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William Cowper

1731 - 1800 Hymnal Number: 226 Author of "O for a Closer Walk" in Songs of the Kingdom William Cowper (pronounced "Cooper"; b. Berkampstead, Hertfordshire, England, 1731; d. East Dereham, Norfolk, England, 1800) is regarded as one of the best early Romantic poets. To biographers he is also known as "mad Cowper." His literary talents produced some of the finest English hymn texts, but his chronic depression accounts for the somber tone of many of those texts. Educated to become an attorney, Cowper was called to the bar in 1754 but never practiced law. In 1763 he had the opportunity to become a clerk for the House of Lords, but the dread of the required public examination triggered his tendency to depression, and he attempted suicide. His subsequent hospitalization and friendship with Morley and Mary Unwin provided emotional stability, but the periods of severe depression returned. His depression was deepened by a religious bent, which often stressed the wrath of God, and at times Cowper felt that God had predestined him to damnation. For the last two decades of his life Cowper lived in Olney, where John Newton became his pastor. There he assisted Newton in his pastoral duties, and the two collaborated on the important hymn collection Olney Hymns (1779), to which Cowper contributed sixty-eight hymn texts. Bert Polman ============ Cowper, William, the poet. The leading events in the life of Cowper are: born in his father's rectory, Berkhampstead, Nov. 26, 1731; educated at Westminster; called to the Bar, 1754; madness, 1763; residence at Huntingdon, 1765; removal to Olney, 1768; to Weston, 1786; to East Dereham, 1795; death there, April 25, 1800. The simple life of Cowper, marked chiefly by its innocent recreations and tender friendships, was in reality a tragedy. His mother, whom he commemorated in the exquisite "Lines on her picture," a vivid delineation of his childhood, written in his 60th year, died when he was six years old. At his first school he was profoundly wretched, but happier at Westminster; excelling at cricket and football, and numbering Warren Hastings, Colman, and the future model of his versification. Churchill, among his contemporaries or friends. Destined for the Bar, he was articled to a solicitor, along with Thurlow. During this period he fell in love with his cousin, Theodora Cowper, sister to Lady Hesketh, and wrote love poems to her. The marriage was forbidden by her father, but she never forgot him, and in after years secretly aided his necessities. Fits of melancholy, from which he had suffered in school days, began to increase, as he entered on life, much straitened in means after his father's death. But on the whole, it is the playful, humorous side of him that is most prominent in the nine years after his call to the Bar; spent in the society of Colman, Bonnell Thornton, and Lloyd, and in writing satires for The Connoisseur and St. James's Chronicle and halfpenny ballads. Then came the awful calamity, which destroyed all hopes of distinction, and made him a sedentary invalid, dependent on his friends. He had been nominated to the Clerkship of the Journals of the House of Lords, but the dread of appearing before them to show his fitness for the appointment overthrew his reason. He attempted his life with "laudanum, knife and cord,"—-in the third attempt nearly succeeding. The dark delusion of his life now first showed itself—a belief in his reprobation by God. But for the present, under the wise and Christian treatment of Dr. Cotton (q. v.) at St. Albans, it passed away; and the eight years that followed, of which the two first were spent at Huntingdon (where he formed his lifelong friendship with Mrs. Unwin), and the remainder at Olney in active piety among the poor, and enthusiastic devotions under the guidance of John Newton (q. v.), were full of the realisation of God's favour, and the happiest, most lucid period of his life. But the tension of long religious exercises, the nervous excitement of leading at prayer meetings, and the extreme despondence (far more than the Calvinism) of Newton, could scarcely have been a healthy atmosphere for a shy, sensitive spirit, that needed most of all the joyous sunlight of Christianity. A year after his brother's death, madness returned. Under the conviction that it was the command of God, he attempted suicide; and he then settled down into a belief in stark contradiction to his Calvinistic creed, "that the Lord, after having renewed him in holiness, had doomed him to everlasting perdition" (Southey). In its darkest form his affliction lasted sixteen months, during which he chiefly resided in J. Newton's house, patiently tended by him and by his devoted nurse, Mrs. Unwin. Gradually he became interested in carpentering, gardening, glazing, and the tendance of some tame hares and other playmates. At the close of 1780, Mrs. Unwin suggested to him some serious poetical work; and the occupation proved so congenial, that his first volume was published in 1782. To a gay episode in 1783 (his fascination by the wit of Lady Austen) his greatest poem, The Task, and also John Gilpin were owing. His other principal work was his Homer, published in 1791. The dark cloud had greatly lifted from his life when Lady Hesketh's care accomplished his removal to Weston (1786): but the loss of his dear friend William Unwin lowered it again for some months. The five years' illness of Mrs. Unwin, during which his nurse of old became his tenderly-watched patient, deepened the darkness more and more. And her death (1796) brought “fixed despair," of which his last poem, The Castaway, is the terrible memorial. Perhaps no more beautiful sentence has been written of him, than the testimony of one, who saw him after death, that with the "composure and calmness" of the face there “mingled, as it were, a holy surprise." Cowper's poetry marks the dawn of the return from the conventionality of Pope to natural expression, and the study of quiet nature. His ambition was higher than this, to be the Bard of Christianity. His great poems show no trace of his monomania, and are full of healthy piety. His fame as a poet is less than as a letter-writer: the charm of his letters is unsurpassed. Though the most considerable poet, who has written hymns, he has contributed little to the development of their structure, adopting the traditional modes of his time and Newton's severe canons. The spiritual ideas of the hymns are identical with Newton's: their highest note is peace and thankful contemplation, rather than joy: more than half of them are full of trustful or reassuring faith: ten of them are either submissive (44), self-reproachful (17, 42, 43), full of sad yearning (1, 34), questioning (9), or dark spiritual conflict (38-40). The specialty of Cowper's handling is a greater plaintiveness, tenderness, and refinement. A study of these hymns as they stood originally under the classified heads of the Olney Hymns, 1779, which in some cases probably indicate the aim of Cowper as well as the ultimate arrangement of the book by Newton, shows that one or two hymns were more the history of his conversion, than transcripts of present feelings; and the study of Newton's hymns in the same volume, full of heavy indictment against the sins of his own regenerate life, brings out the peculiar danger of his friendship to the poet: it tends also to modify considerably the conclusions of Southey as to the signs of incipient madness in Cowper's maddest hymns. Cowper's best hymns are given in The Book of Praise by Lord Selborne. Two may be selected from them; the exquisitely tender "Hark! my soul, it is the Lord" (q. v.), and "Oh, for a closer walk with God" (q. v.). Anyone who knows Mrs. Browning's noble lines on Cowper's grave will find even a deeper beauty in the latter, which is a purely English hymn of perfect structure and streamlike cadence, by connecting its sadness and its aspiration not only with the “discord on the music" and the "darkness on the glory," but the rapture of his heavenly waking beneath the "pathetic eyes” of Christ. Authorities. Lives, by Hayley; Grimshaw; Southey; Professor Goldwin Smith; Mr. Benham (attached to Globe Edition); Life of Newton, by Rev. Josiah Bull; and the Olney Hymns. The numbers of the hymns quoted refer to the Olney Hymns. [Rev. H. Leigh Bennett, M.A.] --John Julian, Dictionary of Hymnology (1907) ================ Cowper, W. , p. 265, i. Other hymns are:— 1. Holy Lord God, I love Thy truth. Hatred of Sin. 2. I was a grovelling creature once. Hope and Confidence. 3. No strength of nature can suffice. Obedience through love. 4. The Lord receives His highest praise. Faith. 5. The saints should never be dismayed. Providence. All these hymns appeared in the Olney Hymns, 1779. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) ===================== Cowper, W., p. 265, i. Prof. John E. B. Mayor, of Cambridge, contributed some letters by Cowper, hitherto unpublished, together with notes thereon, to Notes and Queries, July 2 to Sept. 24, 1904. These letters are dated from Huntingdon, where he spent two years after leaving St. Alban's (see p. 265, i.), and Olney. The first is dated "Huntingdon, June 24, 1765," and the last "From Olney, July 14, 1772." They together with extracts from other letters by J. Newton (dated respectively Aug. 8, 1772, Nov. 4, 1772), two quotations without date, followed by the last in the N. & Q. series, Aug. 1773, are of intense interest to all students of Cowper, and especially to those who have given attention to the religious side of the poet's life, with its faint lights and deep and awful shadows. From the hymnological standpoint the additional information which we gather is not important, except concerning the hymns "0 for a closer walk with God," "God moves in a mysterious way," "Tis my happiness below," and "Hear what God, the Lord, hath spoken." Concerning the last three, their position in the manuscripts, and the date of the last from J. Newton in the above order, "Aug. 1773," is conclusive proof against the common belief that "God moves in a mysterious way" was written as the outpouring of Cowper's soul in gratitude for the frustration of his attempted suicide in October 1773. --John Julian, Dictionary of Hymnology, New Supplement (1907)

