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Thomas Haweis

1734 - 1820 Person Name: Thomas Haweis, 1734-1820 Scripture: 2 Corinthians 9:6-12 Composer of "RICHMOND" in Together in Song Thomas Haweis (b. Redruth, Cornwall, England, 1734; d. Bath, England, 1820) Initially apprenticed to a surgeon and pharmacist, Haweis decided to study for the ministry at Oxford and was ordained in the Church of England in 1757. He served as curate of St. Mary Magdalen Church, Oxford, but was removed by the bishop from that position because of his Methodist leanings. He also was an assistant to Martin Madan at Locke Hospital, London. In 1764 he became rector of All Saints Church in Aldwinkle, Northamptonshire, and later served as administrator at Trevecca College, Wales, a school founded by the Countess of Huntingdon, whom Haweis served as chaplain. After completing advanced studies at Cambridge, he published a Bible commentary and a volume on church history. Haweis was strongly interested in missions and helped to found the London Mission Society. His hymn texts and tunes were published in Carmino Christo, or Hymns to the Savior (1792, expanded 1808). Bert Polman ============================ Haweis, Thomas, LL.B., M.D., born at Truro, Cornwall, 1732. After practising for a time as a Physician, he entered Christ's College, Cambridge, where he graduated. Taking Holy Orders, he became Assistant Preacher to M. Madan at the Lock Hospital, London, and subsequently Rector of All Saints, Aldwincle, Northamptonshire. He was also Chaplain to Lady Huntingdon, and for several years officiated at her Chapel in Bath. He died at Bath, Feb. 11, 1820. He published several prose works, including A History of the Church, A Translation of the New Testament, and A Commentary on the Holy Bible. His hymns, a few of which are of more than ordinary merit, were published in his Carmina Christo; or, Hymns to the Saviour. Designed for the Use and Comfort of Those who worship the Lamb that was slain. Bath, S. Hayward, 1792 (139 hymns), enlarged. London, 1808 (256 hymns). In 1794, or sometime after, but before the enlarged edition was published, two hymns "For the Fast-day, Feb. 28, 1794," were added to the first edition. These were, "Big with events, another year," and "Still o'er the deep the cannon's roar." The most popular and widely used of his hymns are, "Behold the Lamb of God, Who bore," &c.; "Enthroned on high, Almighty Lord"; and “O Thou from Whom all goodness flows." The rest, all being from Carmina Christo, first edition 1792, are:— 1. Dark was the night and cold the ground. Gethsemane. 2. From the cross uplifted high. Christ in Glory. 3. Great Spirit, by Whose mighty power. Whitsuntide. 4. Submissive to Thy will, my God. Resignation. 5. The happy morn is come. Easter. 6. Thou Lamb of God, that on the tree. Good Friday. The hymn, "Thy Head, the crown of thorns that wears," in Stryker & Main's Church Praise Book, N. Y., 1882, begins with st. ii. of this hymn. 7. To Thee, my God and Saviour, My heart, &c. Praise for Redemption. --John Julian, Dictionary of Hymnology (1907)

Samuel Webbe

1770 - 1843 Person Name: Samuel Webbe the younger, c. 1770-1843 Scripture: 2 Corinthians 9:6-12 Adapter of "RICHMOND" in Together in Song Samuel Webbe, Jr. (1770-1843), adapted the tune RICHMOND. He was organist at Paradise Street Unitarian Church, Liverpool (1798). Later he succeeded his father as organist at the Spanish Ambassador’s Chapel, London (1817), and then St. Nicholas’ Church and St. Patrick’s Roman Catholic Chapel, Liverpool. --The Presbyterian Hymnal Companion, 1993

