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Henry Thomas Smart

1813 - 1879 Person Name: Henry Smart, 1812-1879 Composer of "LANCASHIRE" in Hymnal and Order of Service Henry Smart (b. Marylebone, London, England, 1813; d. Hampstead, London, 1879), a capable composer of church music who wrote some very fine hymn tunes (REGENT SQUARE, 354, is the best-known). Smart gave up a career in the legal profession for one in music. Although largely self taught, he became proficient in organ playing and composition, and he was a music teacher and critic. Organist in a number of London churches, including St. Luke's, Old Street (1844-1864), and St. Pancras (1864-1869), Smart was famous for his extemporizations and for his accompaniment of congregational singing. He became completely blind at the age of fifty-two, but his remarkable memory enabled him to continue playing the organ. Fascinated by organs as a youth, Smart designed organs for important places such as St. Andrew Hall in Glasgow and the Town Hall in Leeds. He composed an opera, oratorios, part-songs, some instrumental music, and many hymn tunes, as well as a large number of works for organ and choir. He edited the Choralebook (1858), the English Presbyterian Psalms and Hymns for Divine Worship (1867), and the Scottish Presbyterian Hymnal (1875). Some of his hymn tunes were first published in Hymns Ancient and Modern (1861). Bert Polman

George F. Root

1820 - 1895 Person Name: G. F. Root Composer of "[Come, let us sing of Jesus]" in Select Sunday School Songs 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.

John Baptiste Calkin

1827 - 1905 Person Name: John Baptiste Calkin (1827- ) Composer of "SAVOY CHAPEL" in Carmina for the Sunday School and Social Worship John Baptiste Calkin United Kingdom 1827-1905. Born in London, he was reared in a musical atmosphere. Studying music under his father, and with three brothers, he became a composer, organist, and music teacher. At 19, he was appointed organist, precenter, and choirmaster at St. Columbia's College, Dublin, Ireland, 1846 to 1853. From 1853 to 1863 we was organist and choirmaster at Woburn Chapel, London. From 1863 to 1868, he was organist of Camden Road Chapel. From 1870 to 1884 he was organist at St. Thomas's Church, Camden Town. In 1883 he became professor at Guildhall School of Music and concentrated on teaching and composing. He was also a professor of music and on the council of Trinity College, London, and a member of the Philharmonic Society (1862). In 1893 he was a fellow of the College of Organists. John and wife, Victoire, had four sons, each following a musical carer. He wrote much music for organ and scored string arrangements, sonatas, duos, etc. He died at Hornsey Rise Gardens. John Perry

Charles C. Converse

1832 - 1918 Person Name: C. C. Converse Composer of "[Come, let us sing of Jesus]" in Imperial Songs 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

