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God, in the Gospel of His Son
Author: Benjamin Beddome Appears in 340 hymnals Matching Instances: 338 Used With Tune: UXBRIDGE
God, in the Gospel of His Son
ROCKINGHAM
Appears in 530 hymnals Matching Instances: 7 Composer and/or Arranger: Edward Miller Incipit: 13421 35655 17655 Used With Text: God, in the gospel of his Son
ROCKINGHAM
ROCKINGHAM NEW
Meter: 8.8.8.8 Appears in 377 hymnals Matching Instances: 6 Composer and/or Arranger: Lowell Mason Tune Key: G Major Incipit: 17123 53232 16512 Used With Text: God, in the gospel of His son
ROCKINGHAM NEW
God, in the Gospel of His Son
Author: Benjamin Beddome; Thomas Cotterill Hymnal: The Cyber Hymnal #1792 Meter: 8.8.8.8 Lyrics: 1. God, in the Gospel of His Son,
Makes His eternal counsels known;
Where love in all its glory shines,
And truth is drawn in fairest lines.
2. Here sinners of a humble frame
May taste His grace, and learn His name;
May read, in characters of blood,
The wisdom, power, and grace of God.
3. The prisoner here may break his chains;
The weary rest from all his pains;
The captive feel his bondage cease;
The mourner find the way of peace.
4. Here faith reveals to mortal eyes
A brighter world beyond the skies;
Here shines the light which guides our way
From earth to realms of endless day.
5. O grant us grace, almighty Lord,
To read and mark Thy holy Word;
Its truths with meekness to receive,
And by Its holy precepts live. Languages: English Tune Title: GROSTETTE
God, in the Gospel of His Son
God, in the gospel of his Son
Author: Beddome Hymnal: The Baptist Praise Book #1150 (1872)
God, in the gospel of his Son
God, in the gospel of His Son
Author: Rev. Thomas Cotterill, 1779-1823; Rev. Benjamin Beddome, 1717-1795 Hymnal: The Clifton Chapel Collection of "Psalms, Hymns, and Spiritual Songs" #892 (1881)
God, in the gospel of His Son
Benjamin Beddome
1717 - 1795 Author of "God, in the Gospel of His Son" in Trinity Hymnal (Rev. ed.) Benjamin Beddome was born at Henley-in Arden, Warwickshire, January 23, 1717. His father was a Baptist minister. He studied at various places, and began preaching in 1740. He was pastor of a Baptist society at Bourton-on-the-Water, Gloucestershire, until his death in 1795. In 1770, he received the degree of M.A. from the Baptist College in Providence, Rhode Island. He published several discourses and hymns. "His hymns, to the number of 830, were published in 1818, with a recommendation from Robert Hall." Montgomery speaks of him as a "writer worthy of honour both for the quantity and the quality of his hymns."
--Annotations of the Hymnal, Charles Hutchins, M.A. 1872.
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Beddome, Benjamin , M.A. This prolific hymnwriter was born at Henley-in-Arden, Warwickshire, Jan. 23, 1717, where his father, the Rev. John Beddome, was atthat time Baptist Minister. He was apprenticed to a surgeon in Bristol, but removing to London, he joined, in 1739, the Baptist church in Prescott St. At the call of this church he devoted himself to the work of the Christian ministry, and in 1740 began to preach at Bourton-on-the-Water, in Gloucestershire. Declining invitations to remove to London or elsewhere, he continued pastor at Bourton until his death, on Sep. 3, 1795, at the age of 78. Mr. Beddome was for many years one of the most respected Baptist ministers in the West of England. He was a man of some literary culture. In 1770 he received the degree of M.A. from Providence College, Rhode Island. He was the author of an Exposition of the Baptist Catechism, 1752, in great repute at the time, and reprinted by Dr. C. Evans in 1772. It was his practice to prepare a hymn every week to be sung after his Sunday morning sermon. Though not originally intended for publication, he allowed thirteen of these to appear in the Bristol Baptist Collection of Ash & Evans (1769), and thirty-six in Dr. Rippon's Baptist Selection (1787), whence a number of them found their way into the General Baptist Hymn Book of 1793 and other collections. In 1817, a posthumous collection of his hymns was published, containing 830 pieces, with an introduction by the Rev. Robert Hall, and entitled "Hymns adapted to Public Worship or Family Devotion, now first published from the Manuscripts of the late Rev. B. Beddome, M.A."
