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Orlando Gibbons

1583 - 1625 Person Name: Orlando Gibbons (1583-1625) Topics: liturgical Communion Songs Composer of "SONG 1" in Common Praise (1998) 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

Henry Percy Smith

1825 - 1898 Topics: liturgical Communion Songs Composer of "MARYTON" in Voices United Henry Percy Smith (b. Malta, 1825; d. Bournemouth, Hampshire, England, 1898) was educated at Balliol College, Oxford, England, and ordained a priest in the Church of England in 1850. He served five churches, including St. Michael's York Town in Farnborough (1851-1868), Great Barton in Suffolk (1868-1882), Christ Church in Cannes, France (1882-1892), and the Cathedral in Gibraltar (1892-1898). MARYTON is his only tune found in contemporary hymnals and is thought to be the only tune he published. Bert Polman

Ralph Vaughan Williams

1872 - 1958 Person Name: Ralph Vaughan Williams (1872-1958) Topics: liturgical Communion Songs Harmonizer of "RENDEZ À DIEU" in Common Praise (1998) Through his composing, conducting, collecting, editing, and teaching, Ralph Vaughan Williams (b. Down Ampney, Gloucestershire, England, October 12, 1872; d. Westminster, London, England, August 26, 1958) became the chief figure in the realm of English music and church music in the first half of the twentieth century. His education included instruction at the Royal College of Music in London and Trinity College, Cambridge, as well as additional studies in Berlin and Paris. During World War I he served in the army medical corps in France. Vaughan Williams taught music at the Royal College of Music (1920-1940), conducted the Bach Choir in London (1920-1927), and directed the Leith Hill Music Festival in Dorking (1905-1953). A major influence in his life was the English folk song. A knowledgeable collector of folk songs, he was also a member of the Folksong Society and a supporter of the English Folk Dance Society. Vaughan Williams wrote various articles and books, including National Music (1935), and composed numerous arrangements of folk songs; many of his compositions show the impact of folk rhythms and melodic modes. His original compositions cover nearly all musical genres, from orchestral symphonies and concertos to choral works, from songs to operas, and from chamber music to music for films. Vaughan Williams's church music includes anthems; choral-orchestral works, such as Magnificat (1932), Dona Nobis Pacem (1936), and Hodie (1953); and hymn tune settings for organ. But most important to the history of hymnody, he was music editor of the most influential British hymnal at the beginning of the twentieth century, The English Hymnal (1906), and coeditor (with Martin Shaw) of Songs of Praise (1925, 1931) and the Oxford Book of Carols (1928). Bert Polman

Herman G. Stuempfle

1923 - 2007 Person Name: Herman G. Stuempfle, Jr. Topics: liturgical Communion Songs Author of "Christ, Be Our Host" in Voices United Rev. Dr. Herman G. Stuempfle, Jr., 83, died Tuesday, March 13, 2007, after a long illness. Born April 2, 1923, in Clarion, he was the son of the late Herman G. and Helen (Wolfe) Stuempfle, Sr. Stuempfle lived most of his life in Gettysburg, PA. He served as President of the Lutheran Theological Seminary in Gettysburg. He attended Hughesville public schools, and was a graduate of Susquehanna University and the Lutheran Theological Seminary at Gettysburg. He received additional advanced degrees from Union Theological Seminary in New York and a doctoral degree at Southern California School of Theology at Claremont. He retired in 1989. Rev. Dr. Stuempfle was the author of several books and numerous articles and lectures on preaching, history, and theology. He was also among the most honored and respected hymn writers of the 20th and 21st centuries. Rev. Dr. Stuempfle was known for his leadership in community and civic projects. Always taking an active stance on social issues, he participated in the creation of day care centers, served on the Gettysburg interchurch social action committee, helped create and support prison ministries and a homeless shelter, and tutored young people in the after school program of Christ Lutheran Church, where he was a long time member. --Excerpts from his obituary published in Evening Sun from Mar. 15 to Mar. 16, 2007

