Born: October 6, 1816, York, Maine.
Died: January 7, 1868, Montclair, New Jersey.
Buried: Bloomfield Cemetery, Bloomfield, New Jersey.
On October 6, 1816, in the picturesque town of York, Maine, William Batchelder Bradbury was born into a family steeped in musical tradition. His father, David Bradbury, a dedicated church choir leader, fostered young William’s love for hymns and melodies from an early age. Though passionate about music, it wasn’t until the age of 17 that Bradbury could fully immerse himself in its study, thanks to the support of his friends who helped him attend the Academy of Music in Boston, run by the renowned Lowell Mason and George Webb.
William’s early journey wasn’t without its humorous setbacks. Upon returning home from music school one evening, filled with enthusiasm, he attempted to demonstrate his new knowledge of singing and keeping time to his parents. His gestures were so extravagant—swinging his arm nearly its full length—that his parents couldn’t contain their laughter. Indignant at their reaction, the young William slammed his book shut and declared they “knew nothing at all about music” before storming out of the room.
Another disappointment came with his first attempt at running a singing school. After distributing numerous circulars and advertisements, William anticipated a large crowd—but at the appointed time, not a single person appeared. Eventually, a young man showed up, followed by five others who seemed to have come merely to witness the young teacher’s embarrassment. William later reflected that this “magnificent fizzle” was more valuable than a grand success might have been, as it humbled him and prepared him for future challenges.
Under the guidance of his mentor, Lowell Mason, Bradbury secured a position as a singing school teacher in Machias, Maine, and later in St. John, New Brunswick. His talent and dedication soon led him to the First Baptist Church in Brooklyn, New York, where he served as a music teacher, and subsequently to the Baptist Tabernacle in New York City.
At the Brooklyn church, Bradbury faced opposition from members who weren’t fond of organ music in worship. Rather than arguing, he simply played with such skill and taste that he soon won over even the most hesitant critics. This gentle approach to overcoming obstacles would become a hallmark of Bradbury’s character throughout his career.
In 1841, Bradbury’s heart turned towards the children, and he began holding free singing classes that quickly gained popularity. His annual Juvenile Music Festivals were a sight to behold, with a thousand children adorned in white, blue sashes, and Byron-style collars, singing in perfect harmony on a rising platform. As one contemporary described it: “The sight itself was thrilling. A thousand children seated on a gradually rising platform… About two-thirds of the class were girls, dressed uniformly in white with a white wreath and blue sash. The boys were dressed in jackets with collars turned over, something in the Byron style.”
These efforts among the young not only brought Bradbury great acclaim and a host of warm friends but also paved the way for his life’s work of creating Sunday School songs. His advocacy went beyond teaching children to sing—he consistently used these large gatherings to impress upon the public the necessity of musical instruction in public schools. Eventually, he had the satisfaction of seeing music taught as a regular study in the public schools of New York, cementing his legacy as the “father of American Sunday school music.”
In 1847, William Batchelder Bradbury fulfilled his desire to study with European masters, taking passage to England with his wife and daughter. After spending several weeks in London, where he made the acquaintance of Jenny Lind (then unknown to American fame), he arrived in Leipzig, Germany in September. There, he studied piano and organ under Wenzel, voice under Boehme, and harmony under Hauptmann.
Leipzig was the home of Mendelssohn, whose death occurred only weeks after Bradbury’s arrival, and whose funeral he had the sad privilege of attending. During his European travels, Bradbury also enjoyed an adventure crossing the Alps into Switzerland, where he encountered a German so enraptured by the Alpine peaks at sunrise that he burst into song. Not wishing to be outdone, Bradbury began singing as well, and the delighted German insisted on being taught the same pieces. Later, Bradbury would joke that this was “the only music lesson I gave on top of the Alps.”
Upon returning to New York in 1849, William Batchelder Bradbury devoted himself entirely to teaching, conducting conventions, composing, and editing music books. His collections, such as the Golden Trio, Golden Chain, Golden Shower, and Golden Censer, were met with overwhelming success, selling over three million copies combined. His music touched the hearts of countless children and adults alike, drawing them closer to God through the power of song.
