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George F. Root

1820 - 1895 Person Name: George Frederick Root (1820-1892) Arranger of "VAINA" in Many Voices; or, Carmina Sanctorum, Evangelistic Edition with Tunes 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.

Thomas T. Lynch

1818 - 1871 Person Name: Rev. Thomas Toke Lynch (1818-1871) Author of "O, where is He that tord the Sea?" in Many Voices; or, Carmina Sanctorum, Evangelistic Edition with Tunes Lynch, Thomas Toke, was born at Dunmow, Essex, July 5, 1818, and educated at a school at Islington, in which he was afterwards an usher. For a few months he was a student at the Highbury Independent College; but withdrew, partly on account of failing health, and partly because his spirit was too free to submit to the routine of College life. From 1847 to 1849 he was Minister of a small charge at Highgate, and from 1849 to 1852 of a congregation in Mortimer Street, which subsequently migrated to Grafton Street, Fitzroy Square. From 1856 to 1859 he was laid aside by illness. In 1860 he resumed his ministry with his old congregation, in a room in Gower Street, where he remained until the opening of his new place of worship, in 1862, (Mornington Church), in Hampstead Road, London. He ministered there till his death, on the 9th of May, 1871. The influence of Lynch's ministry was great, and reached far beyond his own congregation (which was never large), since it included many students from the Theological Colleges of London, and thoughtful men from other churches, who were attracted to him by the freshness and spirituality of his preaching. His prose works were numerous, beginning with Thoughts on a Day, 1844, and concluding with The Mornington Lecture, 1870. Several of his works were published after his death. His Memoir, by W. White, was published in 1874. Lynch's hymns were published in:— The Rivulet: a Contribution to Sacred Song, London., Longman, 1855, 2nd ed., 1856. This was enlarged by an addition of 67 hymns in 1868. From the first edition of The Rivulet, 1855, the following hymns have come into common use:— 1. All faded is the glowing light. Second Advent. 2. Be Thy word with power fraught. Before Sermon. 3. Christ in His word draws near. Holy Scripture. 4. Dismiss me not Thy service, Lord. Work for Christ. 5. Gracious Spirit, dwell with me. Holy Spirit's presence desired. 6. How calmly the evening once more is descending. Evening. Sometimes "How calmly once more the night is descending." 7. I give myself to prayer. Prayer in Trouble. 8. Lord, on Thy returning day. Public Worship. 9. Lord, when in silent hours I muse. Resignation. 10. Love me, O Lord, forgivingly. Resignation. 11. Mountains by the darkness hidden. Resignation. 12. Now have we met that we may ask. Public Worship. 13. O, break my heart; but break it as a field. Penitence desired. 14. O Lord, Thou art not fickle. Sympathy. 15. O where is He that trod the sea. Christ Walking on the Sea. 16. Oft when of God we ask. Trust in Trial. 17. Rise, He calleth thee, arise. Blind Bartimaeus. 18. Say not, my soul, from whence. Resignation. 19. Where is thy God, my soul? Resignation and Hope. There are also from the 1856 and 1868 eds. the following:— 20. A thousand years have come and gone. Christmas. 21. Lift up your heads, rejoice; (1856.) Advent. 22. Praying by the river side. Holy Baptism. 23. The Lord is rich and merciful. Have Faith in God. 24. There is purpose in this waste. Easter. Lynch's hymns are marked by intense individuality, gracefulness and felicity of diction, picturesqueness, spiritual freshness, and the sadness of a powerful soul struggling with a weak and emaciated body. Although The Rivulet was published for use by his own congregation as a supplement to Watts, more than one half of the hymns were designed for private use only, but were not so distinguished in the work. Its publication caused one of the most bitter hymnological controversies known in the annals of modern Congregationalism. Time, however, and a criticism, broader and more just, have declared emphatically in favour of his hymns as valuable contributions to cultured sacred song. [Rev. W. Garrett Horder] --John Julian, Dictionary of Hymnology (1907) ================== Lynch, T. T., p. 705, ii. Other hymns by him in recent books are:— 1. My faith it is an oaken staff. Faith in Christ. In the Rivulet, 1855, p. 78. 2. Together for our country now we pray. National, In the Rivulet, 1868, p. 170. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology, New Supplement (1907)

H. S. Cutler

1825 - 1902 Person Name: Henry S. Cutler Composer of "ALL SAINTS NEW" in The Primitive Methodist Church Hymnal Henry Stephen Cutler (b. Boston, MA, 1824; d. Boston, 1902) studied music in Frankfurt, Germany, in 1844. He moved to England, where he listened with interest to the cathedral choirs and came under the influence of the Oxford Movement. Returning to Boston in 1846, Cutler became organist of the Episcopal Church of the Advent and formed a choir of men and boys, to whom he introduced the wearing of liturgical robes. When he took a position at Trinity Church in New York City, he removed women from the choir and used the occasion of a visit by the Prince of Wales to the church to introduce his newly vested men and boys' choir. He also moved the choir from the gallery to the chancel and initiated the chanting of the psalms and the singing of part of the worship service. Cutler compiled The Psalter, with Chants (1858) and published The Trinity Psalter (1864) and Trinity Anthems (1865). Bert Polman

