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I. B. Woodbury

1819 - 1858 Person Name: Isaac Baker Woodbury Composer of "SILOAM" in The Evangelical Hymnal Woodbury, Isaac Baker. (Beverly, Massachusetts, October 23, 1819--October 26, 1858, Columbia, South Carolina). Music editor. As a boy, he studied music in nearby Boston, then spent his nineteenth year in further study in London and Paris. He taught for six years in Boston, traveling throughout New England with the Bay State Glee Club. He later lived at Bellow Falls, Vermont, where he organized the New Hampshire and Vermont Musical Association. In 1849 he settled in New York City where he directed the music at the Rutgers Street Church until ill-health caused him to resign in 1851. He became editor of the New York Musical Review and made another trip to Europe in 1852 to collect material for the magazine. in the fall of 1858 his health broke down from overwork and he went south hoping to regain his strength, but died three days after reaching Columbia, South Carolina. He published a number of tune-books, of which the Dulcimer, of New York Collection of Sacred Music, went through a number of editions. His Elements of Musical Composition, 1844, was later issued as the Self-instructor in Musical Composition. He also assisted in the compilation of the Methodist Hymn Book of 1857. --Leonard Ellinwood, DNAH Archives

J. B. Coats

1901 - 1961 Arranger of "[Calm on the bosom of thy God]" in Sunlit Way J.B. Coats was born on April 6, 1901, in Summerland, Mississippi. He attended the schools of his area and was both a student and lover of music all his life...His formal education was continued with study at Mississippi Southern College and Louisiana State University. He also studied music with Julius Rishing, J.E. and Alvis O. Thomas and T.B. Mosley. When just a lad about fourteen, he began teaching music classes and conducting evangelistic singing. Mr. Coats was a teacher in public schools most of his life...He was the composer of many loved gospel songs with "Where Could I Go" haveing been printed and sung most widely. Others of his outstanding songs are "A Wonderful Place", "My Soul Shall Live On", "I'm Winging My Way Back Home", and "Tomorrow May Mean Goodbye". Many of his songs have been recorded by leading quartets and singers...Mr. Coats was associated with Stamps-Baxter Music Company and a lifetime staff writer for them...He joined the Baptist Church and served more than thirty years as a Deacon before answering the call to the ministry. He died on December 15, 1961. --doyouknowhowgodlovesyou.blogspot.com

D. B. Towner

1850 - 1919 Composer of "COHANSEY" in Hymns New and Old, No. 2 Used pseudonyms Robert Beverly, T. R. Bowden ============================== Towner, Daniel B. (Rome, Pennsylvania, 1850--1919). Attended grade school in Rome, Penn. when P.P. Bliss was teacher. Later majored in music, joined D.L. Moody, and in 1893 became head of the music department at Moody Bible Institute. Author of more than 2,000 songs. --Paul Milburn, DNAH Archives

Anonymous

Author of "Calm on the bosom of thy God" in The Disciples' Hymn Book In some hymnals, the editors noted that a hymn's author is unknown to them, and so this artificial "person" entry is used to reflect that fact. Obviously, the hymns attributed to "Author Unknown" "Unknown" or "Anonymous" could have been written by many people over a span of many centuries.

