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Person Results

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F. E. Belden

1858 - 1945 Composer of "FILLMORE" in The Church Hymnal Belden was born in Battle Creek, Michigan in 1858. He began writing music in his late teenage years after moving to California with his family. For health reasons he later moved to Colorado. He returned to Battle Creek with his wife in the early 1880s, and there he became involved in Adventist Church publishing. F. E. Belden wrote many hymn tunes, gospel songs, and related texts in the early years of the Seventh-day Adventist Church. Belden was able to rapidly write both music and poetry together which enabled him to write a song to fit a sermon while it was still being delivered. He also wrote songs for evang­el­ist Bil­ly Sun­day. Though Belden’s later years were marred by misunderstandings with the church leadership over his royalties, he did donate his papers and manuscripts to the church’s seminary at his death. He died on December 2, 1945 in Battle Creek, Michigan. N.N., Hymnary. Source: http://www.hymntime.com/tch/bio/b/e/l/belden_fe.htm

Sidney Martin Grannis

1827 - 1907 Person Name: Sidney M. Grannis Composer of "[Hark, the voice of Jesus crying]" in Hallowed Hymns, New and Old Born: September 23, 1827, Geneseo, New York. Died: 1907, Los Angeles, California. Buried: Angelus Rosedale Cemetery, Los Angeles, California. Grannis’ family moved to Le Roy, New York in 1831. His father Samuel owned a hardware business which in 1844 was located in the Barrett Block, known as the "Dock," on the present site of the Le Roy Post Office. Samuel was involved on the Underground Railroad. Sidney would drop into Samuel’s Store where he would sit down at the melodeon and sing until the room filled with people. Although it was said that he never learned to read music, he wrote music to several poems. Grannis established a reputation with "Do They Miss Me at Home?" Caroline Mason wrote the poem "Do They Miss Me at Home?" and Sidney Grannis put it to music. It became a popular favorite during the Civil War. One of the lines reads: “Does someone repeat my name over and sigh that I tarry so long? And is there a chord in the music "That’s miss’d when my voice is away, And a chord in each heart that awaketh, regret at my wearisome stay?" He also composed the ballads, "Only Waiting," "Cling to the Union," and "People Will Talk You Know." In 1856 Grannis wrote the words and music for Sparking Sunday Night. Sheet music was published by Joseph P. Shaw, Rochester, New York, affiliated with Oliver Ditson (Boston), who also distributed the song. The sheet music is preserved in the Sibley Library, Eastman School of Music, University of Rochester, New York. As a solo singer, Grannis had a remarkable tenor voice, and it was said that his voice "was of marvelous flexibility, sweet as a flute, and had a range of three octaves." A newspaper in Pultneyville mentioned that Grannis performed at the Union Church in 1864 "to an appreciative audience." He sang at more than five thousand concerts. He organized the Amphion Troupe, a vocal quartet which included "Pixley and Bryant" and Emily Goodenou, who sang solo. The group toured the country giving concerts. In 1864, Grannis was in New Haven, Connecticut, where he composed his music for Your Mission. In the later days of the Civil War, Philip Phillips, who had a wonderfully sweet tenor voice, was invited to sing at a great meeting of the United States Christian Commission in the Senate Chamber at Washington, February, 1865, President Lincoln and Secretary Seward (then president of the commission) were there, and the hall was crowded with leading statesmen, army generals, and friends of the Union. The song selected by Mr. Phillips was Mrs. Gates’ "Your Mission." The hushed audience listened spell-bound as the sweet singer went on, their interest growing to feverish eagerness until the climax was reached in the fifth stanza. In the storm of enthusiasm that followed, President Lincoln handed a hastily scribbled line on a bit of paper to Chairman Seward, "Near the close let us have Your Mission repeated." In 1884, Grannis moved to Los Angeles, California, where several of his admirers presented him a cottage and grounds. It was said of him: "He was the best man we ever knew, going in and out among us like a ray of light, never complaining, always cheerful, always happy, never a cloud on his sunny countenance. His nature was musical, he loved to sing. His songs were inspiring, his mirth contagious. Who that has heard his favorite laughing song, can forget his sunlit face, or fail to recall the effect the song produced? His invitation "please join the chorus" was superfluous. Throughout this broad land his rollicking laughter has been heard and his sweet and musical songs have flowed like soothing and peace giving rivers." --www.hymntime.com/tch/

