English composer and church musician John Goss was born today in 1800, in Hampshire. His father was an organist and John would have a long career in the same profession. As a child, he went to live with an uncle in London who was "an alto singer of distinction" and he became a chorister in the Chapel Royal, where he sang under John Stafford Smith (best known as the composer of The Anacreontic Song, the tune of which would later cross the ocean to be matched with The Star Spangled Banner). After his voice changed, he began to study composition with Thomas Attwood, organist at St. Paul's Cathedral. He also sang tenor briefly with the opera chorus at Covent Garden. His first organist position began in 1821 at the Stockwell Chapel. In December 1824 he was appointed to be the first organist at St. Luke's in Chelsea after winning a competition. While there he published Parochial Psalmody (1826), a four-volume collection of tunes for the psalm paraphrases and hymns used in most Anglican churches of the day. His mentor Thomas Attwood died in 1838, and Goss became organist at St. Paul's, where he would stay until retiring in 1872. He also had a long tenure (47 years) as Professor of Harmony at the Royal Academy of Music. In 1841 he published Chants Ancient and Modern, which contained 257 chant settings for the Psalms (and makes you wonder if the title inspired the committee which brought out a certain hymnal in the next decade). He collaborated with James Turle, organist at Westminster Abbey, on the three-volume Cathedral Services Ancient and Modern (1846), and was the musical editor for the Church Psalter and Hymn Book (1856). All of these books were influential in the development of church music in England in the middle of the nineteeth century. Goss's own compositions were primarily for the church, encompassing chants, anthems, services, and, of course, hymn tunes. In 1856 he was appointed composer at the Chapel Royal where his musical career had started. He was knighted in 1872 following his composition of a Te Deum and the anthem The Lord is my strength for the occasion of a service of thanksgiving at St. Paul's for the restored health of the Prince of Wales (later King Edward VII). As we are in the middle of another Twelve Days of Christmas here, we have today a tune usually credited to Goss and a text by William Walsham How (which strays a bit beyond Christmas, admittedly). ARTHUR'S SEAT by Goss seems to have first appeared in the American collection Hymns and Songs of Praise for Public Worship (1874). The musical editors of this book were John Knowles Paine and Uzziah C. Burnap, and in a later hymnal, the tune is credited to Goss and to Burnap as arranger. Where this melody appears in the works of Goss has not yet been identified, though the tune appears in many hymnals, up to the present, with Goss listed as composer.
Behold a little child, laid in a manger bed; The wintry blasts blow wild around his infant head; But who is this so lowly laid? ’Tis Christ by whom the worlds were made. Alas! in what poor state the Child of God is seen; Why did our God so great choose out a home so mean? That we may learn from pride to flee, And follow Christ's humility. Where Joseph plies his trade, there Jesus labors, too; The hands that all things made an earthly craft pursue, That weary souls in him may rest, And faithful toil through Christ be blessed. Christ, once thyself a boy, our lifelong guard and guide; Be thou its light and joy, and still with us abide, That thy dear love, so great and free, May draw us evermore to thee. William Walsham How, 1872; alt. Tune: ARTHUR'S SEAT (6.6.8.6.8.10.) John Goss, 19th cent; arr. Uzziah C. Burnap, 1874
Arthur's Seat is actually a mountain in Edinburgh, but no one knows why this tune was named for it. John Goss died on May 10, 1880 and was buried at St. Paul's. Most of his compositions, like those of his Victorian contemporaries, have not survived well, except for a few anthems, chants, and hymn tunes. He is described in the (Episcopal) Hymnal 1940 Companion as "no exceptional genius, but a sincere and skillful craftsman, writing solidly and well for the voice." Trevor Beeson's book In Tuneful Accord (2008), a study of Anglican church musicians and composers, admits that "It is possible, however, that some good parish church choirs view his work more favourably."
Composer John Knowles Paine (January 9, 1839 - April 25, 1906) was the most prominent American composer of his day, and was also the first professor of music at any American university (Harvard).
While many of his compositions were for orchestra, organ, or chamber ensembles, he also wrote choral music. His large-scale Mass in D minor (1866) was first performed in Berlin, and later in the United States. The first recording was finally released in 1978, and a new critical edition of the score is reportedly in preparation. At least two performances of the Mass took place in 2012, and I was lucky enough to attend one of them. This YouTube video, of the final movement (Dona nobis pacem), is from the other one, at West Chester Universioty in Pennsylvania.
Paine also wrote a handful of hymn tunes. He served as one of the musical editors for Hymns and Songs of Praise for Public and Social Worship(1874) where most (if not all) of them appeared. Unfortunately no one has documented these tunes on any of the usual hymn websites, so no sound files are yet available.
John Knowles Paine, born today in 1839, was the first American composer to be recognized and appreciated by the Europeans (which was important in those times). He was also the first American to write a symphony and the first professor of music at any American university.
He was born in Portland, Maine, where his father operated a music store. He played piano and organ from an early age and after his father's death in 1856, he played a series of recitals to raise the money to travel to Berlin for his musical education. After nearly four years, he returned and was hired as organist at the West Church in Boston. Only six months later he took the position of organist and choirmaster at Harvard University.
His first major choral work, Domine salvum fac, was written for the installation of a new Harvard president in 1863. His organ variations on the Star-Spangled Banner were very popular during the Civil War, and in 1866 his Mass in D had its premiere performance in Berlin. Harvard was impressed; Paine was awarded an honorary degree in 1869 which then made it possible for them to appoint him as an instructor in music. In 1875 he was made a full professor, the first in this country.
