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Joseph Haydn

1732 - 1809 Person Name: Francis J. Haydn Composer of "CREATION" in The Seventh-Day Adventist Hymn and Tune Book Franz Joseph Haydn (b. Rohrau, Austria, 1732; d. Vienna, Austria, 1809) Haydn's life was relatively uneventful, but his artistic legacy was truly astounding. He began his musical career as a choirboy in St. Stephen's Cathedral, Vienna, spent some years in that city making a precarious living as a music teacher and composer, and then served as music director for the Esterhazy family from 1761 to 1790. Haydn became a most productive and widely respected composer of symphonies, chamber music, and piano sonatas. In his retirement years he took two extended tours to England, which resulted in his "London" symphonies and (because of G. F. Handel's influence) in oratorios. Haydn's church music includes six great Masses and a few original hymn tunes. Hymnal editors have also arranged hymn tunes from various themes in Haydn's music. Bert Polman

Wolfgang Amadeus Mozart

1756 - 1791 Person Name: Mozart Composer of "DRESDEN" in Methodist Tune Book Wolfgang Amadeus Mozart Austria 1756-1791. Born at Salzburg, Austria, the son of Leopold Mozart, a minor composer and violinist, and youngest of seven children, he showed amazing ability on violin and keyboard from earliest childhood, even starting to compose music at age four when his father would play a piece and Mozart would play it exactly as did his father. At five, he composed some of his own music, which he played to his father, who wrote it down. When Mozart was eight, he wrote his first symphony, probably transcribed by his father. In his early years his father was his only teacher, teaching his children languages and academic subjects, as well as fundamentals of their strict Catholic faith. Some of his early compositions came as a surprise to his father, who eventually gave up composing himself when he realized how talented his son was. His family made several European journeys and he and his sister, Nanneri, performed as child prodigies, at the court of Prince-elector Maximillian II of Bavaria in Munich, and at the Imperial Courts in Vienna and Prague. A long concert tour followed, for 3.5 years, taking the family to courts in Munich, Mannheim, Paris, London, Dover, The Hague, Amsterdam, Utrecht, Mechelen, and again to Paris, and back home via Zurich, Donaueschingen, and Munich. During these trips Mozart met many musicians, acquainting himself with the works of other composers. He met Johann Christian Bach in London in 1764. Family trips were challenging, and travel conditions were primitive. They had to wait for invitations and reimbursements from nobility, and they endured long, near-fatal illnesses far from home. First Leopold (1764) got sick, then both children (1765). They traveled again to Vienna in 1767 and stayed there over a year. After a year back in Salzburg, Leopold and Wolfgang went to Italy (1769-1771), Leopold wished to display his son’s abilities as a performer and maturing composer. In Bologna, Italy, Wolfgang was accepted as a member of the famous Academia Filamonica. In Rome he heard Gregorio Allegri’s Miserere twice in performance. Back in the Sistine Chapel, Mozart wrote the whole performance out from memory, thus producing the first unauthorized copy of this closely guarded property of the Vatican. In the next few years Mozart wrote several operas performed with success in Italy, but his father’s hopes of securing a professional appointment for his son were not realized. At age 17 he was engaged as a musician at the Salzburg court, but grew restless and traveled in search of a better position. After returning to Salzburg, Mozart was employed as a court musician by the ruler of Salzburg, Prince Archbishop Hieronymus Colloredo. This gave Mozart ample opportunity to develop relationships with other musicians and his admirers, resulting in his development of new symphonies, sonatas, string quartets, masses, serenades, and some minor operas. In 1775 he wrote his only violin concertos, five in all. Again, he was discontent with work in Salzburg and traveled to find more opportunity to write operas. He and his father again visited Munich and Vienna, but neither visit was successful with the exception of his opera ‘La finta giardiniera’ in Munich. In 1777 he resigned his Salzburg position and went to Augsburg, Mannheim, Paris, and Munich again. In Mannheim he met and fell in love with Aloysia Weber, one of four daughters of a musical family. He could find no real employment there and left for Paris in 1778. He might have had a position as organist at Versailles, but he was not interested in that. He fell into debt and started pawning valuables. During these events his mother died. Meanwhile his father was still trying to find him a position in Salzburg. After checking out several other European cities and Munich, he again encountered Aloysia, but she was no longer interested in him, so he returned to Salzburg, having written another symphony, concerto, and piano sonata, and took the new appointment his father had found. However, he was still in discontent. Visiting Vienna in 