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Timothy Dudley-Smith

b. 1926 Author of "All Shall Be Well" in The Worshiping Church Timothy Dudley-Smith (b. 1926) Educated at Pembroke College and Ridley Hall, Cambridge, Dudley-Smith has served the Church of England since his ordination in 1950. He has occupied a number of church positions, including parish priest in the diocese of Southwark (1953-1962), archdeacon of Norwich (1973-1981), and bishop of Thetford, Norfolk, from 1981 until his retirement in 1992. He also edited a Christian magazine, Crusade, which was founded after Billy Graham's 1955 London crusade. Dudley-Smith began writing comic verse while a student at Cambridge; he did not begin to write hymns until the 1960s. Many of his several hundred hymn texts have been collected in Lift Every Heart: Collected Hymns 1961-1983 (1984), Songs of Deliverance: Thirty-six New Hymns (1988), and A Voice of Singing (1993). The writer of Christian Literature and the Church (1963), Someone Who Beckons (1978), and Praying with the English Hymn Writers (1989), Dudley-Smith has also served on various editorial committees, including the committee that published Psalm Praise (1973). Bert Polman

Orlando Gibbons

1583 - 1625 Composer of "SONG 46" in The Worshiping Church Orlando Gibbons (baptised 25 December 1583 – 5 June 1625) was an English composer, virginalist and organist of the late Tudor and early Jacobean periods. He was a leading composer in the England of his day. Gibbons was born in Cambridge and christened at Oxford the same year – thus appearing in Oxford church records. Between 1596 and 1598 he sang in the Choir of King's College, Cambridge, where his brother Edward Gibbons (1568–1650), eldest of the four sons of William Gibbons, was master of the choristers. The second brother Ellis Gibbons (1573–1603) was also a promising composer, but died young. Orlando entered the university in 1598 and achieved the degree of Bachelor of Music in 1606. James I appointed him a Gentleman of the Chapel Royal, where he served as an organist from at least 1615 until his death. In 1623 he became senior organist at the Chapel Royal, with Thomas Tomkins as junior organist. He also held positions as keyboard player in the privy chamber of the court of Prince Charles (later King Charles I), and organist at Westminster Abbey. He died at age 41 in Canterbury of apoplexy, and a monument to him was built in Canterbury Cathedral. A suspicion immediately arose that Gibbons had died of the plague, which was rife in England that year. Two physicians who had been present at his death were ordered to make a report, and performed an autopsy, the account of which survives in The National Archives: We whose names are here underwritten: having been called to give our counsels to Mr. Orlando Gibbons; in the time of his late and sudden sickness, which we found in the beginning lethargical, or a profound sleep; out of which, we could never recover him, neither by inward nor outward medicines, & then instantly he fell in most strong, & sharp convulsions; which did wring his mouth up to his ears, & his eyes were distorted, as though they would have been thrust out of his head & then suddenly he lost both speech, sight and hearing, & so grew apoplectical & lost the whole motion of every part of his body, & so died. Then here upon (his death being so sudden) rumours were cast out that he did die of the plague, whereupon we . . . caused his body to be searched by certain women that were sworn to deliver the truth, who did affirm that they never saw a fairer corpse. Yet notwithstanding we to give full satisfaction to all did cause the skull to be opened in our presence & we carefully viewed the body, which we found also to be very clean without any show or spot of any contagious matter. In the brain we found the whole & sole cause of his sickness namely a great admirable blackness & syderation in the outside of the brain. Within the brain (being opened) there did issue out abundance of water intermixed with blood & this we affirm to be the only cause of his sudden death. His death was a shock to peers and the suddenness of his passing drew comment more for the haste of his burial – and of its location at Canterbury rather than the body being returned to London. His wife, Elizabeth, died a little over a year later, aged in her mid-30s, leaving Orlando's eldest brother, Edward, to care for the children left orphans by this event. Of these children only the eldest son, Christopher Gibbons, went on to become a musician. One of the most versatile English composers of his time, Gibbons wrote a quantity of keyboard works, around thirty fantasias for viols, a number of madrigals (the best-known being "The Silver Swan"), and many popular verse anthems. His choral music is distinguished by his complete mastery of counterpoint, combined with his wonderful gift for melody. Perhaps his most well known verse anthem is This is the record of John, which sets an Advent text for solo countertenor or tenor, alternating with full chorus. The soloist is required to demonstrate considerable technical facility at points, and the work at once expresses the rhetorical force of the text, whilst never being demonstrative or bombastic. He also produced two major settings of Evensong, the Short Service and the Second Service. The former includes a beautifully expressive Nunc dimittis, while the latter is an extended composition, combining verse and full sections. Gibbons's full anthems include the expressive O Lord, in thy wrath, and the Ascension Day anthem O clap your hands together for eight voices. He contributed six pieces to the first printed collection of keyboard music in England, Parthenia (to which he was by far the youngest of the three contributors), published in about 1611. Gibbons's surviving keyboard output comprises some 45 pieces. The polyphonic fantasia and dance forms are the best represented genres. Gibbons's writing exhibits full mastery of three- and four-part counterpoint. Most of the fantasias are complex, multisectional pieces, treating multiple subjects imitatively. Gibbons's approach to melody in both fantasias and dances features a capability for almost limitless development of simple musical ideas, on display in works such as Pavane in D minor and Lord Salisbury's Pavan and Galliard. In the 20th century, the Canadian pianist Glenn Gould championed Gibbons's music, and named him as his favorite composer. Gould wrote of Gibbons's hymns and anthems: "ever since my teen-age years this music ... has moved me more deeply than any other sound experience I can think of." In one interview, Gould compared Gibbons to Beethoven and Webern: ...despite the requisite quota of scales and shakes in such half-hearted virtuoso vehicles as the Salisbury Galliard, one is never quite able to counter the impression of music of supreme beauty that lacks its ideal means of reproduction. Like Beethoven in his last quartets, or Webern at almost any time, Gibbons is an artist of such intractable commitment that, in the keyboard field, at least, his works work better in one's memory, or on paper, than they ever can through the intercession of a sounding-board. To this day, Gibbons's obit service is commemorated every year in King's College Chapel, Cambridge. --wikipedia.org

