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T. C. O'Kane

1830 - 1912 Hymnal Number: 82 Composer of "[On Jordan's stormy banks I stand]" in Gospel Hymns No. 3 O'Kane, Tullius Clinton, an American writer, born March 10, 1830, is the author of "O sing of Jesus, Lamb of God" (Redemption); and "Who, who are these beside the chilly wave?" (Triumph in Death), in I. D. Sankey's Sacred Songs and Solos, 1878 and 1881. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) =========================== Tullius Clinton O'Kane was born in Fairfield County, Ohio, March 10, 1830. He resided with his parents in this vicinity until the spring of 1849, when he went to Delaware, Ohio, and entered the Ohio Wesleyan University, from which he graduated in 1852, with the degree A. B., and received his A. M. degree three years later from his Alma Mater. Immediately upon his graduation, he was tendered a position in the Faculty as Tutor of Mathematics, which he accepted and successfully filled for five years. The students always called him "Professor," by which title he is known to the present day. His musical abilities were early recognized in the University, and for years he was the musical precentor in the daily chapel devotions. He organized and maintained a Choral Society in the College, and was the first musical instructor in the Ohio Wesleyan Female College, which a few years ago was incorporated into the University. In 1857 he was elected to a principalship in the Cincinnati public schools, and served in that capacity until 1861, when he resigned his position to accept a place in the piano establishment of Philip Phillips & Co. He remained with this house until its removal to New York City in 1867, when, although urged to be transferred with the house to that city, he preferred to remove with his family back to Delaware, Ohio. For the ensuing six years he traveled over the state of Ohio as the general agent for the Smith American Organ Co., of Boston, Mass. During this time he visited conferences, Sunday-school conventions, both State and County, introducing his Sunday-school singing books, and in this way became well known throughout his native state, and quite extensively in some of the adjoining states. His musical compositions were first published in Philip Phillips' Musical Leaves, in 1865, and since then but few Sunday-school singing books have appeared without one or more of his compositions. His first music book, Fresh Leaves, was issued in 1868. This was followed at intervals by Dew Drops, Songs of Worship, Every Sabbath, Jasper and Gold, Redeemer's Praise, Glorious Things and Morning Stars. In connection with his son, Edward T. O'Kane, who is himself a most excellent composer and a very skillful organist, in 1882 he issued Selected Anthems, a book designed for use by the more advanced choirs. In association with J. R. Sweney and "Chaplain" McCabe, he issued Joy to the World, a song book for prayer-meetings, and the same editors, with the addition of W. J. Kirkpatrick, compiled Songs of Redeeming Love, No. 1, in 1882, and No. 2 in 1884. He also issued Songs of Praises, Unfading Treasures and Forward Songs. Some of Professor O'Kane's best known songs are Glorious Fountain, The Home Over There, On Jordan's Stormy Banks, Say, are You Ready? and many others. With Mr. O'Kane, music and musical composition have ever been a recreation, rather than a profession. He is an excellent leader of choirs, but his forte seems to be in leading large congregations, Sunday-schools and social religious meetings in sacred song. He sings "with the spirit and the understanding also " — with a due appreciation of both words and music — and very naturally infuses his enthusiasm into his audiences so that they cannot "keep from singing." In his music he endeavors to catch the spirit of the hymn, and then give it expression in the music he composes for it. This sometimes seems to have been almost an inspiration, and could be illustrated by a reference to the circumstances under which many of his compositions have been made. One of his earlier and more widely known pieces is that entitled, Over There. He says he cut this hymn out of some newspaper and put it with others in his portfolio, intending some time when he felt like it to give it a musical setting. One Sunday afternoon, after studying his lesson for the next session of his Sunday-school, he opened his portfolio, and turning over the selections, found these words, and something seemed to say, "Now's your time." He sat down at the organ, studied the hymn intently for a few moments, and then, as his fingers touched the keys of the instrument, melody and harmony were in every movement, and when the stanza was ended, melody and harmony found their expression in the chorus, and Over There was finished. Another of his well known songs is Sweeping Through the Gates. One cold, blustery day he had occasion to go from his residence to the railroad depot, about a mile distant, and in his route had to cross the river on a suspension foot-bridge. As he came down to the bridge, he thought of the "river of death," so cold, with no bridge, and then the words of the dying Cookman came to his mind, and he exclaimed to himself: 'Who, who are these beside the chilly wave? " Words, melody and refrain seemed to come all at once and all together, so that by the time he arrived back at his home, the composition was complete. Professor O'Kane is a genial, modest Christian gentleman, who carries sunshine wherever he goes. His greatest joy comes from the consciousness that his music has cheered and comforted the hearts of Christian people all over the world, and has been the means of winning thousands from the pleasures of the world to the higher enjoyments of the Christian religion. His song, Sweeping Through the Gates, will be sung till all the ransomed are gathered Over There. -Hall, J. H. (c1914). Biographies of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company. ======================== O'Kane, Tullius Clinton. Died 10 February 1912, Delaware, Ohio. Buried in Oak Grove Cemetery, Delaware, Ohio. --DNAH Archives