1781, he was dismissed from his Salzburg position. He wrote another opera, ‘Idomeneo’, in 1781, that was successful in Munich. Two months later he was summoned to Vienna, where his employer, Archbishop Colloredo, wanted him around due to his notoriety. Mozart wished to meet the emperor and perform for him, and finally got that opportunity. It resulted in a part-time position and substantial commissions. Colloredo became a nemesis to Mozart’s career, finally releasing Mozart from his employ with a literal kick in the pants, much against his father’s wishes. However, he was now independent. Mozart then decided to settle in Vienna as a free lance performer and composer. He lived with the Fridolin Weber family, who had moved from Mannheim to Vienna. Fridolin, the father, had died, and they were taking in lodgers to make ends meet. His career there went well, and he performed as a pianist before the Emperor, establishing himself as the finest keyboard player in Vienna. He wrote another opera in 1782, again achieving success. Mozart had now become a prolific and influential composer of the Classical period and was known throughout Europe. Aloysia was now married to actor, Joseph Lange, and Mozart’s interest shifted to her sister, Constanze. In 1782 he married Constanze Weber Mozart Nissen. The marriage started out with a brief separation, and there was a problem getting Mozart’s father’s permission, which finally came. They had six children, but only two survived infancy: Carl and Franz. He lived in Vienna and achieved some notoriety, composing many of his best-known symphonies, concertos, and operas. In 1782-83 he became intimately acquainted with Johann Sebastian Bach and George Friederic Handel, as his friend, Gottfried van Swieten, owned many manuscripts of the Baroque masters, which Mozart studied intently. He altered his style of composition as a result. That year Mozart and his wife visited his father and sister, and he composed a liturgical piece, a Mass, with a singing part for his wife. He also met Joseph Hadyn in Vienna in 1784 and they became friends. They even played together in a string quartet from time to time. Mozart wrote six quartets dedicated to Hadyn. In 1785 Hadyn told Leopold Mozart, “Your son is the greatest composer known to me by person and repute, he has taste, and what is more, the greatest skill in composition”. Over the next several years Mozart booked several piano concertos in various places as a sole performer to delighted audiences, making substantial remuneration for his work. He and his wife then adopted a more luxurious lifestyle. They moved to an expensive apartment and he bought a fine fortepiano and billiard table. They sent their son, Karl, to an expensive boarding school and also kept servants. In 1784 Mozart became a Freemason and even composed Masonic music. Over the next several years he did little operatic writing and focused on his career as a piano soloist and writer of concertos. He again began operatic collaboration in 1785, creating ‘The marriage of Figaro’, then ‘Don Giovanni’ in 1787. That year his father died. Also that year he obtained a steady post under Emperor Joseph II as his chamber composer. This was part-time employment that was important when hard times arrived. However, Joseph aimed at keeping Mozart from leaving Vienna for better work. The Austrio-Turkish War made life difficult for musicians, and his aristocracy support had declined. He moved to save on expenses, but that did not help much, and he was reduced to borrowing funds from his friends, and pleading for loans. During this period he produced his last three symphonies. In 1789 he then set up on a journey to Leipzig, Dresden, and Berlin hoping to improve his fortunes. In 1790 he was highly productive, producing concertos, an opera, ‘The magic flute’, a series of string quintets, a motet, and an (unfinished) Requiem. Finances began to improve and he begin paying back his debts. Public reaction to his works also brought him great satisfaction. In 1791, while in Prague for the premiere of his opera, ‘La clemenza di Tito’, he fell ill. He continued professional functions for a short time, but had to go home and be nursed by his wife over the next couple of months. He died at Vienna, Austria, at the age of 35, a small thin man with undistinguishing characteristics. He was buried in a modest grave, having had a small funeral. Beethoven composed his early works in the shadow of Mozart, and Joseph Hadyn wrote “posterity will not see such a talent (as Mozart) again in 100 years”. 600+ works. Side note: Mozart enjoyed billiards, dancing, and had a pet canary, a starling, a dog, and a horse for recreational riding. He liked off-color humor. He wore elegant clothing when performing and had a modest tenor voice. John Perry

Philip Doddridge

1702 - 1751 Person Name: Philip Doddridge, 1702-1751 Author of "Eternal Source of Every Joy" in The Cyber Hymnal 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)

William Knapp

1698 - 1768 Composer of "WAREHAM" in The Cyber Hymnal Born: 1698, Wareham, Dorsetshire, England. Died: September 26, 1768, Poole, Dorsetshire, England. Buried: Poole, Dorsetshire, England.

