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[Oh, the glory of living for duty]

Appears in 4 hymnals Composer and/or Arranger: Donizetti; Geo. F. Root Incipit: 51765 65453 33542 Used With Text: The Beauty of Duty

'Tis the Voice of the Lord

Author: G. F. R. Appears in 1 hymnal First Line: Hearts and voices in glad exultation Used With Tune: [Hearts and voices in glad exultation]

The Beauty of Duty

Author: W. P. Tilden Appears in 2 hymnals First Line: Oh, the glory of living for duty Used With Tune: [Oh, the glory of living for duty]

Then to God all your praises be bringing

Appears in 1 hymnal First Line: Unto God lift the jubilant chorus Used With Tune: THE GIVER OF ALL

Instances

Published text-tune combinations (hymns) from specific hymnals

Then to God all your praises be bringing

Hymnal: Songs of Praise and Prayer #58 (1883) First Line: Unto God lift the jubilant chorus Languages: English Tune Title: THE GIVER OF ALL

The Beauty of Duty

Author: W. P. Tilden Hymnal: The Carol #94 (1886) First Line: Oh, the glory of living for duty Languages: English Tune Title: [Oh, the glory of living for duty]

'Tis the Voice of the Lord

Author: G. F. R. Hymnal: The Glorious Cause #50 (1888) First Line: Hearts and voices in glad exultation Languages: English Tune Title: [Hearts and voices in glad exultation]