Mrs. Hemans

1793 - 1835 Person Name: Felicia D. Hemans Author of "Calm on the bosom of thy God" in The Evangelical Hymnal Hemans, Felicia Dorothea, née Browne, was born in Liverpool, Sep. 25, 1793. In 1800, her father having suffered severe losses in business, removed with his family near to Abergele, N. Wales, where he died sometime after. In 1812 she was married to Captain Hemans, who, on retiring from the army sometime after, removed to Bronnylfa, near St. Asaph. Some years after he left his wife and children and proceeded to Italy, where he died. In 1828 Mrs. Hemans removed to Wavertree, near Liverpool, and in 1831 to Dublin, where she died May 16, 1835, and was buried in St. Ann's Church, Dawson Street, in that city. From 1808, when at 15 she published Poems, to 1834, when her Scenes & Hymns of Life appeared, she produced a great number of poems and other works, including: (1) The Domestic Affections and Other Poems, 1812; (2) The Sceptic, 1820; (3) Dartmoor, 1821; (4) Vespers of Palermo, 1823; (5) The Siege of Valenciav, 1823; (6) Voice of Spring, 1823; (7) Forest Sanctuary, 1825; (8) Hymns for Childhood, 1827 (English edition, 1834; first published in America); (9) Records of Woman and Miscellaneous Poems, 1828; (10) Songs of the Affections, 1830; (11) Scenes and Hymns of Life (dedicated to the poet Wordsworth), 1834. Then followed (12) The Works of Mrs. Hemans; with a Memoir of her Life by her Sister [Mrs. Hughes]. Edinburgh, W. Blackwood & Sons, 1839, in 3 volumes. Her Poems were collected and published by Blackwood in 1849, and again as one of the Chandos Classics, 1886. Three distinct ideas pervade Mrs. Hemans's poetry, the Fatherhood of God, Heaven as our Home, and mutual recognition when there. The work of the Atonement has a very subordinate place; and the Holy Spirit is scarcely recognized. The rhythm, even in her most popular pieces, is often disappointing, and a tone of sadness pervades most of her work. The gloom of disappointment and the traces of shadowed memories run like black threads through the web and woof of her productions. As a writer of hymns she holds a subordinate place. The best are "Answer me, burning stars of light," "Calm on the bosom of thy God," “Come to the land of peace," and "Fear was within the tossing bark." [Rev. James Davidson, B.A.] Mrs. Hemans's hymns which have come into common use include;— 1. Answer me, burning stars of light. Trust in God. Written after the death of a sister-in-law, and published in her Records of Woman, &c, 1828, p. 242, in 4 stanzas of 8 lines. (P. Works, N.Y., 1828, vol. ii. pp. 144, 268). 2. Calm on the bosom of thy God. Death and Burial. This hymn appears in the closing scene of her dramatic poem, The Siege of Valencia, 1823, p. 235, in 2 stanzas of 4 lines. (Works, vol. iii. p. 379). It is supposed to be sung over the bier of Ximena, daughter of Gonzalez, the Governor of Valencia, during the final struggle of the siege. Mrs. Hemans subsequently added a third stanza ("Lone are the paths, and sad the bowers"); and in this form it is published separately as "A Dirge" in her Works, vol. iv. p. 330. It is one of the best known of her hymns. 3. Child, amidst the flowers at play. Hour of Prayer. This is given in her P. Works, 1828, vol. ii. p. 85, amongst the "Miscellaneous Pieces," in 3 stanzas of 8 lines, as a hymn for The Hour of Prayer. Dr. Martineau in his Hymns, &c, 1873, dates it 1825. 4. Come to me, dreams [thoughts] of heaven. Aspiration. Appeared in her National Lyrics, 1834, p. 251, and again in her Works, 1839, vol. vii. p. 88. 5. Come to the land of peace. The Angel's Greeting. Published in her Works, 1839, vol. vi. p. 186. 6. Earth! guard what here we lay in holy trust. Burial. Given in her Works, 1839, vol. iv. p. 327. This is a poem, and not a hymn. 7. Father! that in the olive shade. Gethsemane. Written at the death-bed of her mother, Jan., 1827, and published in her Hymns for Childhood, in 4 stanzas of 4 lines, as a Hymn by the sick-bed of a Mother. (Works, 1839, vol. vi. p. 147.) Sometimes as "O Thou, Who in the olive shade." 