F.-H. Barthélémon

1741 - 1808 Person Name: François H. Barthélémon Composer of "MORNING HYMN" in Hymns of the Kingdom of God French violinist, composer, teacher, he became active in England, playing in an Italian comedy orchestra and led a band. He wrote opera, ballet, theatre music and ballads, popular songs, masques, concertos and 6 symphonies. John Perry

Lowell Mason

1792 - 1872 Composer of "HEBRON" in The Wesleyan Methodist Hymnal Dr. Lowell Mason (the degree was conferred by the University of New York) is justly called the father of American church music; and by his labors were founded the germinating principles of national musical intelligence and knowledge, which afforded a soil upon which all higher musical culture has been founded. To him we owe some of our best ideas in religious church music, elementary musical education, music in the schools, the popularization of classical chorus singing, and the art of teaching music upon the Inductive or Pestalozzian plan. More than that, we owe him no small share of the respect which the profession of music enjoys at the present time as contrasted with the contempt in which it was held a century or more ago. In fact, the entire art of music, as now understood and practiced in America, has derived advantage from the work of this great man. Lowell Mason was born in Medfield, Mass., January 8, 1792. From childhood he had manifested an intense love for music, and had devoted all his spare time and effort to improving himself according to such opportunities as were available to him. At the age of twenty he found himself filling a clerkship in a banking house in Savannah, Ga. Here he lost no opportunity of gratifying his passion for musical advancement, and was fortunate to meet for the first time a thoroughly qualified instructor, in the person of F. L. Abel. Applying his spare hours assiduously to the cultivation of the pursuit to which his passion inclined him, he soon acquired a proficiency that enabled him to enter the field of original composition, and his first work of this kind was embodied in the compilation of a collection of church music, which contained many of his own compositions. The manuscript was offered unavailingly to publishers in Philadelphia and in Boston. Fortunately for our musical advancement it finally secured the attention of the Boston Handel and Haydn Society, and by its committee was submitted to Dr. G. K. Jackson, the severest critic in Boston. Dr. Jackson approved most heartily of the work, and added a few of his own compositions to it. Thus enlarged, it was finally published in 1822 as The Handel and Haydn Society Collection of Church Music. Mason's name was omitted from the publication at his own request, which he thus explains, "I was then a bank officer in Savannah, and did not wish to be known as a musical man, as I had not the least thought of ever making music a profession." President Winchester, of the Handel and Haydn Society, sold the copyright for the young man. Mr. Mason went back to Savannah with probably $500 in his pocket as the preliminary result of his Boston visit. The book soon sprang into universal popularity, being at once adopted by the singing schools of New England, and through this means entering into the church choirs, to whom it opened up a higher field of harmonic beauty. Its career of success ran through some seventeen editions. On realizing this success, Mason determined to accept an invitation to come to Boston and enter upon a musical career. This was in 1826. He was made an honorary member of the Handel and Haydn Society, but declined to accept this, and entered the ranks as an active member. He had been invited to come to Boston by President Winchester and other musical friends and was guaranteed an income of $2,000 a year. He was also appointed, by the influence of these friends, director of music at the Hanover, Green, and Park Street churches, to alternate six months with each congregation. Finally he made a permanent arrangement with the Bowdoin Street Church, and gave up the guarantee, but again friendly influence stepped in and procured for him the position of teller at the American Bank. In 1827 Lowell Mason became president and conductor of the Handel and Haydn Society. It was the beginning of a career that was to win for him as has been already stated the title of "The Father of American Church Music." Although this may seem rather a bold claim it is not too much under the circumstances. Mr. Mason might have been in the average ranks of musicianship had he lived in Europe; in America he was well in advance of his surroundings. It was not too high praise (in spite of Mason's very simple style) when Dr. Jackson wrote of his song collection: "It is much the best book I have seen published in this country, and I do not hesitate to give it my most decided approbation," or that the great contrapuntist, Hauptmann, should say the harmonies of the tunes were dignified and churchlike and that the counterpoint was good, plain, singable and melodious. Charles C. Perkins gives a few of the reasons why Lowell Mason was the very man to lead American music as it then existed. He says, "First and foremost, he was not so very much superior to the members as to be unreasonably impatient at their shortcomings. Second, he was a born teacher, who, by hard work, had fitted himself to give instruction in singing. Third, he was one of themselves, a plain, self-made man, who could understand them and be understood of them." The personality of Dr. Mason was of great use to the art and appreciation of music in this country. He was of strong mind, dignified manners, sensitive, yet sweet and engaging. Prof. Horace Mann, one of the great educators of that day, said he would walk fifty miles to see and hear Mr. Mason teach if he could not otherwise have that advantage. Dr. Mason visited a number of the music schools in Europe, studied their methods, and incorporated the best things in his own work. He founded the Boston Academy of Music. The aim of this institution was to reach the masses and introduce music into the public schools. Dr. Mason resided in Boston from 1826 to 1851, when he removed to New York. Not only Boston benefited directly by this enthusiastic teacher's instruction, but he was constantly traveling to other societies in distant cities and helping their work. He had a notable class at North Reading, Mass., and he went in his later years as far as Rochester, where he trained a chorus of five hundred voices, many of them teachers, and some of them coming long distances to study under him. Before 1810 he had developed his idea of "Teachers' Conventions," and, as in these he had representatives from different states, he made musical missionaries for almost the entire country. He left behind him no less than fifty volumes of musical collections, instruction books, and manuals. As a composer of solid, enduring church music. Dr. Mason was one of the most successful this country has introduced. He was a deeply pious man, and was a communicant of the Presbyterian Church. Dr. Mason in 1817 married Miss Abigail Gregory, of Leesborough, Mass. The family consisted of four sons, Daniel Gregory, Lowell, William and Henry. The two former founded the publishing house of Mason Bros., dissolved by the death of the former in 1869. 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). Biography of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company.

