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Author: Martin Rinkart; Ukj. Appears in 8 hymnals Topics: Eleventh Sunday after Trinity Sunday For Evening Lyrics: 1 Nu takker alle Gud Med Hjerte, Mund og Hænder, Som overflødigt Godt Os uforskyldt tilsender, Som alt fra Moders Liv Paa os har naadig tænkt, Og al Nødtørstighed Saa rigeligen skjænkt! 2 Den evig rige Gud Han os fremdeles unde Sjæls Glæde, Ro og Fred, Han give, at vi kunde I Naade altid staa Hos ham, og ved vor Bøn Faa Hjelp i Nød og Død, Tilsidst en Naade-Løn! 3 Gud Fader og Guds Søn Ske evig Pris og Ære, Den værdig Helligaand Derhos høilovet være! Velsignet Guddom, som Forbliver, var og er, Vi dig id Ydmyghed Vort Takke-Offer bær! Used With Tune: [Nu takker alle Gud ]

All that I was, my sin, my guilt

Author: H. Bonar Meter: 8.6.8.6 Appears in 120 hymnals Topics: The Church Year Eleventh Sunday after Trinity; The Church Year Eleventh Sunday after Trinity Lyrics: 1 All that I was, my sin, my guilt, My death, was all my own; All that I am, I owe to Thee, My gracious God, alone. 2 The evil of my former state Was mine, and only mine; The good in which I now rejoice Is Thine, and only Thine. 3 The darkness of my former state, The bondage, all was mine; The light of life in which I walk, The liberty, is Thine. 4 Thy grace first made me feel my sin, It taught me to believe; Then in believing, peace I found, And now I live, I live. 5 All that I am, e'en here on earth, All that I hope to be When Jesus comes and glory dawns, I owe it, Lord, to Thee. Used With Tune: [All that I was, my sin, my guilt]

With broken heart and contrite sigh

Author: Cornelius Elven Meter: 8.8.8.8 Appears in 219 hymnals Topics: The Church Year Eleventh Sunday after Trinity; The Church Year Eleventh Sunday after Trinity Lyrics: 1 With broken heart and contrite sigh, A trembling sinner, Lord, I cry: Thy pardoning grace is rich and free; O God, be merciful to me. 2 I smite upon my troubled breast, With deep and conscience guilt oppressed; Christ and His cross my only plea: O God, be merciful to me. 3 Far off I stand with tearful eyes, Nor dare uplift them to the skies; But Thou dost all my anguish see: O God, be merciful to me. 4 Nor alms, nor deeds that I have done, Can for a single sin atone; To Calvary alone I flee: O God, be merciful to me. 5 And when, redeemed from sin and hell, With all the ransomed throng I dwell, My raptured song shall ever be, God has been merciful to me. Used With Tune: [With broken heart and contrite sigh]

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Tunes

Tune authorities

RUDOLSTADT

Meter: 7.6 Appears in 502 hymnals Topics: Eleventh Sunday after Trinity Tune Key: F Major Incipit: 11712 22133 23427 Used With Text: Draw us to Thee, Lord Jesus

[Nu takker alle Gud ]

Appears in 585 hymnals Composer and/or Arranger: J. Crüger Topics: Eleventh Sunday after Trinity Sunday For Evening Tune Key: F Major or modal Incipit: 55566 53432 32155 Used With Text: Nu takker alle Gud

[All that I was, my sin, my guilt]

Meter: 8.6.8.6 Appears in 891 hymnals Topics: The Church Year Eleventh Sunday after Trinity; The Church Year Eleventh Sunday after Trinity Tune Sources: Scotch Psalter, 1615 Tune Key: E Flat Major Incipit: 13451 23432 11715 Used With Text: All that I was, my sin, my guilt