John B. Foley

b. 1939 Person Name: John Foley, SJ, b. 1939 Composer of "[All shall be well]" in Glory and Praise (3rd. ed.)

Jane Borthwick

1813 - 1897 Person Name: Jane L. Borthwick Translator of "At last all shall be well with those, His own" Miss Jane Borthwick, the translator of this hymn and many others, is of Scottish family. Her sister (Mrs. Eric Findlater) and herself edited "Hymns from the Land of Luther" (1854). She also wrote "Thoughts for Thoughtful Hours (1859), and has contributed numerous poetical pieces to the "Family Treasury," under the signature "H.L.L." --Annotations of the Hymnal, Charles Hutchins, M.A. 1872. ================================= Borthwick, Jane, daughter of James Borthwick, manager of the North British Insurance Office, Edinburgh, was born April 9, 1813, at Edinburgh, where she still resides. Along with her sister Sarah (b. Nov. 26, 1823; wife of the Rev. Eric John Findlater, of Lochearnhead, Perthshire, who died May 2, 1886) she translated from the German Hymns from the Land of Luther, 1st Series, 1854; 2nd, 1855; 3rd, 1858; 4th, 1862. A complete edition was published in 1862, by W. P. Kennedy, Edinburgh, of which a reprint was issued by Nelson & Sons, 1884. These translations, which represent relatively a larger proportion of hymns for the Christian Life, and a smaller for the Christian Year than one finds in Miss Winkworth, have attained a success as translations, and an acceptance in hymnals only second to Miss Winkworth's. Since Kennedy's Hymnologia Christiana, 1863, in England, and the Andover Sabbath Hymn Book, 1858, in America, made several selections therefrom, hardly a hymnal in England or America has appeared without containing some of these translations. Miss Borthwick has kindly enabled us throughout this Dictionary to distinguish between the 61 translations by herself and the 53 by her sister. Among the most popular of Miss Borthwick's may be named "Jesus still lead on," and "How blessed from the bonds of sin;" and of Mrs. Findlater's "God calling yet!" and "Rejoice, all ye believers." Under the signature of H. L. L. Miss Borthwick has also written various prose works, and has contributed many translations and original poems to the Family Treasury, a number of which were collected and published in 1857, as Thoughts for Thoughtful Hours (3rd edition, enlarged, 1867). She also contributed several translations to Dr. Pagenstecher's Collection, 1864, five of which are included in the new edition of the Hymns from the Land of Luther, 1884, pp. 256-264. Of her original hymns the best known are “Come, labour on” and "Rest, weary soul.” In 1875 she published a selection of poems translated from Meta Heusser-Schweizer, under the title of Alpine Lyrics, which were incorporated in the 1884 edition of the Hymns from the Land of Luther. She died in 1897. [Rev. James Mearns, M.A.] -- John Julian, Dictionary of Hymnology (1907) ======================== Borthwick, Jane, p. 163, ii. Other hymns from Miss Borthwick's Thoughtful Hours, 1859, are in common use:— 1. And is the time approaching. Missions. 2. I do not doubt Thy wise and holy will. Faith. 3. Lord, Thou knowest all the weakness. Confidence. 4. Rejoice, my fellow pilgrim. The New Year. 5. Times are changing, days are flying. New Year. Nos. 2-5 as given in Kennedy, 1863, are mostly altered from the originals. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) ============= Works: Hymns from the Land of Luther