P. P. Van Arsdale

Composer of "[Hark! the voice of Jesus calling] (Arsdale)" in Calvary Songs

Gustaf Düben

1628 - 1690 Person Name: Gustaf Duben, 1671 - 1730 Composer of "JESU" in Service Book and Hymnal of the Lutheran Church in America Gustaf Düben (also Gustav) (1628 – 1690) was a Swedish organist and composer. Düben was born and died in Stockholm. He was the grandson of the German-born Andreas Düben, who had been organist at the Thomaskirche in Leipzig, and son of the composer and court kapellmeister Anders Düben (the Younger)]. In 1663, he succeeded his father as both hovkapellmästare, director of the Royal Swedish Court Orchestra, and organist of the German St Gertrud Church in Stockholm. He was the father of four children: Gustav von Düben the Younger (1659-1726), Joachim von Düben the Elder (1671-1730), Emerentia von Düben (1669-1743) and Anders von Düben (the Younger) (1673-1738). Gustaf the younger and Anders the Younger appears to have been the only of his children who followed in his father's footsteps as a composer, courtier and eventually kapellmeister. The Düben collection of manuscripts includes many unicae of German baroque music. --en.wikipedia.org/wiki/

F. A. Clark

1868 - 1948 Arranger of "[Hark! the voice of Jesus crying]" in A. M. E. C. Hymnal F. A. Clark (Francis A.) was a respected Black musician and composer from Philadelphia. Dianne Shapiro, from "Charles Albert Tindley: Progenitor of Black-American Gospel Music," by Horace Clarence Boyer, in The Black Perspective in Music Vol. 11, No. 2 (Autumn, 1983), pp. 103-132 (retrieved online from JSTOR, 8/27/2020)

John R. Sweney

1837 - 1899 Person Name: Jno. R. Sweney Composer of "[Hark, the voice of Jesus crying]" in The Ark of Praise John R. Sweney (1837-1899) was born in West Chester, Pennsylvania, and exhibited musical abilities at an early age. At nineteen he was studying with a German music teacher, leading a choir and glee club, and performing at children’s entertainments. By twenty-two he was teaching at a school in Dover, Delaware. Soon thereafter, he was put in charge of the band of the Third Delaware Regiment of the Union Army for the duration of the Civil War. After the war, he became Professor of Music at the Pennsylvania Military Academy, and director of Sweney’s Cornet Band. He eventually earned Bachelor and Doctor of Music degrees at the Academy. Sweney began composing church music in 1871 and became well-known as a leader of large congregations. His appreciators stated “Sweney knows how to make a congregation sing” and “He had great power in arousing multitudes.” He also became director of music for a large Sunday school at the Bethany Presbyterian Church in Philadelphia of which John Wanamaker was superintendent (Wanamaker was the founder of the first major department store in Philadelphia). In addition to his prolific output of hymn melodies and other compositions, Sweney edited or co-edited about sixty song collections, many in collaboration with William J. Kirkpatrick. Sweney died on April 10, 1899, and his memorial was widely attended and included a eulogy by Wanamaker. Joe Hickerson from "Joe's Jottings #9" used by permission

