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Ludwig van Beethoven

1770 - 1827 Person Name: Beethoven Hymnal Number: 7 Composer of "[Trusting, trusting, ever trusting]" in Songs of Promise 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

T. C. O'Kane

1830 - 1912 Hymnal Number: 21 Composer of "[No room in the inn for the Saviour]" in Songs of Promise O'Kane, Tullius Clinton, an American writer, born March 10, 1830, is the author of "O sing of Jesus, Lamb of God" (Redemption); and "Who, who are these beside the chilly wave?" (Triumph in Death), in I. D. Sankey's Sacred Songs and Solos, 1878 and 1881. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) =========================== Tullius Clinton O'Kane was born in Fairfield County, Ohio, March 10, 1830. He resided with his parents in this vicinity until the spring of 1849, when he went to Delaware, Ohio, and entered the Ohio Wesleyan University, from which he graduated in 1852, with the degree A. B., and received his A. M. degree three years later from his Alma Mater. Immediately upon his graduation, he was tendered a position in the Faculty as Tutor of Mathematics, which he accepted and successfully filled for five years. The students always called him "Professor," by which title he is known to the present day. His musical abilities were early recognized in the University, and for years he was the musical precentor in the daily chapel devotions. He organized and maintained a Choral Society in the College, and was the first musical instructor in the Ohio Wesleyan Female College, which a few years ago was incorporated into the University. In 1857 he was elected to a principalship in the Cincinnati public schools, and served in that capacity until 1861, when he resigned his position to accept a place in the piano establishment of Philip Phillips & Co. He remained with this house until its removal to New York City in 1867, when, although urged to be transferred with the house to that city, he preferred to remove with his family back to Delaware, Ohio. For the ensuing six years he traveled over the state of Ohio as the general agent for the Smith American Organ Co., of Boston, Mass. During this time he visited conferences, Sunday-school conventions, both State and County, introducing his Sunday-school singing books, and in this way became well known throughout his native state, and quite extensively in some of the adjoining states. His musical compositions were first published in Philip Phillips' Musical Leaves, in 1865, and since then but few Sunday-school singing books have appeared without one or more of his compositions. His first music book, Fresh Leaves, was issued in 1868. This was followed at intervals by Dew Drops, Songs of Worship, Every Sabbath, Jasper and Gold, Redeemer's Praise, Glorious Things and Morning Stars. In connection with his son, Edward T. O'Kane, who is himself a most excellent composer and a very skillful organist, in 1882 he issued Selected Anthems, a book designed for use by the more advanced choirs. In association with J. R. Sweney and "Chaplain" McCabe, he issued Joy to the World, a song book for prayer-meetings, and the same editors, with the addition of W. J. Kirkpatrick, compiled Songs of Redeeming Love, No. 1, in 1882, and No. 2 in 1884. He also issued Songs of Praises, Unfading Treasures and Forward Songs. Some of Professor O'Kane's best known songs are Glorious Fountain, The Home Over There, On Jordan's Stormy Banks, Say, are You Ready? and many others. With Mr. O'Kane, music and musical composition have ever been a recreation, rather than a profession. He is an excellent leader of choirs, but his forte seems to be in leading large congregations, Sunday-schools and social religious meetings in sacred song. He sings "with the spirit and the understanding also " — with a due appreciation of both words and music — and very naturally infuses his enthusiasm into his audiences so that they cannot "keep from singing." In his music he endeavors to catch the spirit of the hymn, and then give it expression in the music he composes for it. This sometimes seems to have been almost an inspiration, and could be illustrated by a reference to the circumstances under which many of his compositions have been made. One of his earlier and more widely known pieces is that entitled, Over There. He says he cut this hymn out of some newspaper and put it with others in his portfolio, intending some time when he felt like it to give it a musical setting. One Sunday afternoon, after studying his lesson for the next session of his Sunday-school, he opened his portfolio, and turning over the selections, found these words, and something seemed to say, "Now's your time." He sat down at the organ, studied the hymn intently for a few moments, and then, as his fingers touched the keys of the instrument, melody and harmony were in every movement, and when the stanza was ended, melody and harmony found their expression in the chorus, and Over There was finished. Another of his well known songs is Sweeping Through the Gates. One cold, blustery day he had occasion to go from his residence to the railroad depot, about a mile distant, and in his route had to cross the river on a suspension foot-bridge. As he came down to the bridge, he thought of the "river of death," so cold, with no bridge, and then the words of the dying Cookman came to his mind, and he exclaimed to himself: 'Who, who are these beside the chilly wave? " Words, melody and refrain seemed to come all at once and all together, so that by the time he arrived back at his home, the composition was complete. Professor O'Kane is a genial, modest Christian gentleman, who carries sunshine wherever he goes. His greatest joy comes from the consciousness that his music has cheered and comforted the hearts of Christian people all over the world, and has been the means of winning thousands from the pleasures of the world to the higher enjoyments of the Christian religion. His song, Sweeping Through the Gates, will be sung till all the ransomed are gathered Over There. -Hall, J. H. (c1914). Biographies of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company. ======================== O'Kane, Tullius Clinton. Died 10 February 1912, Delaware, Ohio. Buried in Oak Grove Cemetery, Delaware, Ohio. --DNAH Archives