Preface dated "Leicester, Nov. 10, 1817." Some of the early copies bear the same date on the title page. Copies bearing both the 1817 and 1818 dates are in the British Museum. The date usually given is 1818. Some hymns are also appended to his Sermons, seven volumes of which were published l805—1819; and over twenty are given in the Baptist Register of various dates.
Beddome's hymns were commended by Montgomery as embodying one central idea, "always important, often striking, and sometimes ingeniously brought out." Robert Hall's opinion is just, when in his "Recommendatory Preface" to the Hymns, &c, he says, p. vii.:—
"The man of taste will be gratified with the beauty and original turns of thought which many of them ex¬hibit, while the experimental Christian will often perceive the most secret movements of his soul strikingly delineated, and sentiments pourtrayed which will find their echo in every heart."
With the exception of a few composed for Baptisms and other special occasions, their present use in Great Britain is limited, but in America somewhat extensive. One of the best is the Ordination Hymn, "Father of Mercies, bow Thine ear." Another favourite is “ My times of sorrow and of joy," composed, by a singular coincidence, to be sung on Sunday, Jan. 14, 1778, the day on which his son died, most unexpectedly, in Edinburgh. "Let party names no more," is very popular both in Great Brit, and America. "Faith, His a precious gift," "Witness, ye men and angels, now," and the hymn for Holy Baptism, "Buried beneath the yielding wave," are also found in many collections. Beddome's popularity is, however, now mainly in America.
[Rev. W. R. Stevenson, M.A.]
Beddome is thus seen to be in common use to the extent of about 100 hymns. In this respect he exceeds every other Baptist hymnwriter; Miss Steele ranking second.
The authorities for Beddome's hymns are: (1) A Collection of Hymns adapted to Public Worship, Bristol, W. Pine, 1769, the Collection of Ash & Evans; (2) Dr. Rippon's Selections 1787, and later editions; (3) Sermons printed from the Manuscripts of the late Rev. Benjamin Beddome, M.A.,... with brief Memoir of the Author, Dunstable & Lond., 1805-1819; (4) Dr. Rippon's Baptist Register, 1795, &c.; (5) The Beddome Manuscripts, in the Baptist College, Bristol; (6) and Hymns adapted to Public Worship, or Family Devotion now first published, from Manuscripts of the late Rev. B. Beddome, A.M. With a Recommendatory Preface by the Rev. R. Hall, A.M. Lond., 1817. In his Preface, Mr. Hall gives this account of the Beddome Manuscript:— "The present Editor was entrusted several years ago with the MSS, both in prose and verse, with permission from the late Messrs. S. & B. Beddome, sons of the Author, to publish such parts of them as he might deem proper. He is also indebted to a descendant of the Rev. W. Christian, formerly pastor of the Baptist Church at Sheepshead, Leicestershire, for some of the Author's valuable hymns, which had been carefully preserved in the family. From both these sources, as well as others of less consequence, the present interesting volume has been derived."
-- Excerpts from John Julian, Dictionary of Hymnology (1907)
=======================
Beddome, Benjamin, pp. 121-124. Other hymns in common use:—
1. Great God, before Thy mercy-seat. (1817). Lent.
2. Great God, oppressed with grief and fear. (1787.) Reading H. Scripture.
3. How glorious is Thy word, 0 God. Holy Scripture. From "When Israel, &c," p. 124, i.
4. In God I ever will rejoice. Morning. From his Hymns, &c, 1817.
5. Jesus, my Lord, divinely fair. (1817.) Jesus the King of Saints. Begins with stanza ii. of “Listen, ye mortals, while I sing."
6. Rejoice, for Christ the Saviour reigns. Missions. Altered form of "Shout, for the blessed, &c," p. 123, ii.
7. Satan, the world, and sin. (1817.) In Temptation.
8. Thou, Lord of all above. (1817.) Lent.
9. Unto Thine altar, Lord. (1787.) Lent.
10. Ye saints of every rank, with joy. (1800.) Public Worship.
The dates given above are, 1787 and 1800, Rippon's Selection; and 1817 Beddome's Hymns.