Wolfgang Amadeus Mozart

1756 - 1791 Person Name: Wolfgang Amadeus Mozart, 1756-1791 Composer (attr.) of "ELLESDIE" in Trinity Hymnal (Rev. ed.) Wolfgang Amadeus Mozart Austria 1756-1791. Born at Salzburg, Austria, the son of Leopold Mozart, a minor composer and violinist, and youngest of seven children, he showed amazing ability on violin and keyboard from earliest childhood, even starting to compose music at age four when his father would play a piece and Mozart would play it exactly as did his father. At five, he composed some of his own music, which he played to his father, who wrote it down. When Mozart was eight, he wrote his first symphony, probably transcribed by his father. In his early years his father was his only teacher, teaching his children languages and academic subjects, as well as fundamentals of their strict Catholic faith. Some of his early compositions came as a surprise to his father, who eventually gave up composing himself when he realized how talented his son was. His family made several European journeys and he and his sister, Nanneri, performed as child prodigies, at the court of Prince-elector Maximillian II of Bavaria in Munich, and at the Imperial Courts in Vienna and Prague. A long concert tour followed, for 3.5 years, taking the family to courts in Munich, Mannheim, Paris, London, Dover, The Hague, Amsterdam, Utrecht, Mechelen, and again to Paris, and back home via Zurich, Donaueschingen, and Munich. During these trips Mozart met many musicians, acquainting himself with the works of other composers. He met Johann Christian Bach in London in 1764. Family trips were challenging, and travel conditions were primitive. They had to wait for invitations and reimbursements from nobility, and they endured long, near-fatal illnesses far from home. First Leopold (1764) got sick, then both children (1765). They traveled again to Vienna in 1767 and stayed there over a year. After a year back in Salzburg, Leopold and Wolfgang went to Italy (1769-1771), Leopold wished to display his son’s abilities as a performer and maturing composer. In Bologna, Italy, Wolfgang was accepted as a member of the famous Academia Filamonica. In Rome he heard Gregorio Allegri’s Miserere twice in performance. Back in the Sistine Chapel, Mozart wrote the whole performance out from memory, thus producing the first unauthorized copy of this closely guarded property of the Vatican. In the next few years Mozart wrote several operas performed with success in Italy, but his father’s hopes of securing a professional appointment for his son were not realized. At age 17 he was engaged as a musician at the Salzburg court, but grew restless and traveled in search of a better position. After returning to Salzburg, Mozart was employed as a court musician by the ruler of Salzburg, Prince Archbishop Hieronymus Colloredo. This gave Mozart ample opportunity to develop relationships with other musicians and his admirers, resulting in his development of new symphonies, sonatas, string quartets, masses, serenades, and some minor operas. In 1775 he wrote his only violin concertos, five in all. Again, he was discontent with work in Salzburg and traveled to find more opportunity to write operas. He and his father again visited Munich and Vienna, but neither visit was successful with the exception of his opera ‘La finta giardiniera’ in Munich. In 1777 he resigned his Salzburg position and went to Augsburg, Mannheim, Paris, and Munich again. In Mannheim he met and fell in love with Aloysia Weber, one of four daughters of a musical family. He could find no real employment there and left for Paris in 1778. He might have had a position as organist at Versailles, but he was not interested in that. He fell into debt and started pawning valuables. During these events his mother died. Meanwhile his father was still trying to find him a position in Salzburg. After checking out several other European cities and Munich, he again encountered Aloysia, but she was no longer interested in him, so he returned to Salzburg, having written another symphony, concerto, and piano sonata, and took the new appointment his father had found. However, he was still in discontent. Visiting Vienna in 1781, he was dismissed from his Salzburg position. He wrote another opera, ‘Idomeneo’, in 1781, that was successful in Munich. Two months later he was summoned to Vienna, where his employer, Archbishop Colloredo, wanted him around due to his notoriety. Mozart wished to meet the emperor and perform for him, and finally got that opportunity. It resulted in a part-time position and substantial commissions. Colloredo became a nemesis to Mozart’s career, finally releasing Mozart from his employ with a literal kick in the pants, much against his father’s wishes. However, he was now independent. Mozart then decided to settle in Vienna as a free lance performer and composer. He lived with the Fridolin Weber family, who had moved from Mannheim to Vienna. Fridolin, the father, had died, and they were taking in lodgers to make ends meet. His career there went well, and he performed as a pianist before the Emperor, establishing himself as the finest keyboard player in Vienna. He wrote another opera in 1782, again achieving success. Mozart had now become a prolific and influential composer of the Classical period and was known throughout Europe. Aloysia was now married to actor, Joseph Lange, and Mozart’s interest shifted to her sister, Constanze. In 1782 he married Constanze Weber Mozart Nissen. The marriage started out with a brief separation, and there was a problem getting Mozart’s father’s permission, which finally came. They had six children, but only two survived infancy: Carl and Franz. He lived in Vienna and achieved some notoriety, composing many of his best-known symphonies, concertos, and operas. In 1782-83 he became intimately acquainted with Johann Sebastian Bach and George Friederic Handel, as his friend, Gottfried van Swieten, owned many manuscripts of the Baroque masters, which Mozart studied intently. He altered his style of composition as a result. That year Mozart and his wife visited his father and sister, and he composed a liturgical piece, a Mass, with a singing part for his wife. He also met Joseph Hadyn in Vienna in 1784 and they became friends. They even played together in a string quartet from time to time. Mozart wrote six quartets dedicated to Hadyn. In 1785 Hadyn told Leopold Mozart, “Your son is the greatest composer known to me by person and repute, he has taste, and what is more, the greatest skill in composition”. Over the next several years Mozart booked several piano concertos in various places as a sole performer to delighted audiences, making substantial remuneration for his work. He and his wife then adopted a more luxurious lifestyle. They moved to an expensive apartment and he bought a fine fortepiano and billiard table. They sent their son, Karl, to an expensive boarding school and also kept servants. In 1784 Mozart became a Freemason and even composed Masonic music. Over the next several years he did little operatic writing and focused on his career as a piano soloist and writer of concertos. He again began operatic collaboration in 1785, creating ‘The marriage of Figaro’, then ‘Don Giovanni’ in 1787. That year his father died. Also that year he obtained a steady post under Emperor Joseph II as his chamber composer. This was part-time employment that was important when hard times arrived. However, Joseph aimed at keeping Mozart from leaving Vienna for better work. The Austrio-Turkish War made life difficult for musicians, and his aristocracy support had declined. He moved to save on expenses, but that did not help much, and he was reduced to borrowing funds from his friends, and pleading for loans. During this period he produced his last three symphonies. In 1789 he then set up on a journey to Leipzig, Dresden, and Berlin hoping to improve his fortunes. In 1790 he was highly productive, producing concertos, an opera, ‘The magic flute’, a series of string quintets, a motet, and an (unfinished) Requiem. Finances began to improve and he begin paying back his debts. Public reaction to his works also brought him great satisfaction. In 1791, while in Prague for the premiere of his opera, ‘La clemenza di Tito’, he fell ill. He continued professional functions for a short time, but had to go home and be nursed by his wife over the next couple of months. He died at Vienna, Austria, at the age of 35, a small thin man with undistinguishing characteristics. He was buried in a modest grave, having had a small funeral. Beethoven composed his early works in the shadow of Mozart, and Joseph Hadyn wrote “posterity will not see such a talent (as Mozart) again in 100 years”. 600+ works. Side note: Mozart enjoyed billiards, dancing, and had a pet canary, a starling, a dog, and a horse for recreational riding. He liked off-color humor. He wore elegant clothing when performing and had a modest tenor voice. John Perry