John Warrington Hatton

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

Ludwig van Beethoven

1770 - 1827 Person Name: Ludwig von Beethoven (1770-1827) Composer of "GERMANY" in Carmina Sanctorum, a selection of hymns and songs of praise with tunes A giant in the history of music, Ludwig van Beethoven (b. Bonn, Germany, 1770; d. Vienna, Austria, 1827) progressed from early musical promise to worldwide, lasting fame. By the age of fourteen he was an accomplished viola and organ player, but he became famous primarily because of his compositions, including nine symphonies, eleven overtures, thirty piano sonatas, sixteen string quartets, the Mass in C, and the Missa Solemnis. He wrote no music for congregational use, but various arrangers adapted some of his musical themes as hymn tunes; the most famous of these is ODE TO JOY from the Ninth Symphony. Although it would appear that the great calamity of Beethoven's life was his loss of hearing, which turned to total deafness during the last decade of his life, he composed his greatest works during this period. Bert Polman

H. W. Greatorex

1813 - 1858 Composer of "GROSTETE" in Book of Worship Henry Wellington Greatorex United Kingdom 1813-1858. Born at Burton upon Trent, England, he received a thorough musical education from his father, Thomas Greatorex, who was for many years organist of Westminster Abbey, and conductor of the London concerts of ancient music. Henry became a composer, author, compiler, editor, and arranger of music. He emigrated to the U.S. In 1839. In 1849 he married artist Eliza Pratt, and they had four children: Elizabeth, Kathleen, Thomas, and Francis Henry. Prior to settling in New York City as a music teacher and organist at Calvary Church, he played at churches in Hartford, CT, including Center Church and St Johns Episcopal Church in West Hartford, CT. He frequently sang in oratorios and concerts. For some years he was also organist and conductor of the choir at St. Paul's Chapel. In 1853 he was an organist at St. Philip's Episcopal Church in Charleston, SC. He did much to advance the standard of sacred music in the U.S. In days when country singing school teachers imposed more rudimentary melodies on hymn books. He published a collection of “Psalm & hymn tunes, chants, anthems & sentences” (Boston 1851). He died of yellow fever in Charleston, SC. John Perry