1820 - 1895 Person Name: Geo. F. Root Arranger of "[Oh, the glory of living for duty]" in The Carol Root, George F., MUS. DOC, born in Sheffield, Berkshire County, Mass., Aug. 30, 1820. He is much more widely known as a composer of popular music than as a hymn writer. Four of his hymns are in I. D. Sankey's Sacred Songs & Solos, 1878. Nos. 16, 100, 293, and 297. A sympathetic biographical sketch, with portrait, is in The Tonic Sol-Fa Reporter, Sep. 1886. He died Aug. 6, 1895. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) ===================== George Frederick Root was born in Sheffield, Mass., August 30, 1820. His father moved to North Reading, near Boston, when the boy was six years old, and there his youth was spent. He was always fond of music— not singing at all as a boy, but played upon every kind of instrument that came in his way. At thirteen it was his pride that he could "play a tune" on as many instruments as he was years old. His dream of life was to be a musician, although such an ambition was looked down upon by all his relatives and friends, excepting a fond mother. In the fall of 1838 he went to Boston and made an engagement to work for Mr. A. N. Johnson and take lessons on the piano. His father and one of the brothers were at the time in South America, and the mother, with six younger children, was at home on the farm. When he secured the engagement with Mr. Johnson to receive three dollars a week and board and lessons, the neighbors became interested and encouraged him to go ahead, they promising to help look after the farm and see that the family got along. The young man's happiness over these events can better be imagined than described. On the second day of October, 1838, he entered upon his duties in his new heaven on earth located at Harmony Hall, Mr. Johnson's music-room, in Boston. His duties were to see to the fires, care for the room, answer callers, give information about Mr. Johnson when he was out, and practice his lessons when not otherwise engaged. He worked industriously and made steady progress. It was but a few weeks till Mr. Johnson had him playing for the prayer-meeting, and but a few more till he began turning over pupils to him. In about seven weeks' time Mr. Johnson encouraged him by a considerable increase of salary. A most important event to him was meeting Dr. Lowell Mason and being accepted as a bass singer in the celebrated Bowdoin Street choir. Also, on Mr. Johnson's recommendation, he began taking private voice lessons of Mr. Geo. Jas. Webb, the then celebrated voice teacher of Boston. He continued at least a year with Mr. Webb. His first real singing class was taught the following fall, 1839, at the North End. It lasted nearly through the winter, and on the closing night his class made him a present of a silver goblet, suitably engraved, which he kept among his treasures. Before the first year was up Mr. Johnson proposed a five year partnership, by which Mr. Root was to receive one-third of their earnings, and the former was to have the privilege of visiting Germany part of the time if he chose. They then changed their quarters to three rooms in the basement of Park Street Church. The annual rental was six hundred dollars. They were kept quite busy. At this time Dr. Mason's music teaching in the public schools was a growing success, and Messrs. Johnson and Root were employed to assist him. Drs. Mason and Webb had introduced what is now called Musical Conventions a year or two previous to this. They called them "The Teachers' Class." Teachers and singers were called to Boston from surrounding territory to study and practice pretty much as they do now at normals. In 1841 Mr. Root became one of the teachers in this class. He taught vocal training and continued this work for years afterward in Dr. Mason's teachers' classes, and later incorporated the same method in his own normals. During this year Mr. Johnson went to Germany, and left the two large church choirs (Winter Street and Park Street) in charge of Mr. Root. One of the organs was played by a pupil — Mr. S. A. Bancroft. Everything went smoothly during Mr. Johnson's absence as it did also after his return. During the last year of the five-year partnership, Mr. Root was called to take the organ at Bowdoin Street, Mr. Mason changing to Winter Street. An amicable settlement was made between Messrs. Johnson and Root, and the partnership dissolved. In 1811, Mr. Jacob Abbott (father of Lyman Abbott)and his three brothers had established a young ladies' school in New York City. They wanted a music teacher, and offered the position to Mr. Root. They also secured him the organ and choir of the Mercer Street Church, with prospects for other good work. It required pretty strong persuasive arguments to tempt Mr. Root to leave Boston, he was doing well there, and as the sequel shows, there was an attraction in Boston that held him in too tight a grasp to be relinquished by the mere offer of greater power and place. He made up his mind, however, only after getting the consent of the powders of Boston to take with him this [to him] the greatest attraction of the