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L. O. Emerson

1820 - 1915 Hymnal Number: 212 Composer of "SESSIONS" in Crowning Glory No. 1 Luther Orlando Emerson was born at Parsonsfield, Maine, August 3, 1820. He descended from distinguished English ancestry. His parents were quite musical, and while the family circle were together, they had a choir and orchestra of their own. The father played the violoncello, the mother was an excellent singer, the flute and violin added their sweet tones, till the quiet homestead rang with melody. Mr. Emerson's education was obtained at the district school, Parsonsfield Seminary and Effingham Academy. He was full of energy, quick and versatile, an apt scholar, and with a view to entering the profession of medicine he entered Dracut Academy, Mass. But his great love for music swerved him from that course, and now, having far better opportunities for cultivating and enjoying this taste and ability, he soon determined upon music as the profession of his choice. He accordingly commenced a course of musical instruction under the late I. B. Woodbury, then a popular teacher of music. After several years of study on the voice, piano, organ and in harmony, Mr. Emerson went to Salem, Mass., began teaching, and took charge of his first choir at a salary of one hundred dollars per year. Here he commenced the composition of music for his own choir, whiich was so popular with its members and the congregation, that Mr. Emerson was encouraged to seek a larger hearing by publishing a collection of church music. Among the tunes was that of Sessions, named after his pastor, which was destined to have a perennial popularity, and is often used in worship in the place of Old Hundred, for the Doxology. At the great Peace Jubilee it was received with applause when sung by a chorus of ten thousand voices, accompanied by an orchestra of two hundred instruments and a great pipe organ. The effect was sublime beyond expression. In 1847 occurred the marriage of Mr. Emerson to Miss Mary Gore, daughter of a prominent Boston merchant. She was a lady of much musical taste and ability. In 1853 he decided to make an effort to put his music before the public, and accordingly went to Boston in search of a publisher. Like most young and unknown authors, he met with but little encouragement, but finally found a publisher in the person of Mr. B. B. Muzzy. Thus was the Romberg Collection published. The book was not pushed — hence it found no market. After a residence of eight years in Salem, Mr. Emerson removed to Boston, accepting the position of organist and musical director at the Bulfinch Street Church, then under the pastoral care of Rev. Wm. R. Alger, which he filled for four years. He eagerly improved the rare means of culture which were once more enjoyed, meanwhile teaching and composing music. In 1857 he formed the connection with Oliver Ditson Company, of Boston, of author and publisher, which has continued to the present time with but one interruption (a single volume brought out by another firm), the Golden Wreath, which at once became popular, and sold forty thousand during the first year, this being the initial volume in the long series since brought out by these publishers. In 1858 came the Golden Harp, which was also a success. These successes gave him not only encouragement, but reputation. Mr. Emerson now entered upon a career of usefulness and popularity for which he had been preparing during the years of self-denying struggle and discipline. He was called to take charge of the music in the Second Congregational Church, Greenfield, Mass., and also of the musical department of Power's Institute, at Bernardston. Amid nature's most beautiful surroundings, he had a quiet retreat for the pursuit of his true vocation, the composition of church music. The first fruit of his genius here was the Sabbath Harmony, in 1860. This book was also a success. In 1863 followed the Harp of Judah, which had the remarkable sale of nearly fifty thousand copies in the first three months. This book probably gave Mr. Emerson his preeminence as a composer of church music, containing as it did his anthem, Guide Me, O Thou Great Jehovah, and many of his finest compositions. Having declined the solicitations of Dr. Lowell Mason to become his associate in music, Mr. Emerson started forth on his own plans, and attained the highest rank among those who loved the pure and beautiful in song. Mr. W. S. B. Mathews, a musical critic, pronounces him the best melodist of all the psalmodic writers. In 1866 the equally successful Jubilate appeared, followed by the Choral Tribute, the Standard and the Leader. In the last two Dr. I. R. Pahner was associated with him. Later on came the Salutation, Voice of Worship, Herald of Praise, etc. The diligence with which Mr. Emerson plied his pen can be estimated when one recalls the fact that he has made seventy-two collections of music, embracing music for churches, singing schools, public schools, choral societies and conventions, instruction books for voice, organ, etc. He has also composed and published scores of songs, quartets and instrumental pieces. The great amount of work this represents can only be appreciated by those who have undertaken similar labors. Some years ago the degree of Doctor of Music was conferred upon Professor Emerson by the Faculty of Findlay College, Findlay, Ohio. For many years past. Dr. Emerson has devoted his energies to the grand purpose of elevating the general character of music in our churches, and thus largely advancing the interests of true worship. He places great stress upon the mission of church music. He regards sacred music as the best expression of devotional feeling that exists. He looks upon sacred song as prayer, and believes that it inspires and intensifies prayer. With this view he has taken an active and prominent part in musical festivals and conventions, of which he has conducted over three hundred throughout the United States and Canada. As a conductor, he stands in the front rank. As a teacher. Dr. Emerson has an exceedingly happy faculty of imparting in a concise manner to his classes. His very pleasing address enables him to command the undivided attention of his pupils. As a singer, he has always held high rank, and has sung much in public. His voice is a baritone of great compass, and quite powerful. As a lecturer upon music, Dr. Emerson has attracted much attention. His most popular lecture is entitled The World of Music, in which he traces its origin and progress, and gives some excellent traits of the lives of the great composers. In this lecture he also shows the design of music, and how it has been prized in every age of the world, among all nations — its power in the Church and State, and the need of its influence in the family — in joy and sorrow — for this life and the life to come. -Biography of Gospel Song and Hymn Writers

