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Mary Botham Howitt

1799 - 1888 Person Name: Mary Howitt Author of "Thou, earth, art ours, and ours to keep" in Hymns of the Spirit for Use in the Free Churches of America Howitt, Mary, née Botham, second daughter of Samuel Botham, a member of the Society of Friends, was born at Uttoxeter, Staffordshire, circa 1804, was married in 1823 to William Howitt, and died Jan. 30, 1888. Her publications have little in common with hymnody. They include poems, novels, translations of Swedish and Spanish works, and numerous contributions to magazines. In addition she was joint author with her husband of Literature and Romance of Northern Europe, 1852, &c. Her hymns include:— 1. God might have made the earth bring forth. The Use of Flowers. From her Birds and Flowers, and Other Country Things, Lond., N. D. (Preface, Sept. 28, 1837), p. 122, in 8 stanzas of 4 lines. 2. How goodly is the earth. Flower Services. From her Hymns and Fireside Verses, Lond., 1839, p. 167. 3. 0 spirit, freed from earth. Death and Burial. Altered from her poem, "The Ascent of the Spirit," in her Ballads and Other Poems, 1847, p. 318. Dr. Martineau dates this poem 1834. Mrs. Howitt also contributed " Let me suffer, let me drain" (The Willing Disciple), and " Clothe me with Thy saving grace " (The Cry of the spirit) to Lyra Britannica, 1867. -- John Julian, Dictionary of Hymnology ============================= Howitt, Mary, p. 541, i. Her hymn “Let me suffer; let me drain," is the opening hymn of the Lays of the Sanctuary, 1859. She died Jan. 30, 1888. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
Mary Botham Howitt

Johann Sebastian Bach

1685 - 1750 Harmonizer of "ES IST GEWISSLICH AN DER ZEIT" in The Beacon Song and Service book 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)
Johann Sebastian Bach

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