P. P. Bliss

1838 - 1876 Hymnal Number: 152 Composer of "[The voice of one crying in the wilderness]" in Songs of Promise Philip P. Bliss (b. Clearfield County, PA, 1838; d. Ashtabula, OH, 1876) left home as a young boy to make a living by working on farms and in lumber camps, all while trying to continue his schooling. He was converted at a revival meeting at age twelve. Bliss became an itinerant music teacher, making house calls on horseback during the winter, and during the summer attending the Normal Academy of Music in Genesco, New York. His first song was published in 1864, and in 1868 Dwight L. Moody advised him to become a singing evangelist. For the last two years of his life Bliss traveled with Major D. W. Whittle and led the music at revival meetings in the Midwest and Southern United States. Bliss and Ira D. Sankey published a popular series of hymn collections entitled Gospel Hymns. The first book of the series, Gospel Songs, was published in 1874. Bliss's tragic death at the age of thirty-eight happened near the end of 1876. Philip P. Bliss and his wife were traveling to Chicago to sing for the evangelistic services led by Daniel W. Whittle at Dwight L. Moody's Tabernacle. But a train wreck and fire en route claimed their lives. Bert Polman ================= Bliss, Philip, b. at Clearfield County, Pennsylvania, July 9, 1838. In 1864 he went to Chicago in the employ of Dr. George F. Root, the musician, where he was engaged in conducting musical Institutes, and in composing Sunday School melodies. Originally a Methodist, he became, about 1871, a choirman of the First Congregational Church, Chicago, and the Superintendent of its Sunday Schools. In 1874 he joined D. W. Whittle in evangelical work. To this cause he gave (although a poor man) the royalty of his Gospel Songs, which was worth some thirty thousand dollars. His death was sudden. It occurred in the railway disaster at Ashtabula, Ohio, Dec. 30, 1876. ... Some of his verses have obtained wide popularity in most English-speaking countries. The more widely known, and specially those which are found in collections in use in G. Britain, are in the following American works:— i. The Prize, 1870. 1. I should like to die. Death anticipated. This is one of his earliest compositions, and is unworthy of the position it holds. 2. Through the valley of the shadow I must go. Death anticipated. 3. Whosoever heareth, shout, shout the sound. Jesus the Way. Written during the winter of 1869-70 after hearing Mr. H. Moorhouse (from England) preach on St. John iii. 16. ii. The Charm, 1871. 4. Almost persuaded now to believe. Procrastination. This was suggested by the following passage in a sermon by the Rev. Mr. Brundnge, Bliss being present at its delivery:—" He who is almost persuaded is almost saved, but to be almost saved is to be entirely lost." 5. Ho! my comrades! see the signal. Faithfulness. 6. O! Jerusalem, the golden city, bright, &c. Heaven. 7. On what Foundation do [did] you build? Christ the Foundation. iii. The Song Tree, 1872. 8. Light in the darkness, sailor, day is at hand. Safety. This hymn, “The Life-Boat," has attained to great popularity. The incident upon which it is based, that of the rescue of a ship's crew by a life-boat, is given in detail by Mr. Sankey in his Sacred Songs, &c, No. 99 (large ed.). It is sometimes known by its refrain, "Pull for the shore," &c. iv. The Joy, 1873. 9. In me ye may have peace. Peace. 10. To die is gain. Death anticipated. v. Sunshine, 1873. 11. Down life's dark vale we wander. Death anticipated. 12. More holiness give me. For Holiness. 13. Only an armour-bearer. Soldiers of the Cross. 14. Standing by a purpose true. Faithfulness. 15. This loving Saviour stands patiently. Invitation. vi. Gospel Songs, 1874. 16. A long time I wandered. Peace and Joy. 17. Brightly beams our Father's mercy. Mercy. 18. Come, brethren, as we march along. Praise. 19. Free from the law, O happy condition. Redemption. 20. Have you on the Lord believed? Fullness of Grace. This hymn arose out of the following circumstances :—" A vast fortune was left in the hands of a minister for one of his poor parishioners. Fearing that it might be sqmandered if suddenly bestowed upon him, the wise minister sent him a little at a time, with a note saying, “This is thine; use it wisely; there is more to follow.” Hence also the refrain ‘More to follow,’ by which the hymn is known." 21. How much owest thou? Divine Claims. 22. I know not the hour when my Lord will come. Death anticipated. Suggested by reading the book, The Gates Ajar. 23. See the gentle Shepherd standing. The Good Shepherd. 