city — Miss Mary Olive Woodman — an accomplished lady, a sweet singer, and a member of a prominent family of musicians. He went to New York first to prepare a home, and in August, 1845, returned for his bride, who took her place in his New York choir as leading soprano, and through his long and eventful career she was ever at his side, a true helpmeet. He was soon employed at Rutger's Female Institute, Miss Haines' School for Young Ladies, Union Theological Seminary and the New York State Institution for the Blind. Within six weeks after he arrived in New York his time was fully occupied. He continued with Mr. Abbott's young ladies' school ten years. While teaching in New York he continued his summer work with Messrs. Mason and Webb in Teachers' Classes. Up to the year 1849 he had written but little music; only a few hymn tunes while in Boston. He needed more music for the young ladies of his schools, so he made his first book, The Young Ladies' Choir, of which he had enough copies made for his own use, as he had no thought of offering it to the public. Then in connection with Mr. J. E. Sweetser, they compiled the Root and Sweetser's Collection. Mr. Root did work enough for two men, hence broke down in health. Mr. Abbott suggested that he take a trip to Paris. After weighing the matter carefully, in December, 1853, he sailed, and in due time arrived at Paris, where he began studying French, voice culture and piano under celebrated teachers. After spending nearly a year abroad, he returned home in improved health and ready for active work. He began to feel the need of new music for his classes, and after some thought decided upon a musical play ; the subject and title, The Flower Queen. At the Institution for the Blind was a young lady, a former pupil, but now a teacher who had shown some poetical talent. He asked her to help him with the words. He would suggest in prose what the flowers might say and she would put it into rhyme. She did it so well that it seldom needed any alteration. This lady was the now famous Fanny Crosby. The cantata became very popular. About this time Mr. Root wrote a half dozen simple songs for the people. They all sold pretty well, but Hazel Dell and Rosalie, the Prairie Flower, became the most popular, and had a large sale. It was in the summer of 1853 that the first real normal was held. Mr. Root originated it, and held it in New York. The principal teachers were Messrs. Mason, Root, Hastings, and Bradbury. This school became famous. Sessions were also held at North Reading, Mass., a village near Mr. Root's "Willow Farm Home," with Dr. Mason, Mr. Webb, Mr. Bradbury and himself as principal teachers. About this time Mr. Root decided to give up his work in New York, and devote himself entirely to conventions, normal work and authorship. He was eminently successful. Among the most eminent teachers and composers of our country have been students in Dr. Geo. F. Root's Normal Musical Institute. In 1860 Dr. Root settled in Chicago and entered the music publishing business with his brother E. T. Root, and C. M. Cady, as "Root & Cady," Mr. Root's reputation being the most important capital of the firm. His books and popular songs soon made the new firm prosperous. Then came the war with its horror. Dr. Root wielded his musical sword in the way of writing war songs, which made him famous. The Battle Cry of Freedom, Just Before the Battle, Mother, and others, made thousands of dollars for the music house. In the great Chicago fire of 1871 the interests of the firm of Root & Cady became engulfed in the general ruin. Their loss was upward of a quarter of a million dollars. They then sold their book catalogue, plates and copyrights to John Church & Co., of Cincinnati, and the sheet music plates and copyrights to S. Brainard's Sons, Cleveland. These sales realized about §130,000. The final result was that Dr. Root, his talented son F. W., and others became connected with John Church & Co. Under this new business relationship Mr. Root went right on with his normal and convention work; also issued a great many new books and cantatas. In 1872 the Chicago University very worthily conferred upon him the degree Doctor of Music. In 1886 he made a trip to Scotland and England, and arranged with publishers to issue some of his cantatas. He was royally received. Dr. Root was the author of about seventy-five books, nearly two hundred songs in sheet form, and many popular gospel songs. Dr. Root occupies a prominent place in the musical history of this country. It was Dr. Mason who lifted music from almost nothing and gave it an impetus, but he left no better follower than Dr. Root to carry on his work. He was a man of spotless integrity and high Christian character, and to know him was to love him. At the time of Dr. Root's death he was at Bailey Island, Maine, a summer resort, where he and other relatives had cottages. On August 6, 1895, he was seized with neuralgia of the heart — and died within one hour. He was buried at North Reading, Mass., his old home. --Hall, J. H. (c1914). Biographies of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company.

