Concerning the gospel song and hymnody of the nineteenth century, the name of Fanny Crosby is perhaps the most popular. Perhaps it is at least the name that comes to our mind when speaking of the gospel song. She was probably the most prolific hymn writer since Charles Wesley, and an excellent example of a Christian. What is lesser known about this lady is a co-worker of Crosby’s named William Bradbury. This paper will briefly discuss the life and work of Bradbury and his relation and influence to modern day congregational singing.
William Batchelder Bradbury was born in York, Maine on October 6th, 1816 at the beginning of the nineteenth century. His earliest years were spent both working on a farm and in a shoe shop. But his passion would not be limited to these things, he loved music and got his hands on whatever music or instrument he could. In 1830 his family moved to the big city of Boston and for the first time he heard and played the piano and organ. Actually, he later became quite proficient on the organ and was known for this skill. This led him to devote his life to music. (Biography of Gospel Song and Hymn Writers, n.d.) Bradbury first studied music under Lowell Mason and helped to introduce the organ to church congregations in America. He was the organist at the Baptist Tabernacle in New York and taught singing lessons there. Ruffin tells us that not everyone appreciated Bradbury either. Some complained that he was not a performer, singer or composer, but was ruining American music. However, his settings won out in the end, and the people were delighted with the hymn tunes that everyone could sing. (Ruffin, 88)
Bradbury was indeed a poet, composer, writer, pioneer, publisher, and editor. While there is not a plethora of Information about the life of Bradbury, the information is not scarce. What is surprising is that much of Bradbury’s life and work is divided into three main topics. Firstly, his influence and authorship of Sunday school songs. Secondly, the information deals with his work and collaboration with Fanny Crosby. Finally, information concerning Bradbury is written about his texts, tunes, and specifically his nineteenth century hymnals. (Reynolds & Price, 95-100)
Bradbury’s name is not that popular, except in conjunction with his most popular song, “Jesus Loves Me.” Many Christian children know this song from their earliest Sunday School days. The Sunday school movement arose out of John Wesley’s methodic ways in discipline and form concerning early American piety. Further developments in regards to Sunday School were the songs sung there that appeared in the 1820’s. Bradbury was the one responsible for popularizing these gospel songs that appeared in Sunday School collections of hymns. (Reynolds, 117) A century prior, Isaac Watts and Charles Wesley published songs for children, but Bradbury was the one who truly broke through in children’s music. Keith, a Baptist church musician in his discussion on the gospel hymn and Sunday school music points out that Bradbury was one of several to write “catchy tunes and cheerful rhymes.” However, he quotes a Methodist hymnologist in regards to his concern that “songs learned in childhood carry over into adulthood.” (Keith, 135) While understand their concern, it must be said that a balance must be achieved between Sunday school music and adult singing. More than ever, we need people who will lead quality hymns in their singing and write theologically sound songs for the church.
Furthermore, next to “Jesus Loves Me,” Bradbury’s name is most popular in conjunction with the name of Fanny Crosby (Van Alstyne). She first met Bradbury in New York City. He was a thin man, with a lionlike mane of dark hair and a gigantic beard. They certainly liked each other and instantly they started off their relationship on a first name basis. “Fanny, I thank God that we have at last met, for I think you can write hymns; and I have wished for a long time to talk with you.” (Ruffin, 89) Fanny herself recounts the story later. “He asked me if I would write a hymn for him. I was delighted. I was hungry for someone to ask me that question.” It seems from this information that Bradbury was a ministry opportunity sent from God for Miss Crosby. She returned a few days later with a hymn and he set it to music. She says that “My real work as a hymn writer began from that hour...Mr. Bradbury lightened many of my darkest days and scattered sunshine over my hours of care.” (Jackson, 63-4) It is apparent that Bradbury was a real encouragement to Crosby’s music ministry. Not only this but this text and tune writer was a real help to the popularity of Fanny’s hymns. For Crosby's words, he wrote many tunes including, TO GOD BE THE GLORY, NEAR THE CROSS, I AM THINE, and PASS ME NOT. (Milburn & Price, 118) Bradbury even gave her a very difficult melody to write words to, and she wrote an excellent hymn much to Brabury’s surprise. From then on she went to work for William B. Bradbury and Company. (Ruffin, 90)
Finally, Bradbury’s work (among others) is in fact what prepared the way for Moody and Sankey’s revival work in America. This spiritual movement affected religious life in American and England and deeply intensified the Christian church. (Lorenz, 51) What is interesting is that the mention of William Bradbury is often in a list of names concerning his work with the gospel song, the Sunday School movement or American hymnody. His influence can be felt far and wide. He wrote dozens of hymn tunes and many texts as well. Bradbury's most popular songs probably include, "Jesus Loves Me", "Praise Him, Praise Him, All Ye Little Children", "Savior, Like a Shepherd Lead Us", "The Solid Rock", "Just As I Am", "Sweet Hour of Prayer", and "Take My Life and Let it Be." (Milburn & Price, 117) Not only these songs but Bradbury also published over 70 collections of sacred and secular music. His publications include, The Psalmodist, The Golden Chain, Devotional Hymn and Tune Book, The Golden Censor, Praises of Jesus, and Sabbath School Melodies and Family Choir. (Milburn & Price 117/Biography of Gospel Song and Hymn Writers n.d.)
Let us conclude with a brief note on Bradbury's faith. Bradbury was obviously an accomplished musician, writing and publishing hymns about a relationship with Jesus and also culturally relevant songs including one about the civil war. (Ruffin, 90) He even published a "musical pocket companion" or what is titled A Hymn and Tune Book for Prayer and Social Meetings. His comment concerning this publication is, "Can not something be done to awaken new life in our social religious meetings?" (Foote, 264) However, the truth is, little if any information is available on his decision to be a disciple of Jesus Christ. Despite this, his life's work and the words he said are evidence of his commitment to the Christian faith. His life and accomplishments are an inspiration to church musicians today and we should be diligent to give our all in service to further development in the Christian music of today and God-honoring worship in this twenty-first century.
References
Foote, Henry, Three Centuries of American Hymnody, Archon Books, 1968.
Jackson, S. Trevena, Fanny Crosby’s Story, Baker Book House, Grand Rapids, 1981.
Keith, Edmond, Christian Hymnody, Convention Press, Nashville, 1956.
Lorenz, Edmund, The Singing Church, Cokesbury Press, Nashville, 1938.
Reynolds, William & Price, Milburn, A Survey of Christian Hymnody, Hope Publishing Company, Carol Stream, 1999.
___________________ , A Joyful Sound, Christian Hymnody: 2nd edition, Holt, Rinehart and Winston, New York, 1978.
Ruffin, Bernard, Fanny Crosby, United Church Press, Westwood, NJ, 1976
Biography of Gospel Song and Hymn Writers, retrieved from: http://www.hymnary.org/person/Bradbury_WB?tab=texts#texts
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