24. Though the way be sometimes dreary. Divine Leading. 25. Will you meet me at the fountain? Fountain of Living Water. The incident out of which this hymn arose is thus stated in The Christian, No. 365, "At the Industrial Exposition at Chicago it was an everyday appointment to meet at the Central Fountain. Mr. P. P. Bliss, whose mind seemed always set on things above, caught up the words, and wrote this hymn, 'Meet me at the Fountain.'" vii. Gospel Hymns, No. 1, 1875. 26. One offer of salvation. The Name of Jesus. 27. Wandering afar from the dwellings of men. The Lepers. viii. The International Lesson Monthly, 1875. 28. Weary gleaner, whence comest thou? Duty. 29. The whole world was lost in the darkness of Sin. Light of the world. 30. Man of sorrows! what a name. Redemption. 31. The Spirit, O sinner, in mercy doth move. Holy Spirit. ix. Gospel Hymns, No. 2, 1876. 32. At the feet of Jesus. The good choice. 33. Come, sing the Gospel's joyful sound. Salvation. 34. Cut it down, cut it down. Justice and Mercy. 35. Do you see the Hebrew captive? Prayer. 36. Hallelujah, He is risen. Easier. Written in the spring of 1876 and first sung by Bliss on Easter afternoon, 1876, in the Court House Square, Augusta, Georgia, to 5900 people. 37. In Zion's rock abiding. Safety. 38. Repeat the story o'er and o'er. Grace and Peace. 39. Tenderly the Shepherd. The Good Shepherd. x. Gospel Hymns, No. 3, 1878. 40. Hear ye the glad good news from heaven. Faith and Salvation. 41. I will sing of my Redeemer. Praise. xi. Gospel Hymns, No. 4, 1881. 42. 'Tis known on earth and heaven too. More about Jesus. xii. Various. 43. Sing over again to me. Words of Life. This appeared in a paper entitled Words of Life, 1874, The following are undated:— 44. March to the battle-field. Duty and Victory. 45. There is sin in the camp. Hinderances. 46. 'Tis the promise of God. Praise. 47. While the silvery moon-beams, fall, New Birth. 48. God is always near me. Omnipresence. Two hymns," I am so glad that our Father in heaven," and " Sowing the seed by the daylight [dawnlight] fair," (sometimes given as " Sowing our seed in the morning fair ") are usually attributed to Mr. Bliss. In his Gospel Songs, Cincinnati, 1874, however, he lays claim to the music only. Mr. Sankey attributes this last to "E. A. Oakey." With the exception of No. 48, these hymns are given in Mr. Sankey's Sacred Songs & Solos, Pts. i. and ii. Their popularity is far beyond their literary merits, and is mainly due to the simple melodies to which they are wedded. As a writer of hymns of this class Mr. Bliss is second only to Mrs. Van Alstyne. Many anecdotes concerning hymns of this class are given in American Evangelists; an Account of their work in England and America, by the Rev. Elias Nason, Boston, U.S., Lathrop & Co., 1877. Mr. Bliss is usually known as "P. P. Bliss." This is found on the title-pages of his collections. On his own authority, however, we are enabled to say that his name originally stood thus : “Philipp Bliss.” Early in life he separated the final p from his Christian name, constituted it a capital P, and thus produced "P. P. Bliss." (For this article we are mainly indebted to Professor F. M. Bird, and Mr. H. P. Main.) -John Julian, Dictionary of Hymnology (1907) ======================== Bliss, Philip , p. 151, i. "Sowing the seed by the daylight fair" is in the Family Treasury , Edinburgh, 1861, pt. i., p. 84. It is said to be by Miss Emily Sullivan Oakey; born at Albany, N. York, Oct. 8, 1829, died May 11, 1883. Note also that Bliss's hymn, No. 43. on p. 150, ii., should read, "Sing them over again to me." --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) ===================== Bliss, P., p. 150, i. Two works have been brought to our notice, since the issue of our first edition of this Dictionary, which concern this author, viz.:— 1. Memoirs of Philip P. Bliss. Edited by D. W. Whittle. Contributions by Rev. E. P. Goodwin, Ira D. Sankey, and Geo. F. Root. Introduction by D. L. Moody. New York, &c.: A. S. Barnes & Co., 1877. 2. My Life and Sacred Songs. By Ira D. Sankey. With an Introduction by Theodore L. Cuyler, D.D). London: Hodder & Stoughton, and Morgan & Scott, 1906. These works have a special interest for those who use I. D. Sankey's Sacred Songs & Solos, and all of P. Bliss's publications. To Mr. Sankey's My Life, &c, we direct special attention for P. Bliss's hymns:— “Do you see the Hebrew captive kneeling?" p. 294. "Down life's dark vale we wander." p. 285. "Ho! my comrades, see the signal." p. 105. "'Tis the promise of God full salvation to give." p. 99. --John Julian, Dictionary of Hymnology, New Supplement (1907)