Mary D. James

1810 - 1883 Hymnal Number: 26 Author of "It Reaches Me" in Crowning Glory No. 1 Mary Dagworthy Yard James USA 1810-1883. Born at Trenton, NJ, she began teaching Sunday school at age 13 in the Methodist Episcopal Church. She married Henry B James, and they had four children: Joseph, Mary, Ann, and Charles.. She became a prominent figure in the Wesleyan Holiness movement of the early 1800s, assisting Phoebe Palmer (also a hymnist) and often leading meetings at Ocean Grove, NJ, and elsewhere. She wrote articles that appeared in the “Guide to holiness”, “The New York Christian advocate”, “The contributor”, “The Christian witness:, “The Christian woman”, “The Christian standard”, and the “Ocean Grove record”. She wrote a biography of Edmund J Yard entitled, “The soul winner” (1883). She strived to live a life as close to Christ as possible. She died in New York City. John Perry

D. B. Towner

1850 - 1919 Hymnal Number: 141 Composer of "[Anywhere with Jesus I can safely go]" in Crowning Glory No. 1 Used pseudonyms Robert Beverly, T. R. Bowden ============================== Towner, Daniel B. (Rome, Pennsylvania, 1850--1919). Attended grade school in Rome, Penn. when P.P. Bliss was teacher. Later majored in music, joined D.L. Moody, and in 1893 became head of the music department at Moody Bible Institute. Author of more than 2,000 songs. --Paul Milburn, DNAH Archives

Phoebe Palmer

1807 - 1874 Person Name: Mrs. Phœbe Palmer Hymnal Number: 81 Author of "The Cleansing Wave" in Crowning Glory No. 1 Palmer, Phoebe, an American Methodist, b. 1807, and d. in 1874, wrote "Blessed Bible! how I love thee" (Holy Scriptures), and “O! when shall I sweep through the gates" (Heaven Anticipated). The latter is in I. D. Sankey's Sacred Songs and Solos, 1878. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