Jonathan Evans

1748 - 1809 Person Name: J. Evans Author of "Hark! the voice of love and mercy" in Hymn-Book of the Evangelical Association Evans, Jonathan, born at Coventry in 1748 or 1749. He was the son of a working man, and as a youth was employed in a ribbon manufactory. About 1778 he joined the congregation at Coventry, over which the Rev. G. Burder was pastor. He began preaching at Foleshill, near Coventry, in 1782, and in 1795 he began his stated ministry there, retaining the same to his death on Aug. 31, 1809. Two biographical notices of him appeared in the Evangelical Magazine (Oct. 1809, and March 1847), and also several of his hymns. Two of his hymns appeared in Burder's Collection, 1784, and another in the 2nd edition the same year. His best known hymns are, "Come, Thou soul-transforming Spirit,” and "Hark! the voice of love and mercy;" q.v. He published no poetical work or collection of hymns. -- John Julian, Dictionary of Hymnology (1907)

E. L. Jorgenson

1886 - 1968 Composer of "MARTHA" in Great Songs of the Church Born: December 9, 1886, Nebraska. Died: December 14, 1968, at his home in Louisville, Kentucky. Buried: Cave Hill Cemetery, Louisville, Kentucky. Jorgenson was the son of Danish immigrants. His father, Christopher Jorgenson, had been a soldier in the personal guard of the king of Denmark (probably Christian IX), and his mother a seamstress to the queen. The 1900 census shows the family living in Boone County, Nebraska. As a young man, Elmer led singing in churches in and around Albion, Nebraska, and in nearby Missouri. He was directing the music department at Western Bible and Literary College by 1908. In 1910, he and his wife Irene moved to Louisville, Kentucky. He was a member of the Churches of Christ. Jorgenson’s works include: Truth and Grace, with Robert Boll & James Shepherd (F. L. Rowe, 1917) Great Songs of the Church (Louisville, Kentucky: Word and Work, 1921) The New Alphabetical Hymnal (Chicago, Illinois: Great Songs Press, 1957) © The Cyber Hymnal™ (hymntime.com/tch)

David Bruening

1869 - 1934 Person Name: David Brüning Composer of "WHITE FIELDS" in Elmhurst Hymnal Born: De­cem­ber 10, 1869, Rich­mond, Vir­gin­ia. Died: May 2, 1934, Bal­ti­more, Mar­y­land. The son of Ger­man im­migrants, Brün­ing grad­u­at­ed from Elm­hurst Col­lege in 1889, and Eden Sem­in­a­ry, St. Lou­is, Mis­sou­ri, in 1892. He was or­dained at St. Paul’s Church, Chi­ca­go, Il­li­nois, in Ju­ly 1892 by Ru­dolph John. He went on to serve the par­ish­es of Rose­hill, Chi­ca­go (1892-98); St. Paul’s, Pe­kin, Il­li­nois (1898-1904); St. Pe­ter’s, Lou­is­ville, Ken­tucky (1904-20), and St. Mat­thew’s, Bal­ti­more, Mar­y­land (1920-34). He was al­so pre­si­dent of the In­di­a­na Dis­trict of the Evan­gel­i­cal Syn­od; chair­man of the board of di­rect­ors of Eden Sem­in­a­ry; and ed­it­or of the 1917 Evan­gel­i­cal Hym­nal. Sources: Haeussler, pp. 569-70 © The Cyber Hymnal™. Used by permission. (www.hymntime.com)

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