Anne Steele

1717 - 1778 Author of "Eternal Source of every joy!" in Church Psalmody Anne Steele was the daughter of Particular Baptist preacher and timber merchant William Steele. She spent her entire life in Broughton, Hampshire, near the southern coast of England, and devoted much of her time to writing. Some accounts of her life portray her as a lonely, melancholy invalid, but a revival of research in the last decade indicates that she had been more active and social than what was previously thought. She was theologically conversant with Dissenting ministers and "found herself at the centre of a literary circle that included family members from various generations, as well as local literati." She chose a life of singleness to focus on her craft. Before Christmas in 1742, she declined a marriage proposal from contemporary minister-hymnist Benjamin Beddome. All the same, some of Steele's sufferings were very real. She lost her mother at age 3, a potential suitor at age 20, her step mom at 43, and her sister-in-law at 45. She spent many years caring for her father until his death in 1769. For most of her life, she exhibited symptoms of malaria, including persistent pain, fever, headaches, and stomach aches. Caleb Evans, in his preface to Steele's posthumous Miscellaneous Pieces in Verse and Prose (1780), noted that she had been bed ridden for "some years" before her death: When the interesting hour came, she welcomed its arrival, and though her feeble body was excruciated with pain, her mind was perfectly serene. . . . She took the most affectionate leave of her weeping friends around her, and at length, the happy moment of her dismission arising, she closed her eyes, and with these animating words on her dying lips, "I know that my Redeemer liveth," gently fell asleep in Jesus. Historically, her most popular hymn has been "When I survey life's varied scene" (and its shortened form, "Father, whate'er of earthly bliss"), a hymn that turns earthly loss or denial into a spirit of thankfulness, published in over 800 North American hymnals since 1792. Not all of her work deals with personal agony. Her hymns span a wide doctrinal and ecclesiastical range, some crafted and used for her father's congregation. Her metrical psalms are among the finest of the genre. Steele's hymns and psalms were published in two volumes in 1760, Poems on Subjects Chiefly Devotional, under the pseudonym Theodosia, with an additional volume of material published after her death, in Miscellaneous Pieces in Verse and Prose, 1780. Another small collection, Verses for Children, was issued in 1788, with two other editions given in 1803 and 1806. Sixty-two of her hymns, including new material and some revisions by Steele, were published in a hymnal for Baptists in 1769, A Collection of Hymns Adapted to Public Worship, edited by Caleb Evans and John Ash. Forty seven were included in John Rippon's A Selection of Hymns from the Best Authors in 1787; the only author with larger representation was Philip Doddridge, with 101. These collections represent the earliest attempts to anthologize Baptist hymns and were vital for bringing Steele's hymns into wider public worship, where they have been a mainstay for over two hundred years. Chris Fenner adapted from The Towers (Southern Baptist Theological Seminary, August 2015) Recommended Bibliography: Cynthia Y. Aalders, To Express the Ineffable: The Hymns and Spirituality of Anne Steele (Milton Keynes, U.K.: Paternoster, 2008). Cynthia Y. Aalders, "In melting grief and ardent love: Anne Steele's contribution to eighteenth-century hymnody," The Hymn (summer 2009), 16-25. J.R. Broome, A Bruised Reed: The Life and Times of Anne Steele (Harpenden, U.K.: Gospel Standard Trust Publications, 2007). Joseph Carmichael, The Hymns of Anne Steele in John Rippon's Selection of Hymns: A Theological Analysis in the Context of the English Particular Baptist Revival (2012), dissertation, http://digital.library.sbts.edu/handle/10392/4112 Priscilla Wong, Anne Steele and Her Spiritual Vision (Grand Rapids: Reformation Heritage Books, 2012). Timothy Whelan & Julia B. Griffin, eds., Nonconformist Women Writers, 1720–1840, vols. 1 & 2 (London: Pickering & Chatto, 2011). ======================== Steele, Anne, born in 1716, was the daughter of Mr. Wm. Steele, a timber merchant, and pastor, without salary, of the Baptist Church at Broughton, in Hampshire. At an early age she showed a taste for literature, and would often entertain her friends by her poetical compositions. But it was not until 1760 that she could be prevailed upon to