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Instances

Published text-tune combinations (hymns) from specific hymnals

Herre! jeg maa klage

Author: H. A. Timm Hymnal: M. B. Landstads Kirkesalmebog og "Nokre Salmar" ved Professor Dr. E. Blix, samt følgende tillæg #510 (1897) Topics: Eleventh Sunday after Trinity Sunday High Mass; Eleventh Sunday after Trinity Sunday High Mass Lyrics: 1 Herre! jeg maa klage, Mine Levedage Skammer jeg mig ved! Jeg din Vilje kjender, Og min Hu sig vender Dog til Synden leed; Dette Bryst i syndig Lyst, Veed jeg, kan dig ei behage, Derfor maa jeg klage. 2 Herre! jeg maa græde, Ak, kun liden Glæde Har du havt af mig; Jeg dit Navn vel bærer, O, men hvordan ærer Jeg, min Frelser, dig? Syndens Rod i Kjød og Blod Sine Kviste vidt udbrede, Derfor maa jeg græde. 3 Herre! jeg maa sukke, Vil du endnu lukke, Op din Favn for mig? Lindring i sin Smerte Finder dette Hjerte, Jesu, kun hos dig. For din Røst har dette Bryst Tidt sig kunnet fast tillukke, Derfor maa jeg sukke. 4 Herre! jeg maa bede, Hvor skal jeg hernede Finde Styrke vel? Styrke til at blive Tro min Gud i Live Med en villig Sjæl? Aanden kun i Prøvens Stund Kan i Hjertet Kraft berede, Derfor maa jeg bede. 5 Herre! vil du hore? Laaner du dit Øre Til mit Suk, min Bøn? Gaar du mig imøde, Vil du ei forstøde Din forlorne Søn? Angst og svag pa Angrens Dag Han sin Bøn til dig maa gjøre, Herre, vil du høre? 6 Ja, du svigter ikke, Jeg i dine Blikke Læser Naadens Bud, Naade for hver Synder, Som i Troen skynder Sig hen til sin Gud, Iil da, iil! min Jesu Smik Spaar i Tvilens Øieblikke, Jesus svigter ikke. Languages: Norwegian

Jeg staar for Gud, som al Ting veed

Author: Landstad Hymnal: M. B. Landstads Kirkesalmebog og "Nokre Salmar" ved Professor Dr. E. Blix, samt følgende tillæg #53 (1897) Topics: Eleventh Sunday after Trinity Sunday High Mass; Eleventh Sunday after Trinity Sunday For Evening Lyrics: 1 Jeg staar for Gud, som al Ting veed, Og slaar mit Øie skamfuld ned, Jeg ser min Synd, at den er stor I Tanker, Gjerninger og Ord, Det mig igjennem Hjertet skjær; O Gud, mig Synder naadig vær! 2 O Herre Gud, hvad har jeg gjort, Kast mig ei fra dit Aasyn bort, Tag ei din Helligaand fra mig, Men lad ham drage mig til dig, Den rette Angers Vei mig lær; O Gud, mig Synder naadig vær! 3 O Jesu, lad dit Blod, din Død Mig redde ud af Syndens Nød, Forstød mig ei, hjælp, at jeg maa Retfærdiggjort ved dig faa gaa Ned til mit Hus og glædes der; O Gud, mig Synder naadig vær! Languages: Norwegian

Gladelig vil vi Halleluja kvæde

Author: M. B. Landstad; J. Agricola Hymnal: M. B. Landstads Kirkesalmebog og "Nokre Salmar" ved Professor Dr. E. Blix, samt følgende tillæg #512 (1897) Topics: Eleventh Sunday after Trinity Sunday Evening Lyrics: 1 Gladelig vil vi Halleluja kvæde, Hjertet skal lege for Herren af Glæde; Gud giver Synderne til og udsletter, Tungeste Sorgen af Hjertet os letter! 2 Alt, hvad der lever paa Jorden, skal love Herren saa liflig som Fuglen i Skove; Veien og Livet i Kristus er fundet, Døden og Djævelens Magt overvundet! 3 Alle, som tro, gjør han Miskund og Naade Trøster og hjælper i værende Vaade, Trofast i alle de Evigheds Dage Efter sit Ord, som kan aldrig bedrage. 4 Gud være lovet, os løste af Vaanden! Gud være lovet med Sønne og Aanden, Han, som har været og er uden Ende, Sand Gud, for Syndere salig at kjende! Languages: Norwegian Tune Title: [Gladelig vil vi Halleluja kvæde]

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People

Authors, composers, editors, etc.

