T. S., June 12, 1891." 25. We pray no more, made lowly wise, For miracle and sign. [Greater Faith Desired.] Written in 1879, and first published in The Christian Register (Boston), Mar. 22 of that year, under the title 'The Larger Faith.'" Included under the same title in The Thought of God, 1st Series, 1885. Sometimes given as "Made lowly wise, we pray no more." 26. When courage fails, and faith burns low. [Victory of Truth.] Under the title "Loyalty," this hymn was given in The Thought of God, 1st Series, 1885. It was written in 1881. 27. Where men on mounts of vision Have passed the veil within. [Dedication of a Place of Worship.] "Written in 1891 for the Dedication of First Unitarian Church, Oakland, California." Included in The Thought of God, 2nd Series, 1894, entitled "Holy Places," and subscribed " For C. W. W., Oakland, Cal., 1891." These annotations are from manuscript notes supplied to us by the author. Of these hymns all are in common use in America, and more than one half in Great Britain, mainly by Unitarians and Congregationalists. Amongst Unitarian hymn-writers of the last twenty years Mr. Hosmer is the most powerful and original known to us. --John Julian, Dictionary of Hymnology, New Supplement (1907)

Austin C. Lovelace

1919 - 2010 Meter: 8.6.8.6 with repeat Arranger of "DOVE OF PEACE" in Trinity Hymnal (Rev. ed.) LOVELACE, AUSTIN C., AAGO: (1919-2010) D.S.M., Union Theological Seminary, New York. Recitals, workshops, festivals, lectures in 17 different denominations in 45 states as well as in Finland, Scotland, Canada, and New Zealand. Past President, Fellow, and Life member, HSUSC. 50 year member, Hymn Society of Great Britain and Ireland. Author of five books; co-editor and consultant of denominational and other hymnals. Longtime member, ASCAP. Composer of over 800 compositions published by 20 publishers. Organist for the 2nd Assembly of the World Council of Churches, 1954. Dean of the first North Carolina Chapter, AGO. Chairman of the 1968 National Convention, AGO, in Denver. Two terms on the National Council, AGO. Co-founder, with Tom Matthews, of the North Shore Chapter, AGO. Minister of Music Emeritus. Denver Chapter, AGO. Austin C. Lovelace (from In Melody and Song, Darcey Press, 2014)

Henry Rosevear

1903 - 2003 Person Name: Henry Rosevear, b.1903 Meter: 8.6.8.6 with repeat Harmonizer of "ANTIOCH" in The Book of Praise

Edgar C. Robinson

Meter: 8.6.8.6 with repeat Arranger (fauxborudon) of "MILES LANE" in The Book of Praise

Fulbert of Chartres

960 - 1028 Person Name: Fulbert of Chartres, ca. 975-1028 Meter: 8.6.8.6 with repeat Author of "Sing, Choirs of New Jerusalem" in Trinity Hymnal (Rev. ed.) Fulbert of Chartres, Saint and Bishop (St. Fulbertus Carnotensis), flourished in the 11th century, having been consecrated Bishop of Chartres (probably) in 1007, and dying on April 10th, 1028. His collected works were published at Paris in 1608, but with the exception of one hymn, "Chorus novae Hierusalem" (q.v.), are very little known. That hymn in its original Latin form was included in the Sarum Breviary, and, in one English form or another, finds a place in most of our English Hymnals as "Ye choirs of New Jerusalem." [Rev. Digby S. Wrangham, M.A.] --John Julian, Dictionary of Hymnology

