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Blest day of God, most calm, most bright

Author: John Mason Meter: 8.6.8.6 Appears in 133 hymnals Topics: Seventeenth Sunday after Trinity Lyrics: 1 Blest day of God, most calm, most bright, The first and best of days; The laborer's rest, the saint's delight, The day of prayer and praise! 2 My Saviour's face made thee to shine, His rising thee did raise; This made thee heavenly and divine Beyond the common days. 3 The first fruits oft a blessing prove To all the sheaves behind; And they that do a Sabbath love, A happy week shall find. 4 This day must I 'fore God appear, For, Lord, the day is Thine; O let me to spend it in Thy fear, Then shall the day be mine. Used With Tune: REDHEAD, 29
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So let our lips and lives express

Author: Watts Meter: 8.8.8.8 Appears in 494 hymnals Topics: Seventeenth Sunday after Trinity Lyrics: 1 So let our lips and lives express The holy Gospel we profess: So let our works and virtues shine, To prove the doctrine all divine. 2 Thus shall we best proclaim abroad The honors of our Saviour God; When His salvation reigns within, And grace subdues the power of sin. 3 Our flesh and sense must be denied, Passion and envy, lust and pride; While justice, temperance, truth and love Our inward piety approve. 4 Religion bears our spirits up, While we expect that blessed hope, The bright appearance of the Lord, And faith stands leaning on His Word. Used With Tune: HAMBURG
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Lord, if Thou Thy grace impart

Author: C. Wesley Appears in 78 hymnals Topics: Seventeenth Sunday after Trinity Lyrics: 1 Lord, if Thou Thy grace impart, Poor in spirit, meek in heart, I shall as my Master be, Clothéd with humility. 2 Simple, teachable, and mild, Changed into a little child, Pleased with all the Lord provides, Weaned from all the world besides. 3 Father, fix my soul on Thee; Every evil let me flee: Nothing want beneath, above, Happy in Thy precious Love. 4 O that all may seek and find Every good in Christ combined! Him let Israel still adore, Trust Him, praise Him evermore. Scripture: Psalm 131 Used With Tune: VIENNA

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REDHEAD, 29

Meter: 8.6.8.6 Appears in 300 hymnals Topics: Seventeenth Sunday after Trinity Tune Key: F Major Incipit: 11713 22114 31233 Used With Text: Blest day of God, most calm, most bright
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ST. PETER

Meter: 8.6.8.6 Appears in 751 hymnals Topics: Seventeenth Sunday after Trinity Tune Key: E Flat Major Incipit: 51765 54332 14323 Used With Text: In duties and in sufferings too
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[O Lord, turn not Thy face away]

Appears in 136 hymnals Composer and/or Arranger: W. Croft, 1678—1727 Topics: The Church Year Seventeenth Sunday after Trinity; The Church Year Seventeenth Sunday after Trinity Tune Key: B Flat Major Incipit: 53513 21713 25654 Used With Text: O Lord, turn not Thy face away

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Published text-tune combinations (hymns) from specific hymnals
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Den Naade, Gud os haver ted