E. R. Latta

1839 - 1915 Hymnal Number: 157 Author of "Will the gates of Heaven be open?" in Crowning Glory No. 1 Rv Eden Reeder Latta USA 1839-1915. Born at Haw Patch, IN, the son of a Methodist minister, (also a boyhood friend of hymn writer Willam A Ogden) he became a school teacher. During the American Civil War he preached for the Manchester Methodist Church and other congregations (possibly as a circuit rider filling empty pulpits). In 1863 he married Mary Elizabeth Wright, and they had five children: Arthur, Robert, Jennie, two others. He taught for the public schools of Manchester, and later Colesburg, IA. He moved to Guttenberg, IA, in the 1890s, and continued writing song lyrics for several major gospel composers, including William Ogden, James McGranahan, James Fillmore, and Edmund Lorenz. He wrote 1600+ songs and hymns, many being widely popular in his day. His older brother, William, composed hymn tunes. He died at Guttenbert, IA. John Perry

Ira David Sankey

1840 - 1908 Person Name: Ira D. Sankey Hymnal Number: 109 Composer of "[Rejoice! rejoice! our King is coming!]" in Crowning Glory No. 1 Sankey, Ira David, was born in Edinburgh, Pennsylvania, in 1840, of Methodist parents. About 1856 he removed with his parents to New Castle, Pennsylvania, where he became a member of the Methodist Episcopal Church. Four years afterwards he became the Superintendent of a large Sunday School in which he commenced his career of singing sacred songs and solos. Mr. Moody met with him and heard him sing at the International Convention of the Young Men's Christian Association, at Indianapolis, and through Mr. Moody's persuasion he joined him in his work at Chicago. After some two or three years' work in Chicago, they sailed for England on June 7, 1872, and held their first meeting at York a short time afterwards, only eight persons being present. Their subsequent work in Great Britain and America is well known. Mr. Sankey's special duty was the singing of sacred songs and solos at religious gatherings, a practice which was in use in America for some time before he adopted it. His volume of Sacred Songs and Solos is a compilation from various sources, mainly American and mostly in use before. Although known as Sankey and Moody’s Songs, only one song, "Home at last, thy labour done" is by Mr. Sankey, and not one is by Mr. Moody. Mr. Sankey supplied several of the melodies. The English edition of the Sacred Songs & Solos has had an enormous sale; and the work as a whole is very popular for Home Mission services. The Songs have been translated into several languages. --John Julian, Dictionary of Hymnology (1907) Pseudonymns: Harry S. Lower Rian A. Dykes ==================== Sankey, I. D., p. 994, i. During the past fifteen years Mr. Sankey's Sacred Songs and Solos have had a very large sale, which has justified him in increasing the number of songs and hymns, including " New Hymns and Solos," to 1200. In 1906 he published My Life and Sacred Songs (London : Morgan & Scott). In addition to the "Story of his Own Life," the work contains an account of the most popular of his solos, with interesting reminiscences of the spiritual awakening of many who were influenced through his singing of them in public. In this respect it corresponds in some measure with G. J. Stevenson's Methodist Hymn Book, &c, 1883 (p. 1094, i.). It is an addition to the Sacred Songs and Solos, which will be held in esteem by many. In addition to his hymn, noted on p. 994, ii., Mr. Sankey gives details of the following:— 1. Out of the shadow-land into the sunshine. [Heaven Anticipated.] Mr. Sankey's account of this hymn is:— "I wrote this hymn specially for the memorial service held for Mr. Moody in Carnegie Hall, where 1 also sang it as a solo. It is the last sacred song of which I wrote both the words and music. The idea was suggested by Mr. Moody's last words, 'Earth recedes; heaven opens before me . . . God is calling me, and I must go.' On account of its peculiar association with my fellow-labourer in the Gospel for so many years, the words are here given in full." The hymn follows on p. 185, in 3 stanzas of 4 lines and a chorus. 2. Rejoice! Rejoice! our King is coming, [Advent.] Mr. Sankey writes concerning this hymn:— "During one of my trips to Great Britain on the SS. City of Rome a storm raged on the sea. The wind was howling through the rigging, and waves like mountains of foam were breaking over the bow of the vessel. A great fear had fallen upon the passengers. When the storm was at its worst, we all thought we might soon go to the bottom of the sea. The conviction came to me that the Lord would be with us iu the trying hour, and sitting down in the reading room, I composed this hymn. Before reaching England the tune had formed itself in my mind, and on arriving in London I wrote it out, and had it published in Sacred Songs and Solos, where it is No. 524 in the edition. of 1888. From Mr. Sankey's autobiographical sketch we gather that he was born at Edinburgh, in Western Pennsylvania, Aug. 28, 1840, joined Mr. Moody in 1871, and visited England for the first time in 1873. The original of the Sacred Songs, &c, of 23 pieces only, was offered as a gift to the London publishers of P. Phillips's Hallowed Song, and declined by them. It was subsequently accepted by Mr. K. O. Morgan, of Morgan & Scott, and is now a volume of 1200 hymns. From a return kindly sent us by Messrs. Morgan & Scott, we find that the various issues of the Sacred Songs and Solos were:— In 1873, 24 pp.; 1874, 72 pp. ; 1876, 153 hymns; 1877, 271 hymns; 1881, 441 hymns; 1888, 750 hymns; 1903, 1200 hymns. In addition, The Christian Choir, which is generally associated with the Sacred Songs and Solos, was issued in 1884 with 75 hymns, and in 1896 with 281. The New Hymns & Solos, by the same firm, were published in 1888. --John Julian, Dictionary of Hymnology, New Supplement (1907)