George Gascoigne

1525 - 1577 Person Name: George Gascoigne, 1540-1577 Meter: 8.6.8.6 with repeat Author of "You That Have Spent the Silent Night" in Singing the Living Tradition Gascoigne, George, son and heir of Sir John Gascoigne. The date and place of his birth are unknown, but it is probable that he was born about 1525, and from a statement in the Address to Queen Elizabeth prefixed to one of his works, he seems to have spent a part of his early life in Westmoreland. He was educated at Trinity College, Cambridge, from whence he entered the Middle Temple as a student of law before 1548; but neglecting his studies he led a life of reckless extravagance and dissipation, on account of which he was disinherited by his father. In 1555 he migrated to Gray's Inn, but seems to have left it also. In 1557-58 he represented Bedford in Parliament. In 1565 he returned to Gray's Inn, and there, in the following year, two plays by him were represented, The Supposes, translated from the Italian of Ariosto, and Jocasta, adapted from the Phoenissae of Euripides. To the latter Gascoigne contributed three acts. In 1572 he was returned to Parliament as member for the borough of Midhurst: but objections being made to his character he appears not to have taken his seat, and not long afterwards went to the Low Countries and took service with William of Orange, from whom he received a captain's commission. His gallant conduct in the field obtained the favourable notice of that Prince, but after some time he was taken prisoner by the Spaniards and sent back to England. During Gascoigne's absence his first book, A Hundredth sundrie Floures bound up in one small Poesie, the manuscript of which he had left in the hands of a friend, was printed in 1572 or 1573 without his permission, and after his return from Holland, he published in 1575 a corrected and enlarged edition of his Poesies. Thenceforward he seems to have led a literary life, and is said to have been in some way attached to the court. On the occasion of Elizabeth's celebrated visit to Kenilworth in the summer of 1575, Gascoigne was commissioned by Leicester to devise the masques, &c, performed for the Queen's entertainment. He died at Stamford, Lincolnshire, Oct. 7, 1577, and was probably buried by his friend George Whetstone in the family vault of the Whetstones at Barnack, but this id not certainly known. At some time between 1558 and 1568 Gascoigne married Elizabeth Breton, mother, by her first husband, of the poet Nicholas Breton, and by her had a son. His widow survived until 1585. Gascoigne is noticeable as being one of the earliest English dramatists, the first English satirist, and the first English critic in poetry. In 1869 his poems were collected and edited for the Roxburghe Library by W. C. Hazlitt, and in 1868 his Notes of Instruction in English Verse; The Steele Glas; and The Complaynt of Philomene were included in English reprints edited by Edward Arber, together with Whetstone's metrical life of Gascoigne. To modern hymnody he is known by "We that have passed in slumber sweet," an altered version of his morning hymn, "Ye that have spent the silent night;" and other religious poems. [George Arthur Crawford, M.A.] -- John Julian, Dictionary of Hymnology (1907)

Thomas Benjamin

b. 1940 Person Name: Thomas Benjamin, 1940- Meter: 8.6.8.6 with repeat Composer of "BENNINGTON" in Singing the Living Tradition Thomas Benjamin was born in 1940 in Bennington, Vermont. He received degrees from Bard College, Bradeis, Harvard and Eastman. He has taught at the National Music Camp at Interlochen, the University of Houston's School of Music, and the Peabody Conservatory of The John Hopkins University. He is the co-author of three music theory texts and the author of two books on counterpoint. He has composed music for violin, piano, viola, orchestra, chamber orchestras and choir. He has also written oratorios, cantatas, operas, and a number of hymn tunes for the Unitarian church. Dianne Shapiro from "A digital library of Unitarian Universalist biographies, books, and media," Harvard Square Library, accessed online 8/9/2020

Wayne Irwin

Meter: 8.6.8.6 with repeat Author of "You Nourish Us" in Voices United

Flora Litt

Meter: 8.6.8.6 with repeat Author of "You Nourish Us" in Voices United

Robert Bennett

1787 - 1819 Meter: 8.6.8.6 with repeat Composer of "EASTGATE" in The Presbyterian Book of Praise Robert Bennett was born at Bakewell, Derbyshire in 1787. His family moved to Cambridge when he was young and he became a chorister at King's College. He took music lessons from Dr. Clarke Whitfield. In 1811 he was appointed organist of the parish church in Sheffield. He was a close friend of William Sterndale, who he named his son after. (See William Sterndale Bennett) Robert Bennett composed several hymn tunes. Dianne Shapiro, from "Hymn-Tunes and Their Story" by James T. Lightwood (London: Charles H. Kelly, 1905)

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