--John Julian, Dictionary of Hymnology, Appendix, Part II
Benjamin Beddome
Thomas Cotterill
1779 - 1823 Alterer of "God, in the Gospel of His Son" in Trinity Hymnal (Rev. ed.) Thomas Cotterill (b. Cannock, Staffordshire, England, 1779; d. Sheffield, Yorkshire, England, 1823) studied at St. John's College, Cambridge, England, and became an Anglican clergyman. A central figure in the dispute about the propriety of singing hymns, Cotterill published a popular collection of hymns (including many of his own as well as alterations of other hymns), Selection of Psalms and Hymns in 1810. But when he tried to introduce a later edition of this book in Sheffield in 1819, his congregation protested. Many believed strongly that the Church of England should maintain its tradition of exclusive psalm singing. In a church court the Archbishop of York and Cotterill reached a compromise: the later edition of Selection was withdrawn, and Cotterill was invited to submit a new edition for the archbishop's approval. The new edition was published in 1820 and approved as the first hymnal for the Anglican church of that region. Cotterill's suppressed book, however, set the pattern for Anglican hymnals for the next generation, and many of its hymns are still found in modern hymnals.
Bert Polman
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Thomas Cotterill was born in 1779; studied at S. John's College, Cambridge, graduating M.A.; ordained in 1806, and enterred upon parochial work at Tutbury; afterwards removed to Lane End, where he remained for nine years among the Potteries; in 1817, became perpetual Curate of S. Paul's, Sheffield. He died in 1823. He was the author of several books; among them, "A Selection of Psalms and Hymns for Public and Private Use, adapted to the Services of the Church of England." In the preparation of this collection (the 8th ed., 1819), he had the assistance of Montgomery, who in this work did what he condemned in others, viz., altering and remodeling other authors' hymns.
--Annotations of the Hymnal, Charles Hutchins, M.A., 1872.
======================
Cotterill, Thomas, M.A., was the son of a woolstapler at Cannock, Staffordshire, where he was born Dec. 4, 1779. After attending the local boarding-school of the Rev. J. Lomax, he proceeded to the Free School, Birmingham. He graduated at St. John's College, Cambridge (B.A. 1801, M.A. 1805), of which he became a Fellow. Taking Holy Orders, he became Curate of Tutbury in June, 1803 (not 1806, as stated by Miller in Singers & Songs of the Church). His subsequent charges were the Incumbency of Lane End, Staffordshire, 1808-17, and the Perpetual Curacy of St. Paul's Sheffield, 1817-23. He died at Sheffield Dec. 29, 1823 (not Jan. 5, 1824, as in the Gentleman’s Magazine), aged 44. His volume of Family Prayers attained to the sixth edi¬tion in 1824. As a hymn-writer, Cotterill is less known than as the compiler of a Selection of Psalms and Hymns which has had a most marked effect on modern hymnals. The first edition of that Selection was published in 1810, and the 9th in 1820. All subsequent issues were reprints of the last. The most important edition is the 8th, 1819. To that Selection Cotterill contributed at various dates 25 original hymns and versions of individual psalms. These, in common with all the hymns in the Selection, are given without author's name. Through the aid, however, of marked copies [in the collections of Brooke and Julian] and of members of Cotterill's family, we are enabled to identify most, if not all, of his original productions. In addition to those which are annotated under their first lines, we have—
i. In his Selection of Psalms & Hymns for Public and Private Use, adapted to the Festivals of the Church of England, &c, 1st ed., 1810:—
1. Awake, O sword, the Father cried. Atonement.
2. Before Thy throne of grace, O Lord. Lent.
3. From Sinai's mount, in might array'd. The Law and the Gospel.
4. From Thine all-seeing Spirit, Lord. Ps. 139.
5. In all the ways and works of God. Ps. 145.
6. Out of the deeps, O Lord, we call. Ps. 130.
7. The Lord, who once on Calvary. The Intercessor. This is based on “Where high the heavenly temple stands," q. v.
ii. In the Appendix to the 6th ed. of the same Selection, Staffordshire, 1815:—
8. Blessed are they who mourn for sin. Lent.
9. Father of mercies, let our songs [way, ways]. Thanksgiving.
10. I was alive without the law. Lent.
11. Lord of the Sabbath, 'tis Thy day. Sunday.
iii. In the 8th edition of the same, 1819 :—
12. Help us, O Lord, Thy yoke to wear. Charity Sermons. This is sometimes given as "Lord, let us learn Thy yoke to wear," as in Kennedy, 1863, &c.