Paine continued to compose orchestral, organ, and choral works; he was the first of the Second New England School of composers which included George W. Chadwick, Horatio Parker, and Amy Beach among others. Unlike those colleagues, his major choral works have been recorded, both the Mass in D and his oratorio St. Peter (1872). His other long-lasting composition (at Harvard, at least) is the tune for the Harvard Hymn, which I believe is still sung at commencement ceremonies, and is still in the most recent Harvard University Hymn Book (2007).
Paine also wrote a handful of other hymn tunes which I have come across in recent years, though none that anyone still sings today, and none that are documented at any of the usual hymn websites. However, in the aforementioned St. Peter, he reharmonized three familiar German chorales. This Epiphany hymn by Philipp Nicolai appears in many different hymnals, but you probably have not heard or sung it to this arrangement by John Knowles Paine.
How lovely shines the Morning Star! The nations see and hail afar The light in Judah shining. Thou art my heart’s most beauteous Flower, And thy blest Gospel’s saving power For thee my heart is pining. Thou mine, I thine; Sing hosanna! Heav’nly manna Tasting, eating, Whilst thy love in songs repeating.
Lift up the voice and strike the string, Let all glad sounds of music ring In God’s high praises blended. Christ will be with me all the way, Today, tomorrow, every day, Till traveling days be ended. Sing out, ring out, Triumph glorious, O victorious, Chosen nation; Praise the God of thy salvation.
Oh, joy to know that thou, my Friend, Art Love, beginning without end, The First and Last, eternal! And thou at length —- O glorious grace! Wilt take me to that holy place, The home of joys supernal. Amen, Amen! Come and meet me! Quickly greet me! With deep yearning, Christ, I look for thy returning.
Philipp Nicolai, 1597 translation composite Tune: WIE SCHON LEUCHTET (8.8.7.8.8.7.4.8.4.8) Philipp Nicolai, 1599 harm. John Knowles Paine, 1872
The major work of Paine's later life was an opera, Azara, which was scheduled to be performed at the Metropolitan Opera in 1906. However, the performers, at that time used to singing only in Italian (regardless of the original language of any work) refused to learn a piece in English and the premiere never took place. It was performed in concert at Harvard and elsewhere, but has never been presented in a fully staged production.
P.S. The portrait of Paine above (undated) is by Caroline Amelia Cranch (1853-1931), donated to Harvard Universaity by Paine's daighter-in-law in 1920.
Composer George Whitefield Chadwick was born today in 1854 in Lowell, Massachusetts. Though he dropped out of high school in 1871, the following year he was admitted to the New England Conservatory of Music as a special student. He was successful in his musical studies, and taught music at Olivet College in Michigan after graduation. While there, he became one of the founders of the Music Teachers National Association, and also published some of his first compositions.
He then traveled to Leipzig and Munich for two more years of musical studies; at the time European study was considered a necessity for an American composer. After returning to the US, he went back to the New England Conservatory as a teacher, and eventually becoming its director in 1897, serving for 33 years. He was also the organist at Boston's South Congregational Church and conducted annual choral festivals at Springfield and Worcester.
Chadwick composed in many different forms, including choral music, symphonies and chamber music, and opera. His works were popular in his own time both in this country and abroad; he was thought to be one of the best American composers of the day. He became known as one of the Second New England School of composers, with Amy Beach, Horatio Parker, John Knowles Paine, and others. Each of these composed some hymn tunes, and Chadwick added another handful (a few more than you can hear at the Cyber Hymnal site).
I sought thee, Lord, and afterward I knew Thou mov'dst my soul to seek thee, seeking me. It was not I that found, O Savior true; No, I was found of thee.
Thou didst reach forth thy hand and mine enfold; I walked and sank not on the storm vexed sea. ’Twas not so much that I on thee took hold, As Thou, dear Lord, on me.
I find, I walk, I love, but oh, the whole Of love is but my answer, Lord, to thee! For thou were long beforehand with my soul, Always thou lovedst me.
Author unknown, c. 1880; alt. Tune: PEACE (10.10.10.6.) George W. Chadwick, 1890
This anonymous hymn text may have first appeared in a collection published in Boston titled Holy Songs, Carols, and Sacred Ballads (1880). One subsequent source attributed it to the British poet Jean Ingelow, but apparently there is no consensus on her authorship. Chadwick is said to have written the tune specifically for this text, though other sources say that the text did not appear in an American hymnal until 1903. Of course, it still could have been sung earlier by Chadwick's Boston congregation. The hymn later appeared in several twentieth century hymnals, but nearly always with a different tune. Chadwick's other hymn tunes fared equally badly; I don't believe any of them appear in current collections.
From my own bookshelf, A Book of Choruses for High Schools and Choral Societies (1923) states of Chadwick (admittedly, one of its editors):
Probably no American composer has had a larger influence on the development of music in this country. Mr. Chadwick's works have won a permanent place in the repertoires of orchestras, choruses, choirs, and singers the world over...
Not so permanent, as it turned out. Some of his orchestral and chamber works have been recorded, but almost none of his choral or vocal music.
I've always thought it would be interesting to attend a New England Classical Christmas concert, with choral excerpts from Chadwick's oratorio Noel (1908), Parker's cantata The Holy Child (1893), Paine's cantata The Nativity (1883) and Amy Beach's Christmas pieces Bethlehem (1893) and Constant Christmas (1922). But I've also come to realize that if I ever want to hear it I will probably have to start the choral group myself.