Simeon Butler Marsh

1798 - 1875 Person Name: S. B. Marsh Hymnal Number: 73 Composer of "MARTYN" in Songs of Promise Simeon Butler Marsh USA 1798-1875. Born at Sherburne, NY, he was raised on a farm. A Presbyterian, he became a gifted organist and teacher. He sang in a choir at age seven and studied music at age 16. By age 19 he was teaching in the local singing schools in Geneva, NY, and had met hymnist, Thomas Hastings from Geneva, NY, who gave him much encouragement. He married Eliza Carrier, and they had a son, John, and a daughter, Jane. In 1837 he became publisher of the Amsterdam, NY, paper “Intelligencer” (later called ‘Recorder’), and ran it for seven years, even setting his own type. He moved back to Sherburne and founded the Sherburne News. He taught music to choirs and children for almost 30 years in and around the Albany Presbytery, and also served as a Sunday school superintendent for six years and a choir leader for three years. He set type for three juvenile books as well. For thirteen years he gave free music instruction to students in the Schenectedy area. In 1859 he returned to Sherburne and gave music instruction to large classes of men, women, and children. He wrote two cantatas: “The Savior” and “The king of the forest”. He wrote a number of hymns, but most have not survived over time. His wife died in 1873. He died at Albany, NY, and is buried in Schenectady, NY. John Perry