Thomas Ken

1637 - 1711 Person Name: Rev. Thomas Ken Hymnal Number: 235 Author of "Praise God, from Whom All Blessings Flow" in Songs of the Kingdom Thomas Ken (b. Berkampstead, Hertfordshire, England, 1637; d. Longleat, Wiltshire, England, 1711) studied at Winchester College, Hart Hall, and New College, Oxford, England. Ordained in the Church of England in 1662, he served variously as pastor, chaplain at Winchester College (1669-1679), chaplain to Princess (later Queen) Mary in The Hague, and bishop of Bath and Wells (1685-1691). He was a man of conscience and independent mind who did not shirk from confrontations with royalty. When King Charles II came to visit Winchester, he took along his mistress, the famous actress Nell Gwynne. Ken was asked to provide lodging for her. The story is told that Ken quickly declared his house under repair and had a builder take off the roof! He later was dismissed from the court at The Hague when he protested a case of immorality. Then, later in 1688, Bishop Ken refused to read King James II's Declaration of Indulgence in the churches, which granted greater religious freedom in England, and he was briefly imprisoned in the Tower of London. A few years later he refused to swear allegiance to King William, and he lost his bishopric. Ken wrote many hymns, which were published posthumously in 1721 and republished in 1868 as Bishop Ken's Christian Year, or Hymns and Poems for the Holy Days and Festivals of the Church. But he is best known for his morning, evening, and midnight hymns, each of which have as their final stanza the famous doxology “Praise God, from Whom All Blessings Flow.” Bert Polman =============== Ken, Thomas, D.D. The bare details of Bishop Ken's life, when summarised, produce these results:—-Born at Berkhampstead, July, 1637; Scholar of Winchester, 1651; Fellow of New College, Oxford, 1657; B.A., 1661; Rector of Little Easton, 1663; Fellow of Winchester, 1666; Rector of Brighstone, 1667; Rector of Woodhay and Prebendary of Winchester, 1669; Chaplain to the Princess Mary at the Hague, 1679; returns to Winchester, 1680; Bishop of Bath and Wells, 1685; imprisoned in the Tower, 1688; deprived, 1691; died at Longleat, March 19, 1711. The parents of Ken both died during his childhood, and he grew up under the guardianship of Izaak Walton, who had married Ken's elder sister, Ann. The dominant Presbyterianism of Winchester and Oxford did not shake the firm attachment to the English Church, which such a home had instilled. His life until the renewal of his connection with Winchester, through his fellowship, his chaplaincy to Morley (Walton's staunch friend, then bishop of Winchester), and his prebend in the Cathedral, calls for no special remark here. But this second association with Winchester, there seems little doubt, originated his three well-known hymns. In 1674 he published A Manual of Prayers for the Use of the Scholars of Winchester College, and reference is made in this book to three hymns, for "Morning," "Midnight," and "Evening," the scholars being recommended to use them. It can scarcely be questioned that the Morning, Evening, and Midnight hymns, published in the 1695 edition of The Manual, are the ones referred to. He used to sing these hymns to the viol or spinet, but the tunes he used are unknown. He left Winchester for a short time to be chaplain to the Princess Mary at the Hague, but was dismissed for his faithful remonstrance against a case of immorality at the Court, and returned to Winchester. A similar act of faithfulness at Winchester singularly enough won him his bishopric. He stoutly refused Nell Gwynne the use of his house, when Charles II. came to Winchester, and the easy king, either from humour or respect for his honesty, gave him not long afterwards the bishopric of Bath and Wells. Among the many acts of piety and munificence that characterised his tenure of the see, his ministration to the prisoners and sufferers after the battle of Sedgmoor and the Bloody Assize are conspicuous. He interceded for them with the king, and retrenched his own state to assist them. He attended Monmouth on the scaffold. James II. pronounced him the most eloquent preacher among the Protestants of his time; the judgment of Charles II. appears from his pithy saying that he would go and hear Ken "tell him of his faults." Among the faithful words of the bishops at Charles's death-bed, none were so noble in their faithfulness as his. He was one of the Seven Bishops who refused to read the Declaration of Indulgence, and were imprisoned in the Tower by James for their refusal, but triumphantly acquitted on their trial. At the accession of William III, he refused, after some doubt on the subject, to take the oaths, and was at length (1691) deprived of his see. His charities had left him at this time only seven hundred pounds, and his library, as a means of subsistence; but he received hospitality for his remaining years with his friend Lord Weymouth, at Longleat. The see of Bath and Wells was again offered him, but in vain, at the death of his successor, Bishop Kidder. He survived all the deprived prelates. His attitude as a nonjuror was remarkable for its conciliatory spirit. The saintliness of Ken's character, its combination of boldness, gentleness, modesty and love, has been universally recognised. The verdict of Macaulay is that it approached "as near as human infirmity permits to the ideal perfection of Christian virtue." The principal work of Ken's that remains is that on the Catechism, entitled The Practice of Divine Love. His poetical works were published after his death, in four volumes. Among the contents are, the Hymns for the Festivals, which are said to have suggested to Keble the idea of The Christian Year; the Anodynes against the acute physical sufferings of his closing years; and the Preparatives for Death. Although many passages in them are full of tender devotion, they cannot rank either in style or strength with the three great hymns written at Winchester. The best biographies of Ken are he Life of Ken by a Layman, and, specially, his