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Lowell Mason

1792 - 1872 Composer of "BOYLSTON" in Hymni Ecclesiae 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.

Henry Thomas Smart

1813 - 1879 Person Name: Henry Smart, 1813-1879 Composer of "MOSELEY" in The Hymnal Henry Smart (b. Marylebone, London, England, 1813; d. Hampstead, London, 1879), a capable composer of church music who wrote some very fine hymn tunes (REGENT SQUARE, 354, is the best-known). Smart gave up a career in the legal profession for one in music. Although largely self taught, he became proficient in organ playing and composition, and he was a music teacher and critic. Organist in a number of London churches, including St. Luke's, Old Street (1844-1864), and St. Pancras (1864-1869), Smart was famous for his extemporizations and for his accompaniment of congregational singing. He became completely blind at the age of fifty-two, but his remarkable memory enabled him to continue playing the organ. Fascinated by organs as a youth, Smart designed organs for important places such as St. Andrew Hall in Glasgow and the Town Hall in Leeds. He composed an opera, oratorios, part-songs, some instrumental music, and many hymn tunes, as well as a large number of works for organ and choir. He edited the Choralebook (1858), the English Presbyterian Psalms and Hymns for Divine Worship (1867), and the Scottish Presbyterian Hymnal (1875). Some of his hymn tunes were first published in Hymns Ancient and Modern (1861). Bert Polman

John Stainer

1840 - 1901 Person Name: Sir John Stainer Composer of "COVENANT" in Jubilate Deo

William Henry Monk

1823 - 1889 Person Name: William H. Monk Composer of "VERBUM PACIS" in The Hymnal William H. Monk (b. Brompton, London, England, 1823; d. London, 1889) is best known for his music editing of Hymns Ancient and Modern (1861, 1868; 1875, and 1889 editions). He also adapted music from plainsong and added accompaniments for Introits for Use Throughout the Year, a book issued with that famous hymnal. Beginning in his teenage years, Monk held a number of musical positions. He became choirmaster at King's College in London in 1847 and was organist and choirmaster at St. Matthias, Stoke Newington, from 1852 to 1889, where he was influenced by the Oxford Movement. At St. Matthias, Monk also began daily choral services with the choir leading the congregation in music chosen according to the church year, including psalms chanted to plainsong. He composed over fifty hymn tunes and edited The Scottish Hymnal (1872 edition) and Wordsworth's Hymns for the Holy Year (1862) as well as the periodical Parish Choir (1840-1851). Bert Polman

Arthur Sullivan

1842 - 1900 Person Name: Arthur Sullivan, 1842-1900 Composer of "PARTING" in Church Hymns Arthur Seymour Sullivan (b Lambeth, London. England. 1842; d. Westminster, London, 1900) was born of an Italian mother and an Irish father who was an army bandmaster and a professor of music. Sullivan entered the Chapel Royal as a chorister in 1854. He was elected as the first Mendelssohn scholar in 1856, when he began his studies at the Royal Academy of Music in London. He also studied at the Leipzig Conservatory (1858-1861) and in 1866 was appointed professor of composition at the Royal Academy of Music. Early in his career Sullivan composed oratorios and music for some Shakespeare plays. However, he is best known for writing the music for lyrics by William S. Gilbert, which produced popular operettas such as H.M.S. Pinafore (1878), The Pirates of Penzance (1879), The Mikado (1884), and Yeomen of the Guard (1888). These operettas satirized the court and everyday life in Victorian times. Although he composed some anthems, in the area of church music Sullivan is best remembered for his hymn tunes, written between 1867 and 1874 and published in The Hymnary (1872) and Church Hymns (1874), both of which he edited. He contributed hymns to A Hymnal Chiefly from The Book of Praise (1867) and to the Presbyterian collection Psalms and Hymns for Divine Worship (1867). A complete collection of his hymns and arrangements was published posthumously as Hymn Tunes by Arthur Sullivan (1902). Sullivan steadfastly refused to grant permission to those who wished to make hymn tunes from the popular melodies in his operettas. Bert Polman

George Watson

1816 - 1898 Author of "With the sweet word of peace" in Hymni Ecclesiae Watson, George, son of F. Watson, born at Birmingham, 1816, and until the year 1866 was in business in London as a printer. From his office and with his co-operation originated the well-known publications, theBand of Hope Review, in 1851; and The British Workman, 1855, which were the pioneers of cheap illustrated publications. Mr. Watson's hymn-writing has been limited. Two (see below) appeared in Paxton Hood's Our Hymn Book, 1868; the rest have been issued as fly-leaves, or are still in manuscript. Those in common use are:— 1. 0 the deep mystery of that love. The Love of Jesus. First published in P. Hood's Our Hymn Book, 1868, No. 736, in 4 stanzas of 4 lines. 2. With the sweet word of peace. Parting. Written in 1867 to be sung at a meeting held in Brighton to say Farewell to the Rev. Paxton Hood on his leaving his church for a considerable time for change and rest. On his return Mr. Hood included it in his Our Hymn Book 1868, No. 572, in 6 stanzas of 4 lines It was given with considerable alterations in the Society for Promoting Christian Knowledge Church Hymns, 1871. This text was repeated in the Scottish Evangelical Union Hymnal, 1878, and is the usually accepted form of the hymn. It has much tenderness and beauty, and is worthy of wide circulation. -- John Julian, Dictionary of Hymnology (1907)