Christian A. Bernstein

1672 - 1712 Author of "At last all shall be well with those, His own" Bernstein, Christian Andreas, was born at Domnitz, near Halle, where his father, Daniel Bernstein, was pastor. After completing his studies at Halle, he was appointed, in 1695, by A. H. Francke, a tutor in the Padagogium there; was then ordained as assistant to his father (probably at the end of 1696); and died at Domnitz, Oct. 18,1699 (Koch, iv. 365, Allg. Deutsche Biographie ii. 484). From extracts from the Kirchenbuch of Domnitz, kindly sent by Pastor Tauer, it appears that Bernstein was baptized there, July 12, 1672, and thus was probably born July 9. He signed the book as assistant to his father on March 5, 1697. The funeral sermon, Oct. 20, 1699, was preached at his request by Francke, from Isaiah lxi. The statement by his father (who survived till Feb. 27, 1712), that Christian died at the age of 27 years, 3 months, and 2 days, and in the 3rd month and 2nd day of his age, and 3rd year, 14th week of his ministry, seems hardly reconcilable with the other facts. In Freylinghausen's Gesang-Buch., 1704-5, six of his hymns were included, four of which have been translated into English:— i. Ihr Kinder des Höchsten! wie steht's urn die Liebe. [Brotherly Love.] 1704, as above, No. 386, in 9 stanzas. Previously in G. Arnold's Göttliche Sophia, Leipzig, 1700, pt. ii. p. 309, as No. i. of the "Some hitherto unknown hymns." Translated as:—" We in one covenant are joined," of stanza v. by J. Swertner, as No. 384 in the Moravian Hymn Book, 1789. ii. Mein Vater! zeuge mich, dein Kind, nach deinem Bilde. [Names and Offices of Christ.] 1704, as above, No. 62, in 14 stanzas. The translations are:— (1) "My Father! form Thy Child according to Thine Image," by J. C. Jacobi, 1722, p. 125 (1732, p. 12). (2) "Father, make me Thy child," No. 546 in pt. i. of the Moravian Hymn Book, 1754. iii. Schönster aller Schönen. [Love to Christ.] First published in the Geistreiches Gesang-Buch, Halle, 1697, p. 246, in 8 stanzas. Translated as:—"Fairest of all beauties," No. 681 in pt. i. of the Moravian Hymn Book, 1754. iv. Zuletzt gents wohl dem der gerecht auf Erden. [Cross & Consolation.] 1704, as above, No. 440, in 7 stanzas. The translations are:— "At last he's well, who thro' the Blood of Jesus" No. 693, in pt. 1 of the Moravian Hymn Book, 1754. Altered 1789, and changed in metre, 1801, beginning "At last he's blest." (2) "At last all shall be well with those, His own," by Miss Borthwick, in Hymns from the Land of Luther, 1858 (1862, p. 225; 1884, p. 172). [Rev. James Mearns, M. A.] -- John Julian, Dictionary of Hymnology (1907) ========================= Bernstein, Christian Andreas, p. 135, ii. In Spurgeon's Our Own Hymn Book, and others, "O patient, spotless One" is an altered form of a part of the Moravian Hymn Book translation of "Mein Vater," noted on p. 135, ii. (2). Another cento beginning with the same first line is in the Lady Huntingdon Hymn Book, 1764, and later editions. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)