H. R. Palmer

1834 - 1907 Hymnal Number: 68 Composer of "[The prize is set before us]" in Gospel Hymns No. 3 Palmer, Horatio Richmond, MUS. DOC, was born April 26, 1834. He is the author of several works on the theory of music; and the editor of some musical editions of hymnbooks. To the latter he contributed numerous tunes, some of which have attained to great popularity, and 5 of which are in I. D. Sankey's Sacred Songs and Solos, London, 1881. His publications include Songs of Love for the Bible School; and Book of Anthems, the combined sale of which has exceeded one million copies. As a hymnwriter he is known by his "Yield not to temptation," which was written in 1868, and published in the National Sunday School Teachers' Magazine, from which it passed, with music by the author, into his Songs of Love, &c, 1874, and other collections. In America its use is extensive. Dr. Palmer's degree was conferred by the University of Chicago in 1880. -- John Julian, Dictionary of Hymnology (1907) =============== Palmer, H. R., p. 877, i. The hymn "Would you gain the best in life" (Steadfastness), in the Congregational Sunday School Supplement, 1891, the Council School Hymn Book, 1905, and others, is by this author. --John Julian, Dictionary of Hymnology, New Supplement (1907)

George F. Root

1820 - 1895 Person Name: G. F. R. Hymnal Number: 19 Author of "Why do You Wait?" in Gospel Hymns No. 3 Root, George F., MUS. DOC, born in Sheffield, Berkshire County, Mass., Aug. 30, 1820. He is much more widely known as a composer of popular music than as a hymn writer. Four of his hymns are in I. D. Sankey's Sacred Songs & Solos, 1878. Nos. 16, 100, 293, and 297. A sympathetic biographical sketch, with portrait, is in The Tonic Sol-Fa Reporter, Sep. 1886. He died Aug. 6, 1895. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) ===================== George Frederick Root was born in Sheffield, Mass., August 30, 1820. His father moved to North Reading, near Boston, when the boy was six years old, and there his youth was spent. He was always fond of music— not singing at all as a boy, but played upon every kind of instrument that came in his way. At thirteen it was his pride that he could "play a tune" on as many instruments as he was years old. His dream of life was to be a musician, although such an ambition was looked down upon by all his relatives and friends, excepting a fond mother. In the fall of 1838 he went to Boston and made an engagement to work for Mr. A. N. Johnson and take lessons on the piano. His father and one of the brothers were at the time in South America, and the mother, with six younger children, was at home on the farm. When he secured the engagement with Mr. Johnson to receive three dollars a week and board and lessons, the neighbors became interested and encouraged him to go ahead, they promising to help look after the farm and see that the family got along. The young man's happiness over these events can better be imagined than described. On the second day of October, 1838, he entered upon his duties in his new heaven on earth located at Harmony Hall, Mr. Johnson's music-room, in Boston. His duties were to see to the fires, care for the room, answer callers, give information about Mr. Johnson when he was out, and practice his lessons when not otherwise engaged. He worked industriously and made steady progress. It was but a few weeks till Mr. Johnson had him playing for the prayer-meeting, and but a few more till he began turning over pupils to him. In about seven weeks' time Mr. Johnson encouraged him by a considerable increase of salary. A most important event to him was meeting Dr. Lowell Mason and being accepted as a bass singer in the celebrated Bowdoin Street choir. Also, on Mr. Johnson's recommendation, he began taking private voice lessons of Mr. Geo. Jas. Webb, the then celebrated voice teacher of Boston. He continued at least a year with Mr. Webb. His first real singing class was taught the following fall, 1839, at the North End. It lasted nearly through the winter, and on the closing night his class made him a present of a silver goblet, suitably engraved, which he kept among his treasures. Before the first year was up Mr. Johnson proposed a five year partnership, by which Mr. Root was to receive one-third of their earnings, and the former was to have the privilege of visiting Germany part of the time if he chose. They then changed their quarters to three rooms in the basement of Park Street Church. The annual rental was six hundred dollars. They were kept quite busy. At this time Dr. Mason's music teaching in the public schools was a growing success, and Messrs. Johnson and Root were employed to assist him. Drs. Mason and Webb had introduced what is now called Musical Conventions a year or two previous to this. They called them "The Teachers' Class." Teachers and singers were called to Boston from surrounding territory to study and practice pretty much as they do now at normals. In 1841 Mr. Root became one of the teachers in this class. He taught vocal training and continued this work for years afterward in Dr. Mason's teachers' classes, and later incorporated the same method in his own normals. During this year Mr. Johnson went to Germany, and left the two large church choirs (Winter Street and Park Street) in charge of Mr. Root. One of the organs was played by a pupil — Mr. S. A. Bancroft. Everything went smoothly during Mr. Johnson's absence as it did also after his return. During the last year of the five-year partnership, Mr. Root was called to take the organ at Bowdoin Street, Mr. Mason changing to Winter Street. An amicable settlement was made between Messrs. Johnson and Root, and the partnership dissolved. In 1811, Mr. Jacob Abbott (father of Lyman Abbott)and his three