George W. Bethune

1805 - 1862 Person Name: George Washington Bethune, 1805-1862 Author of "Come, let us Sing of Jesus" in Hymnal and Order of Service Bethune, George Washington, D.D. A very eminent divine of the Reformed Dutch body, born in New York, 1805, graduated at Dickinson Coll., Carlisle, Phila., 1822, and studied theology at Princeton. In 1827 he was appointed Pastor of the Reformed Dutch Church, Rinebeck, New York. In 1830 passed to Utica, in 1834 to Philadelphia, and in 1850 to the Brooklyn Heights, New York. In 1861 he visited Florence, Italy, for his health, and died in that city, almost suddenly after preaching, April 27, 1862. His Life and Letters were edited by A. R. Van Nest, 1867. He was offered the Chancellorship of New York University, and the Provostship of the University of Pennsylvania, both of which he declined. His works include The Fruits of the Spirit, 1839; Sermons, 1847; Lays of Love & Faith, 1847; The British Female Poets, 1848, and others. Of his hymns, some of which liave attained to some repute, we have:— 1. Tossed upon life's raging billow. Sailor's Hymn. Appeared in the Christian Lyre, 1830; in the Seamen's Devotional Assistant the same year, and in Dr. Bethune's Lays, 1847, p. 168, in 3 stanzas of 8 lines. It "is said to have been the Author's first and favourite hymn, having been written when he was on a voyage to the West Indies, for the benefit of his health, in the year 1825" (Lyra Sac. Amer. p. 297). It is a "Sailor's Hymn;" as such it was given in Lyra Sac. Amer., and thence passed into The Hymnary, 1872, and other English collections. 2. O for the happy hour. Whitsuntide. "A Prayer for the Spirit," contributed to the Parish Hymns, Phila., 1843, and republished in the Lays, &c, 1847, p. 158, in 6 stanzas of 4 lines. It is found in many modern collections. 3. It is not death to die. A translation of Caesar Malan's "Non, ce n'est pas mourir," (q.v.) from his Lays, 1847, p. 141, in 5 stanzas of 4 lines. As stated above, Dr. Bethune died at Florence. His remains were taken to New York, and buried in Greenwood Cemetery. This hymn, in compliance with a request made by him before his death, was sung at his funeral. It is found in several English hymnals. 4. Light of the Immortal Father's glory. Evening. A translation of a Greek hymn. (q.v.). It appeared in his Lays, &c, 1847, p. 137, in 2 stanzas of 8 lines, and is in common use. 5. Farewell to thee, brother. Parting. "The departing Missionary," published in his Lays, &c, 1847, p. 170, in 5 stanzas of 4 lines, and included in Lyra Sac. Amer., 1868, and thence into English collections. It is not in common use in America. 6. O Jesus, when I think of Thee. Easter. This is said to bear the date of 1847. It was 1st pub. in his Life, &c, 1867. Included in Lyra Sac. Americana (where it is stated to have been found in MS. amongst the author's papers), and from the Lyra into English collections. It is an Easter hymn of no special merit. 7. Come, let us sing of Jesus. S. Schools. Published in 1850, suited to Sunday schools, and is found in Snepp's Songs of Grace and Glory and others. 8. O Thou Who in Jordan didst bow Thy meek head. Adult Baptism. Written for and much used by the Baptists. It is dated 1857. 9. There is no Name so sweet on earth. Name of Jesus. Said by Mr. H. P. Main to be by Dr. Bethune. It has been wrongly ascribed to E. Roberts, a musician. 10. When time seems short and death is near. Death anticipated. This was found in the author's portfolio, and was written on Saturday, April 27th, 1862, the day before his death at Florence (Life, &c, p. 409). It was included in the Lyra Sac. Amer., 1808, and from thence passed into one or two English hymnals. In his Lays, &c, 1847, Dr. Bethune included the following "Christmas Carols for Sunday School Children”: 1. The Almighty Spirit to a poor, &c. 2. Joy and gladness, joy and gladness. 3. Full many a year has sped. 4. We come, we come, with loud acclaim. In the same work there are also metrical renderings of Psalms ix., xix., xxiii., cxxvi., and cxxvii. In the Lyra Sacra Americana, 14 pieces by Dr. Bethune are given, including many of the above. -John Julian, Dictionary of Hymnology (1907) ==================== Bethune, George Washington, p. 138, ii. Other hymns from his Lays of Love and Faith, 1847, are in common use:- 1. 'Tis He, 'tis He, I know Him now. Easter. 2. Upon the well by Sychar's gate. Resignation. 3. Yes, boar them to their rest. Evening. "Hymn to Night, suggested by the Bas-relief of Thorwaldsen." --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

Sigismund Thalberg

1812 - 1871 Person Name: Thalberg Composer of "[Come, let us sing of Jesus]" in Songs of Promise

D. F. Hodges

b. 1834 Composer of "[Come, let us sing of Jesus]" in Silvery Echoes of Praise and Prayer Hodges, Daniel Franklin, poet, composer, was born Feb. 17, 1835, in Belfast, Maine. He has written twelve music books; two operettas; one dramatic cantata; and a number of sheet music pieces. from Herringshaw's National Library of American Biography ================== Hodges’ works include: Sacred Crown, with G. W. Foster (Lee and Shepard, 1871) Lingering Memories, with John Greenleaf Whittier (J. D. Russell & Company, 1874) Living Waters (Oliver Ditson & Company, 1875) Golden Sunbeams, with John Tenney (Lee and Shepard, 1876) The Shining Strand, 1881 Boundless Love, 1883 --www.hymntime.com/tch

Charles W. Bannister

1768 - 1831 Person Name: J. Bannister Composer of "ROMAINE" in Sunday-School Book

S. M. Bixby

1833 - 1912 Composer of "BEATRICE" in Gloria Deo Samuel M. Bixby was born on May 27, 1833 in Haverhill, New Hampshire. His company, S. M. Bixby & Company, manufactured shoe blackings and shoe dressings, but music was his passion. He was also a Sunday school superintendent and choir leader. He died on March 11, 1912 in Fordham, New York. His works include: Church and Home Hymnal, circa 1893 Evangel Songs, circa 1894 Gloria Deo: A Collection of Hymns and Tunes for Public Worship in All Departments of the Church (New York: Funk & Wagnalls Company, 1901) NN, Hymnary. Source: http://www.hymntime.com/tch/bio/b/i/x/bixby_sm.htm

Sydney Joseph Palmer Dunman

1843 - 1913 Person Name: S. J. P. Dunman Composer of "[Come, let us sing of Jesus]" 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/