George Keith

1638 - 1716 Hymnal Number: 186 Author of "How Firm a Foundation" in Crowning Glory No. 1 George Keith, according to D. Sedgwick, was the author of "How firm a foundation, ye saints of the Lord." Little is known about Keith, save that he was a publisher, a son-in-law of Dr. Gill, and the composer of several hymns. --Annotations of the Hymnal, Charles Hutchins, M.A. 1872.

Thomas Shepherd

1665 - 1739 Person Name: Thomas Shehperd Hymnal Number: 194 Author of "Cross and Crown" in Crowning Glory No. 1 Shepherd, Thomas, son of William Shepherd, sometime Vicar of Tilbrook, Bedfordshire, and subsequently a Nonconformist Minister at Oundle, and at Kettering, was born in 1665. Taking Holy Orders he held for some time preferment in Huntingdonshire, and in Buckinghamshire. Seceding from the Church of England, he became, in 1694, pastor of the Castle Hill Meeting House (Independent), Nottingham, of which Dr. Doddridge was subsequently pastor. In 1700 he removed to Bocking, near Braintree, Essex, where he began his work in a barn. A chapel was erected for his congregation in 1707. He died Jan. 29, 1739. His publications consisted chiefly of Sermons, His Penitential Cries were a continuance of those by John Mason, who wrote the first six and the version of Ps. 86, and were published with Mason's Songs of Praise in 1693. It must be noted that in D. Sedgwick's reprint of the Songs, and the Penitential Cries, in 1859, Mason's Cries are under the head of Songs, &c, pp. 49-61, and those under Penitential Cries, are all by Shepherd. Some of these Cries are still in common use including, "My God, my God, my Light, my Love " (Longing for God) ; and "When wilt Thou come unto me, Lord" (Communion with God desired). -- John Julian, Dictionary of Hymnology (1907)