Arthur Campbell Ainger

1841 - 1919 Person Name: Arthur C. Ainger, 1841-1919 Scripture: 2 Corinthians 9:10 Author of "God is Working His Purpose Out" in The Covenant Hymnal Ainger, Arthur Campbell, M.A., son of the Rev. F. A. Ainger, incumbent of Hampstead, Middlesex; born in 1841, educated Trinity College, Cambridge, 1st Class Class. Trip. 1864, Assistant Master at Eton 1864-1901. Author of Eton Songs, 1901-2; Carmen Etonense, Vale, &c, and joint author with H. G. Winkle, M.A., of an English-Latin Verse Dictionary. Mr. Ainger's hymns in common use are the following :— 1. God is working His purpose out. [Missions.] Written and first published in 1894, with Dedication to Archbishop Benson. It was given in Church Hymns, 1903, Hymns Ancient & Modern, 1904, and other collections. 2. God of our Fathers, unto Thee. [National Thanksgiving.] Included in English Hymnal, 1906. 3. Let all our brethren join in one. [Harvest.] Included in C. W. A. Brooke's Additional Hymns, 1903. 4. Let God arise to lead forth those. [In Time of War.] Written in 1900, and first printed in the Times the same year. Subsequently pub. by Novello & Co., with music by Sir J. Stainer, and included in Church Hymns, 1903, and Hymns Ancient & Modern, 1904. 5. Like a mighty man rejoicing in his strength. [Missions.] Written by request for the S.P.G. Centenary, and published in the Centenary collection of Hymns, 1901. 6. Not ours to mourn and weep. [Lent. For the Young.] First published in the Public School Hymn Book, 1903. 7. On them who here, 0 Lord. [Holy Matrimony.] A Wedding Hymn, published with music by Novello & Co., 1903. A most acceptable addition to hymns for Holy Matrimony. 8. Praise the Lord: to-day we raise Hymns of thankfulness and praise. [For Victory] Written in 1902, and first printed in the Times, and t' en, with music, by Novello & Co. Included in Church Hymns, 1903. 9. Praise the Lord! to-day we sing. Birthday of our Founder King. [For Founder's Day.] Written for use at Eton, and included in Eton Songs, 1891-2, as "Hymn for Founder's Day." Admirably suited, with slight change in the opening line, for any Public School. 10. Uprose the stately temple. [Dedication of a School Chapel]. Written in 1891, and published in his Eton Songs, 1891-2. Mr. Ainger has written several other hymns, including one for the Coronation of King Edward VII., a Thanksgiving Hymn for his recovery from sickness (Skeffingtons), and others not in common use. --John Julian, Dictionary of Hymnology, New Supplement (1907)

Martin Shaw

1875 - 1958 Person Name: Martin Shaw, 1875-1958 Scripture: 2 Corinthians 9:10 Composer of "PURPOSE" in The Covenant Hymnal Martin F. Shaw was educated at the Royal College of Music in London and was organist and choirmaster at St. Mary's, Primrose Hill (1908-1920), St. Martin's in the Fields (1920-1924), and the Eccleston Guild House (1924-1935). From 1935 to 1945 he served as music director for the diocese of Chelmsford. He established the Purcell Operatic Society and was a founder of the Plainsong and Medieval Society and what later became the Royal Society of Church Music. Author of The Principles of English Church Music Composition (1921), Shaw was a notable reformer of English church music. He worked with Percy Dearmer (his rector at St. Mary's in Primrose Hill); Ralph Vaughan Williams, and his brother Geoffrey Shaw in publishing hymnals such as Songs of Praise (1925, 1931) and the Oxford Book of Carols (1928). A leader in the revival of English opera and folk music scholarship, Shaw composed some one hundred songs as well as anthems and service music; some of his best hymn tunes were published in his Additional Tunes in Use at St. Mary's (1915). Bert Polman

L. O. Emerson

1820 - 1915 Person Name: Luther Orlando Emerson Scripture: 2 Corinthians 9:7-15 Harmonizer of "AR HYD Y NOS" in Moravian Book of Worship 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

Bradley P. Lehman

b. 1964 Scripture: 2 Corinthians 9:6-15 Composer of "FIRSTFRUITS" in Voices Together

Herbert Howells

1892 - 1983 Person Name: Herbert Norman Howells, 1892-1983 Scripture: 2 Corinthians 9:15 Composer of "MICHAEL" in Singing the Faith

Johann Sebastian Bach

1685 - 1750 Person Name: Johann Sebastian Bach, 1685-1750 Scripture: 2 Corinthians 9:15 Harmonizer of "MEINE HOFFNUNG" in Singing the Faith Johann Sebastian Bach was born at Eisenach into a musical family and in a town steeped in Reformation history, he received early musical training from his father and older brother, and elementary education in the classical school Luther had earlier attended. Throughout his life he made extraordinary efforts to learn from other musicians. At 15 he walked to Lüneburg to work as a chorister and study at the convent school of St. Michael. From there he walked 30 miles to Hamburg to hear Johann Reinken, and 60 miles to Celle to become familiar with French composition and performance traditions. Once he obtained a month's leave from his job to hear Buxtehude, but stayed nearly four months. He arranged compositions from Vivaldi and other Italian masters. His own compositions spanned almost every musical form then known (Opera was the notable exception). In his own time, Bach was highly regarded as organist and teacher, his compositions being circulated as models of contrapuntal technique. Four of his children achieved careers as composers; Haydn, Mozart, Beethoven, Mendelssohn, Schumann, Brahms, and Chopin are only a few of the best known of the musicians that confessed a major debt to Bach's work in their own musical development. Mendelssohn began re-introducing Bach's music into the concert repertoire, where it has come to attract admiration and even veneration for its own sake. After 20 years of successful work in several posts, Bach became cantor of the Thomas-schule in Leipzig, and remained there for the remaining 27 years of his life, concentrating on church music for the Lutheran service: over 200 cantatas, four passion settings, a Mass, and hundreds of chorale settings, harmonizations, preludes, and arrangements. He edited the tunes for Schemelli's Musicalisches Gesangbuch, contributing 16 original tunes. His choral harmonizations remain a staple for studies of composition and harmony. Additional melodies from his works have been adapted as hymn tunes. --John Julian, Dictionary of Hymnology (1907)