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J. Hart

1712 - 1768 Person Name: Rev. Joseph Hart, 1712-1768 Author of "Eternal Spirit, Source of truth" in Songs of Praise Hart, Joseph, was born in London in 1712. His early life is involved in obscurity. His education was fairly good; and from the testimony of his brother-in-law, and successor in the ministry in Jewin Street, the Rev. John Hughes, "his civil calling was" for some time "that of a teacher of the learned languages." His early life, according to his own Experience which he prefaced to his Hymns, was a curious mixture of loose conduct, serious conviction of sin, and endeavours after amendment of life, and not until Whitsuntide, 1757, did he realize a permanent change, which was brought about mainly through his attending divine service at the Moravian Chapel, in Fetter Lane, London, and hearing a sermon on Rev. iii. 10. During the next two years many of his most earnest and impassioned hymns were written. These appeared as:— Hymns composed on Various Subjects, with the Author's Experience, London, 1759. During this year he became the Minister of the Independent Chapel, Jewin Street, London. In 1762 he added a Supplement to his Hymns; and in 1765 an Appendix. In modern editions of his Hymns these three are embodied in one volume as:— Hymns composed on Various Subjects: With the Author's Experience, The Supplement and Appendix. By the Rev. Joseph Hart, late Minister of the Gospel in Jewin Street, London. Allott & Co. [no date]. Hart died on May 24, 1768. At one time his hymns were widely used, especially by Calvinistic Nonconformists. Many of them are of merit, and are marked by great earnestness, and passionate love of the Redeemer. The best known are: “Come, Holy Spirit, come"; “Come, ye sinners, poor and wretched"; "This God is the God we adore"; and "Lord, look on all assembled here." Those which are more limited in their use include:— i. From his Hymns, &c, 1759. 1. Descend from heaven, celestial Dove. Whitsuntide. No. 6, in 6 stanzas of 6 lines. In Snepp's Songs of Grace & Glory., 1872, No. 374, st. iv., v. are omitted. It is in extensive use in America. 2. Great High Priest, we view Thee stooping. High Priesthood of Christ. No. 56, pt. ii., in 3 stanzas of 8 lines. In Snepp's Songs of Grace & Glory, 1872, No. 236; Hatfield's Church Hymn Book, N. Y., 1872, No. 435, &c. 8. How wondrous are the works of God. Redeeming Love. No. 21, in 9 stanzas of 4 lines. In the Scottish Evangelical Union Hymnal, 1878, st. i.-iv. are given as No. 11. 4. If ever it could come to pass. Final Perseverance. No. 58, in 3 stanzas of 6 lines. Repeated in Snepp's Songs of Grace & Glory, 1872, No. 729. 6. Jesus is our God and Saviour . Faith and Repentance. No. 54, in 7 stanzas of 8 lines. In Snepp's Songs of Grace & Glory, 1872, No. 146, st. iv. is omitted. In the London Hymn Book (enlarged), 1879, st. iii. and v. are given as "Nothing but Thy blood, 0 Jesus." 6. Jesus, while He dwelt below. Gethsemane. No. 75, in 23 stanzas of 6 lines. In Snepp's Songs of Grace & Glory, 1872, No. 230, sixteen stanzas are broken up into three parts: (i.) "Jesus, while He dwelt below"; (ii.) "Full of love to man's lost race"; (iii.) "There my God bore all my guilt." A cento is also given in Hatfield's Church Hymn Book, N. Y., 1872, No. 441, as "Many woes had Christ [He] endured." It is composed of st. viii., ix., xiii., xx., xxiii., slightly altered. In the Scottish Evangelical Union Hymnal, 1878, No. 34, 8 stanzas are given in two parts: pt. i. as, "Jesus, while He dwelt below"; pt. ii. "Eden from each flowery bed." 7. Lamb of God, we fall before Thee. Christ All in All. No. 17 in 4 stanzas of 8 lines. It is in various collections, and as altered in Kennedy , 1863, No. 1171, is much improved. 8. Let us all with grateful praises. Christmas. No. 14 in 7 stanzas of 8 lines. In Spurgeon's 0ur Own Hymn Book, 1866, it is reduced to 4 stanzas of 4 lines. 9. Lord, look on all assembled here. For a Public Fast. No. 96, in 8 stanzas of 4 lines. It is in several of the older hymnbooks. 10. Lord, we lie before Thy feet. Lent. No. 74, in 6 stanzas of 6 lines, and based on 2 Chron. xx. 20. In Spurgeon's 0ur Own Hymn Book, 1866, stanza i., iii., vi. are given as No. 585. 11. Mercy is welcome news indeed. God's Mercy in pardoning Sin. No. 51, in 6 stanzas of 4 lines, on St. Luke vii. 42. In Spurgeon, 1866, No. 544. 