Franz Schubert

1797 - 1828 Person Name: Fr. Shubert Hymnal Number: 88 Composer of "[The shadows of the evening hours]" in Songs of Promise Franz Peter Schubert, 31 January 1797 – 19 November 1828) was an Austrian composer. In a short lifespan of just 31 years, Schubert was a prolific composer, writing some 600 Lieder, nine symphonies (including the famous "Unfinished Symphony"), liturgical music, operas, some incidental music, and a large body of chamber and solo piano music. Appreciation of Schubert's music during his lifetime was limited, but interest in his work increased significantly in the decades following his death. Franz Liszt, Robert Schumann, Johannes Brahms and Felix Mendelssohn, among others, discovered and championed his works in the 19th century. Today, Schubert is seen as one of the leading exponents of the early Romantic era in music and he remains one of the most frequently performed composers. Early life and education Schubert was born in Himmelpfortgrund (now a part of Alsergrund), Vienna, on 31 January 1797. His father, Franz Theodor Schubert, the son of a Moravian peasant, was a parish schoolmaster; his mother, Elisabeth Vietz, was the daughter of a Silesian master locksmith, and had also been a housemaid for a Viennese family prior to her marriage. Of Franz Theodor's fourteen children (one illegitimate child was born in 1783), nine died in infancy; five survived. Their father was a well-known teacher, and his school in Lichtental, a part of Vienna's 9th district, was well attended. He was not a musician of fame or with formal training, but he taught his son some elements of music. At the age of five, Schubert began receiving regular instruction from his father and a year later was enrolled at his father's school. His formal musical education also started around the same time. His father continued to teach him the basics of the violin, and his brother Ignaz gave him piano lessons. At the age of seven, Schubert began receiving lessons from Michael Holzer, the local church organist and choirmaster. Holzer's lessons seem to have mainly consisted of conversations and expressions of admiration and the boy gained more from his acquaintance with a friendly joiner's apprentice who used to take him to a neighboring pianoforte warehouse where he had the opportunity to practice on better instruments. He also played the viola in the family string quartet, with brothers Ferdinand and Ignaz on violin and his father on the cello. Schubert wrote many of his early string quartets for this ensemble. Schubert first came to the attention of Antonio Salieri, then Vienna's leading musical authority, in 1804, when his vocal talent was recognized. In October 1808, he became a pupil at the Stadtkonvikt (Imperial seminary) through a choir scholarship. At the Stadtkonvikt, Schubert was introduced to the overtures and symphonies of Mozart. His exposure to these pieces and various lighter compositions, combined with his occasional visits to the opera set the foundation for his greater musical knowledge. One important musical influence came from the songs of Johann Rudolf Zumsteeg, who was an important Lied composer of the time, which, his friend Joseph von Spaun reported, he "wanted to modernize". Schubert's friendship with Spaun began at the Stadtkonvikt and endured through his lifetime. In those early days, the more well-to-do Spaun furnished the impoverished Schubert with manuscript paper. Meanwhile, his genius began to show in his compositions. Schubert was occasionally permitted to lead the Stadtkonvikt's orchestra, and Salieri decided to begin training him privately in musical composition and theory in these years. It was the first germ of that amateur orchestra for which, in later years, many of his compositions were written. During the remainder of his stay at the Stadtkonvikt he wrote a good deal of chamber music, several songs, some miscellaneous pieces for the pianoforte and, among his more ambitious efforts, a Kyrie (D. 31) and Salve Regina (D. 27), an octet for wind instruments (D. 72/72a, said to commemorate the 1812 death of his mother), a cantata for guitar and male voices (D. 110, in honor of his father's birthday in 1813), and his first symphony (D. 82). At the end of 1813, he left the Stadtkonvikt, and returned home for studies at the Normalhauptschule to train as a teacher. In 1814, he entered his father's school as teacher of the youngest students. For over two years, the young man endured the drudgery of the work, which he performed with very indifferent success. There were, however, other interests to compensate. He continued to receive private lessons in composition from Salieri, who did more for Schubert’s musical training than any of his other teachers. Salieri and Schubert would part ways in 1817. In 1814, Schubert met a young soprano named Therese Grob, the daughter of a local silk manufacturer. Several of his songs (Salve Regina and Tantum Ergo) were composed for her voice, and she also performed in the premiere of his first Mass (D. 105) in September 1814. Schubert intended to marry Grob, but was hindered by the harsh marriage consent law of 1815, which required the ability to show the means to support a family. In November 1816, after failing to gain a position at Laibach, Schubert sent Grob's brother Heinrich a collection of songs, which were retained by her family into the 20th century. One of Schubert's most prolific years was 1815. He composed over 20,000 bars of music, more than half of which was for orchestra, including nine church works, a symphony, and about 140 Lieder. In that year, he was also introduced to Anselm Hüttenbrenner and Franz von Schober, who would become his lifelong friends. Another friend, Johann Mayrhofer, was introduced to him by Spaun in 1814. Maynard Solomon suggested that Schubert was erotically attracted to men, a thesis that has, at times, been heatedly debated. Musicologist and Schubert expert Rita Steblin claimed that he was "chasing women". Supported by friends Significant changes happened in 1816. Schober, a student of good family and some means, invited Schubert to room with him at his mother's house. The proposal was particularly opportune, for Schubert had just made the unsuccessful application for the post of Kapellmeister at Laibach, and he had also decided not to resume teaching duties at his father's school. By the end of the year, he became a guest in Schober's lodgings. For a time, he attempted to increase the household resources by giving music lessons, but they were soon abandoned, and he devoted himself to composition. "I compose every morning, and when one piece is done, I begin another." During this year, he focused on orchestral and choral works, although he also continued to write Lieder. Much of this work was unpublished, but manuscripts and copies circulated among friends and admirers. In early 1817, Schober introduced Schubert to Johann Michael Vogl, a prominent baritone twenty years Schubert's senior. Vogl, for whom Schubert went on to write a great many songs, became one of Schubert's main proponents in Viennese musical circles. He also met Joseph Hüttenbrenner (brother to Anselm), who also played a role in promoting Schubert's music. These, and an increasing circle of friends and musicians, became responsible for promoting, collecting, and, after his death, preserving his work. In late 1817, Schubert's father gained a new position at a school in Rossau (not far from Lichtental). Schubert rejoined his father and reluctantly took up teaching duties there. In early 1818, he was rejected for membership in the prestigious Gesellschaft der Musikfreunde, something that might have furthered his musical career. However, he began to gain more notice in the press, and the first public performance of a secular work, an overture performed in February 1818, received praise from the press in Vienna and abroad. Schubert spent the summer of 1818 as music teacher to the family