13. I love the Lord, for He hath heard. Ps. 116.
14. Lo in the East a star appears. Epiphany. This in an altered form begins in Kennedy, 1863, No. 188, with stanza ii., "The ancient sages from afar."
15. Lord, cause Thy face on us to shine. For Unity.
16. When Christ, victorious from the grave. Easter. The 9th ed. of the Selection, 1820, was practically a new work. It was compiled by Cotterill, but revised by Dr. Harcourt, the Archbishop of York, and was dedi¬cated to him. It was the outcome of the compromise in the legal proceedings over the 8th ed., 1819. The 8th ed. contained 367 hymns in addition to 128 versions of the Psalms and 6 Doxologies, the 9th only 152. Its full title was A Selection of Psalms and Hymns for Public Worship, Lond., T. Cadell, 1820. It may be noted that copies of the 8th ed., 1819, are found with two distinct title-pages. One of these, accompanied with the preface, was for the general public, the second, without the preface, for the use of the congregations of St. James's and St. Paul's, Sheffield.
Of Cotterill's hymns the most popular are, "O'er the realms of pagan darkness," "Let songs of praises fill the sky," and "Jesus exalted far on high," but these are not distinguished by any striking features of excellence. He was more happy in some of his alterations of older hymns, and in the com¬piling of centos. Many of the readings introduced into the great hymns of the Church first appeared in his Selection. The most notable amongst these are, "Rock of Ages," in 3 stanzas, as in Hymns Ancient & Modern, 1861, the Wesleyan Hymn Book, and other collections; "Lo! He comes with clouds descending;" and “Great God, what do I see and hear." Cotterill's connection with the Uttoxeter Psalms & Hymns, 1805, is given in detail in the article on Staffordshire Hymn-books, and his lawsuit over the 8th ed. of his Selection, 1819, in the article on England Hymnody, Church of.
--John Julian, Dictionary of Hymnology (1907)
Thomas Cotterill
Lowell Mason
1792 - 1872 Composer of "ROCKINGHAM NEW" in The Hymnal Dr. Lowell Mason (the degree was conferred by the University of New York) is justly called the father of American church music; and by his labors were founded the germinating principles of national musical intelligence and knowledge, which afforded a soil upon which all higher musical culture has been founded. To him we owe some of our best ideas in religious church music, elementary musical education, music in the schools, the popularization of classical chorus singing, and the art of teaching music upon the Inductive or Pestalozzian plan. More than that, we owe him no small share of the respect which the profession of music enjoys at the present time as contrasted with the contempt in which it was held a century or more ago. In fact, the entire art of music, as now understood and practiced in America, has derived advantage from the work of this great man.
Lowell Mason was born in Medfield, Mass., January 8, 1792. From childhood he had manifested an intense love for music, and had devoted all his spare time and effort to improving himself according to such opportunities as were available to him. At the age of twenty he found himself filling a clerkship in a banking house in Savannah, Ga. Here he lost no opportunity of gratifying his passion for musical advancement, and was fortunate to meet for the first time a thoroughly qualified instructor, in the person of F. L. Abel. Applying his spare hours assiduously to the cultivation of the pursuit to which his passion inclined him, he soon acquired a proficiency that enabled him to enter the field of original composition, and his first work of this kind was embodied in the compilation of a collection of church music, which contained many of his own compositions. The manuscript was offered unavailingly to publishers in Philadelphia and in Boston. Fortunately for our musical advancement it finally secured the attention of the Boston Handel and Haydn Society, and by its committee was submitted to Dr. G. K. Jackson, the severest critic in Boston. Dr. Jackson approved most heartily of the work, and added a few of his own compositions to it. Thus enlarged, it was finally published in 1822 as The Handel and Haydn Society Collection of Church Music. Mason's name was omitted from the publication at his own request, which he thus explains, "I was then a bank officer in Savannah, and did not wish to be known as a musical man, as I had not the least thought of ever making music a profession." President Winchester, of the Handel and Haydn Society, sold the copyright for the young man. Mr. Mason went back to Savannah with probably $500 in his pocket as the preliminary result of his Boston visit.