8. Father, Who art on high. Prayer. This is part of her "Cathedral Hymn," published in her Scenes and Hymns of Life, 1834. (Works, 1839, vi. p. 142.) 9. Fear was within the tossing bark. Stilling the Tempest. This hymn appeared in her Hymns for Childhood, 1827; her Poetical Works, N. Y., 1828, ii. p. 124; and her Works, 1839, vol. iv. p. 325. 10. He knelt, the Saviour knelt and prayed. Gethsemane. This hymn appeared in The Almut (an annual) 1n 1825, and her Poetical Works, N.Y., 1828, ii. p. 125. It is also introduced in her dramatic poem, The English Martyrs: a Scene of the days of Queen Mary, published in her Scenes and Hys. of Life, 1834, p. 16. A betrothed couple are condemned to death: but are allowed a short intercourse before execution. This they employ in prayer and the singing of this hymn, which is based upon the sacred scene in Gethsemane. "The English Martyrs" is the opening piece of the Scenes and Hymns of Life, 1834. (Works, vii. p. 130.) 11. I hear thee speak of the better land. Heaven. Published in her Poetical Works, N. York, 1828, ii. p. 193, and her Songs of the Affections, 1830, p. 225, in 4 stanzas of 7 lines, and headed “The Better Land." (Works, 1839, vi. p. 123.) Popular as a sacred song, but not much used as a hymn. 12. Leaves have their time to fall. The Hour of Death Published in her Poet. Works, N. Y., 1828, ii. p. 114, and in her Forest Sanctuary , 2nd edition, 1829, p. 276, in 10 stanzas of 4 lines. (Works, 1839, iv. p. 177.) It is usually given in an abbreviated form. 13. Lowly and solemn be Thy children's cry to Thee. Burial. This hymn, in 9 stanzas of 6 lines, forms the closing portion of her poem on The Funeral Day of Sir Walter Scott. [He d. Sept. 21, 1832.] The poem was given in her Scenes and Hymns of Life, 1834, p. 99. (Works, vii. p. 178.) In an abbreviated form this Burial hymn is in extensive use in Great Britain and America, and is found in more hymn-books than all the rest of Mrs. Hemans's hymns put together. 14. No cloud obscures the summer's sky. Ps. xix. Appeared in her Hymns for Childhood, in 10 stanzas of 4 lines, and entitled “The Stars." (Works, 1839, iv. p. 253.) It is usually given in an abbreviated form, beginning with stanza ii., "Child of the earth, Oh lift thy glance." 15. Now autumn strews on every plain. Harvest. One of her juvenile pieces, published in her Poems, Liverpool, 1808, p. 94, as a "Harvest Hymn." 16. O lovely voices of the sky. Christmas Carol. Appeared in her Hymns for Childhood, 1827, in 3 stanzas of 8 lines, and her Poet. Works, N. Y., 1828, ii. p. 123. (Works, v. p. 307. 17. Praise ye the Lord on every height. Ps. cxlviii. Published in her Hymns for Childhood, in 7 stanzas of 4 lines. (Works, 1839, iv. p. 264.) 18. Saviour, now receive him. Burial. Scenes and Hys. of Life, 1834, p. 70, is a hymn entitled, "The Funeral Hymn" in the Burial of an Emigrant's Child in the Forest. It begins "Where the long reeds quiver." This extract opens with stanza ii. altered. 19. The breaking waves dashed high. Landing of the Pilgrim Fathers. Published in her Records of Woman, &c, 1828, p. 261, in 10 stanzas of 4 lines, and in her Works, 1828, p, 261, "The Landing of the Pilgrim Fathers in New England." (Works, 1839, v. p. 280.) Popular as a sacred song, but not much used as a hymn. 20. The Church of our fathers so dear to our souls. The Holy Church. This hymn has not been traced to date. Snepp, in Songs of Grace & Glory, says 1834. 21. The kings of old have shrine and tomb. The Graves of Martyrs. In The Forest Sanctuary, 2nd edition, 1829, p. 284, "The Graves of Martyrs" in 7 stanzas. Also Poet. Works, N. Y., 1828, ii. p. 150. 22. Where is the tree the prophet threw? Faith. Appeared in her Poet. Works, N. Y., 1828, ii. p. 170, and headed "The Fountain of Marah." Also in her Works, 1839, vi. p. 176. -- John Julian, Dictionary of Hymnology ================ Hemans, Felicia D., p. 509, i. No. 11, "I hear thee speak of the better land," and No. 12, "Leaves have their time to fall," appeared in J. Curtis's Union Collection, 1827, p. 274, i., and then in her Poetical Works, 1828. --John Julian, Dictionary of Hymnology, New Supplement (1907)