brothers had established a young ladies' school in New York City. They wanted a music teacher, and offered the position to Mr. Root. They also secured him the organ and choir of the Mercer Street Church, with prospects for other good work. It required pretty strong persuasive arguments to tempt Mr. Root to leave Boston, he was doing well there, and as the sequel shows, there was an attraction in Boston that held him in too tight a grasp to be relinquished by the mere offer of greater power and place. He made up his mind, however, only after getting the consent of the powders of Boston to take with him this [to him] the greatest attraction of the city — Miss Mary Olive Woodman — an accomplished lady, a sweet singer, and a member of a prominent family of musicians. He went to New York first to prepare a home, and in August, 1845, returned for his bride, who took her place in his New York choir as leading soprano, and through his long and eventful career she was ever at his side, a true helpmeet. He was soon employed at Rutger's Female Institute, Miss Haines' School for Young Ladies, Union Theological Seminary and the New York State Institution for the Blind. Within six weeks after he arrived in New York his time was fully occupied. He continued with Mr. Abbott's young ladies' school ten years. While teaching in New York he continued his summer work with Messrs. Mason and Webb in Teachers' Classes. Up to the year 1849 he had written but little music; only a few hymn tunes while in Boston. He needed more music for the young ladies of his schools, so he made his first book, The Young Ladies' Choir, of which he had enough copies made for his own use, as he had no thought of offering it to the public. Then in connection with Mr. J. E. Sweetser, they compiled the Root and Sweetser's Collection. Mr. Root did work enough for two men, hence broke down in health. Mr. Abbott suggested that he take a trip to Paris. After weighing the matter carefully, in December, 1853, he sailed, and in due time arrived at Paris, where he began studying French, voice culture and piano under celebrated teachers. After spending nearly a year abroad, he returned home in improved health and ready for active work. He began to feel the need of new music for his classes, and after some thought decided upon a musical play ; the subject and title, The Flower Queen. At the Institution for the Blind was a young lady, a former pupil, but now a teacher who had shown some poetical talent. He asked her to help him with the words. He would suggest in prose what the flowers might say and she would put it into rhyme. She did it so well that it seldom needed any alteration. This lady was the now famous Fanny Crosby. The cantata became very popular. About this time Mr. Root wrote a half dozen simple songs for the people. They all sold pretty well, but Hazel Dell and Rosalie, the Prairie Flower, became the most popular, and had a large sale. It was in the summer of 1853 that the first real normal was held. Mr. Root originated it, and held it in New York. The principal teachers were Messrs. Mason, Root, Hastings, and Bradbury. This school became famous. Sessions were also held at North Reading, Mass., a village near Mr. Root's "Willow Farm Home," with Dr. Mason, Mr. Webb, Mr. Bradbury and himself as principal teachers. About this time Mr. Root decided to give up his work in New York, and devote himself entirely to conventions, normal work and authorship. He was eminently successful. Among the most eminent teachers and composers of our country have been students in Dr. Geo. F. Root's Normal Musical Institute. In 1860 Dr. Root settled in Chicago and entered the music publishing business with his brother E. T. Root, and C. M. Cady, as "Root & Cady," Mr. Root's reputation being the most important capital of the firm. His books and popular songs soon made the new firm prosperous. Then came the war with its horror. Dr. Root wielded his musical sword in the way of writing war songs, which made him famous. The Battle Cry of Freedom, Just Before the Battle, Mother, and others, made thousands of dollars for the music house. In the great Chicago fire of 1871 the interests of the firm of Root & Cady became engulfed in the general ruin. Their loss was upward of a quarter of a million dollars. They then sold their book catalogue, plates and copyrights to John Church & Co., of Cincinnati, and the sheet music plates and copyrights to S. Brainard's Sons, Cleveland. These sales realized about §130,000. The final result was that Dr. Root, his talented son F. W., and others became connected with John Church & Co. Under this new business relationship Mr. Root went right on with his normal and convention work; also issued a great many new books and cantatas. In 1872 the Chicago University very worthily conferred upon him the degree Doctor of Music. In 1886 he made a trip to Scotland and England, and arranged with publishers to issue some of his cantatas. He was royally received. Dr. Root was the author of about seventy-five books, nearly two hundred songs in sheet form, and many popular gospel songs. Dr. Root occupies a prominent place in the musical history of this country. It was Dr. Mason who lifted music from almost nothing and gave it an impetus, but he left no better follower than Dr. Root to carry on his work. He was a man of spotless integrity and high Christian character, and to know him was to love him. At the time of Dr. Root's death he was at Bailey Island, Maine, a summer resort, where he and other relatives had cottages. On August 6, 1895, he was seized with neuralgia of the heart — and died within one hour. He was buried at North Reading, Mass., his old home. --Hall, J. H. (c1914). Biographies of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company.

