Magnus was the third in a family of ten children. Although sorely pressed by poverty, the father recognized unusual talent in the boy, and at the age of twenty years he was sent to the university in Christiania. During his first year at the institution two of his brothers died. Young Landstad was greatly cast down in spirit, but out of the bitterness of this early bereavement came two memorial poems that are believed to represent his first attempt at verse-writing. In 1827 he completed his theological studies at the university and the following year he was appointed resident vicar of the Lutheran church at Gausdal. During his pastorate at this place he wrote his first hymn. In 1834 he became pastor at Kviteseid, where he continued the writing of hymns and other poems. Five years later he became his father's successor as pastor of the parish at Seljord. It was here, in 1841, that he published his first work, a book of daily devotions that has been highly prized among his countrymen. For centuries Norway and Denmark had been closely connected politically and culturally. The Lutheran Church was, moreover, the state church of both countries. As a consequence of this relationship Norway had always looked to Denmark for its hymn literature, and no hymnist of any note had ever risen in the northern country. Now, however, it began to dawn on the Norwegians that a native singer dwelt in their own midst. The political ties with Denmark having been broken as a result of the Napoleonic wars, the spirit of nationalism began to assert itself and the demand for a new hymn-book for the Church of Norway constantly grew stronger. In 1848 the Norwegian ecclesiastical authorities requested Landstad to undertake the task, but not until four years later could he be prevailed upon to assume the arduous duties involved in so great an endeavor. In 1861 the first draft of his "Kirke-Salmebog" was published. It did not meet with universal approval. In defense of his work, Landstad wrote: "We must, above all, demand that our hymns possess the elements of poetic diction and true song. We must consider the historical and churchly elements, and the orthodox objectivity which shows respect for church tradition and which appreciates the purity, clearness, and force of confession. But the sickly subjectivity, which 'rests' in the varying moods of pious feelings and godly longings, and yet does not possess any of the boldness and power of true faith such as we find in Luther's and Kingo's hymns--this type of church hymn must be excluded. Finally, we must also emphasize the aesthetic feature. Art must be made to serve the Church, to glorify the name of God, and to edify the congregation of worshipers. But it must always be remembered that art itself is to be the servant and not the master."