Bradbury’s generosity became as well-known as his music. Once when a theology student wrote asking to borrow five dollars for a pair of boots, Bradbury responded with characteristic humor. He sent a check for twenty-five dollars, along with a playful note explaining that he couldn’t spare exactly five dollars at the moment, but hoped the student could ‘manage’ with the larger amount until he was able to send the originally requested five dollars later.
In 1854, William and his brother, Edward G. Bradbury, established the Bradbury Piano Company in New York City, showcasing William’s entrepreneurial spirit alongside his musical prowess. However, it was his work as a composer and publisher that would leave a mark on the world of sacred music.
Even as his business grew, Bradbury maintained his spiritual discipline. In the rear of one of his New York warehouses was a small office where he often went to pray and “renew his strength.” Whenever he had to leave his house without sufficient prayer time, he would visit this private sanctuary for devotions, never allowing business to intrude on this habit. His beloved Bible occupied a prominent place on the table and was well-worn and filled with marked passages. In his private journal, he wrote, “The 37th Psalm has been to me a never-failing source of comfort and consolation. My little Bible frequently opens to it of its own accord. The 27th is also a favorite when the enemy comes in like a flood.”
Throughout his career, Bradbury authored and compiled an impressive fifty-nine books, starting in 1841. His most enduring contribution came in 1862 when he discovered the poem “Jesus Loves Me.” Moved by its simple yet profound message, Bradbury composed a melody that perfectly captured the essence of the poem and added the iconic chorus, “Yes, Jesus loves me, Yes, Jesus Loves me…” This hymn would become one of the most cherished songs of all time, touching the hearts of generations.
During this productive period, Bradbury also became a mentor to other important hymn writers, most notably Fanny Crosby, who would go on to write over 8,000 hymns herself. His influence thus extended far beyond his own compositions, helping to shape the future of American sacred music.
Bradbury’s compositions have stood the test of time, gracing the pages of hymnbooks and songbooks, and continue to inspire and uplift souls around the world. Perhaps none captures the essence of trusting in God’s guiding hand more beautifully than “He Leadeth Me.”
He leadeth me O blessed thought
O words with heav’nly comfort fraught
Whate’er I do where’er I be
Still ’tis God’s hand that leadeth me
The lyrics remind us that no matter what trials we face or where life’s path takes us, we can find blessed comfort in the thought that God is always leading us. Other beloved hymns like “Just As I Am,” “Sweet Hour of Prayer,” “Savior, Like a Shepherd Lead Us,” and “My Hope Is Built on Nothing Less” have similarly endured, touching hearts across generations with their messages of faith, devotion and the steadfast love of Christ.
William Batchelder Bradbury’s position as one of the great trio of American church music—alongside Lowell Mason and George F. Root—ensured his permanent place in musical history. His melodies have an easy, natural flow, and his harmonies are simple yet profound, making his hymns accessible to all while conveying deep spiritual truths.
In the final two years of his life, William Bradbury suffered from tuberculosis. Despite his declining health, his faith remained steadfast. A few weeks before his death, he told his friend Theodore Seward, “I long to be free from this evil body, which does so much to drag me down. I feel that I want to do right, that I want to love my Savior, and act to please Him, but this busy brain and hasty nature lead me oftentimes to things that are contrary to the real feelings of my heart.”
The children of Montclair loved him so dearly that a week before his death, they each brought an oak leaf to him. These were woven into a wreath which was laid on his coffin and buried with him—a touching testament to the impact he had made on the youngest members of his community.
On the Saturday before his passing, Bradbury shared with a friend, “My soul seems to have gained the victory. I am so happy now. I rest wholly upon Christ. May God give me the grace to die. I am going to see mother.” On January 7, 1868, at the age of 51, William Batchelder Bradbury breathed his last in Bloomfield, New Jersey (now Montclair). He was laid to rest beside his beloved mother, and the hymn “Asleep in Jesus” was sung, just as it had been at his mother’s burial.
As we sing the timeless hymns born from Bradbury’s pen, let us remember the man behind the melodies—a devoted servant of God who dedicated his life to creating music that would draw hearts closer to the Savior. In every note and every lyric, William Batchelder Bradbury’s legacy lives on, a testament to the transformative power of sacred music and the impact of a life wholly surrendered to Christ.