publish. In that year two volumes appeared under the title of Poems on Subjects chiefly Devotional, by Theodosia. After her death, which occurred in November, 1778, a new edition was published with an additional volume and a Preface by the Rev. Dr. Caleb Evans, of Bristol (Bristol, 1780). In the three volumes are 144 hymns, 34 Psalms in verse, and about 30 short poems. They have been reprinted in one vol. by D. Sedgwick, 1863…. Among Baptist hymnwriters Miss Steele stands at the head, if we regard either the number of her hymns which have found a place in the hymnals of the last 120 years, or the frequency with which they have been sung. Although few of them can be placed in the first rank of lyrical compositions, they are almost uniformly simple in language, natural and pleasing in imagery, and full of genuine Christian feeling. Miss Steele may not inappropriately be compared with Miss F. R. Havergal, our "Theodosia" of the 19th century. In both there is the same evangelic fervour, in both the same intense personal devotion to the Lord Jesus. But whilst Miss Steele seems to think of Him more frequently as her "bleeding, dying Lord "—dwelling on His sufferings in their physical aspect—Miss Havergal oftener refers to His living help and sympathy, recognizes with gladness His present claims as "Master" and "King," and anticipates almost with ecstasy His second coming. Looking at the whole of Miss Steele's hymns, we find in them a wider range of thought than in Miss Havergal's compositions. She treats of a greater variety of subjects. On the other hand, Miss Havergal, living in this age of missions and general philanthropy, has much more to say concerning Christian work and personal service for Christ and for humanity. Miss Steele suffered from delicacy of health and from a great sorrow, which befell her in the death of her betrothed under peculiarly painful circumstances. In other respects her life was uneventful, and occupied chiefly in the discharge of such domestic and social duties as usually fall to the lot of the eldest daughter of a village pastor. She was buried in Broughton churchyard. [Rev W. R. Stevenson, M.A.] A large number of Miss Steele's hymns are in common use, the larger proportion being in American hymnbooks. In addition to "Almighty Maker of my frame," “Far from these narrow scenes of night," "Father of mercies in Thy word," and others annotated under their respective first lines, there are also:— i. From her Poems on Subjects Chiefly Devotional, 1760, vols. i., ii. 1. Come, let our souls adore the Lord. Pleading for Mercy. One of two hymns "On the Fast, Feb. 11, 1757," the first being "While justice waves her vengeful hand." 2. Come, tune ye saints, your noblest strains. Christ Dying and Rising. 3. Deep are the wounds which sin has made. Christ, the Physician. 4. Enslaved by sin, and bound in chains. Redemption. 5. Eternal power, almighty God. Divine Condescension. 6. Eternal Source of joys divine. Divine Assurance desired. 7. Great God, to Thee my evening song. Evening. 8. Great Source of boundless power and grace. Desiring to Trust in God. 9. Hear, gracious [God] Lord, my humble moan [prayer] . The presence of God desired. 10. Hear, O my God, with pity hear. Ps. cxliii. 11. How long shall earth's alluring toys ? On Longing after unseen pleasures. 12. How lovely, how divinely sweet. Ps. lxxziv. 13. How oft, alas, this wretched heart. Pardoning Love. 14. In vain my roving thoughts would find. Lasting Happiness. 15. Jesus, the spring of joys divine. Christ the Way. 16. Lord, how mysterious are Thy ways. Providence. 17. Lord, Thou hast been Thy Children's God. Ps. xc. 18. Lord, we adore Thy boundless grace. Divine Bounty. 19. Lord, when my [our] raptured thought surveys. Creation and Providence. 20. Lord, when my thoughts delighted rove. Passiontide. 21. My God, 'tis to Thy mercy seat. Divine Mercy. 22. My God, to Thee I call. Lent. 23. O for a sweet, inspiring ray. The Ascended Saviour. 24. O Thou Whose tender mercy hears. Lent. 25. Permit me, Lord, to seek Thy face. Strength and Safety in God alone. 26. Should famine o'er the mourning field. During Scarcity. 27. So fades the lovely, blooming flower. Death of a Child. 28. Stretched on the Cross the Saviour dies. Good Friday. 29. The Lord, my Shepherd and my Guide. Ps.xxiii. 30. The Lord, the God of glory reigns. Ps. xciii. 31. The Saviour calls; let every ear. The Invitation. 32. There is a glorious world on high. True Honour. 33. Thou lovely [only] Source of true delight. Desiring to know Jesus. 34. Thou only Sovereign of my heart. Life in Christ alone. 