Life, by the Very Rev. E. H. Plumptre, Dean of Wells, 1888. [Rev. H. Leigh Bennett, M.A.] Bishop Ken is known to hymnody as the author of the Morning, Evening, and Midnight Hymns, the first and second of which at least have found a place in almost every English collection for the last 150 years. The general history of these hymns, as we now know it, is as follows:— 1. In 1674 Ken published his Manual of Prayers for Winchester Scholars as A Manual of Prayers For the Use of the Scholars of Winchester College [here arms of William of Wykeham within a border]. London, Printed for John Martyn, 1674, 12 mo, pp. 69. From a passage in this work it may fairly be inferred that the author had already composed hymns for the use of the scholars. He says:— “Be sure to sing the Morning and Evening Hymn in your chamber devoutly, remembering that the Psalmist, upon happy experience, assures you that it is a good thing to tell of the loving kindness of the Lord early in the morning and of his truth in the night season." Two hymns only seem to be here referred to, but the expression "night season" may include both the Evening and Midnight hymns, and the latter would be only used occasionally. The hymns are not given in the Manual of 1674, or succeeding editions, until that of 1695, when the three hymns are added as an Appendix. The title of this edition is:— A Manual of Prayers For the Use of the Scholars of Winchester College. And all other Devout Christians. To which is added three Hymns for Morning, Evening, and Midnight; not in former Editions: By the Same Author. Newly Revised. London, Printed for Ctarles Brome at the Ovn, at the West end of St. Paul's Church, 1695. 2. In 1704 Richard Smith, a London publisher, issued a book similar in appearance to the Manual, and entitled Conference between the Soul and Body concerning the Present and Future State. This edition contained a strong recommendation by Dodwell, an intimate friend of Ken, but no hymns. To the 2nd edition, however (1705), were added two (Morning and Evening) hymns, with Ken's name appended, but containing two additional verses to the Evening hymn, and differing in several other respects from the text of the Manual. Thereupon Charles Brome, to whom the copyright of the latter belonged, issued a new edition with an Advertisement stating that Ken "absolutely disowned" the hymns appended to the Conference, "as being very false and uncorrect," and that the genuine text was that given in the Manual only. Brome's Advertisementreads:— "Advertisement—-Whereas at the end of a Book lately Publish'd call'd, 'A Conference between the Soul and Body,' there are some Hymns said to be writ by Bishop Ken, who absolutely disowns them, as being very false and uncorrect; but the Genuine ones are to be had only of Charles Brome, Bookseller, whose just Propriety the Original copy is." 3. In 1709, however, the spurious hymns were again published as Ken's in a book entitled A New Year's Gift: in Two Parts: to which is added A Morning and Evening Hymn. By Thomas, late L. B. of Bath and Wells. The Third Edition with additions. London Printed by W. Olney. 1709. Brome met this, as before, with a new edition of the Manual, in which the Advertisement of 1705 as above was repeated, but the text of the hymns considerably revised. This revised text was followed in all subsequent editions of the Manual, but as, until lately, it was thought to have appeared first in the edition of 1712, published soon after Ken's death, its genuineness was suspected by many. The question as it then stood was fully discussed in an able letter by Sir Roundell Palmer (Lord Selborne), prefixed to the reprint of Ken's Hymns, published by D. Sedgwick in 1864. Since that time the discovery in the Bodleian Library of a copy of the Manual of 1709 shows that the revision was made in that year, and confirms the conclusion at which Lord Selborne had previously arrived, that it was Ken's genuine revised text. The title of this edition is:— A Manual of Prayers For the Use of the Scholars of Winchester College, And all other Devout Christians, To which is added three Hymns for Morning, Evening, and Midnight; By the same Author. Newly Revised. London: Printed for Charles Brome at the Gun, the West end of St. Paul's Church, 1709. The Advertisement before referred to is at p. 130. The alterations of 1709 may therefore be accepted as being made by Ken himself, and it seems not improbable that the revision was suggested by the recent republication of the spurious text in spite of Brome's disclaimer in 1705, and possibly by adverse criticism of the original text. Lord Selborne pointed out in his Letter that Ken altered a passage in his Practice of Divine Love (1st ed., 1685) because "some Roman Catholic writer professed to discover the doctrine of Transubstantiation" therein. This alteration was made in the 2nd ed., 1686, and explained in the Preface to have been made "to prevent all misunderstanding for the future." A passage also in the Manual—-"Help me, then, ye blessed Hosts of Heaven, to celebrate that unknown sorrow, &c." — was claimed in a Roman Catholic pamphlet as a passage which taught the scholars of Winchester to invocate the whole Court of Heaven." This passage Ken altered "to prevent all future misinterpretations," and prefixed an Advertisement to the 1687 edition of the Manual explaining why he had done so. In looking through the texts of the three hymns for 1695, and 1709, and especially at the doxologies, and at st. x. and xi. in the Evening Hymn, "You my Blest Guardian, whilst I sleep," &c. (1695); and "O may my Guardian while I sleep," &c. (1709), do we not see a good and sufficient reason to account for the revision of the hymns? 