Christian H. Rinck

1770 - 1846 Person Name: Johann C. H. Rink (1770-1846) Composer of "VAINA" in Many Voices; or, Carmina Sanctorum, Evangelistic Edition with Tunes Johann Christian Heinrich Rinck; b. 1770, Elgersburg, Thueringen; d. 1846, Darmstadt Evangelical Lutheran Hymnal, 1908

Annabeth McClelland Gay

1925 - 2020 Composer of "SHEPHERD'S PIPES" in Rejoice in the Lord Annabeth McClelland Gay was born in 1925 in Ottawa, Illinois, where her father was the pastor of the Presbyterian church. She was educated at Knox College (B.M.E. 1947) and Union Theological Seminary's School of Sacred Music, New York City(M.S.M. 1949). She has been choir director in the various churches her husband has served as pastor. The tune SHEPHERDS' PIPES was written by Annabeth McClelland Gay in 1952 as the setting for "The Lord Is Rich and Merciful" in the Pilgrim Hymnal (1958). Every Christmas, the Gays sent an original Christmas song to their friends. In 1952 it was Annabeth's turn to compose the music for which her husband would supply the words. "This tune 'dropped out of the blue' one evening while I was at the piano. Bill said, 'Sounds like shepherd pipes,' and ran for the Bible dictionary to see if such were used by the shepherds in Palestine, and the hymn tune was born.“ --www.firstpresbyterianfairborn.org/lifeline Annabeth McClelland Gay, 95, Lincoln, died 29 April 2020 at Eastmont Towers. Annabeth was born on 18 April 1925 to the Rev. Charles McClelland and Barbara Nessen McClelland in Ottawa, IL. She was the Valedictorian of her high school class and went to Knox College in Galesburg, IL, graduating in 1947 (Phi Beta Kappa) with a degree in music, specializing in voice and organ. She then attended Union Theological Seminary in New York, graduating in 1949 with a Master's Degree in Sacred Music. It was at Union that she met William Gay, her husband of 60 years. They married in 1949 and spent 40 years serving U.C.C. churches together in rural Ohio. During this time, she was very active in leading church music workshops throughout Ohio and adjoining states. She also gave uncountable organ, piano, and voice lessons to young and old. Annabeth was, above all, a hymnodist. With William, she composed a Christmas song or hymn every year that they sent to family and friends. Several of these were widely published and one, “Carol of Hope,” has been included in a wide variety of hymnals. Annabeth is survived by her son Timothy (Chris) of Lincoln, a brother, the Rev. Robert McClelland of St. Louis, MO, two grandsons, Frederick (Sara) of Ft. Worth, TX, and Bertram (Stacey Rickers) of Culver City, CA, and two great-grandaughters, Harriet and Beatrice, of Ft. Worth. She was preceded in death by her parents, husband, and sister, Charlotte Petersen. Memorial gifts may be made to the U.C.C. Mission Boards through First Plymouth Church or to Eastmont Towers, Lincoln. A memorial service will be held at a future date to be announced. Condolences and personal reflections may be left online at www.roperandsons.com. --www.newsbreak.com/news/1558740983045/annabeth-mcclelland-gay

Alfred R. Gaul

1837 - 1913 Person Name: A. R. Gaul Composer of "FILIUS DEI" in The Hymnal of Praise

Richard S. Newman

1850 - 1927 Composer of "LAND OF REST" in The Cyber Hymnal

C. W. Poole

1828 - 1924 Composer of "PETERSHAM" in The Song Companion to the Scriptures

H. Elliot Button

1861 - 1961 Person Name: H. Elliott Button Composer of "AVON VIEW" in The Riverdale Hymn Book Born: August 8, 1861, Clevedon, Somerset, England. Died: Circa August 1925, Hampstead, England. Button’s father was master of a private school, and excelled as an organist. Elliot was a self taught musician, and besides being solo alto at Holy Trinity Church, Upper Chelsea, was a pianist, organist, and violinist. He was also at one time was an editor for the Novello publishing company. He harmonized a number of tunes in The Primitive Meth­od­ist Hymnal Supplement with Tunes (London: Primitive Methodist Publishing House, 1912), and edited the third series of the Bristol Tune Book. Sources: Cowan, p. 201 © The Cyber Hymnal™. Used by permission. (www.hymntime.com)

Hastings Crossley

1846 - 1926 Person Name: Thomas H. H. Crossley Composer of "ANAGOLA" in The Hymnal Thomas Hastings Henry Crossley, Born: Au­gust 8, 1846, Glen­burn (near Lis­burn), County An­trim, Ire­land. Died: March 3, 1926. Educated at the Roy­al School of Dun­gan­non, Cross­ley was a pro­fess­or of Greek at Bris­tol Uni­ver­si­ty, Eng­land, and at Bel­fast Un­i­ver­si­ty, Ire­land. He al­so stu­died mu­sic un­der Bert­hold Tours. His works in­clude: A trans­la­tion of The Fourth Book of the Med­i­ta­tions of Mar­cus Au­re­li­us, 1882 © The Cyber Hymnal™ (www.hymntime.com/tch)

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