Samuel Francis Smith

1808 - 1895 Person Name: S. F. Smith Hymnal Number: 126 Author of "My Country, 'tis of Thee" in Crowning Glory No. 1 Smith, Samuel Francis, D.D., was born in Boston, U.S.A., Oct. 21, 1808, and graduated in arts at Harvard, and in theology at Andover. He entered the Baptist ministry in 1832, and became the same year editor of the Baptist Missionary Magazine. He also contributed to the Encyclopaedia Americana. From 1834 to 1842 he was pastor at Waterville, Maine, and Professor of Modern Languages in Waterville College. In 1842 he removed to Newton, Massachusetts, where he remained until 1854, when he became the editor of the publications of the Baptist Missionary Union. With Baron Stow he prepared the Baptist collection known as The Psalmist, published in 1843, to which he contributed several hymns. The Psalmist is the most creditable and influential of the American Baptist collections to the present day. Dr. Smith also published Lyric Gems, 1854, Rock of Ages, 1870, &c. A large number of his hymns are in use in America, and several have passed into some of the English collections. Taking his hymns in common use in alphabetical order, we have the following:— 1. And now the solemn deed is done. Ordination. Given in The Psalmist, 1843, No. 954. In Dr. Hatfield's Church Hymn Book, N. Y., 1872, it is altered to "The solemn service now is done." 2. As flows the rapid river. Life Passing Away. In Christian Psalmody, 1833, No. 33; the Hymns for the Vestry and Fireside, Boston, 1841; and The Psalmist, 1843, No. 1059. Found in a few English hymn-books, and in Lyra Sacra Americana, 1868. 3. Auspicious morning, hail. American National Anniversary. Written for July 4th, 1841, and published in The Psalmist, 1843, No. 1007. 4. Beyond where Cedron's waters flow. Gethsemane. In L. Bacon's Appendix, 1833; the Psalmist, 1843, No. 220, and later collections. 5. Blest is the hour when cares depart. Divine Worship. In The Psalmist, 1843, No. 947, and others. 6. Constrained by love we follow where. Holy Baptism. Appeared in the Baptist edition of the Plymouth Hymn Book, 1857. 7. Down to the sacred wave. Holy Baptism. Contributed to Winchell's Additional Hymns added to his Collection of 1817, in 1832, No. 510; repeated in The Psalmist, 1843, No. 818, and in several collections. Also in Lyra Sacra Americana, 1868. 8. Hail! ye days of solemn meeting. Public Worship. An altered form of No. 26 below, in Spurgeon's Our Own Hymn Book, 1866, as an "American Hymn, 1840." 9. How blest the hour when first we gave. Holy Baptism. Appeared in the Baptist edition of thePlymouth Hymn Book, 1857, No. 1468. 10. How calmly wakes the hallowed morn. Holy Baptism. Given in The Psalmist, 1843, No. 810, in later collections, and in Lyra Sacra Americana, 1868. 11. Jesus, Thou hast freely saved us. Salvation. In Winchell's Additional Hymns, 1832, No. 503, and others. 12. Meekly in Jordan's Holy Stream. Holy Baptism. Contributed to The Psalmist, 1843, No. 808. 13. My country, 'tis of thee. National Hymn. "Written in 1832, and first sung at a children's Fourth of July celebration in Park Street church, Boston." Included in The Psalmist, 1843, No. 1000, and found in a large number of American hymn-books, but not in use in Great Britain. It is one of the most popular of Dr. Smith's compositions. Text, with note in Lyra Sacra Americana, 1868. 14. 0 not my own these verdant hills. Bought with a Price. Appeared in Nason's Congregational Hymn Book, 1857, and given inLaudes Domini, 1884. 15. Onward speed thy conquering flight. Missions. Appeared in The Psalmist, 1843, No. 892, and is found in several modern collections in Great Britain and America. Also in Lyra Sac. Americana, 1868. 16. Planted in Christ, the living Vine. Christian Fellowship; or, For Unity. Given in The Psalmist, 1843, No. 929, inLyra Sacra Americana, 1868, and several hymn-books. Of the hymns contributed by Dr. Smith to The Psalmist this is the best, and one of the most popular. 