4. With regard to the text given in the Conference, Lord Selborne observes that it is not improbable that alterations and various readings, originating with Ken himself, might have obtained private circulation among his friends, long before he had made up his own mind to give them to the public; a suggestion which may possibly help to explain the fact, that a writer, patronised by Dodwell, was misled into believing (for such a writer ought not lightly to be accused of a wilful fraud) that the text, published in the Conference in Ken's name was really from his hand. That Ken occasionally altered passages in his writings when for any reason he considered it necessary, is certain ; and there can be little doubt that the text of the three Winchester hymns was more or less unsettled before 1695. At any rate, before their first appearance in that year in the Manual the Evening hymn had found its way into print. It was published in ”Harmonia Sacra; or Divine Hymns and Dialogues .. . Composed by the Best Masters . . . The Words by several Learned and Pious Persons. The Second Book," London, Henry Playford, 1693. The first volume, of this work appeared in 1688, and was dedicated to Ken. It is not improbable therefore that Playford, when collecting materials for his second volume, obtained the words of the Evening Hymn directly from the author. The hymn was set by Clarke as a Cantata for a solo voice, with the Doxology as a chorus in four parts. 5. The various Morning Hymns by Ken which have appeared in the Appendix to Tate and Brady's Version of the Psalms, and in most hymnals published during the past 150 years are compilations from this hymn, with, in many instances, slight alterations of the text either of 1695 or of that of 1709. In some modern hymnals the difficulty of the length of the hymn is overcome by dividing it into two or more parts. A reference to the text given in Harmonia Sacra shows that the change from "Glory" to "All praise" in line 1. is only a restoration of the original reading; and without being aware of this fact, Lord Selborne points out that the expression "All praise" is remarkably consistent with Ken's frequent use of it in other writings. The same alteration was made in 1709 in the Morning Hymn, stanza 9, and in the Midnight Hymn, st. 7; while at the same time "Glory" in the Morning Hymn, st. v. 1. 4, is changed to "High Praise." As in the case of "Awake my soul," this hymn has been divided, subdivided, and rearranged in a great many ways during the last 150 years. In one form or another it will be found in most hymnals published during that period. Like the Morning and Evening Hymns, this hymn has been divided and rearranged in various ways, and is found in one form or another in most hymnals published during the last 150 years. 6. The various centos from these hymns which are in common use in English-speaking countries are:— i. From the Morning Hymn. 1. All praise to Thee Who safe hast kept. 2. Awake, my soul, and with the sun. 3. Glory to Thee Who safe hast kept. 4. I wake, I wake, ye heavenly choirs. 5. I would not wake nor rise again. 6. Wake, and lift up thyself, my heart. ii. From the Evening Hymn. 1. All praise to Thee, my God, this night. 2. Glory to Thee, my God, this night. iii. From the Midnight Hymn. 1. All praise to Thee in light array'd. 2. Glory to Thee in light array'd. 3. Lord, now my sleep doth me forsake. 4. My God, now [when] I from sleep awake. 7. Bishop Ken has not escaped the not unusual charge of plagiarism, in connection with his celebrated hymns. Charges of this kind have been made from time to time, the nature and value of which we will endeavour to summarize. These are: (1) he borrowed from Sir Thomas Browne; (2) he did the same from Thomas Flatman; (3) he did neither, but Paraphrased from the Latin. 8. The title of Bishop Ken's hymns on the Festivals of the Church, published posthumously in 1721, is: Hymns for all the Festivals of the Year. They were republished by Pickering as: Bishop Ken's Christian Year or Hymns and Poems for the Holy Days and Festivals of the Church, Lond., 1868. From this work the following centos have come into common use:— 1. All human succours now are flown. Visitation of the Sick. 2. I had one only thing to do. A New Creature. 3. O purify my soul from stain. 10th Sunday after Trinity, or A Prayer for Purity. 4. 0 Lord, when near the appointed hour. Holy Communion. 5. Unction the Christian name implies. Confirmation. [George Arthur Crawford, M.A.] -- John Julian, Dictionary of Hymnology (1907) ======================== Ken, T. , p. 422, i. Since this article was electrotyped the following details concerning Bishop Ken's three hymns have come to light:—In a Catalogue of the Society for Promoting Christian Knowledge, published in 1707, there appears an entry of a tract entitled, Three Hymns for Morning, Evening; and Midnight, by the Author of the Manual of Prayers for Winchester Scholars. A copy of this hitherto unknown tract has lately come into the hands of Mr. W. T. Brooke, and by him has been passed on to the British Museum Library. It is bound up in a volume with two other pamphlets, of which the respective titles are: (1) An Exposition on the Church Catechism, or the Practice of Divine Love. Revised. Composed for the Diocese of Bath and Wells. Printed for Charles Brome, at the Gun of the West end of St. Paul's Churchyard, 1703; (2) Directions for Prayer for the Dioceses of Bath and Wells. Price 2d. pp. 16; (3) A Morning, Evening, and Midnight Hymn by the Author of the Manual of Prayers for Winchester Scholars. Nos. 2 and 3 have no title, but on the last page of No. 3 is "London, Printed at the Gun, at the West End of St. Paul's Church." The text of this tract of the "Three Hymns" agrees absolutely with that of 1709, except that in the 10th stanza of the Morning Hymns it reads "not rise again," as in 1705. We may therefore conclude that Ken's revisions, with this exception, were made between 1705 and 1707, the date of the Society for Promoting Christian Knowledge Catalogue. We may add that another cento from Ken's Midnight Hymn is "Blest Jesu! Thou, on heaven intent." in Rice's Hymns, 1870. The Life of Bishop Ken by the late Dean Plumptre was published in 1888, in 2 volumes. It is by far the best and most exhaustive life of the Bishop, and is worthy of the author's great reputation. [George Arthur Crawford, M.A.] --John Julian, Dictionary of Hymnology, Appendix I (1907)

