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Pierre Marie François de Sales Baillot
1771 - 1842 Person Name: Pierre M. F. de S. Baillot Meter: 8.7.8.7.4.7 Composer (arr. from) of "OLIPHANT" in The Hymnal Pierre Marie François De Sales, born at Passy, France, Oct. 1, 1771, died in Paris, Sept. 15 1842. Instrumental composer, critic, and last great representative of the classical school of violin playing in Paris. Professor of the violin at the Conservatoire. His first master on the violin was an Italian named Polidori, but his real musical education began in 1780 under Sainte-Marie in Paris, and was continued in 1783 under Pollani, in Rome, where he was sent by M. de Boucheport; his playing was influenced also by Viotti, whom he heard in his tenth year. Baillot firs appeared in public in 1791, Viotti procuring him a place in the Théâtre Feydeau, which he soon resigned for an appointment in the Ministère des Finances using his musical talent merely as a recreation, In 1795, after studying compositions of Corelli, Tartini, Geminiani, Locatelli, Bach, and Handel he determined to become a professional musician, and made a successful debut in a concrto by Viotti, which secured his reputation and gained him a professorship of the violin in the newly opened Conservatoire, which he held till his death. He studied also harmony under Catel, and counterpoint with Reicha and Cherubini. Member of Napoleon's private band in 1802. He made a professional tour with the violoncello player Lamare in Russian in 1805-08, but the war brought him home; he gave concerts in the South of France, and started chamber music concerts in Paris in 1815, which gained him great reputation as a quartet player. In 1815-16 he made a second professional tour in Holland, Belgium, and England, becoming a member of the English Philharmonic Society, at one of whose concerts he played on Feb 25, 1816. Director of the band at the Paris Opéra in 1821-31; director of the Concerts spirtuels given at the Opéra, 1822, 1823, 1824; of the Royal Band from 1825; his last tour was made through Switzerland and part of Italy in 1833. Baillot's quartet playing is highly praised by Mednelssohn and Hiller. He had celebrated pupils. He assisted Rode and Kreutzer in compiling a work for the violoncello, and the Méthode de Violon, adopted by the Conservatoire (1803); with the exception of the Art du Violon, which is considered by Fétis the best elementary work of the kind (1834), his works are almost forgotten. His music is difficult. Among his published compositions are: 15 trios for two violins and bass; 6 duets for two violins; 12 études for violins; 9 concertos; Symphonie concertante for two violins, with orchestral accompaniment; 30 airs variés; 3 string quartets; Sonata for pianoforte and violin; 24 préludes in all keys, and several smaller compositions for the violin.
Cyclopedia of Music and Musicians by John Denison Camplin, Jr. and William Foster Apthorp (Charles Scribner’s Sons, 1888)
https://archive.org/details/cyclopediaofmusi01cham/mode/2up
Pierre Marie François de Sales Baillot
John Pierpont
1785 - 1866 Meter: 8.7.8.7.4.7 Author of "God Almighty And All Seeing" in The Cyber Hymnal Pierpont, John, son of James Pierpont, of Litchfield, Connecticut, was born at Litchfield, April 6, 1785, and educated at Yale College, where he graduated in 1804. After fulfilling engagements as a Tutor in New Haven, and in Charlestown, South Carolina, he was admitted to the Bar in 1812. Shortly after he retired and went into business, only to leave it also, and to pass on to Harvard College as a student in theology. In 1819 he succeeded Dr. Holley as the pastor of the Unitarian congregation in Hollis Street, Boston. At length his zeal against intemperance and slavery caused him to resign his charge in 1840 [sic. 1845] (see Lothrop's Proceedings of an Eccl. Council in the case of the Hollis Street Meeting and the Rev. J. Pierpont). At this date he published his Poems & Hymns, including his anti-slavery and temperance poems and songs. In 1845 he became the pastor of an Unitarian congregation at Troy, New York. This he vacated for another at Medford, Massachusetts, in 1849. That he resigned in 1859. When over 70 years of age he became Chaplain in the United States Army (1862), and was finally a Government clerk in the Treasury Department at Washington. He died suddenly at Medford, Aug. 27, 1866.
Pierpont's publications include Airs of Palestine, 1816, some school books, and his Poems & Hymns, 1840 and 1854. His hymns in common use include:—
1. Another day its course hath run. Evening. Appeared in Hymns for Children, Boston, 1825; in Greenwood's Chapel Liturgy, 1827; and in the author's Poems & Hymns, 1840.