Samuel Stennett

1727 - 1795 Person Name: Rev. Samuel Stennett Hymnal Number: 82 Author of "On Jordan's Stormy Banks" in Gospel Hymns No. 3 Samuel Stennett was born at Exeter, in 1727. His father was pastor of a Baptist congregation in that city; afterwards of the Baptist Chapel, Little Wild Street, London. In this latter pastorate the son succeeded the father in 1758. He died in 1795. Dr. Stennett was the author of several doctrinal works, and a few hymns. --Annotations of the Hymnal, Charles Hutchins, M.A. 1872. ====================== Stennett, Samuel, D.D., grandson of Joseph Stennett, named above, and son of the Rev. Joseph Stennett, D.D., was born most pro;bably in 1727, at Exeter, where his father was at that time a Baptist minister. When quite young he removed to London, his father having become pastor of the Baptist Church in Little Wild Street, Lincoln's Inn Fields. In 1748, Samuel Stennett became assistant to his father in the ministry, and in 1758 succeeded him in the pastoral office at Little Wild Street. From that time until his death, on Aug. 24, 1795, he held a very prominent position among the Dissenting ministers of London. He was much respected by some of the statesmen of the time, and used his influence with them in support of the principles of religious freedom. The celebrated John Howard was a member of his congregation and an attached friend. In 1763, the University of Aberdeen conferred on him the degree of D.D. Dr. S. Stennett's prose publications consist of volumes of sermons, and pamphlets on Baptism and on Nonconformist Disabilities. He wrote one or two short poems, and contributed 38 hymns to the collection of his friend, Dr. Rippon (1787). His poetical genius was not of the highest order, and his best hymns have neither the originality nor the vigour of some of his grandfather's. The following, however, are pleasing in sentiment and expression, and are in common use more especially in Baptist congregations:— 1. And have I, Christ, no love for Thee? Love for Christ desired. 2. And will the offended God again? The Body the Temple of the Holy Ghost. 3. As on the Cross the Saviour hung. The Thief on the Cross. 4. Behold the leprous Jew. The healing of the Leper. 5. Come, every pious heart. Praise to Christ. 6. Father, at Thy call, I come. Lent. 7. Great God, amid the darksome night. God, a Sun. 8. Great God, what hosts of angels stand. Ministry of Angels. 9. Here at Thy Table, Lord, we meet. Holy Communion. 10. How charming is the place. Public Worship. 11. How shall the sons of men appear? Acceptance through Christ alone. 12. How soft the words my [the] Saviour speaks. Early Piety. 13. How various and how new. Divine Providence. 14. Not all the nobles of the earth. Christians as Sons of God. 15. On Jordan's stormy banks I stand. Heaven anticipated. 16. Prostrate, dear Jesus, at thy feet. Lent. Sometimes, "Dear Saviour, prostrate at Thy feet." 17. Should bounteous nature kindly pour. The greatest of these is Love. From this, "Had I the gift of tongues," st. iii., is taken. 18. Thy counsels of redeeming grace. Holy Scripture. From "Let avarice, from shore to shore." 19. Thy life 1 read, my dearest Lord. Death in Infancy. From this "'Tis Jesus speaks, I fold, says He." 20. 'Tis finished! so the Saviour cried. Good Friday. 21. To Christ, the Lord, let every tongue. Praise of Christ. From this,"Majestic sweetness sits enthroned," st. iii., is taken. 22. To God, my Saviour, and my King. Renewing Grace. 23. To God, the universal King. Praise to God. 24. What wisdom, majesty, and grace. The Gospel. Sometimes, “What majesty and grace." 25. Where two or three with sweet accord. Before the Sermon. 26. Why should a living man complain? Affliction. From this, "Lord, see what floods of sorrow rise," st. iii., is taken. 27. With tears of anguish I lament. Lent. 28. Yonder amazing sight I see. Good Friday. All these hymns, with others by Stennett, were given in Rippon's Baptist Selection, 1787, a few having previously appeared in A Collection of Hymns for the use of Christians of all Denominations, London. Printed for the Booksellers, 1782; and No. 16, in the 1778 Supplement to the 3rd edition of the Bristol Baptist Selection of Ash and Evans. The whole of Stennett's poetical pieces and hymns were included in vol. ii. of his Works, together with a Memoir, by W. J. Jones. 4 vols., 1824. [Rev. W. R. Stevenson, M.A.] --John Julian, Dictionary of Hymnology (1907)