Charlotte Elliott

1789 - 1871 Hymnal Number: 183 Author of "Just as I Am" in Songs of the Kingdom Elliott, Charlotte, daughter of Charles Elliott, of Clapham and Brighton, and granddaughter of the Rev. H. Venn, of Huddersfield, was born March 18, 1789. The first 32 years of her life were spent mostly at Clapham. In 1823 she removed to Brighton, and died there Sept. 22, 1871. To her acquaintance with Dr. C. Malan, of Geneva, is attributed much of the deep spiritual-mindedness which is so prominent in her hymns. Though weak and feeble in body, she possessed a strong imagination, and a well-cultured and intellectual mind. Her love of poetry and music was great, and is reflected in her verse. Her hymns number about 150, a large percentage of which are in common use. The finest and most widely known of these are, "Just as I am” and "My God, my Father, while I stray." Her verse is characterized by tenderness of feeling, plaintive simplicity, deep devotion, and perfect rhythm. For those in sickness and sorrow she has sung as few others have done. Her hymns appeared in her brother's Psalms & Hymns and elsewhere as follows:— (1) Psalms and Hymns for Public, Private, and Social Worship; selected by the Rev. H. V. Elliott, &c., 1835-48. In this Selection her signature is "C. E." (2) The Christian Remembrancer Pocket Book. This was originally edited by Miss Kiernan, of Dublin. Miss Elliott undertook the editorship in 1834. (3) The Invalid's Hymn Book. This was originally compiled by Miss Kiernan, but before publication was re-arranged by Miss Elliott, who also added 23 hymns in the first edition., 1834. These were increased in the following edition to the sixth in 1854, when her contributions amounted to 112. From that date no change was made in the work. (4) Hours of Sorrow Cheered and Comforted; or, Thoughts in Verse, 1836. (5) Morning and Evening Hymns for a Week, printed privately in 1839 for sale for a benevolent institution in Brighton, and published in 1842. (6) Thoughts in Verse on Sacred Subjects, 1869. Miss Elliott's Poems were published, with a Memoir by her sister, Mrs. Babington, in 1873, and an additional volume of Leaves from her unpublished Journals and Poems, also appeared in 1870. In addition to her more important hymns, which are annotated under their respective first lines, there are in common use:— i. From The Invalid's Hymn-book, 1834-1841:— 1. Clouds and darkness round about thee. (1841.) Resignation. 2. Not willingly dost Thou afflict [reject]. (1841.) Divine Chastisement. 3. O God, may I look up to Thee. (1841.) Teach us to Pray. 4. This is enough; although 'twere sweet. (1834.) On being debarred from Divine Worship. 5. With tearful eyes I look around. (1841.) The Invitation "Come Unto Me." ii. From H. V. Elliott's Psalms & Hymns, 1835-1839:— 6. Glorious was that primal light. Christmas. 7. Hail, holy day, most blest, most dear. Easter. 8. My only Saviour, when I feel. Jesus His people's Rest. 9. Now let our heavenly plants and flowers. Monday Morning. 10. The Sabbath-day has reached its close. Sunday Evening. iii. From Miss Elliott's Hours of Sorrow, 1836:— 11. Father, when Thy child is dying. Prayer for a Departing Spirit. 12. Leaning on Thee, my Guide, my Friend. Death Anticipated. 13. My God, is any hour so sweet? The Hour of Prayer. 14. O faint and feeble-hearted. Resignation enforced. 15. There is a holy sacrifice. The Contrite Heart. iv. From her Hymns for a Week, 1839:— 16. Guard well thy lips; none, none can know. Thursday Morning. 17. There is a spot of consecrated ground. Pt. i. 18. This is the mount where Christ's disciples see. Pt. ii. Monday Evening. 19. This is the day to tune with care. Saturday Morning. v. From Thoughts in Verse on Sacred Subjects, 1869:— 20. As the new moons of old were given. On a Birthday. 21. I need no other plea. Pt. i. 22. I need no prayers to saints. Pt. ii. Christ, All in All. 23. Jesus, my Saviour, look on me. Christ, All in All. Several of the earlier of these hymns were repeated in the later works, and are thus sometimes attributed to the wrong work. [Rev. James Davidson, B.A.] -- John Julian, Dictionary of Hymnology (1907) ================ Elliott, Charlotte, p. 328, i. Other hymns are:— 1. O how I long to reach my home. Heaven desired. From the Invalid's Hymn Book, 1834. 2. The dawn approaches, golden streaks. Second Advent. From Thoughts in Verse, &c, 1869. Of her hymns noted on p. 328, Nos. 6, 7, 8, 9, 10,11, and 13, all appeared in the 1st edition of Elliott's Psalms & Hymns, 1835. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) ======================== Elliott, Charlotte, pp. 328, i.; 1561, ii. Further research enables us to give amended dates to some of her hymns as follows:— 1. With tearful eyes I look around (No. 5). This is in the 1835 Appendix to The Invalid's Hymn Book. 2. My only Saviour, when I feel (No. 8). Also in the 1835 Appendix. 3. Father, when Thy child is dying (No. 11). In the 1833 Appendix. 4. I want that adorning divine, p. 559, i. In the Christian Remembrancer 1848, p. 22. --John Julian, Dictionary of Hymnology, New Supplement (1907)