Johann Crüger

1598 - 1662 Person Name: J. Crüger Topics: Eleventh Sunday after Trinity Sunday For Evening Composer of "[Nu takker alle Gud ]" in M. B. Landstads Kirkesalmebog og "Nokre Salmar" ved Professor Dr. E. Blix, samt følgende tillæg Johann Crüger (b. Grossbriesen, near Guben, Prussia, Germany, 1598; d. Berlin, Germany, 1662) Crüger attended the Jesuit College at Olmutz and the Poets' School in Regensburg, and later studied theology at the University of Wittenberg. He moved to Berlin in 1615, where he published music for the rest of his life. In 1622 he became the Lutheran cantor at the St. Nicholas Church and a teacher for the Gray Cloister. He wrote music instruction manuals, the best known of which is Synopsis musica (1630), and tirelessly promoted congregational singing. With his tunes he often included elaborate accompaniment for various instruments. Crüger's hymn collection, Neues vollkomliches Gesangbuch (1640), was one of the first hymnals to include figured bass accompaniment (musical shorthand) with the chorale melody rather than full harmonization written out. It included eighteen of Crüger's tunes. His next publication, Praxis Pietatis Melica (1644), is considered one of the most important collections of German hymnody in the seventeenth century. It was reprinted forty-four times in the following hundred years. Another of his publications, Geistliche Kirchen Melodien (1649), is a collection arranged for four voices, two descanting instruments, and keyboard and bass accompaniment. Crüger also published a complete psalter, Psalmodia sacra (1657), which included the Lobwasser translation set to all the Genevan tunes. Bert Polman =============================== Crüger, Johann, was born April 9, 1598, at Gross-Breese, near Guben, Brandenburg. After passing through the schools at Guben, Sorau and Breslau, the Jesuit College at Olmütz, and the Poets' school at Regensburg, he made a tour in Austria, and, in 1615, settled at Berlin. There, save for a short residence at the University of Wittenberg, in 1620, he employed himself as a private tutor till 1622. In 1622 he was appointed Cantor of St. Nicholas's Church at Berlin, and also one of the masters of the Greyfriars Gymnasium. He died at Berlin Feb. 23, 1662. Crüger wrote no hymns, although in some American hymnals he appears as "Johann Krüger, 1610,” as the author of the supposed original of C. Wesley's "Hearts of stone relent, relent" (q.v.). He was one of the most distinguished musicians of his time. Of his hymn tunes, which are generally noble and simple in style, some 20 are still in use, the best known probably being that to "Nun danket alle Gott" (q.v.), which is set to No. 379 in Hymns Ancient & Modern, ed. 1875. His claim to notice in this work is as editor and contributor to several of the most important German hymnological works of the 16th century, and these are most conveniently treated of under his name. (The principal authorities on his works are Dr. J. F. Bachmann's Zur Geschichte der Berliner Gesangbücher 1857; his Vortrag on P. Gerhard, 1863; and his edition of Gerhardt's Geistliche Lieder, 1866. Besides these there are the notices in