J. W. Elliott

1833 - 1915 Person Name: J. W. Elliott, 1833- Composer of "VALEDICTION" in The Riverdale Hymn Book J.W. Elliott was a popular composer of the Victorian period, and is best known for his nursery rhyme music and for his work on hymnals in the 1870s. He was born James William Elliott, in Warwick, England, on February 13, 1833. As a child, he sang as a chorister in the Leamington Parish Church. In those days, choristers were given lessons in all facets of church music, including organ lessons, counterpoint studies, and more in exchange for providing an extraordinary level of service to their parish church (services throughout the week, all holidays, extra services, etc.). The result is that most choristers who completed their studies received an excellent music education, and James was no exception. After starting his career as an organist and choirmaster for a countryside church, his talent became obvious. He moved to London, where he assisted Sir Arthur Sullivan (of Gilbert and Sullivan fame) in editing Church Hymns. In addition, James worked for a music publisher. His compositions include two operettas, numerous anthems, service music, works for instruments including the very popular harmonium, and most particularly for Nursery Rhymes and Nursery Songs, his children’s music score that sets many of the Nursery Rhymes to delightful music. Several of his hymn tunes are still in use today in many hymnals, most notably his hymn tune “Day of Rest.” He was heavily involved in the preparation of the musical edition of Church Hymns in 1874, the Choral Service Book of 1892, and transcriptions of hymn tunes using harmonies different than the traditional ones found in hymnals. He died in St. Marylebone, London, on February 5, 1915. --www.nursery-songs.com/

Charles Vincent

1852 - 1934 Composer of "THORNFIELD" in The Home and School Hymnal Vincent, Charles; b. 9-19-1852, Houghton-le-Spring, Durham, d. 2-28-34, Monte Carlo; English organist. Full name Charles John Vincent, Jr.

George Lomas

1834 - 1884 Person Name: George Lomas, 1834-1884 Composer of "VERBUM PACIS" in Hymnal and Liturgies of the Moravian Church Born: 1834, Birch Hall, Bolton, Lancashire, England. Died: 1884, Sheffield, South Yorkshire, England. A student of William Sterndale Bennett and Charles Steggall, Lomas received his BMus degree from New College, Oxford. He played the organ at Didsbury Parish Church, and at Emmanuel Church, Barlow Moor, Manchester (1858-84). Music: CHAMOUNI ST. PAUL'S COLLEGE SURSUM CORDA http://www.hymntime.com/tch/bio/l/o/m/lomas_g.htm ============= George Lomas was born in England and was a volunteer organist for twenty-five years before becoming a professional musician. He received his Bachelor of Arts degree in music at age forty-five, only five years before his death. The Presbyterian Hymnal Companion, 1993

William John Limmer Sheppard

b. 1861 Person Name: Rev. W. J. L. Sheppard Composer of "EXETER HALL" in The Church Missionary Hymn Book Sheppard, William John Limmer, M.A., son of William Benjamin Sheppard, was born at High worth, July 21, 1861, and educated at Queen's College, Oxford; B.A. in honours 1888, M.A. 1892. Ordained in 1888, he was Curate of Christ Church, Timperley, 1888-90, Missioner of the Church Missionary Society 1895-6, Centenary Sec. C.M.S. 1896-1900, and since 1900 Vicar of St. Peter's, Ipswich. The following hymns by Mr. Sheppard are in common use:— 1. Father, we are gathered here. [Farewell to Missionaries.] Written in 1897, for the C. M. S. Valedictory Meetings, and included in the Church Missionary Hymn Book, 1899. 2. Father, Who didst give Thy Son. [Litany on behalf of Foreign Missions.] Written in 1898, and given in the C. M. Hymn Book, 1899, No. 65. 3. From Christ to learn, for Christ to teach. [Foreign Missions.] Suggested by Abp. Plunket's "For Christ to learn, for Christ to teach, O Lord," &c, in the Irish Church Hymnal. It was written in 1898 for the C. M. S. Centenary, and included in C. M. Hymn Book, 1899, No. 238. 4. In the cleansed temple, On the festal day. [Consecration of Self to Christ.] Written in 1896 on the C.M.S. Gleaner's motto for 1897, and printed in the Gleaner, Jan. 1897, p. 3. In 1899 it was included in the C. M. Hymn Book, and in 1902 in Hymns of Consecration and Faith. 5. 0 Lord of lords, and King of kings. [Praise for Success of Foreign Missions.] Written in 1899 for the Centenary of the C.M.S., and given in the C. M. Hymn Book, 1899, No. 241. Also in Hys. Of Consecration and Faith, 1902. 6. We scan the years swept from us. [Success of Foreign Missions.] Written for the Centenary of the C.M.S., 1899, and published in the C. M. Hymn Book, the same year. 7. Where hast thou gleaned to-day. [For Gleaners' Union Meetings.] Written for the C.M.S. Gleaners' Union Anniversary, 1897, and printed in the Gleaner, Jan. 1898, p. 15, with music by C. H. Forrest. It was repeated in the C. M. Hymn Book, 1899; and with the music, in Hys. of Consecration and Faith, 1902. It must also he noted that No. 224 in the C. M. Hymn Book, is composed of st. i. from Canon Twells's "At even, ere the sun was set" (st. i.), and the rest of the hymn by Mr. Sheppard, to whom permission was given by Canon Twells for the use of his stanza. --John Julian, Dictionary of Hymnology, New Supplement (1907)