of Count Johann Karl Esterházy at their château in Zseliz (then in Hungary, now in Slovakia). His duties were relatively light (teaching piano and singing to the two daughters, Marie and Karoline), and the pay was relatively good. As a result, he happily continued to compose during this time. It may have been at this time that he wrote one of his now world-famous compositions, the Marche militaire No. 1 in D major. Marie and Karoline both being his piano students, and the original score of "Marche Militaire" being a piano duet, lend credence to this view. On his return from Zseliz, he took up residence with his friend Mayrhofer. The respite at Zseliz led to a succession of compositions for piano duet. During the early 1820s, Schubert was part of a close-knit circle of artists and students who had social gatherings together that became known as "Schubertiaden". The tight circle of friends with which Schubert surrounded himself was dealt a blow in early 1820. Schubert and four of his friends were arrested by the Austrian police, who (in the aftermath of the French Revolution and Napoleonic Wars) were on their guard against revolutionary activities and suspicious of any gathering of youth or students. One of Schubert's friends, Johann Senn, was put on trial, imprisoned for over a year, and then permanently forbidden to enter Vienna. The other four, including Schubert, were "severely reprimanded", in part for "inveighing against [officials] with insulting and opprobrious language". While Schubert never saw Senn again, he did set some of his poems, "Selige Welt" and "Schwanengesang", to music. The incident may have played a role in a falling-out with Mayrhofer, with whom he was living at the time. He was nicknamed "Schwämmerl" by his friends, which Gibbs describes as translating to "Tubby" or "Little Mushroom". "Schwammerl" is Austrian (and other) dialect for mushroom; the umlaut makes it a diminutive. Musical maturity The compositions of 1819 and 1820 show a marked advance in development and maturity of style. The unfinished oratorio "Lazarus" (D. 689) was begun in February; later followed, amid a number of smaller works, by the 23rd Psalm (D. 706), the Gesang der Geister (D. 705/714), the Quartettsatz in C minor (D. 703), and the "Wanderer Fantasy" for piano (D. 760). Of most notable interest is the staging in 1820 of two of Schubert's operas: Die Zwillingsbrüder (D. 647) appeared at the Theater am Kärntnertor on 14 June, and Die Zauberharfe (D. 644) appeared at the Theater an der Wien on 21 August. Hitherto, his larger compositions (apart from his masses) had been restricted to the amateur orchestra at the Gundelhof, a society which grew out of the quartet-parties at his home. Now he began to assume a more prominent position, addressing a wider public. Publishers, however, remained distant, with Anton Diabelli hesitantly agreeing to print some of his works on commission. The first seven opus numbers (all songs) appeared on these terms; then the commission ceased, and he began to receive the meager pittances which were all that the great publishing houses ever paid him. The situation improved somewhat in March 1821 when Vogl sang "Der Erlkönig" at a concert that was extremely well received. That month, Schubert composed a variation on a waltz by Anton Diabelli (D. 718), being one of the fifty composers who contributed to Vaterländischer Künstlerverein. The production of the two operas turned Schubert's attention more firmly than ever in the direction of the stage, where, for a variety of reasons, he was almost completely unsuccessful. All in all, he produced seventeen stage works, each of them failures which were quickly forgotten. In 1822, Alfonso und Estrella was refused, partly owing to its libretto. Fierrabras (D. 796) was rejected in the fall of 1823, but this was largely due to the popularity of Rossini and the Italian operatic style, and the failure of Carl Maria von Weber's Euryanthe. Die Verschworenen (The Conspirators, D. 787) was prohibited by the censor (apparently on the grounds of its title), and Rosamunde (D. 797) was withdrawn after two nights, owing to the poor quality of the play for which Schubert had written incidental music. Of these works, the two former are written on a scale which would make their performances exceedingly difficult (Fierrabras, for instance, contains over 1,000 pages of manuscript score), but Die Verschworenen is a bright attractive comedy, and Rosamunde contains some of the most charming music that Schubert ever composed. In 1822, he made the acquaintance of both Weber and Beethoven, but little came of it in either case. Beethoven is said to have acknowledged the younger man's gifts on a few occasions, but some of this is likely legend and in any case he could not have known the real scope of Schubert's music – especially not the instrumental works – as so little of it was printed or performed in the composer's lifetime. On his deathbed, Beethoven is said to have looked into some of the younger man's works and exclaimed, "Truly, the spark of divine genius resides in this Schubert!" but what would have come of it if he had recovered we can never know. Last years and masterworks Despite his preoccupation with the stage, and later with his official duties, Schubert found time during these years for a significant amount of composition. He completed the Mass in A flat (fr) (D. 678) and, in 1822, embarked suddenly on a work which more decisively than almost any other in those years showed his maturing personal vision, the "Unfinished Symphony" in B minor. The reason he left it unfinished after two movements and sketches some way into a third remains an enigma, and it is also remarkable that he did not mention it to any of his friends even though, as Brian Newbould notes, he must have felt thrilled by what he was achieving. The event has been debated endlessly without resolution. In 1823 Schubert, in addition to Fierrabras, also wrote his first song cycle, Die schöne Müllerin (D. 795), setting poems by Wilhelm Müller. This series, together with the later cycle "Winterreise" (D. 911, also setting texts of Müller in 1827) is widely considered one of the pinnacles of Lieder. He also composed the song Du bist die Ruh ("You are stillness/peace") D. 776 during this year. Also in that year, symptoms of syphilis first appeared. In 1824, he wrote the variations for flute and piano on "Trockne Blumen", from the cycle Die schöne Müllerin, and several string quartets. He also wrote the Arpeggione Sonata (D. 821), at a time when there was a minor craze over that instrument. In the spring of that year he wrote the Octet in F (D. 803), "A Sketch for a Grand Symphony"; and in the summer went back to Zseliz. There he became attracted to Hungarian musical idiom, and wrote the Divertissement à la hongroise (D. 818) for piano duet and the String Quartet in A minor (D. 804). It has been said that he held a hopeless passion for his pupil, the Countess Karoline Eszterházy, but the only work he dedicated to her was his Fantasie in F minor (D. 940) for piano duet. The setbacks of previous years were compensated for by the prosperity and happiness of 1825. Publication had been moving more rapidly; the stress of poverty was for a time lightened; and in the summer he had a pleasant holiday in Upper Austria, where he was welcomed with enthusiasm. It was during this tour that he produced his "Songs from Sir Walter Scott". This cycle contains Ellens dritter Gesang (D. 839), a setting of Adam Storck's German translation of Scott's hymn from The Lady of the Lake, which is widely, though mistakenly, referred to as "Schubert's Ave Maria". It opens with the greeting Ave Maria, which recurs in the refrain; the entire Scott/Storck text in Schubert's song is frequently substituted with the complete Latin text of the traditional Ave Maria prayer. In 1825, Schubert also wrote the Piano Sonata in A minor (Op. 42, D. 845), and began the "Great" C major