12. Much we talk of Jesu's blood. Passiontide. No. 41, in 4 st. of 8 lines, on Lam. i. 12. In Spurgeon, 1866, it is abridged to 4 stanzas of 4 lines. 13. Bow from the garden to the cross. Good Friday. No. 63, in 9 stanzas of 4 lines, and entitled, "The Crucifixion." In Spurgeon, 1866, No. 274, st. ii.-v., vi.-ix. are given as "See how the patient Jesus stands." 14. The Fountain of Christ Assist me to sing. The Fountain. No. 86, in 8 stanzas of 8 lines on Zech. xiii. 1. In Spurgeon, 1866, st. i., v., vii., viii., are given as No. 375. 15. The moon and stars shall lose their light. Advent. No. 48, in 4 stanzas of 4 lines, on St. Matt. xxiv. 35. In Spurgeon, 1866. 16. The sinner that truly believes. Saving Faith. No. 88, in 5 stanzas of 4 lines, and entitled, "Saving Faith" In Spurgeon, 1866, No. 533, st. ii. is omitted, and the opening line is altered to "The moment a sinner believes." ii. From his Supplement, 1762. 17. Behold what awful pomp. Advent. No. 52, in 8 stanzas of 4 lines. It is usually abridged as in the American Methodist Episcopal Hymns, 1849, No. 1107. 18. Christ is the Eternal Rock. The Offices of Christ. No. 27, in 6 stanzas of 8 lines. In Windle's Metrical Psalter & Hymnal, 1862, stanzas i., ii., v. are given as No. 53. 19. Christians, dismiss your fear. Easter. No. 33, in 4 stanzas of 8 lines into Dr. Alexander's Augustine Hymn Book, 1849, No. 79, in 7 stanzas of 4 lines. 20. Dismiss us with Thy blessing, Lord. Close of Service. No. 78, in 2 stanzas of 4 lines. In a few collections. 21. Gird thy loins up, Christian soldier. The Christian Armour . No. 29, in 5 stanzas of 8 lines, on Eph. vi. 11. Found in several of the older, and a few of the modern collections. 22. Glory to God on high, Our peace, &c. Holy Communion. No. 3, in 6 stanzas of 4 lines. In Hatfield's Church Hymn Book, 1872, No. 704, st. v., vi. are omitted. 23. Holy Ghost, inspire our praises. On behalf of Ministers. No. 77, in 5 stanzas of 8 lines. In the Scottish Evangelical Union Hymnal, 1878, No. 412, st. iii.-v. are given as, "Happy soul that hears and follows." 24. Jesus once for sinners slain. Holy Communion. No. 18, in 6 stanzas of 4 lines. In American use. 25. Lord, help us on Thy word to feed. Close of Service. No. 80, in 2 stanzas of 4 lines. In several modern hymnbooks. 26. O for a glance of heavenly day. Lent. No. 64, in 5 stanzas of 4 lines. In Hatfield's Church Hymn Book, 1872, and other American collections it is usually repeated in full. In Bickersteth's Christian Psalmody, 1833, it was given as, "Lord, shed a beam of heavenly day," and this is repeated in modern hymnbooks. 27. Once more before we part. Close of Service. No. 79, in 2 stanzas of 4 lines. Popular in Great Britain and America. 28. Once more we come before our God. Before a Sermon. No. 21, in 6 stanzas of 4 lines, into Hatfield, 1872, No. 111, and others. 29. Sons of God by bless'd adoption. Burial. No. 45, in 3 stanzas of 8 lines, into Snepp's Songs of Grace & Glory, 1872, No. 981, as "Sons of God by blest adoption." 30. Suffering Saviour, Lamb of God . Holy Communion. No. 14, in 8 stanzas of 4 lines. In W. F. Stevenson's Hymns for Church & Home, 1873, st. iii., vii. are omitted. 31. That doleful night before His death. Holy Communion. No. 17, in 2 stanzas of 8 lines. In the Scottish Evangelical Union Hymnal, 1878, st. i. 11. 4-8, and st. ii., are given as, "To keep Thy Feast, Lord, we are met." iii. From his Appendix, 1765. 32. Christians, in your several stations. Christian Duty. No. 7, in 5 stanzas of 6 lines. It is slightly altered in Snepp's Songs of Grace & Glory, 1872, No. 742, and dated 1759 in error. 33. Prayer was [is] appointed to convey. Prayer. No. 12 in 6 stanzas of 4 lines into Snepp's Songs of Grace & Glory, 1872, No. 542, with alterations and the omission of st. ii., v. In some American collections it begins, "Prayer is to God, the soul's sure way." --John Julian, Dictionary of Hymnology (1907) ======================= Hart, Joseph, p. 492, ii. Other hymns in common use are— 1. The blest memorials of Thy grief (1762). Holy Communion. 2. To comprehend the great Three-One (1759). Holy Trinity. 3. Vain man, thy fond pursuits forbear (1759). Death. 4. When the blest day of Pentecost (1759). Whitsuntide. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