The book soon sprang into universal popularity, being at once adopted by the singing schools of New England, and through this means entering into the church choirs, to whom it opened up a higher field of harmonic beauty. Its career of success ran through some seventeen editions. On realizing this success, Mason determined to accept an invitation to come to Boston and enter upon a musical career. This was in 1826. He was made an honorary member of the Handel and Haydn Society, but declined to accept this, and entered the ranks as an active member. He had been invited to come to Boston by President Winchester and other musical friends and was guaranteed an income of $2,000 a year. He was also appointed, by the influence of these friends, director of music at the Hanover, Green, and Park Street churches, to alternate six months with each congregation. Finally he made a permanent arrangement with the Bowdoin Street Church, and gave up the guarantee, but again friendly influence stepped in and procured for him the position of teller at the American Bank.
In 1827 Lowell Mason became president and conductor of the Handel and Haydn Society. It was the beginning of a career that was to win for him as has been already stated the title of "The Father of American Church Music." Although this may seem rather a bold claim it is not too much under the circumstances. Mr. Mason might have been in the average ranks of musicianship had he lived in Europe; in America he was well in advance of his surroundings. It was not too high praise (in spite of Mason's very simple style) when Dr. Jackson wrote of his song collection: "It is much the best book I have seen published in this country, and I do not hesitate to give it my most decided approbation," or that the great contrapuntist, Hauptmann, should say the harmonies of the tunes were dignified and churchlike and that the counterpoint was good, plain, singable and melodious.
Charles C. Perkins gives a few of the reasons why Lowell Mason was the very man to lead American music as it then existed. He says, "First and foremost, he was not so very much superior to the members as to be unreasonably impatient at their shortcomings. Second, he was a born teacher, who, by hard work, had fitted himself to give instruction in singing. Third, he was one of themselves, a plain, self-made man, who could understand them and be understood of them."
The personality of Dr. Mason was of great use to the art and appreciation of music in this country. He was of strong mind, dignified manners, sensitive, yet sweet and engaging.
Prof. Horace Mann, one of the great educators of that day, said he would walk fifty miles to see and hear Mr. Mason teach if he could not otherwise have that advantage.
Dr. Mason visited a number of the music schools in Europe, studied their methods, and incorporated the best things in his own work. He founded the Boston Academy of Music. The aim of this institution was to reach the masses and introduce music into the public schools. Dr. Mason resided in Boston from 1826 to 1851, when he removed to New York. Not only Boston benefited directly by this enthusiastic teacher's instruction, but he was constantly traveling to other societies in distant cities and helping their work. He had a notable class at North Reading, Mass., and he went in his later years as far as Rochester, where he trained a chorus of five hundred voices, many of them teachers, and some of them coming long distances to study under him. Before 1810 he had developed his idea of "Teachers' Conventions," and, as in these he had representatives from different states, he made musical missionaries for almost the entire country. He left behind him no less than fifty volumes of musical collections, instruction books, and manuals.
As a composer of solid, enduring church music. Dr. Mason was one of the most successful this country has introduced. He was a deeply pious man, and was a communicant of the Presbyterian Church. Dr. Mason in 1817 married Miss Abigail Gregory, of Leesborough, Mass. The family consisted of four sons, Daniel Gregory, Lowell, William and Henry. The two former founded the publishing house of Mason Bros., dissolved by the death of the former in 1869. Lowell and Henry were the founders of the great organ manufacturer of Mason & Hamlin. Dr. William Mason was one of the most eminent musicians that America has yet produced.
Dr. Lowell Mason died at "Silverspring," a beautiful residence on the side of Orange Mountain, New Jersey, August 11, 1872, bequeathing his great musical library, much of which had been collected abroad, to Yale College.
--Hall, J. H. (c1914). Biography of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company.
Lowell Mason