George W. Bethune

1805 - 1862 Person Name: Rev. George W. Bethune Hymnal Number: 93 Author of "Come, Let Us Sing of Jesus" in Songs of Promise Bethune, George Washington, D.D. A very eminent divine of the Reformed Dutch body, born in New York, 1805, graduated at Dickinson Coll., Carlisle, Phila., 1822, and studied theology at Princeton. In 1827 he was appointed Pastor of the Reformed Dutch Church, Rinebeck, New York. In 1830 passed to Utica, in 1834 to Philadelphia, and in 1850 to the Brooklyn Heights, New York. In 1861 he visited Florence, Italy, for his health, and died in that city, almost suddenly after preaching, April 27, 1862. His Life and Letters were edited by A. R. Van Nest, 1867. He was offered the Chancellorship of New York University, and the Provostship of the University of Pennsylvania, both of which he declined. His works include The Fruits of the Spirit, 1839; Sermons, 1847; Lays of Love & Faith, 1847; The British Female Poets, 1848, and others. Of his hymns, some of which liave attained to some repute, we have:— 1. Tossed upon life's raging billow. Sailor's Hymn. Appeared in the Christian Lyre, 1830; in the Seamen's Devotional Assistant the same year, and in Dr. Bethune's Lays, 1847, p. 168, in 3 stanzas of 8 lines. It "is said to have been the Author's first and favourite hymn, having been written when he was on a voyage to the West Indies, for the benefit of his health, in the year 1825" (Lyra Sac. Amer. p. 297). It is a "Sailor's Hymn;" as such it was given in Lyra Sac. Amer., and thence passed into The Hymnary, 1872, and other English collections. 2. O for the happy hour. Whitsuntide. "A Prayer for the Spirit," contributed to the Parish Hymns, Phila., 1843, and republished in the Lays, &c, 1847, p. 158, in 6 stanzas of 4 lines. It is found in many modern collections. 3. It is not death to die. A translation of Caesar Malan's "Non, ce n'est pas mourir," (q.v.) from his Lays, 1847, p. 141, in 5 stanzas of 4 lines. As stated above, Dr. Bethune died at Florence. His remains were taken to New York, and buried in Greenwood Cemetery. This hymn, in compliance with a request made by him before his death, was sung at his funeral. It is found in several English hymnals. 4. Light of the Immortal Father's glory. Evening. A translation of a Greek hymn. (q.v.). It appeared in his Lays, &c, 1847, p. 137, in 2 stanzas of 8 lines, and is in common use. 5. Farewell to thee, brother. Parting. "The departing Missionary," published in his Lays, &c, 1847, p. 170, in 5 stanzas of 4 lines, and included in Lyra Sac. Amer., 1868, and thence into English collections. It is not in common use in America. 6. O Jesus, when I think of Thee. Easter. This is said to bear the date of 1847. It was 1st pub. in his Life, &c, 1867. Included in Lyra Sac. Americana (where it is stated to have been found in MS. amongst the author's papers), and from the Lyra into English collections. It is an Easter hymn of no special merit. 7. Come, let us sing of Jesus. S. Schools. Published in 1850, suited to Sunday schools, and is found in Snepp's Songs of Grace and Glory and others. 8. O Thou Who in Jordan didst bow Thy meek head. Adult Baptism. Written for and much used by the Baptists. It is dated 1857. 9. There is no Name so sweet on earth. Name of Jesus. Said by Mr. H. P. Main to be by Dr. Bethune. It has been wrongly ascribed to E. Roberts, a musician. 10. When time seems short and death is near. Death anticipated. This was found in the author's portfolio, and was written on Saturday, April 27th, 1862, the day before his death at Florence (Life, &c, p. 409). It was included in the Lyra Sac. Amer., 1808, and from thence passed into one or two English hymnals. In his Lays, &c, 1847, Dr. Bethune included the following "Christmas Carols for Sunday School Children”: 1. The Almighty Spirit to a poor, &c. 2. Joy and gladness, joy and gladness. 3. Full many a year has sped. 4. We come, we come, with loud acclaim. In the same work there are also metrical renderings of Psalms ix., xix., xxiii., cxxvi., and cxxvii. In the Lyra Sacra Americana, 14 pieces by Dr. Bethune are given, including many of the above. -John Julian, Dictionary of Hymnology (1907) ==================== Bethune, George Washington, p. 138, ii. Other hymns from his Lays of Love and Faith, 1847, are in common use:- 1. 'Tis He, 'tis He, I know Him now. Easter. 2. Upon the well by Sychar's gate. Resignation. 3. Yes, boar them to their rest. Evening. "Hymn to Night, suggested by the Bas-relief of Thorwaldsen." --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