Thomas Kelly

1769 - 1855 Hymnal Number: 229 Author of "Hark, Ten Thousand Harps and Voices" in Songs of the Kingdom Kelly, Thomas, B.A., son of Thomas Kelly, a Judge of the Irish Court of Common Pleas, was born in Dublin, July 13, 1769, and educated at Trinity College, Dublin. He was designed for the Bar, and entered the Temple, London, with that intention; but having undergone a very marked spiritual change he took Holy Orders in 1792. His earnest evangelical preaching in Dublin led Archbishop Fowler to inhibit him and his companion preacher, Rowland Hill, from preaching in the city. For some time he preached in two unconsecrated buildings in Dublin, Plunket Street, and the Bethesda, and then, having seceded from the Established Church, he erected places of worship at Athy, Portarlington, Wexford, &c, in which he conducted divine worship and preached. He died May 14, 1854. Miller, in his Singers & Songs of the Church, 1869, p. 338 (from which some of the foregoing details are taken), says:— "Mr. Kelly was a man of great and varied learning, skilled in the Oriental tongues, and an excellent Bible critic. He was possessed also of musical talent, and composed and published a work that was received witli favour, consisting of music adapted to every form of metre in his hymn-book. Naturally of an amiable disposition and thorough in his Christian piety, Mr. Kelly became the friend of good men, and the advocate of every worthy, benevolent, and religious cause. He was admired alike for his zeal and his humility; and his liberality found ample scope in Ireland, especially during the year of famine." Kelly's hymns, 765 in all, were composed and published over a period of 51 years, as follows:— (1) A Collection of Psalms and Hymns extracted from Various Authors, by Thomas Kelly, A.B., Dublin, 1802. This work contains 247 hymns by various authors, and an Appendix of 33 original hymns by Kelly. (2) Hymns on Various Passages of Scripture, Dublin, 1804. Of this work several editions were published: 1st, 1804; 2nd, 1806; 3rd, 1809; 4th, 1812. This last edition was published in two divisions, one as Hymns on Various Passages of Scripture, and the second as Hymns adapted for Social Worship. In 1815 Kelly issued Hymns by Thomas Kelly, not before Published. The 5th edition, 1820, included the two divisions of 1812, and the new hymns of 1815, as one work. To the later editions of 1820, 1826, 1836, 1840, 1846, and 1853, new hymns were added, until the last published by M. Moses, of Dublin, 1853, contained the total of 765. As a hymn-writer Kelly was most successful. As a rule his strength appears in hymns of Praise and in metres not generally adopted by the older hymn writers. His "Come, see the place where Jesus lay" (from "He's gone, see where His body lay"),"From Egypt lately come"; “Look, ye saints, the sight is glorious"; "On the mountain's top appearing"; "The Head that once was crowned with thorns"; "Through the day Thy love has spared us"; and “We sing the praise of Him Who died," rank with the first hymns in the English language. Several of his hymns of great merit still remain unknown through so many modern editors being apparently adverse to original investigation. In addition to the hymns named and others, which are annotated under their respective first lines, the following are also in common use:— i. From the Psalms and Hymns, 1802:— 1. Grant us, Lord, Thy gracious presence. Commencement of Divine Worship. 2. Jesus, Immortal King, go on [display]. Missions. 3. Saviour, through the desert lead us. Divine Guidance Desired. 4. The day of rest once more [again] comes round. Sunday. 5. We've no abiding city here. Seeking Heaven. ii. From the Hymns on Varous Passages of Scripture, first edition, 1804 :— 6. Boundless glory, Lord, be thine. Praise for the Gospel. 7. By whom shall Jacob now arise? Epiphany. 8. Glory, glory to our King. Praise to Christ as King. 9. How pleasant is the sound of praise. Praise for Redemption. 10. How sweet to leave the world awhile. In Retirement, or For a Retreat. 11. Inform I long had bowed the knee. Jesus, the Saviour, or Praise for Salvation. 12. It is finished! sinners, hear it. Good Friday. 13. Jesus, the Shepherd of the sheep. The Good Shepherd. 14. Let reason vainly boast her power. Death. 15. Poor and afflicted, Lord, are Thine. Affliction. 16. Praise we Him to Whose kind favour. Close of Service. 11. Spared a little longer. Safety in God. 18. Stricken, smitten, and afflicted. Passiontide. ii. From the Hymns, &c, second edition, 1806:— 19. Far from us be grief and sadness. Joy of Believers. 20. Give us room that we may dwell. Missions. 21. Glory, glory everlasting. Praise of Jesus. 22. God has.turned my grief to gladness. Joy after Sorrow. 23. Happy they who trust in Jesus. Peace in Jesus. 24. Hark, the notes of angels singing. Angels praising Jesus. 25. Hark! 'tis a martial sound. Christian Life a Warfare. 26. I hear a sound [voice] that comes from far. The Gospel Message. 27. Jesus is gone up on high. Divine Worship. 28. Now [O] may the Gospel's conquering power. Home Missions. In the 1853 edition of the Hymns it begins “O may the Gospel's conqu'ring force." 29. O Zion, when I think on thee. Desiring Heaven. 30. Praise the Saviour, ye who know Him. Praise of Jesus. 31. See from Zion's sacred mountain. The Fountain of Life. 32. The atoning work is done. Jesus the High Priest. 33. Zion is Jehovah's dwelling. The Church of God. 34. Zion stands by hills surrounded. The Safety of the Church. 35. Zion's King shall reign victorious. Missions. iv. From the Hymns, &c, 3rd edition, 1809:— 36. Behold the Temple of the Lord. The Church a Spiritual Temple. 