Bode, and in R. Eitner's Monatshefte für Musik-Geschichte, 1873 and 1880). These works are:— 1. Newes vollkömmliches Gesangbuch, Augspur-gischer Confession, &c, Berlin, 1640 [Library of St. Nicholas's Church, Berlin], with 248 hymns, very few being published for the first time. 2. Praxis pietatis melica. Das ist: Ubung der Gottseligkeit in Christlichen und trostreichen Gesängen. The history of this, the most important work of the century, is still obscure. The 1st edition has been variously dated 1640 and 1644, while Crüger, in the preface to No. 3, says that the 3rd edition appeared in 1648. A considerable correspondence with German collectors and librarians has failed to bring to light any of the editions which Koch, iv. 102, 103, quotes as 1644, 1647, 1649, 1650, 1651, 1652, 1653. The imperfect edition noted below as probably that of 1648 is the earliest Berlin edition we have been able to find. The imperfect edition, probably ix. of 1659, formerly in the hands of Dr. Schneider of Schleswig [see Mützell, 1858, No. 264] was inaccessible. The earliest perfect Berlin edition we have found is 1653. The edition printed at Frankfurt in 1656 by Caspar Röteln was probably a reprint of a Berlin edition, c. 1656. The editions printed at Frankfurt-am-Main by B. C. Wust (of which the 1666 is in the preface described as the 3rd) are in considerable measure independent works. In the forty-five Berlin and over a dozen Frankfurt editions of this work many of the hymns of P. Gerhardt, J. Franck, P. J. Spener, and others, appear for the first time, and therein also appear many of the best melodies of the period. 3. Geistliche Kirchen-Melodien, &c, Leipzig, 1649 [Library of St. Katherine's Church, Brandenburg]. This contains the first stanzas only of 161 hymns, with music in four vocal and two instrumental parts. It is the earliest source of the first stanzas of various hymns by Gerhardt, Franck, &c. 4. D. M. Luther's und anderer vornehmen geisU reichen und gelehrten Manner Geistliche Lieder und Psalmen, &c, Berlin, 1653 [Hamburg Town Library], with 375 hymns. This was edited by C. Runge, the publisher, and to it Crüger contributed some 37 melodies. It was prepared at the request of Luise Henriette (q.v.), as a book for the joint use of the Lutherans and the Re¬formed, and is the earliest source of the hymns ascribed to her, and of the complete versions of many hymns by Gerhardt and Franck. 5. Psalmodia Sacra, &c, Berlin, 1658 [Royal Library, Berlin]. The first section of this work is in an ed. of A. Lobwasser's German Psalter; the second, with a similar title to No. 4, and the date 1657, is practically a recast of No. 4,146 of those in 1653 being omitted, and the rest of the 319 hymns principally taken from the Praxis of 1656 and the hymn-books of the Bohemian Brethren. New eds. appeared in 1676, 1700, 1704, 1711, and 1736. [Rev. James Mearns, M.A.] -- Excerpt from John Julian, Dictionary of Hymnology (1907) ======================= Crüger, Johann, p. 271, ii. Dr. J. Zahn, now of Neuendettelsau, in Bavaria, has recently acquired a copy of the 5th ed., Berlin, 1653, of the Praxis. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