Mary Dana Shindler

1810 - 1883 Person Name: Mrs. Mary S. B. Dana Hymnal Number: 100 Author of "I'm a Pilgrim" in Gospel Hymns No. 3 Shindler, Mary Stanley Bunce, née Palmer, better known as Mrs. Dana, was born in Beaufort, South Carolina, Feb. 15, 1810. In 1835 she was married to Charles E. Dana, of New York, and removed with him to Bloomington, now Muscatine, Iowa, in 1838. Mr. Dana died in 1839, and Mrs. Dana returned to South Carolina. Subsequently she was married to the Rev. Robert D. Shindler, who was Professor in Shelby College, Kentucky, in 1851, and afterwards in Texas. Mrs. Shindler, originally a Presbyterian, was for some time an Unitarian; but of late years she has been a member of the Protestant Episcopal Church. As Mary S. B. Dana she published the Southern Harp, 1840, and the Northern Harp, 1841. From these works her hymns have been taken, 8 of which are in T. O. Summers's Songs of Zion, 1851. The best known are:— 1. Fiercely came the tempest sweeping. Christ stilling the storm. (1841.) 2. I'm a pilgrim, and I'm a stranger. A Christian Pilgrim. (1841.) 3. O sing to me of heaven. Heaven contemplated. (1840.) Sometimes given as "Come, sing to me of heaven." [Rev. F. M. Bird, M.A.] -- John Julian, Dictionary of Hymnology (1907) =================== Shindler, Mary S. B., p. 1055, i. Other hymns usually attributed to this writer, are "Prince of Peace, control my will" (Perfect Peace), in the Church of England Magazine, March 3, 1858, in 32 lines; and " Once upon the heaving ocean" (Jesus calming the Sea). --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

George C. Stebbins

1846 - 1945 Person Name: Geo. C. Stebbins Hymnal Number: 3 Composer of "[I've found a Friend; oh, such a Friend]" in Gospel Hymns No. 3 Stebbins studied music in Buffalo and Rochester, New York, then became a singing teacher. Around 1869, he moved to Chicago, Illinois, to join the Lyon and Healy Music Company. He also became the music director at the First Baptist Church in Chicago. It was in Chicago that he met the leaders in the Gospel music field, such as George Root, Philip Bliss, & Ira Sankey. At age 28, Stebbins moved to Boston, Massachusetts, where he became music director at the Claredon Street Baptist Church; the pastor there was Adoniram Gordon. Two years later, Stebbins became music director at Tremont Temple in Boston. Shortly thereafter, he became involved in evangelism campaigns with Moody and others. Around 1900, Stebbins spent a year as an evangelist in India, Egypt, Italy, Palestine, France and England. (www.hymntime.com/tch)