Eben E. Rexford

1848 - 1916 Hymnal Number: 62 Author of "Some Day" in Songs of Promise Rexford, Eben Eugene.M (Johnsburg, New York, July 16, 1848--October 16, 1916, Shiocton, Wisconsin). Horticulturalist and editor of a Wisconsin farm journal. Many of his verses were used to fill empty corners of the journal. He also wrote many books on gardening. Lawrence University (Appleton, Wisc.), Litt.D. Twenty-five years, organist at First Congregational Church, Shiocton. See: Smith, Mary L.P. (1930). Eben E. Rexford; a biographical sketch. Menasha, Wis., George Banta Pub. Co. --Leonard Ellinwood, DNAH Archives and Gabriel, Charles H. (1916). Singers and Their Songs. Chicago: The Rodeheaver Company. =============== Rexford, Eben Eugene , an American writer, born July 16, 1848, is the author of Nos. 199, 246, 263, 353, in I. D. Sankey's Sacred Songs and Solos), 1878, No. 5, and 456 in the Methodist Sunday School Hymnbook, 1879. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) ================ Rexford, E. E. , p. 1587, ii. Additional hymns by this author in common use include:— 1. He saw the wheat fields waiting. Harvest of the World. 2. O where are the reapers. Missions. 3. Rouse up to work that waits for us. Duty. 4. We are sailing o'er an ocean. Life's Vicissitudes. --John Julian, Dictionary of Hymnology, New Supplement (1907) ================

Asa Hull

1828 - 1907 Hymnal Number: 34 Composer of "[Our fathers who lov'd Jesus]" in Songs of Promise Asa Hull USA 1828-1907. Born in Keene, NY, he became a music publisher in New York City. He married Emma F Atherton, and they had a daughter, Harriett. He wrote many tunes and authored temperance rallying songs. He published 33 works, of which 21 were songbooks, between 1863-1895. He died in Philadelphia, PA. John Perry

J. B. Herbert

1852 - 1927 Person Name: Dr. J. B. Herbert Hymnal Number: 23 Composer of "[I am Thine, O blessed Jesus]" in Songs of Promise

L. O. Emerson

1820 - 1915 Hymnal Number: 67 Composer of "[Joyful words, we meet again]" in Songs of Promise 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