Thomas Moore

1779 - 1852 Person Name: T. Moore Topics: The Church Year Eleventh Sunday after Trinity; The Church Year Eleventh Sunday after Trinity Author of "Come, ye disconsolate, where'er ye languish" in The Lutheran Hymnary Thomas Moore United Kingdom 1779-1852. Born at Dublin, Ireland, the son of a grocer, he showed an early interest in music and acting. He was educated at a private school and Trinity College, Dublin. He read at the Middle Temple for the Bar. Moore did not profess religious piety. His translations of ‘Anacreon’ (celebrating wine, women, and song) were published in 1800, with a dedication to the Prince of Wales. He also wrote a comic opera, “the gypsy prince”, staged that year. In 1801 he published a collection of his own verse, “Poetical works of the late Thomas Little Esq”. A Catholic patriot, he defended the Church of Ireland, especially in later politics. In 1803 he held a post under the Government in Bermuda as registrar of the Admiralty Prize Court. He was bored of it within six months and appointed a deputy to take his place while he left for a tour of North America. He secured high society introductions and even met with President, Thomas Jefferson. Returning to England in 1804, he published “Epistles, Odes, & other poems” in 1806. Moore criticized American slavery and was accused of licentious writings, veiled as refinement. Francis Jeffrey denounced Moore’s writings in the ‘Edinburgh Review’, and Moore challenged him to a duel, but it never happened, and they became friends. Between 1808-1810 he was found acting in various plays, favoring comic roles. He met the sister of one of the actresses and, in 1811, they married. Elizabeth ‘Bessy’ Dyke, was an actress. She had no dowry, and Moore kept their marriage secret from his parents for some time, as his wife was Protestant. Bessie shrank from fashionable society, but those who met her held her in high regard. They had five children, but none survived to adulthood. Three girls died young, and both sons lost their lives as young men. One son, Tom, died in some disgrace in the French Foreign Legion in Algeria. Despite these losses, their marriage was said to be a happy one. He also had political trouble. The man he appointed as his replacement in Bermuda was found to have embezzled 6000 pounds sterling, a large sum, for which Moore was liable. He left for France in 1819 to escape debtor’s prison. He also met Lord Byron in Venice and was entrusted with a manuscript of his memoirs, which he promised to have published after Byron’s death. Moore’s wife and children joined him in Paris, where he learned that some of the debt was repaid with help from Lord Lansdowne, whom Moore had given a draft of money from payment by his publisher. The family returned to England a year later. To support his family Moore entered the field of ‘squib writing’ on behalf of his Whig friends. This resulted in years of political debate about Catholics and Protestants in government. Nearly persuaded to forego his Catholic allegiance in favor of Protestantism, he finally concluded that Protestants did not make a sound case for their faith, as they denounced Catholics so vociferously for erroneous teaching. From 1835 -1846 Moore published a four volume “History of Ireland”, which was basically an indictment of English rule over Ireland. He was primarily a writer, poet, entertainer, and composer, considered politically as a writer for the aristocratic Whigs. His “Sacred songs” (32) were published in 1816, and again, in his “collected works” in 1866. His “Memoirs, Journal, and Correspondence” were published by Lord John Russell in 1855. Moore is essentially remembered for his highly-praised lyrics written for Irish melodies, as requested by his publishers, and his memoirs of Lord Byron, his friend. He died at Bromham, Wilshire, England. John Perry ================== Moore, Thomas, son of John Moore, a small tradesman at Dublin, was born in that city, May 28, 1779, educated at a private school and Trinity College, Dublin; read at the Middle Temple for the Bar; held a post under the Government in Bermuda for a short time, and died Feb. 26, 1852. His Memoirs, Journal, and Correspondence were published by Lord John Russell in 1855. In that work every detail concerning himself and his numerous publications, most of them of high poetical merit, will be found. His connection with hymnody is confined to his Sacred Songs, which were published in 1816, and again in his Collected Works, 1866. These Songs were 32 in all, and were written to popular airs of various nations. Of these Songs the following have passed into a few hymnbooks, mainly in America:— 1. As down in the sunless retreats of the ocean. Private Prayer. 2. But who shall see the glorious day. The Final Bliss of Man. 3. Come, ye disconsolate, where'er you languish. Belief in Prayer. In American hymnbooks the text is sometimes as in T. Hastings and Lowell Mason's Spiritual Songs, 1831. This may be distinguished from the original by the third stanza, which reads, "Here see the Bread of life; see waters flowing," &c. 4. Fallen is thy throne, O Israel. Israel in Exile. 5. Like morning when her early breeze. Power of Divine Grace. 6. O Thou Who driest the mourner's tear. Lent. 7. Since first Thy word [grace] awaked my heart. God All and in All. 8. Sound the loud timbrel o'er Egypt's dark sea. Deliverance of Israel. 9. The bird [dove] let loose in eastern skies. Prayer for Constancy. 10. The turf shall be my fragrant shrine. The Temple of Nature. From this "There's nothing bright above, below" is taken. 11. Thou art, O God, the Life and Light. God, the Light and Life of Men. 12. Were not the sinful Mary's tears? Lent. Of these hymns No. 11 has attained the greatest popularity. --John Julian, Dictionary of Hymnology (1907)

Lowell Mason

1792 - 1872 Person Name: L. Mason Topics: The Church Year Eleventh Sunday after Trinity; The Church Year Eleventh Sunday after Trinity Arranger of "[Approach, my soul, the mercy seat]" in The Lutheran Hymnary 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.

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