Author: Kingo Hymnal: Salmebog for Lutherske Kristne i Amerika #535 (1919) Topics: Seventeenth Sunday after Trinity Sunday; Seventeenth Sunday after Trinity Sunday Lyrics: 1 Den Naade, Gud os haver ted Af faderlig Barmhjertighed, At kalde os til Himmerig Og evigt Liv og Lyst hos sig, Den bør vi høit at skjønne paa, Og ei paa Onskabs Veie gaa. 2 Men, som det Kristne sømme kan, Der er i de Gjenfødtes Stand, Betænke vel vort Syndefald, Og agte Herrens Naade-Kald, Ja vandre for hans Aasyn saa, Vi Himlens Glæde nyde maa. 3 Af Hjerte, Sjæl og ganske Sind Vi endelig bør lægge Vind Paa Ydmyghed, og trykke ned Den Satans Synd Hovmodighed, Som i Guds Øine hadet er, Og evig Skjændsel til os bær. 4 Vor Næste bør vi ei forsmaa, Ei heller det fortryde paa, Om og hans Lykke, Sted og Stand Vor meget overstige kan, Men med et ydmygt Hjerte se, Vi ham al Hjælp og Miskund te. 5 Enhver af os sin Lyde har, Er ei saa engleren og klar, At han jo ofte sig forser I dette syndig' Legems Ler; Bedst derfor er, vi fare sagt', Og paa os selv har nøie Agt. 6 Sagtmodighed og Hjerte-Taal Bør være vores Øiemaal, Saa hastig Harm ei tænder Ild, Naar vor Jevnkristen farer vild, At skjæmme ham, men give Dag, Og se i Kjærlighedhans Sag. 7 Af Kjærlighedens rene Væld Oprinder alle Dyders Held; Thi Kjærlighed ydmyg er, Sagtmodig, taalig mod enhver, Og elsker altid Enighed Paa Troens Grund i Aandens Fred. 8 Og vi, som Navn af Kristus bær, Et Legeme med hannem er, Vi alle ved Guds gode Aand Bør holde fast ved Fredens Baand, Vi alle har et Livsens Haab, Een Herre og en tro, een Daab. 9 Een Gud vor Faders Navn og bær, Som over alle mægtig er, Og ved sin Søn har os gjenløst, Ja Kjærlighed ved Aanden øst I vore Hjerter rundelig, At danne os til Himmerig. 10 Saa bør da derfor Kjærlighed I vore Hjertet blive ved, Fordi vi alle Søskend er. O, gid vi sammenknyttes her, Saa vi kan Ærens Krone faa, Naar Dommens store Dag skal staa. Languages: Norwegian
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Gud Faders Navn og Ære

Author: Kingo Hymnal: Salmebog for Lutherske Kristne i Amerika #197 (1919) Topics: Seventeenth Sunday after Trinity Sunday; Seventeenth Sunday after Trinity Sunday Lyrics: 1 Guds Faders Navn og Ære, hans Huses Herlighed Skal Jesu Omhu være, Det er hans Fødsels Med. 2 Fra alle Jordens Ender Han dem forsamle skal, Som Herrens Ære kjender, Ja et utalligt Tal. 3 Et Tempel har han bygget Og grundet med sit Blod, Som Satan ei saar rygget, Det har saa stærk en Fod. 4 Hver Sjæl, som ham mon savne, Skal i Guds Kirkes Bo Ham søge og omfavne, Og finde Trøst og Ro. 5 Der vil han altid blive Forklaret i sit Ord Og Sakramenter give Af Naadens rige Bord. 6 Der vil han Sjæle løse Af alle Syndens Baand, Der vil han Trøst udøse I hver bekymret Aand. 7 Der, Jesus, vil du findes, Vel dem, som søge dig. Af dem skal Kronen vindes Udi dit Himmerig. Languages: Norwegian
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En Gud og alles Fader!

Author: Bernh. S. Ingemann Hymnal: Salmebog for Lutherske Kristne i Amerika #536 (1919) Topics: Seventeenth Sunday after Trinity Sunday; Seventeenth Sunday after Trinity Sunday Lyrics: 1 En Gud og alles Fader! Er Hjordens og dens Hyrdes Raab; Et Livets Væld os bader, Og et er vores Sjæles Haab; En Røst fra sanddru Munde, En Aand i Alles Røst, En Fred, hvortil vi stunde, En Tro med evig Trøst, En Kjærlighed, en Længsel, En Kamp for Palmen hist, En Udgang af al Trængsel, Et Liv i Jesus Krist! 2 I Aandens Samfund vandre Vi da den store Pilgrimsgang, Og synge med hverandre Det frelste Zions Seierssang. Igjennem Nat og Trængsel, Igjennem Nød og Død, Med stille Haab og Længsel, Med dyb Forventnings Glød– Fra Kors, fra Grav vi stige Med salig Lov og Pris Til den Opstandnes Rige, Til Frelsens Paradis! Languages: Norwegian

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Authors, composers, editors, etc.

Isaac Watts

1674 - 1748 Person Name: Watts Topics: Seventeenth Sunday after Trinity Author of "So let our lips and lives express" in Church Book 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

Lowell Mason

1792 - 1872 Person Name: Lowell Mason, Mus. Doc. Topics: Seventeenth Sunday after Trinity Composer of "ARIEL" in Evangelical Lutheran 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.

I. B. Woodbury

1819 - 1858 Person Name: Isaac Beverly Woodbury Topics: Seventeenth Sunday after Trinity Composer of "TALMAR (Chester-Dorrnance)" in Evangelical Lutheran 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
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