James McGranahan

1840 - 1907 Hymnal Number: 8 Composer of "[I will sing of my Redeemer]" in Gospel Hymns No. 3 James McGranahan USA 1840-1907. Born at West Fallowfield, PA, uncle of Hugh McGranahan, and son of a farmer, he farmed during boyhood. Due to his love of music his father let him attend singing school, where he learned to play the bass viol. At age 19 he organized his first singing class and soon became a popular teacher in his area of the state. He became a noted musician and hymns composer. His father was reluctant to let him pursue this career, but he soon made enough money doing it that he was able to hire a replacement farmhand to help his father while he studied music. His father, a wise man, soon realized how his son was being used by God to win souls through his music. He entered the Normal Music School at Genesco, NY, under William B Bradbury in 1861-62. He met Miss Addie Vickery there. They married in 1863, and were very close to each other their whole marriage, but had no children. She was also a musician and hymnwriter in her own right. For a time he held a postmaster’s job in Rome, PA. In 1875 he worked for three years as a teacher and director at Dr. Root’s Normal Music Institute. He because well-known and successful as a result, and his work attracted much attention. He had a rare tenor voice, and was told he should train for the operatic stage. It was a dazzling prospect, but his friend, Philip Bliss, who had given his wondrous voice to the service of song for Christ for more than a decade, urged him to do the same. Preparing to go on a Christmas vacation with his wife, Bliss wrote McGranahan a letter about it, which McGranahan discussed with his friend Major Whittle. Those two met in person for the first time at Ashtubula, OH, both trying to retrieve the bodies of the Bliss’s, who died in a bridge-failed train wreck. Whittle thought upon meeting McGranahan, that here is the man Bliss has chosen to replace him in evangelism. The men returned to Chicago together and prayed about the matter. McGranahan gave up his post office job and the world gained a sweet gospel singer/composer as a result. McGranahan and his wife, and Major Whittle worked together for 11 years evangelizing in the U.S., Great Britain, and Ireland. They made two visits to the United Kingdom, in 1880 and 1883, the latter associated with Dwight Moody and Ira Sankey evangelistic work. McGranahan pioneered use of the male choir in gospel song. While holding meetings in Worcester, MA, he found himself with a choir of only male voices. Resourcefully, he quickly adapted the music to those voices and continued with the meetings. The music was powerful and started what is known as male choir and quartet music. Music he published included: “The choice”, “Harvest of song”, “Gospel Choir”,, “Gospel hymns #3,#4, #5, #6” (with Sankey and Stebbins), “Songs of the gospel”, and “Male chorus book”. The latter three were issued in England. In 1887 McGranahan’s health compelled him to give up active work in evangelism. He then built a beautiful home, Maplehurst, among friends at Kinsman, OH, and settled down to the composition of music, which would become an extension of his evangelistic work. Though his health limited his hours, of productivity, some of his best hymns were written during these days. McGranahan was a most lovable, gentle, modest, unassuming, gentleman, and a refined and cultured Christian. He loved good fellowship, and often treated guests to the most delightful social feast. He died of diabetes at Kinsman, OH, and went home to be with his Savior. John Perry

John R. Sweney

1837 - 1899 Person Name: Jno. R. Sweney Hymnal Number: 84 Composer of "[I've reach'd the land of corn and wine]" in Gospel Hymns No. 3 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