17. Remember thy Creator. Youthful Piety Enforced. In Christian Psalmody, 1832, No. 32; the Hymns for the Vestry and Fireside, 1841; The Psalmist, 1843, No. 778; Lyra Sac. Americana, 1868, and other collections. 18. Sister, thou wast mild and lovely. Death and Burial. Written on the death of Miss J. M. C. of Mount Vernon School, Boston, July 13,1833, and published in The Psalmist, 1843, No. 1096. 19. Softly fades the twilight ray. Sunday Evening. Written in 1832, and included in The Psalmist, 1843, No. 56. Also in Lyra Sacra Americana, and several hymn-books. 20. Spirit of holiness, descend. Whitsuntide. Appeared in the Hymns for the Vestry and Fireside, 1841, No. 295, and again in The Psalmist, 1843, No. 384. In the Unitarian Hymns for the Church of Christ, Boston, 1853. St. ii., iii., iv. were given as "Spirit of God, Thy churches wait." This form of the text and the original are both in modern hymn-books. 21. Spirit of peace and holiness. Institution of a Minister. Appeared in The Psalmist, 1843, No. 953, and Hatfield's Church Hymn Book, 1872. 22. The morning light is breaking. Missions. Written in 1832, and included in Hastings's Spiritual Songs, 1832-33, No. 253; and The Psalmist, 1843, No. 912. This hymn is very popular and has been translated into several languages. Dr. Smith says of it that “it has been a great favourite at missionary gatherings, and I have myself heard it sung in five or six different languages in Europe and Asia. It is a favourite with the Burmans, Karens, and Telegus in Asia, from whose lips I have heard it repeatedly.” 23. The Prince of Salvation in triumph is riding. Missions. Given in Hastings and Mason's Spiritual Songs, 1832-33, No. 274; The Psalmist, 1843, and later collections. 24. Tis done, the [important] solemn act is done. Ordination. Appeared in The Psalmist 1843, No. 951, and later hymn-books. 25. Today the Saviour calls. Invitation. First sketch by Dr. Smith, the revised text, as in Hastings and Mason's Spiritual Songs, No. 176, and The Psalmist, No. 453, by Dr. T. Hastings (p. 495, i. 19). 26. Welcome, days of solemn meeting. Special Devotional Services. Written in 1834, and given in Dr. Hatfield's Church Hymn Book, 1872. See No. 8. 27. When shall we meet again ? Parting. This is a cento. The first stanza is from Alaric A. Watts's Poetical Sketches, &c, 1822, p. 158 ; and st. ii.-iv. are by Dr. Smith. In this form it was published in L. Bacon's Supplement to Dwight, 1833, No. 489. It is in several American hymn-books; and also the English Baptist Psalms & Hymns, 1858, &c. 28. When the harvest is past and the summer is gone. Close of Worship. Contributed to Hastings and Mason's Spiritual Songs, 1831, No. 244; and repeated in the Fuller and Jeter Supplement to The Psalmist, 1847, No. 22, and later collections. 29. When thy mortal life is fled. The Judgment. Contributed to Winchell's Additional Hymns, 1832, No. 379, and repeated in The Psalmist, 1843, No. 455, and later hymn-books. Also in Lyra Sacra Americana, 1868. 30. While in this sacred rite of Thine. Holy Baptism. Appeared in The Psalmist, 1843, No. 803: Lyra Sacra Americana, 1868, &c. 31. With willing hearts we tread. Holy Baptism. In The Psalmist, 1843, No. 798; and again in the Baptist Praise Book, 1871. 32. Yes, my native land, I love thee. A Missionary's Farewell. Contributed to Winchell's Additional Hymns, 1832, No. 445, and found in later collections. Also in Lyra Sacra Americana, 1868. [Rev. F. M. Bird, M.A.] --John Julian, Dictionary of Hymnology (1907)

F. B. Harris

1850 - 1909 Person Name: Flora L. Best Hymnal Number: 35 Author of "The New Song" in Crowning Glory No. 1 Birth: 1850, USA Death: Sep., 1909 Flora Lydia (Best) Harris was the daughter of Dr. David and Elizabeth (Lockart) Best. She was the 1st wife of Rev. Bishop Merriman Colbert Harris. He was a minister in the Pittsburgh Conference of the Methodist Episcopal Church. She was a writer and wrote on Japanese themes. In 1891 she translated the 10th century classic 'Tosa Niki' ('Diary or Log of a Journey From Tosa to Kyoto'). Mary Jane Haight-Eckert on Find A Grave web site