L. O. Emerson

1820 - 1915 Person Name: E. Composer of "[Calm on the bosom of thy God]" in Song Worship for Sunday Schools Luther Orlando Emerson was born at Parsonsfield, Maine, August 3, 1820. He descended from distinguished English ancestry. His parents were quite musical, and while the family circle were together, they had a choir and orchestra of their own. The father played the violoncello, the mother was an excellent singer, the flute and violin added their sweet tones, till the quiet homestead rang with melody. Mr. Emerson's education was obtained at the district school, Parsonsfield Seminary and Effingham Academy. He was full of energy, quick and versatile, an apt scholar, and with a view to entering the profession of medicine he entered Dracut Academy, Mass. But his great love for music swerved him from that course, and now, having far better opportunities for cultivating and enjoying this taste and ability, he soon determined upon music as the profession of his choice. He accordingly commenced a course of musical instruction under the late I. B. Woodbury, then a popular teacher of music. After several years of study on the voice, piano, organ and in harmony, Mr. Emerson went to Salem, Mass., began teaching, and took charge of his first choir at a salary of one hundred dollars per year. Here he commenced the composition of music for his own choir, whiich was so popular with its members and the congregation, that Mr. Emerson was encouraged to seek a larger hearing by publishing a collection of church music. Among the tunes was that of Sessions, named after his pastor, which was destined to have a perennial popularity, and is often used in worship in the place of Old Hundred, for the Doxology. At the great Peace Jubilee it was received with applause when sung by a chorus of ten thousand voices, accompanied by an orchestra of two hundred instruments and a great pipe organ. The effect was sublime beyond expression. In 1847 occurred the marriage of Mr. Emerson to Miss Mary Gore, daughter of a prominent Boston merchant. She was a lady of much musical taste and ability. In 1853 he decided to make an effort to put his music before the public, and accordingly went to Boston in search of a publisher. Like most young and unknown authors, he met with but little encouragement, but finally found a publisher in the person of Mr. B. B. Muzzy. Thus was the Romberg Collection published. The book was not pushed — hence it found no market. After a residence of eight years in Salem, Mr. Emerson removed to Boston, accepting the position of organist and musical director at the Bulfinch Street Church, then under the pastoral care of Rev. Wm. R. Alger, which he filled for four years. He eagerly improved the rare means of culture which were once more enjoyed, meanwhile teaching and composing music. In 1857 he formed the connection with Oliver Ditson Company, of Boston, of author and publisher, which has continued to the present time with but one interruption (a single volume brought out by another firm), the Golden Wreath, which at once became popular, and sold forty thousand during the first year, this being the initial volume in the long series since brought out by these publishers. In 1858 came the Golden Harp, which was also a success. These successes gave him not only encouragement, but reputation. Mr. Emerson now entered upon a career of usefulness and popularity for which he had been preparing during the years of self-denying struggle and discipline. He was called to take charge of the music in the Second Congregational Church, Greenfield, Mass., and also of the musical department of Power's Institute, at Bernardston. Amid nature's most beautiful surroundings, he had a quiet retreat for the pursuit of his true vocation, the composition of church music. The first fruit of his genius here was the Sabbath Harmony, in 1860. This book was also a success. In 1863 followed the Harp of Judah, which had the remarkable sale of nearly fifty thousand copies in the first three months. This book probably gave Mr. Emerson his preeminence as a composer of church music, containing as it did his anthem, Guide Me, O Thou Great Jehovah, and many of his finest compositions. Having declined the solicitations of Dr. Lowell Mason to become his associate in music, Mr. Emerson started forth on his own plans, and attained the highest rank among those who loved the pure and beautiful in song. Mr. W. S. B. Mathews, a musical critic, pronounces him the best melodist of all the psalmodic writers. In 1866 the equally successful Jubilate appeared, followed by the Choral Tribute, the Standard and the Leader. In the last two Dr. I. R. Pahner was associated with him. Later on came the Salutation, Voice of Worship, Herald of Praise, etc. The diligence with which Mr. Emerson plied his pen can be estimated when one recalls the fact that he has made seventy-two collections of music, embracing music for churches, singing schools, public schools, choral societies and conventions, instruction books for voice, organ, etc. He has also composed and published scores of songs, quartets and instrumental pieces. The great amount of work this represents can only be appreciated by those who have undertaken similar labors. Some years ago the degree of Doctor of Music was conferred upon Professor Emerson by the Faculty of Findlay College, Findlay, Ohio. For many years past. Dr. Emerson has devoted his energies to the grand purpose of elevating the general character of music in our churches, and thus largely advancing the interests of true worship. He places great stress upon the mission of church music. He regards sacred music as the best expression of devotional feeling that exists. He looks upon sacred song as prayer, and believes that it inspires and intensifies prayer. With this view he has taken an active and prominent part in musical festivals and conventions, of which he has conducted over three hundred throughout the United States and Canada. As a conductor, he stands in the front rank. As a teacher. Dr. Emerson has an exceedingly happy faculty of imparting in a concise manner to his classes. His very pleasing address enables him to command the undivided attention of his pupils. As a singer, he has always held high rank, and has sung much in public. His voice is a baritone of great compass, and quite powerful. As a lecturer upon music, Dr. Emerson has attracted much attention. His most popular lecture is entitled The World of Music, in which he traces its origin and progress, and gives some excellent traits of the lives of the great composers. In this lecture he also shows the design of music, and how it has been prized in every age of the world, among all nations — its power in the Church and State, and the need of its influence in the family — in joy and sorrow — for this life and the life to come. -Biography of Gospel Song and Hymn Writers

A. Brooks Everett

1828 - 1875 Person Name: Dr. A. B. Everett Composer of "ROSS" in Good News Asa Brooks Everett MusDoc USA 1828-1875. Born in VA, he planned to be a doctor, but decided to study music instead. He studied in Boston for four years and also in Leipzig, Germany for four years.. He composed many gospel tunes and edited “The Sceptre” a New York publication. His brothers, Benjamin and Leonard, were also composers. He and Leonard organized a musical instruction system in Richmond, VA, in the 1850s. By 1861, 50 teachers and singing schools were representing them and using their publications. He died in Nashville, TN. John Perry

Sydney Joseph Palmer Dunman

1843 - 1913 Person Name: Rev. S. J. P. Dunman Composer of "[Calm on the bosom of thy God]" in The Spirit of Praise Born: 07 Aug 1843, Bridgwater, Somerset, England. Died: 30 Mar 1913, Bristol, England organist, minister, composer, editor Dunman entered the Wesleyan ministry in 1864, and was a well known composer of his time. He was on the committee that compiled the Wesleyan Tune Book of 1876, and several of his compositions are in African, Japanese and Italian hymnals. --www.hymntime.com/tch/

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