37. Blessed Fountain, full of grace. Fountain for Sin. 38. Brethren, come, our Saviour bids us. Holy Communion. 39. Fly, ye seasons, fly still faster. Second Advent Desired. 40. God of Israel, we adore Thee. Evening. 41. Gracious Lord, my heart is fixed. Trust and Peace. 42. Hark, a voice! it comes from heaven. Death. 43. Hark, that shout of rapt'rous joy. Second Advent. 44. If our warfare be laborious. Labour and Rest . 45. Lo, He comes, let all adore Him. Missions. 46. Nothing know we of the season. Time of Second Advent uncertain. 47. O had I the wings of a dove. Holiness and Heaven desired. 48. O where is now that glowing love. Despondency. 49. Our Father sits on yonder throne. God the Father. 50. Ours is a rich and royal Feast. Holy Communion. 51. Shepherd of the chosen number. Safety in the Good Shepherd. 52. We're bound for yonder land. Life, a Voyage. 53. Welcome sight! the Lord descending. The Advent. 54. What is life? 'tis but a vapour. Death anticipated. 55. Who is this that comes from Edom? Ascension. 56. Why those fears ? Behold 'tis Jesus. Stilling the Sea. 57. Without blood is no remission. Passiontide. 58. Yes, we trust the day is breaking. Missions. v. FromHymns: Not before Published, 1815:— 59. Behold the Lamb with glory crowned. Exaltation of Christ. 60. God is love, His word has said it. God is Love. 61. God of our salvation, hear us. Opening or Close of Divine Worship. 62. In Thy Name, O Lord, assembling. Commencement of Divine Worship. 63. Keep us, Lord, O [and] keep us ever. Divine Worship. 64. Let sinners saved give thanks, and sing. Praise for Salvation. 65. Praise the Lord Who died to save us. Passiontide. 66. Salvation is of God alone. God the Author of Salvation. 67. Saviour, come, Thy [saints] friends await Thee [are waiting] . Second Advent desired. 68. Sweet were the sounds that reached our ears. Divine Mercy. 69. We'll sing of the Shepherd that died. The Lost Sheep. 70. When we cannot see our way. Trust and Peace. 71. Who is this that calms the ocean? Stilling the Sea. vi. From the Hymns on F. Passages of Scripture, &c, eds. 1820 and 1826 :-— 72. Grace is the sweetest sound. Divine Grace. 73. Now let a great effectual door. Missions. 74. Now may the mighty arm awake. Missions. 75. Now may the Spirit from above. Home Missions. 76. Sing, sing His lofty praise. Praise of Jesus. 77. Sound, 6ound the truth abroad. Missions. 78. Speed Thy servants, Saviour, speed them. Departure of Missionaries. vii. From the Hymns on Various Passages, &c, 1836:— 79. Come, O Lord, the heavens rending. Prayer for Blessings. 80. The night is far spent, the day is at hand. The Second Advent. viii. From the Hymns on Various Passages, &c, circa 1845:— 81. Joyful be the hours today. Sunday. 82. Lord, behold us few and weak. Opening of Divine Service. 83. Meet Thy people, Saviour, meet us. Meetings for Prayer. 84. Saviour, send a blessing to us. Prayer for Blessings. 85. Sing of Jesus, sing for ever. Praise of Jesus. ix. From the Hymns on Various Passages, &c, 1853:— 86. Precious volume, what thou doest. Holy Scripture. 87. Unfold to us, O Lord, unfold. Divine aid to reading Holy Scripture. All these hymns, together with those annotated under their respective first lines are in the 1853 edition of Kelly's Hymns published in Dublin by M. Moses, and in London by Simpkin, Marshall & Co. Kelly's musical editions are issued by the same publishers. -- John Julian, Dictionary of Hymnology (1907) ================== Kelly, Thomas, p. 615, i. Other hymns in common use are: 1. Behold the Man! How glorious He. (1809.) Good Friday. 2. Jesus the [Thou] Shepherd of the Sheep. (1804.) Good Shepherd. 3. Saved ourselves by Jesu's blood. (1802.) For a Revival. 4. Saviour, 'tis to [unto] Thee. (1853*.) Lent. 5. See the vineyard lately planted. (1806.) Missions. Sometimes given as "See, O Lord, the vineyard planted." 6. Sing aloud to God our strength. (1809.) Praise to the Father. 7. Sing, sing His lofty praise. (1820.) Praise to Jesus. Sometimes as "Hail our eternal King" (p. 615, No. 76). 8. Sing of Him Who bore our guilt. (1853*.) Praise to Jesus. 9. Sing we praise to God above, God our Saviour, &c. (1815.) Praise for Divine Mercy. 10. Sing we praise to God above, Sing we praise, &c. (1853*.) Praise. 11. Sons of Zion, raise your songs. (1820-26) The Exalted Saviour. 12. The Lord Himself will keep. (1809.) From “We're bound for yonder land" (sec p. 615, No. 52.) 13. The God [Lord] of glory dwells on high. (1809.) Humility and Love of Christ. 14. The people of the Lord Are on their way, &c. (1820.) Life a Pilgrimage. 15. Thus saith God of His Anointed. (1809.) Missions. 16. 'Tis to us no cause of sorrow. (1815.) Resignation. 17. To the Ark away, or perish. (1815.) Safety in Jesus only. 18. To our Lord a throne is given. (1838.) Christ the King. 19. Trust ye in the Lord for ever. (1853*.) Trust in God. 20. We'll sing in spite of scorn. (1806.) Christmas. From this "The long-expected morn" is taken. 21. What tongue can tell, what fancy paint. (1806.) Saints in Glory 22. What were Sinai's awful wonders. (1809.) Advent. 23. Whence those sounds symphonious? (1815.) Christmas. 24. While in the [this] world we still [yet] remain. (1806.) Communion of Saints. 25. Yes, 'tis a rough and thorny road. (1809.) Resignation. Sometimes given as "Though rough and thorny be the way." The dates given above are those of the various editions of Kelly's Hymns. The date 1853* indicates that the hymn is in the 1853 ed. of the Hymns, but had also appeared in a previous edition which we have not seen. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