Gaetano Donizetti

1797 - 1848 Person Name: Donizetti Composer of "THE GIVER OF ALL" in Songs of Praise and Prayer Domenico Gaetano Maria Donizetti (born 29 November 1797 – died 8 April 1848) was an Italian composer from Bergamo, Lombardy. Donizetti came from a non-musical background but, at an early age, he was taken under the wing of composer Simon Mayr who had set up the Lezioni Caritatevoli and had enrolled him by means of a full scholarship. There he received detailed training in the arts of fugue and counterpoint, and it was from there that Mayr was instrumental in obtaining a place for the young man at the Bologna Academy. In Bologna, at the age of 19, he wrote his first one-act opera, the comedy Il Pigmalione, although it does not appear to have been performed during his lifetime. Through his life, Donizetti wrote about 70 operas, but an offer in 1822 from Domenico Barbaja, the impresario of the Teatro San Carlo in Naples, which followed the composer's ninth opera, led to his move to that city and the composition of 28 operas which were given their premieres at that house or in one of the city's smaller houses including the Teatro Nuovo or the Teatro del Fondo. This continued until the production of Caterina Cornaro in January 1844. In all, Naples presented 51 of Donizetti's operas. During this period, success came primarily with the comic operas, the serious ones failing to attract significant audiences. However, the situation changed with the appearance in 1830 of the serious opera, Anna Bolena which was the first to make a major impact on the Italian and international opera scene and, at the same time, to shift the balance for the composer away from success with only comedic operas. However, even after 1830, his best-known works did also include comedies such as L'elisir d'amore (1832) and Don Pasquale (1843). But significant historical dramas did appear and became successful, sometimes outside Naples before reaching that city. Most significantly, they included Lucia di Lammermoor (the first to be written by librettist Salvadore Cammarano) in 1835, as well as "one of [his] most successful Neapolitan operas", Roberto Devereux in Up to that point, all of his operas had been written to Italian librettos. However, moving to Paris in 1838, Donizetti set his operas to French texts; these include La favorite and La fille du régiment and were first performed in that city from 1840 onward. It appears that much of the attraction of moving to Paris was not just for larger fees and prestige, but his chafing against the censorial limitations which existed in Italy, thus giving him a much greater freedom to choose subject matter. By 1845 severe illness caused him to be moved back to Bergamo to die in 1848. Along with Gioachino Rossini and Vincenzo Bellini, he was a leading composer of bel canto opera during the first fifty years of the Nineteenth Century. The youngest of three sons, Donizetti was born in 1797 in Bergamo's Borgo Canale quarter located just outside the city walls. His family was very poor and had no tradition of music, his father Andrea, being the caretaker of the town pawnshop. Simone Mayr, a German composer of internationally successful operas had become maestro di cappella at Bergamo's principal church in 1802 and he then founded the Lezioni Caritatevoli school in Bergamo in 1805 for the purpose of providing musical training, including classes in literature, beyond that which choirboys ordinarily received up until the time that their voices broke. In 1807, Andrea Donizetti attempted to enroll both his sons, but the elder, Giuseppe (then 18), was considered too old. Gaetano (then 9) was accepted. While not especially successful as a choirboy during the first three trial months of 1807, there being some concern about a diffetto di gola (throat defect), in every other regard Mayr was reporting that Gaetano "surpasses all the others in musical progress". Mayr was able to persuade the authorities that the young boy's talents were worthy of keeping him in the school, and he remained there for nine years until 1815. However, as William Ashbrook notes, in 1809 he was threatened with having to leave because his voice was changing. In 1810 he applied for and was accepted by the local art school, the Academia Carrara, but it is unknown whether he attended classes. Then, in 1811, Mayr once again intervened. Having written both libretto and music for a "pasticcio-farsa", Il piccolo compositore di musica, as the final concert of the academic year, he cast five your students amongst them Donizetti, his young pupil, as "the little composer". As Ashbrook notes this "was nothing less than Mayr's argument that Donizetti be allowed to continue his musical studies". In Bologna, he justified the faith which Mayr had placed in him and in 1816 he wrote what Allitt describes as "his initial exercises in operatic style", the opera Il pigmalione, as well as composing portions of Olympiade and L'ira d'Achille in 1817, these two being no more than "suggest[ing] the work of a student". Encouraged by Mayr to return to Bergamo in 1817, he began his "quartet years" as well as composing piano pieces and most likely being part of quartets where he would have played and heard music of other composers. In addition, he began seeking employment. After some minor compositions under the commission of Paolo Zancla, Donizetti wrote his ninth opera, Zoraida di Granata. This work impressed Domenico Barbaia, a prominent theatre manager, and Donizetti was offered a contract to compose in Naples. Writing in Rome and Milan in addition to Naples, Donizetti achieved some popular success in the 1820s (although critics were often unimpressed). It was not until 1830 that he became well known internationally, when his Anna Bolena was premiered in Milan, and this brought him instant fame throughout Europe. L'elisir d'amore, a comedy produced in 1832, came soon after, and is deemed to be one of the masterpieces of 19th-century opera buffa (as is his Don Pasquale, written for Paris in 1843). Shortly after L'elisir d'amore, Donizetti composed Lucia di Lammermoor, based on The Bride of Lammermoor, the novel by Sir Walter Scott. This became his most famous opera, and one of the high points of the bel canto tradition, reaching a stature similar to that of Bellini's Norma. Donizetti's wife, Virginia Vasselli, gave birth to three children, none of whom survived. Within a year of his parents' deaths, on 30 July 1837 his wife died from cholera. By 1843, Donizetti was exhibiting symptoms of syphilis and probable bipolar disorder. After being institutionalized in 1845, he was sent to Paris, where he could be cared for. After visits from friends, including Giuseppe Verdi, Donizetti was taken back to Bergamo, his hometown. After several years in the grip of insanity, he died in 1848 in the house of a noble family, the Scotti. Donizetti was buried in the cemetery of Valtesse but in the late 19th century his body was transferred to Bergamo's Basilica of Santa Maria Maggiore near the grave of his teacher Simon Mayr. Donizetti, a prolific composer, is best known for his operatic works, but he also wrote music in a number of other forms, including some church music, a number of string quartets, and some orchestral pieces. Altogether, he composed about 75 operas, 16 symphonies, 19 string quartets, 193 songs, 45 duets, 3 oratorios, 28 cantatas, instrumental concertos, sonatas, and other chamber pieces. --en.wikipedia.org/wiki/ (excerpts)