2. Break forth in song, ye trees. Public Thanksgiving. Written for the Second Centennial Celebration of the Settlement of Boston, Sept. 17, 1830, and included in the Poems & Hymns, 1840.
3. Break the bread and pour the wine. Holy Communion. In Harris's Hymns for the Lord's Supper, 1820.
4. Father, while we break the bread. Holy Communion.
5. God Almighty and All-seeing. Greatness of the Father. Contributed to Elias Nason's Congregational Hymn Book, Boston, 1857.
6. God of mercy, do Thou never. Ordination. Written for the Ordination of John B. P. Storer at Walpole, Nov. 15, 1826; and published in the author's Poems, &c, 1840.
7. God of our fathers, in Whose sight. Love of Truth desired. This hymn is composed of st. ix., x. of a hymn written for the Charlestown Centennial, June 17, 1830. In this form it was given in the Boston Hymns of the Spirit, 1864, and others.
8. Gone are those great and good. Burial. Written in 1830. Part of No. 2 above.
9. I cannot make him dead. Gone Before. "A part of an exquisitely touching and beautiful poem of ten stanzas, originally printed in the Monthly Miscellany, Oct. 1840."
10. Let the still air rejoice. Praise.
11. Mighty One, Whose name is Holy. Charitable Institutions. Written for the anniversary of the Howard Benevolent Society, Dec. 1826, and included in the author's Poems, &c, 1840.
12. My [0] God, I thank Thee that the night. Morning. Appeared in his Poems, &c, 1840. In Martineau's Hymns, &c, 1873, it begins "O God, I thank Thee," &c.
13. 0 bow Thine ear, eternal One. Opening of Divine Service. This is dated 1823, but was not included in the author's Poems, &c, 1840, although one of his best productions.
14. 0 Thou to Whom in ancient time. Universal Worship. “Written for the opening of the Independent Congregational Church in Barton Square, Salem, Massachusetts, Dec. 7, 1824," and printed at the close of the sermon preached by Henry Colman on that day. It was given in Pierpont's Poems, &c, 1840, and is found in several collections in Great Britain and America. It is widely known.
15. 0 Thou Who art above all height. Ordination. “Written for the Ordination of Mr. William Ware, as Pastor of the First Congregational Church in New York, Dec. 18, 1821," and included in his Poems, &c, 1840.
16. 0 Thou Who on the whirlwind rides. Dedication of a Place of Worship. Written for the opening of the Seamen's Bethel in Boston, Sept. 11, 1833. Sometimes given as “Thou Who on the," &c.
17. O'er Kedron's stream, and Salem's height. Gethsemane. One of eight hymns contributed to Dr. T. M. Harris's Hymns for the Lord's Supper, 1820. It is in Martineau's Hymns, &c, London, 1873, and others.
18. On this stone, now laid with prayer. Foundation-stone Laying. Written for the laying of the cornerstone of Suffolk Street Chapel, Boston, for the Ministry of the Poor, May 23, 1839.
19. With Thy pure dews and rain. Against Slavery. Written for the African Colonization Society, and included in Cheever's American Common Place Book, 1831. Not in the author's Poems, &c, 1840.
Pierpont's talents as a hymn-writer, as in other fields, were respectable rather than commanding, but so energetically employed as to make their mark. Thus, although he never wrote a single hymn that can be called a great lyric, yet he has attained to a prominent position in American hymnody. [Rev. F. M. Bird, M.A.]
-- John Julian, Dictionary of Hymnology (1907)
John Pierpont
Philip Humphreys
b. 1935 Person Name: Philip Humphreys (born 1935) Meter: 8.7.8.7.4.7 Composer of "PORCHESTER" in Hymns for Today's Church (2nd ed.)
Philip Humphreys
Henry Fowler
1779 - 1838 Meter: 8.7.8.7.4.7 Author of "Jesus, o'er the billows steer me" Henry Fowler, hymn-writer, was born at Yealmpton, Devonshire, 11 Dec, 1779. In early life he followed some trade, but occasionally preached in independent meeting-houses in Devonshire and in Bristol. At length in October 1813, he 'received a call' to Birmingham, where he continued until the end of 1819. Ultimately he settled in London, becoming in July 1820 minister of Goer Street Chapel. He died 16 Dec 1838, and was buried on Christmas day morning at the New Bunhill Fields burying-ground at Islington. It has been said that his own frame of mind seemed, in general, rather gloomy; certainly his autobiography, which he called 'Travels in the Wilderness,' (London, 1839) is not cheerful reading In addition to this and numerous religious tracts and biographies, he wrote 'Original Hymns, Doctrinal, Pracitcal and Experimental, with prose reflections,' (London, 1818-1824) and edited 'A Selection of Hymns by various authors,' (London, 1836).