Arthur Sullivan

1842 - 1900 Person Name: Arthur Seymour Sullivan Hymnal Number: 6 Composer of "[Onward, Christian soldiers, marching as to war]" in Songs of the Kingdom 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

William B. Bradbury

1816 - 1868 Person Name: Wm. B. Bradbury Hymnal Number: 130 Composer of "[He leadeth me, O blessed thought]" in Songs of the Kingdom William Bachelder Bradbury USA 1816-1868. Born at York, ME, he was raised on his father's farm, with rainy days spent in a shoe-shop, the custom in those days. He loved music and spent spare hours practicing any music he could find. In 1830 the family moved to Boston, where he first saw and heard an organ and piano, and other instruments. He became an organist at 15. He attended Dr. Lowell Mason's singing classes, and later sang in the Bowdoin Street church choir. Dr. Mason became a good friend. He made $100/yr playing the organ, and was still in Dr. Mason's choir. Dr. Mason gave him a chance to teach singing in Machias, ME, which he accepted. He returned to Boston the following year to marry Adra Esther Fessenden in 1838, then relocated to Saint John, New Brunswick. Where his efforts were not much appreciated, so he returned to Boston. He was offered charge of music and organ at the First Baptist Church of Brooklyn. That led to similar work at the Baptist Tabernacle, New York City, where he also started a singing class. That started singing schools in various parts of the city, and eventually resulted in music festivals, held at the Broadway Tabernacle, a prominent city event. He conducted a 1000 children choir there, which resulted in music being taught as regular study in public schools of the city. He began writing music and publishing it. In 1847 he went with his wife to Europe to study with some of the music masters in London and also Germany. He attended Mendelssohn funeral while there. He went to Switzerland before returning to the states, and upon returning, commenced teaching, conducting conventions, composing, and editing music books. In 1851, with his brother, Edward, he began manufacturring Bradbury pianos, which became popular. Also, he had a small office in one of his warehouses in New York and often went there to spend time in private devotions. As a professor, he edited 59 books of sacred and secular music, much of which he wrote. He attended the Presbyterian church in Bloomfield, NJ, for many years later in life. He contracted tuberculosis the last two years of his life. John Perry

Wolfgang Amadeus Mozart

1756 - 1791 Person Name: Mozart Hymnal Number: 186 Composer of "[Jesus, I my cross have taken]" in Songs of the Kingdom 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

Charles C. Converse

1832 - 1918 Person Name: C. C. Converse Hymnal Number: 227 Composer of "[What a Friend we have in Jesus]" in Songs of the Kingdom Pseudonyms: Clare, Lester Vesé, Nevers, Karl Reden, Revons ================================= Charles Crozat Converse LLD USA 1832-1918. Born in Warren, MA, he went to Leipzig, Germany to study law and philosophy, as well as music theory and composition under Moritz Hauptmann, Friedrich Richter, and Louis Plaidy at the Leipzig Conservatory. He also met Franz Liszt and Louis Spohr. He became an author, composer, arranger and editor. He returned to the states in 1859 and graduated from the Albany, NY, Law School two years later. He married Lida Lewis. From 1875 he practiced law in Erie, PA, and also was put in charge of the Burdetta Organ Company. He composed hymn tunes and other works. He was offered a DM degree for his Psalm 126 cantata, but he declined the offer. In 1895 Rutherford College honored him with a LLD degree. He spent his last years in Highwood, NJ, where he died. He published “New method for the guitar”, “Musical bouquet”, “The 126th Psalm”, “Sweet singer”, “Church singer”, “Sayings of Sages” between 1855 and 1863. he also wrote the “Turkish battle polka” and “Rock beside the sea” ballad, and “The anthem book of the Episcopal Methodist Church”. John Perry

Louis Bourgeois

1510 - 1561 Person Name: L. Bourgeois Hymnal Number: 235 Composer of "DOXOLOGY" in Songs of the Kingdom Louis Bourgeois (b. Paris, France, c. 1510; d. Paris, 1561). In both his early and later years Bourgeois wrote French songs to entertain the rich, but in the history of church music he is known especially for his contribution to the Genevan Psalter. Apparently moving to Geneva in 1541, the same year John Calvin returned to Geneva from Strasbourg, Bourgeois served as cantor and master of the choristers at both St. Pierre and St. Gervais, which is to say he was music director there under the pastoral leadership of Calvin. Bourgeois used the choristers to teach the new psalm tunes to the congregation. The extent of Bourgeois's involvement in the Genevan Psalter is a matter of scholarly debate. Calvin had published several partial psalters, including one in Strasbourg in 1539 and another in Geneva in 1542, with melodies by unknown composers. In 1551 another French psalter appeared in Geneva, Eighty-three Psalms of David, with texts by Marot and de Beze, and with most of the melodies by Bourgeois, who supplied thirty four original tunes and thirty-six revisions of older tunes. This edition was republished repeatedly, and later Bourgeois's tunes were incorporated into the complete Genevan Psalter (1562). However, his revision of some older tunes was not uniformly appreciated by those who were familiar with the original versions; he was actually imprisoned overnight for some of his musical arrangements but freed after Calvin's intervention. In addition to his contribution to the 1551 Psalter, Bourgeois produced a four-part harmonization of fifty psalms, published in Lyons (1547, enlarged 1554), and wrote a textbook on singing and sight-reading, La Droit Chemin de Musique (1550). He left Geneva in 1552 and lived in Lyons and Paris for the remainder of his life. Bert Polman

Edward Hopper

1816 - 1888 Person Name: Rev. Edward Hopper Hymnal Number: 90 Author of "Jesus, Saviour, Pilot Me" in Songs of the Kingdom Rv Edward Hopper DD USA 1816-1888. Born at New York City, the son of a merchant, he graduated from Union Theological Seminary, New York. He married Margaretta Wheeler. He was an author and poet and wrote several books. He pastored the Greenville Presbyterian Church, Sag Harbor Presbyterian Church on Long Island, and the Church of Sea and Land, NYC, a church for sailors, where he remained the rest of his life (for years the church building was shared with the First Chinese Presbyterian Church). Once he was asked to compose a hymn verse for the anniversary of the Seamen’s Friend’s Society meeting. Instead, he brought the verse for a hymn he had written eight years before (noted below). John Edgar Gould saw Hopper’s poem (6 stanzas) and composed a tune for it. Hopper died of a heart attack while writing a poem about heaven at his desk. John Perry =============== Hopper, Edward, D.D., was born in 1818, and graduated at Union Theological Seminary, New York, 1842. He is pastor of the Church of Sea and Land, N. Y. He is the author of 1. Jesus, Saviour, pilot me [us]. Jesus the Pilot. 2. They pray the best who pray and watch. Watching & Prayer. 3. Wrecked and struggling in mid-ocean. Wreck & Rescue. Of these No. 1 appeared in the Baptist Praise Book, 1871, and 2 & 3 in Hymns & Songs of Praise, N. Y., 1874. -- John Julian, Dictionary of Hymnology ======================= See also in: Hymn Writers of the Church