Isaac Watts

1674 - 1748 Person Name: Rev. Isaac Watts Hymnal Number: 15 Author of "Joy to the World" in Gospel Hymns No. 3 Isaac Watts was the son of a schoolmaster, and was born in Southampton, July 17, 1674. He is said to have shown remarkable precocity in childhood, beginning the study of Latin, in his fourth year, and writing respectable verses at the age of seven. At the age of sixteen, he went to London to study in the Academy of the Rev. Thomas Rowe, an Independent minister. In 1698, he became assistant minister of the Independent Church, Berry St., London. In 1702, he became pastor. In 1712, he accepted an invitation to visit Sir Thomas Abney, at his residence of Abney Park, and at Sir Thomas' pressing request, made it his home for the remainder of his life. It was a residence most favourable for his health, and for the prosecution of his literary labours. He did not retire from ministerial duties, but preached as often as his delicate health would permit. The number of Watts' publications is very large. His collected works, first published in 1720, embrace sermons, treatises, poems and hymns. His "Horae Lyricae" was published in December, 1705. His "Hymns" appeared in July, 1707. The first hymn he is said to have composed for religious worship, is "Behold the glories of the Lamb," written at the age of twenty. It is as a writer of psalms and hymns that he is everywhere known. Some of his hymns were written to be sung after his sermons, giving expression to the meaning of the text upon which he had preached. Montgomery calls Watts "the greatest name among hymn-writers," and the honour can hardly be disputed. His published hymns number more than eight hundred. Watts died November 25, 1748, and was buried at Bunhill Fields. A monumental statue was erected in Southampton, his native place, and there is also a monument to his memory in the South Choir of Westminster Abbey. "Happy," says the great contemporary champion of Anglican orthodoxy, "will be that reader whose mind is disposed, by his verses or his prose, to imitate him in all but his non-conformity, to copy his benevolence to men, and his reverence to God." ("Memorials of Westminster Abbey," p. 325.) --Annotations of the Hymnal, Charles Hutchins, M.A., 1872. ================================= Watts, Isaac, D.D. The father of Dr. Watts was a respected Nonconformist, and at the birth of the child, and during its infancy, twice suffered imprisonment for his religious convictions. In his later years he kept a flourishing boarding school at Southampton. Isaac, the eldest of his nine children, was born in that town July 17, 1674. His taste for verse showed itself in early childhood. He was taught Greek, Latin, and Hebrew by Mr. Pinhorn, rector of All Saints, and headmaster of the Grammar School, in Southampton. The splendid promise of the boy induced a physician of the town and other friends to offer him an education at one of the Universities for eventual ordination in the Church of England: but this he refused; and entered a Nonconformist Academy at Stoke Newington in 1690, under the care of Mr. Thomas Rowe, the pastor of the Independent congregation at Girdlers' Hall. Of this congregation he became a member in 1693. Leaving the Academy at the age of twenty, he spent two years at home; and it was then that the bulk of the Hymns and Spiritual Songs (published 1707-9) were written, and sung from manuscripts in the Southampton Chapel. The hymn "Behold the glories of the Lamb" is said to have been the first he composed, and written as an attempt to raise the standard of praise. In answer to requests, others succeeded. The hymn "There is a land of pure delight" is said to have been suggested by the view across Southampton Water. The next six years of Watts's life were again spent at Stoke Newington, in the post of tutor to the son of an eminent Puritan, Sir John Hartopp; and to the intense study of these years must be traced the accumulation of the theological and philosophical materials which he published subsequently, and also the life-long enfeeblement of his constitution. Watts preached his first sermon when he was twenty-four years old. In the next three years he preached frequently; and in 1702 was ordained pastor of the eminent Independent congregation in Mark Lane, over which Caryl and Dr. John Owen had presided, and which numbered Mrs. Bendish, Cromwell's granddaughter, Charles Fleetwood, Charles Desborough, Sir John Hartopp, Lady Haversham, and other distinguished Independents among its members. In this year he removed to the house of Mr. Hollis in the Minories. His health began to fail in the following year, and Mr. Samuel Price was appointed as his assistant in the ministry. In 1712 a fever shattered his constitution, and Mr. Price was then appointed co-pastor of the congregation which had in the meantime removed to a new chapel in Bury Street. It was at this period that he became the guest of Sir Thomas Abney, under whose roof, and after his death (1722) that of his widow, he remained for the rest of his suffering life; residing for the longer portion of these thirty-six years principally at the beautiful country seat of Theobalds in Herts, and for the last thirteen years at Stoke Newington. His degree of D.D. was bestowed on him in 1728, unsolicited, by the University of Edinburgh. His infirmities increased on him up to the peaceful close of his sufferings, Nov. 25, 1748. He was buried in the Puritan restingplace at Bunhill Fields, but a monument was erected to him in Westminster Abbey. His learning and piety, gentleness and largeness of heart have earned him the title of the Melanchthon of his day. Among his friends, churchmen like Bishop Gibson are ranked with Nonconformists such as Doddridge. His theological as well as philosophical fame was considerable. His Speculations on the Human Nature of the Logos, as a contribution to the great controversy on the Holy Trinity, brought on him a charge of Arian opinions. His work on The Improvement of the Mind, published in 