From Dictionary of National Biography, Vol XX, Forrest-Garner edited by Leslie Stephen, New York: Macmillan and Co. and London: Smith, Elder & Co., 1889
Henry Fowler
W. H. Longhurst
1819 - 1904 Meter: 8.7.8.7.4.7 Composer of "GOLDSTONE" Born: October 6, 1819, Lambeth, England.
Died: June 17, 1904, Canterbury, England.
Buried: Harbledown church yard (near Canterbury), Kent, England.
Dr. Longhurst used to relate the following anecdote concerning himself and one of the Cathedral vergers:—"Some years ago, a certain Canon of the Cathedral sent one of the vergers to me while I was playing the opening voluntary, with a message to inform me that, as there was only one Minor Canon present that (Sunday) morning, he (the Canon) would chant the Litany." "And," said the verger, "would you give him the note?" "Certainly," I replied. To my surprise the verger still lingered on the steps. "All right, A—," I said. He still remained stationary, and at length made the innocent inquiry: "Please sir, shall I wait for it?"
This was the same verger who when describing the new organ to some visitors pointed upwards and told them that "the new hargin was put up in the Trifolium"; that "the connection between the console and the hargin was done by helectrics"; and "the whole thing was set in motion by hydraulic water!" West, p. 13
Sources:
Frost, p. 681
West, p. 13
Music: MILTON
http://www.hymntime.com/tch/bio/l/o/n/longhurst_wh.htm
W. H. Longhurst
James Edmeston
1791 - 1867 Meter: 8.7.8.7.4.7 Author of "Lead us, heavenly Father, lead us" in The Hymnal Edmeston, James, born Sept. 10, 1791. His maternal grandfather was the Rev. Samuel Brewer, who for 50 years was the pastor of an Independent congregation at Stepney. Educated as an architect and surveyor, in 1816 he entered upon his profession on his own account, and continued to practice it until his death on Jan. 7, 1867. The late Sir G. Gilbert Scott was his pupil. Although an Independent by descent he joined the Established Church at a comparatively early age, and subsequently held various offices, including that of churchwarden, in the Church of St. Barnabas, Homerton. His hymns number nearly 2000. The best known are “Lead us, Heavenly Father, lead us” and "Saviour, breathe an evening blessing." Many of his hymns were written for children, and from their simplicity are admirably adapted to the purpose. For many years he contributed hymns of various degrees of merit to the Evangelical Magazine, His published works are:—
(1) The Search, and other Poems, 1817. (2) Sacred Lyrics, 1820, a volume of 31 hymns and one poem. This was followed by a second Series, 1821, with 35; and a third Series, 1822, with 27 pieces respectively. (3) The Cottage Minstrel; or, Hymns for the Assistance of Cottagers in their Domestic Worship, 1821. This was published at the suggestion of a member of the Home Missionary Society, and contains fifty hymns. (4) One Hundred Hymns for Sunday Schools, and for Particular Occasions, 1821. (5) Missionary Hymns, 1822. (6) Patmos, a Fragment, and Other Poems, 1824. (7) The Woman of Shunam, and Other Poems, 1829. (8) Fifty Original Hymns, 1833. (9) Hymns for the Chamber of Sickness, 1844. (10) Closet Hymns and Poems, 1844. (11) Infant Breathings, being Hymns for the Young, 1846. (12) Sacred Poetry, 1847.
In addition to those of his hymns which have attained to an extensive circulation, as those named above, and are annotated in this work under their respective first lines, there are also the following in common use in Great Britain and America:—
1. Along my earthly way. Anxiety. In his Sacred Lyrics, third set, 1822, in 8 stanzas of 4 lines. It is given in several collections, but usually in an abbreviated form, and generally somewhat altered.
2. Dark river of death that is [art] flowing. Death Anticipated. Given in his Sacred Lyrics, 3rd set, 1822, p. 39, in 9 stanzas of 4 lines. It is usually given in an abbreviated form, and sometimes as, "Dark river of death that art flowing."