Lowell Mason

1792 - 1872 Person Name: Lowell Mason (1792-1872) Arranger of "DENFIELD (Azmon)" in Songs of Praise 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 19G9. 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). Biographies of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company.

C. G. Gläser

1784 - 1829 Person Name: Carl Gotthilf Gläser (1784-1829) Composer of "DENFIELD (Azmon)" in Songs of Praise Carl Gotthelf Gläser Germany 1781-1829. Born at Weissenfels, Burgenlandkreis, Sachsen-Anhalt, Germany, he received musical training from his father, after which he attended St. Thomas school in Leipzig. He became an author and composer. At Barmen he taught voice, piano, and violin. He also wrote and conducted chorale music. He died at Barmen. John Perry

Thomas Cotterill

1779 - 1823 Person Name: Rev. Thomas Cotterill, 1779-1823 Author of "Eternal Spirit, Source of truth" in Songs of Praise Thomas Cotterill (b. Cannock, Staffordshire, England, 1779; d. Sheffield, Yorkshire, England, 1823) studied at St. John's College, Cambridge, England, and became an Anglican clergyman. A central figure in the dispute about the propriety of singing hymns, Cotterill published a popular collection of hymns (including many of his own as well as alterations of other hymns), Selection of Psalms and Hymns in 1810. But when he tried to introduce a later edition of this book in Sheffield in 1819, his congregation protested. Many believed strongly that the Church of England should maintain its tradition of exclusive psalm singing. In a church court the Archbishop of York and Cotterill reached a compromise: the later edition of Selection was withdrawn, and Cotterill was invited to submit a new edition for the archbishop's approval. The new edition was published in 1820 and approved as the first hymnal for the Anglican church of that region. Cotterill's suppressed book, however, set the pattern for Anglican hymnals for the next generation, and many of its hymns are still found in modern hymnals. Bert Polman =============== Thomas Cotterill was born in 1779; studied at S. John's College, Cambridge, graduating M.A.; ordained in 1806, and enterred upon parochial work at Tutbury; afterwards removed to Lane End, where he remained for nine years among the Potteries; in 1817, became perpetual Curate of S. Paul's, Sheffield. He died in 1823. He was the author of several books; among them, "A Selection of Psalms and Hymns for Public and Private Use, adapted to the Services of the Church of England." In the preparation of this collection (the 8th ed., 1819), he had the assistance of Montgomery, who in this work did what he condemned in others, viz., altering and remodeling other authors' hymns. --Annotations of the Hymnal, Charles Hutchins, M.A., 1872. ====================== Cotterill, Thomas, M.A., was the son of a woolstapler at Cannock, Staffordshire, where he was born Dec. 4, 1779. After attending the local boarding-school of the Rev. J. Lomax, he proceeded to the Free School, Birmingham. He graduated at St. John's College, Cambridge (B.A. 1801, M.A. 1805), of which he became a Fellow. Taking Holy Orders, he became Curate of Tutbury in June, 1803 (not 1806, as stated by Miller in Singers & Songs of the Church). His subsequent charges were the Incumbency of Lane End, Staffordshire, 1808-17, and the Perpetual Curacy of St. Paul's Sheffield, 1817-23. He died at Sheffield Dec. 29, 1823 (not Jan. 5, 1824, as in the Gentleman’s Magazine), aged 44. His volume of Family Prayers attained to the sixth edi¬tion in 1824. As a hymn-writer, Cotterill is less known than as the compiler of a Selection of Psalms and Hymns which has had a most marked effect