1741, is eulogised by Johnson. His Logic was still a valued textbook at Oxford within living memory. The World to Come, published in 1745, was once a favourite devotional work, parts of it being translated into several languages. His Catechisms, Scripture History (1732), as well as The Divine and Moral Songs (1715), were the most popular text-books for religious education fifty years ago. The Hymns and Spiritual Songs were published in 1707-9, though written earlier. The Horae Lyricae, which contains hymns interspersed among the poems, appeared in 1706-9. Some hymns were also appended at the close of the several Sermons preached in London, published in 1721-24. The Psalms were published in 1719. The earliest life of Watts is that by his friend Dr. Gibbons. Johnson has included him in his Lives of the Poets; and Southey has echoed Johnson's warm eulogy. The most interesting modern life is Isaac Watts: his Life and Writings, by E. Paxton Hood. [Rev. H. Leigh Bennett, M.A.] A large mass of Dr. Watts's hymns and paraphrases of the Psalms have no personal history beyond the date of their publication. These we have grouped together here and shall preface the list with the books from which they are taken. (l) Horae Lyricae. Poems chiefly of the Lyric kind. In Three Books Sacred: i.To Devotion and Piety; ii. To Virtue, Honour, and Friendship; iii. To the Memory of the Dead. By I. Watts, 1706. Second edition, 1709. (2) Hymns and Spiritual Songs. In Three Books: i. Collected from the Scriptures; ii. Composed on Divine Subjects; iii. Prepared for the Lord's Supper. By I. Watts, 1707. This contained in Bk i. 78 hymns; Bk. ii. 110; Bk. iii. 22, and 12 doxologies. In the 2nd edition published in 1709, Bk. i. was increased to 150; Bk. ii. to 170; Bk. iii. to 25 and 15 doxologies. (3) Divine and Moral Songs for the Use of Children. By I. Watts, London, 1715. (4) The Psalms of David Imitated in the Language of the New Testament, And apply'd to the Christian State and Worship. By I. Watts. London: Printed by J. Clark, at the Bible and Crown in the Poultry, &c, 1719. (5) Sermons with hymns appended thereto, vol. i., 1721; ii., 1723; iii. 1727. In the 5th ed. of the Sermons the three volumes, in duodecimo, were reduced to two, in octavo. (6) Reliquiae Juveniles: Miscellaneous Thoughts in Prose and Verse, on Natural, Moral, and Divine Subjects; Written chiefly in Younger Years. By I. Watts, D.D., London, 1734. (7) Remnants of Time. London, 1736. 454 Hymns and Versions of the Psalms, in addition to the centos are all in common use at the present time. --Excerpts from John Julian, Dictionary of Hymnology (1907) ================================== Watts, I. , p. 1241, ii. Nearly 100 hymns, additional to those already annotated, are given in some minor hymn-books. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) ================= Watts, I. , p. 1236, i. At the time of the publication of this Dictionary in 1892, every copy of the 1707 edition of Watts's Hymns and Spiritual Songs was supposed to have perished, and all notes thereon were based upon references which were found in magazines and old collections of hymns and versions of the Psalms. Recently three copies have been recovered, and by a careful examination of one of these we have been able to give some of the results in the revision of pp. 1-1597, and the rest we now subjoin. i. Hymns in the 1709 ed. of Hymns and Spiritual Songs which previously appeared in the 1707 edition of the same book, but are not so noted in the 1st ed. of this Dictionary:— On pp. 1237, L-1239, ii., Nos. 18, 33, 42, 43, 47, 48, 60, 56, 58, 59, 63, 75, 82, 83, 84, 85, 93, 96, 99, 102, 104, 105, 113, 115, 116, 123, 124, 134, 137, 139, 146, 147, 148, 149, 162, 166, 174, 180, 181, 182, 188, 190, 192, 193, 194, 195, 197, 200, 202. ii. Versions of the Psalms in his Psalms of David, 1719, which previously appeared in his Hymns and Spiritual Songs, 1707:— On pp. 1239, U.-1241, i., Nos. 241, 288, 304, 313, 314, 317, 410, 441. iii. Additional not noted in the revision:— 1. My soul, how lovely is the place; p. 1240, ii. 332. This version of Ps. lxiv. first appeared in the 1707 edition of Hymns & Spiritual Songs, as "Ye saints, how lovely is the place." 2. Shine, mighty God, on Britain shine; p. 1055, ii. In the 1707 edition of Hymns & Spiritual Songs, Bk. i., No. 35, and again in his Psalms of David, 1719. 3. Sing to the Lord with [cheerful] joyful voice, p. 1059, ii. This version of Ps. c. is No. 43 in the Hymns & Spiritual Songs, 1707, Bk. i., from which it passed into the Ps. of David, 1719. A careful collation of the earliest editions of Watts's Horae Lyricae shows that Nos. 1, 7, 9, 10, 11, 12, 14, 16, p. 1237, i., are in the 1706 ed., and that the rest were added in 1709. Of the remaining hymns, Nos. 91 appeared in his Sermons, vol. ii., 1723, and No. 196 in Sermons, vol. i., 1721. No. 199 was added after Watts's death. It must be noted also that the original title of what is usually known as Divine and Moral Songs was Divine Songs only. --John Julian, Dictionary of Hymnology, New Supplement (1907) =========== See also in: Hymn Writers of the Church

Edgar Page

1836 - 1921 Hymnal Number: 84 Author of "Beulah Land" in Gospel Hymns No. 3 Real name Edgar Page Stites. Used Edgar Page ====================== Page, Edgar, is set forth in I. D. Sankey's Sacred Songs & Solos, 1878-81, as the author of (1) "I've reached the land of corn and wine" (Peace with God); (2) ”Simply trusting every day" (Trust in Jesus). --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) ===================== Page, Edgar, p. 1585, i. In his Sacred Songs, &c, Mr. Sankey attributes the hymns "I've reached the land of corn and wine," and "Simply trusting every day," to "Edgar Page," as stated on p. 1585, i.; but in his My Life and Sacred Songs, 1906, he gives both to "E. P. Stites," together with some details concerning them, but without any reference to the change in his ascription of authorship. --John Julian, Dictionary of Hymnology, New Supplement (1907)