172:"...Though he possessed a peculiar eccentricity of character, yet he had virtues to imitate, and talents to admire ... his ambitions, usefulness, and talents, became obscured -- and, as monuments erected to human honor and glory decay by the violence of storms ... he gradually mouldered away. Alas! how unstable is human knowledge and worth!" Boston Centinel, reprinted in: Poulson's American Daily Advertiser, 05-11-1804
221:"was largely influential in establishing the custom of using seven syllables in the scale (do, re, me, fa, sol, la, si) in place of the four syllables (fa, sol, la, mi)." Robert G. McCutchan. "American Church Music Composers of the Early Nineteenth Century." Church History, Vol. 2, No. 3 (Sep., 1933)
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The
Massachusetts compiler of theoretical and practical elements of sacred vocal music, together with a musical dictionary and a variety of psalm tunes, chorusses, &c., chiefly selected or adapted from modern European
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Bray, Oliver. An
Oration on Music pronounced at Fryeburg, before the Hans Gram Musical Society on their First Anniversary, October 10, 1811. Portland, 1812.
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One of his students, "born blind and but 15 years of age," played organ at the
Universal Meeting House. Columbian Centinel, 05-02-1792
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199:"For singing schools & societies. Thomas and Andrews, Faust's statue, no.45 Newbury-street, Boston." Salem Gazette 11-18-1794
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163:"Died, in this town, after a lingering illness, Hans Gram, Esq. formerly of Copenhagen..." The Repertory (Boston), 05-08-1804
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150:"According to a manuscript note by Oscar Sonneck at the Library of Congress." Gillian B. Anderson. "The Funeral of
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242:"A Digraceful Practice." Boston Post; reprinted in: New Hampshire Gazette, 09-08-1846. Describes Gram drunk.
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Hymn to Sleep. (Gram translated lyrics from German and added his verses)
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Bind Kings with Chains, an anthem for Easter Sunday
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63:, ca.1791)
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