on modern hymnals. The first edition of that Selection was published in 1810, and the 9th in 1820. All subsequent issues were reprints of the last. The most important edition is the 8th, 1819. To that Selection Cotterill contributed at various dates 25 original hymns and versions of individual psalms. These, in common with all the hymns in the Selection, are given without author's name. Through the aid, however, of marked copies [in the collections of Brooke and Julian] and of members of Cotterill's family, we are enabled to identify most, if not all, of his original productions. In addition to those which are annotated under their first lines, we have— i. In his Selection of Psalms & Hymns for Public and Private Use, adapted to the Festivals of the Church of England, &c, 1st ed., 1810:— 1. Awake, O sword, the Father cried. Atonement. 2. Before Thy throne of grace, O Lord. Lent. 3. From Sinai's mount, in might array'd. The Law and the Gospel. 4. From Thine all-seeing Spirit, Lord. Ps. 139. 5. In all the ways and works of God. Ps. 145. 6. Out of the deeps, O Lord, we call. Ps. 130. 7. The Lord, who once on Calvary. The Intercessor. This is based on “Where high the heavenly temple stands," q. v. ii. In the Appendix to the 6th ed. of the same Selection, Staffordshire, 1815:— 8. Blessed are they who mourn for sin. Lent. 9. Father of mercies, let our songs [way, ways]. Thanksgiving. 10. I was alive without the law. Lent. 11. Lord of the Sabbath, 'tis Thy day. Sunday. iii. In the 8th edition of the same, 1819 :— 12. Help us, O Lord, Thy yoke to wear. Charity Sermons. This is sometimes given as "Lord, let us learn Thy yoke to wear," as in Kennedy, 1863, &c. 13. I love the Lord, for He hath heard. Ps. 116. 14. Lo in the East a star appears. Epiphany. This in an altered form begins in Kennedy, 1863, No. 188, with stanza ii., "The ancient sages from afar." 15. Lord, cause Thy face on us to shine. For Unity. 16. When Christ, victorious from the grave. Easter. The 9th ed. of the Selection, 1820, was practically a new work. It was compiled by Cotterill, but revised by Dr. Harcourt, the Archbishop of York, and was dedi¬cated to him. It was the outcome of the compromise in the legal proceedings over the 8th ed., 1819. The 8th ed. contained 367 hymns in addition to 128 versions of the Psalms and 6 Doxologies, the 9th only 152. Its full title was A Selection of Psalms and Hymns for Public Worship, Lond., T. Cadell, 1820. It may be noted that copies of the 8th ed., 1819, are found with two distinct title-pages. One of these, accompanied with the preface, was for the general public, the second, without the preface, for the use of the congregations of St. James's and St. Paul's, Sheffield. Of Cotterill's hymns the most popular are, "O'er the realms of pagan darkness," "Let songs of praises fill the sky," and "Jesus exalted far on high," but these are not distinguished by any striking features of excellence. He was more happy in some of his alterations of older hymns, and in the com¬piling of centos. Many of the readings introduced into the great hymns of the Church first appeared in his Selection. The most notable amongst these are, "Rock of Ages," in 3 stanzas, as in Hymns Ancient & Modern, 1861, the Wesleyan Hymn Book, and other collections; "Lo! He comes with clouds descending;" and “Great God, what do I see and hear." Cotterill's connection with the Uttoxeter Psalms & Hymns, 1805, is given in detail in the article on Staffordshire Hymn-books, and his lawsuit over the 8th ed. of his Selection, 1819, in the article on England Hymnody, Church of. --John Julian, Dictionary of Hymnology (1907)

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