3. Come, sacred peace, delightful guest. Peace. Appeared in his Closet Hymns, &c, 1844, in 4 stanzas of 4 lines.
4. Eternal God, before thy throne, Three nations. National Fast.
5. For Thee we pray and wait. Second Advent.
6. God intrusts to all. Parable of the Talents. This is No. 13 of his Infant Breathings, 1846, in 5 stanzas of 4 lines. It is a simple application of the parable to the life of a child. It is widely used.
7. God is here; how sweet the sound. Omnipresence. Given as No. 9 in his Sacred Lyrics, 1st set, 1820, in 6 stanzas of 4 lines. In the Baptist Hymnal, 1879, No. 45. St. i.-iii. are from this text, and iv. and v. are from another source.
8. How sweet the light of Sabbath eve. Sunday Evening. No. 10 in theCottage Minstrel, 1821, slightly altered.
9. Is there a time when moments flow. Sunday Evening. No. 5 of his Sacred Lyrics, 1st set, 1820, in 7 stanzas of 4 lines.
10. Little travellers Zionward. Burial of Children. No. 25 of his Infant Breathings, &c, 1846, in 3 stanzas of 8 lines. In the Leeds Hymn Book, 1853, it begins with stanza ii., "Who are they whose little feet?"
11. May we, Lord, rejoicing say. National Thanksgiving. Dated 1849 by the author in Spurgeon's Our Own Hymnbook, No. 1008.
12. Music, bring thy sweetest treasures. Holy Trinity. Dated 1837 by the author in Spurgeon's Our Own Hymnbook, No. 167. It is in his Sacred Poetry, 1847.
13. Roll on, thou mighty ocean. Departure of Missionaries. In his Missionary Hymns, 1822, in 4 stanzas of 4 lines. It is in common use in America.
14. Sweet is the light of Sabbath eve. Sunday Evening. In 5 stanzas of 41., from the Cottage Minstrel, 1821, where it is given as No. 10, and entitled "The Cottager's Reflections upon the Sabbath Evening."
15. The light of Sabbath eve. Sunday Evening. In 5 stanzas of 4 lines, as No. 11 in the Cottage Minstrel, 1821, p. 14, and headed, "Solemn Questions for the Sabbath Evening."
16. Wake, harp of Zion, wake again. Missions to the Jews. Dated 1846 by the author in Spurgeon's Our Own Hymnbook. It is in his Sacred Poetry, 1847.
17. When shall the voice of singing? In his Missionary Hymns, 1822. It is in a few American collections.
18. When the worn spirit wants repose. Sunday. No. 18, of his Sacred Lyrics, 1st set, 1820, in 4 stanzas of 4 lines. It is somewhat popular, and is given in several collections in Great Britain and America, as the Baptist Psalms & Hymns, 1858-80; the Church Praise Book, N. Y., 1881, &c.
19. Why should I, in vain repining? Consolation. No. 14 in the 1st set of his Sacred Lyrics, 1820, in 4 stanzas of 4 lines.
-- John Julian, Dictionary of Hymnology (1907)
=========================
Edmeston, James, p. 321, ii. Other hymns are:—
1. O Thou Whose mercy guides my way. Resignation. In his Sacred Lyrics, 1st set, 1820, p. 24, in 3 stanzas of 4 lines, and again in his Hymns for the Chamber of Sickness, 1844.
2. Parting soul, the flood awaits thee. Death anticipated. In his Sacred Lyrics, 1st set, 1820, p. 18, in 3 stanza of 8 lines, and based upon the passage in the Pilgrim's Progress:—"Now I further saw that betwixt them and the gate was a river, but there was no bridge to go over, and the river was very deep."
3. 'Tis sweet upon our pilgrimage. Praise. In hi3 Closet Hymns and Poems, 1846, in 3 stanzas of 4 lines, and headed "An Ebenezer Raided."
4. Welcome, brethren, enter in. Reception of Church Officers. Miller says, in his Singers and Songs, 1869, p. 420:—"This is No. 1 of five hymns supplied by Mr. Edmeston, at the request of a friend, for insertion in a provincial hymn-book, on the subject of admitting members," but he does not give the name of the book, neither have we identified It. The hymn, as given in the New Congregational Hymn Book, 1859, No. 840, is in 5 stanzas of 4 lines, of which Millet says stanza iii. is by another hand.
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
James Edmeston
Claude Christopher
Meter: 8.7.8.7.4.7 Author of "Zion Church Goes Marching Onward"
Claude Christopher
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