35. To Jesus, our exalted Lord. Holy Communion. 36. To our Redeemer's glorious Name. Praise to the Redeemer. 37. To your Creator, God. A Rural Hymn. 38. When I survey life's varied scene. Resignation. 39. When sins and fears prevailing rise. Christ the Life of the Soul. 40. Where is my God? does He retire. Rreathing after God. 41. While my Redeemer's near. The Good Shepherd. 42. Why sinks my weak desponding mind? Hope in God. 43. Ye earthly vanities, depart. Love for Christ desired. 44. Ye glittering toys of earih adieu. The Pearl of great Price. 45. Ye humble souls, approach your God. Divine Goodness. ii. From the Bristol Baptist Collection of Ash & Evans, 1769. 46. Come ye that love the Saviour's Name. Jesus, the King of Saints. 47. How helpless guilty nature lies. Need of Receiving Grace. 48. Praise ye the Lord let praise employ. Praise. iii. Centos and Altered Texts, 49. How blest are those, how truly wise. True honour. From "There is a glorious world on high." 50. How far beyond our mortal view. Christ the Supreme Beauty. From "Should nature's charms to please the eye," 1760, st. iii. 51. In vain I trace creation o'er. True happiness. From "When fancy spreads her boldest wings," 1760, st. ii. 52. Jesus, and didst thou leave the sky? Praise to Jesus. From “Jesus, in Thy transporting name," 1760, st. iv. 53. Look up, my soul, with cheerful eye. Breathing after God. From No. 40, st. v. 54. Lord, in the temple of Thy grace. Christ His people's Joy. From "The wondering nations have beheld," 1760, st. iii. 55. My God, O could I make the claim. Part of No. 9 above. 56. My soul, to God, its source, aspires. God, the Soul's only Portion. From "In vain the world's alluring smile," st. iii. 57. O could our thoughts and wishes fly. Part of No. 11 above, st. iv. 58. O for the eye of faith divine. Death anticipated. From "When death appears before my sight," 1760, st. iii., vii., viii. altered, with opening stanzas from another source. 59. O Jesus, our exalted Head. Holy Communion. From "To Jesus, our exalted Lord." See No. 35. 60. O world of bliss, could mortal eyes. Heaven. From "Far from these narrow scenes of night." 61. See, Lord, Thy willing subjects bow. Praise to Christ. From "O dearer to my thankful heart," 1780, st. 5. 62. Stern winter throws his icy chains. Winter. From "Now faintly smile day's hasty hours," 1760, st. ii. 63. Sure, the blest Comforter is nigh. Whitsuntide. From "Dear Lord, and shall Thy Spirit rest," 1760, st. iii. 64. The God of my salvation lives. In Affliction. From, "Should famine, &c," No. 26, st. iv. 65. The Gospel, O what endless charms. The Gospel of Redeeming Love. From "Come, Heavenly Love, inspire my song." 66. The mind was formed lo mount sublime. The Fettered Mind. From "Ah! why should this immortal mind?" 1760, st. ii. 67. The once loved form now cold and dead. Death of a Child. From "Life is a span, a fleeting hour," 1760, st. iii. 68. Thy gracious presence, O my God. Consolation in Affliction. From "In vain, while dark affliction spreads," 1780, st. iv. 69. Thy kingdom, Lord, for ever stands. Ps. cxlv. From "My God, my King, to Thee I'll raise," 1760, st. xii. 70. Triumphant, Christ ascends on high. Ascension. From "Come, Heavenly Love, inspire my song," 1760, st. xxxii. 71. When blest with that transporting view. Christ the Redeemer. From "Almighty Father, gracious Lord," 1760, st. xi. 72. When death before my sight. Death Anticipated. From "When death appears before my sight," 1760. 73. When gloomy thoughts and boding fears. Com¬forts of Religion. From "O blest religion, heavenly fair," 1760, st. ii. 74. When weary souls with sin distrest. Invitation to Rest. From "Come, weary souls, with sin distressed," 1760. 75. Whene'er the angry passions rise. Example of Christ. From “And is the gospel peace and love?" 1760, st. ii. All the foregoing hymns are in D. Sedgwick's reprint of Miss Steele's Hymns, 1863. --Excerpts from John Julian, Dictionary of Hymnology (1907) ==================== Steele, Anne, p. 1089, i., Additional hymns in common use: 1. Amazing love that stoop'd so low. Thankfulness. From "O dearer to my thankful heart," 1780, iii. 2. Bright scenes of bliss, unclouded skies. Saved by Hope. Poems, 1760, i. p. 228. 3. Jesus demands this heart of mine. Pardon De¬sired. Poems, 1760, i. p. 120. 4. Jesus, Thou Source divine. Christ the Way. Poems, 1760, i. p. 53, altered. 5. Lord, how mysterious are Thy ways. Mysteries of Providence. Poems, 1760, i. p. 131. 6. Lord^in Thy great, Thy glorious Name. Ps. xxxi. Poems, 1760, ii. p. 158. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)