W. H. Turton

1856 - 1938 Person Name: William Harry Turton (1856-1938) Topics: liturgical Communion Songs Author of "Thou, Who at Thy First Eucharist" in Common Praise (1998) Turton, W. H., a Lieut. in the Royal Engineers, has published A Few Hymns written by A Layman between the Festivals of All Saints, 1880 and 1881. This contains 12 hymns. The Second Series, "written between the Festivals of All Saints, 1881 and 1882," also contains 12 hymns, and the Third Series, 1882-1883, another 12. These hymns are worthy of attention. Those which have passed into common use include;— 1. And now our Eucharist is o'er (1881-1882). Holy Communion. 2. 0 Thou who at Thy Eucharist didst pray. For Unity. "This hymn was used at S. Mary Magdalene's, Munster Square, N. W., in the Anniversary Service of the English Church Union, June 22,1881. It is intended to be sung after the ‘Agnus Dei,' at a choral celebration." In the 1889 Supplemental Hymns to Hymns Ancient & Modern it reads "Thou, Who at Thy first Eucharist didst pray." "This hymn was used at S. Mary Magdalene's, Munster Square, N. W., in the Anniversary Service of the English Church Union, June 22,1881. It is intended to be sung after the ‘Agnus Dei,' at a choral celebration." In the 1889 Supplemental Hymns to Hymns Ancient & Modern it reads "Thou, Who at Thy first Eucharist didst pray." These hymns are in the Altar Hymnal, 1884, together with a third, "Behold! the star is shining." (Epiphany.) Lieut. Turton's signature on A Few Hymns is "R. E." and his publishers, The Church Printing Co., London. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

Iona Community

Person Name: The Iona Community Topics: liturgical Communion Songs Author of "Shout for Joy" in Voices United Iona Community, an ecumenical Christian group of men and women based on the small island of Iona off the coast of Scotland. The community began in 1938 when the Rev. George MacLeod of the Church of Scotland began a ministry among the unemployed poor who had been neglected by the church. He took a handful of men to the island to rebuild the ruins of a thousand-year-old abbey church. That rebuilding became a metaphor for the rebuilding of the common life, a return to the belief that daily activity is the stuff of godly service – work, and worship. The Community has since grown to include a group of members, associates, and friends all over the United Kingdom and many other countries. In addition to many conferences that attract people to Iona from around the world, the Community is known for its publishing of new songs and prayers for worship, both developed in community and gathered from around the world. For more information on the Iona Community, check their website: www.iona.org.uk. John Bell is probably the community’s most well-known member, having composed and arranged much of the community’s music. Sing! A New Creation

Leland B. Sateren

1913 - 2007 Person Name: Leland Bernhard Sateren Topics: liturgical Communion Songs Harmonizer of "THE ASH GROVE" in Voices United From the obituary in the Star Tribune, Nov. 11-13, 2007:Sateren, Leland B. 94, Edina, died Saturday, Nov. 10, 2007. Sateren, a renowned composer and conductor, served as chairman of the Augsburg College Department of Music from 1950 to 1973, and as director of the Augsburg Choir from 1950 until his retirement in 1979. Survived by devoted wife, Pauline; sons, Terry, Mark (Judi), Roald (Shelley); daughter, Kirsten Bergherr (Jon); and grandchildren, Stacy Lindholm (Pete), Anne Sateren Burow (Matt), Ben Bergherr, Sara Bergherr, Erik Sateren, and Anders Sateren. Sateren is also survived by sisters, Margaret Trautwein, Norma (Ray) Anderson, Sylvia (Dean) Elness; and brother, Donald Sateren. The family would like to thank the staff at Redeemer Residence in Minneapolis for their concern and care. Memorial service at 11 am Saturday, Nov. 17 at the Augsburg College Foss Chapel. Visitation will be from 9:30-10:30 am. Memorials preferred to the Leland B. Sateren Choral Scholarship Fund at Augsburg. From Inside Augsburg:The campus community mourns the death of one of Augsburg’s music giants, composer and conductor Leland Sateren ‘35, who died on Saturday, Nov. 10, at the age of 94. His work includes more than 400 choral pieces he composed, which are sung in churches around the county. Sateren was passionate about Scandinavian choral music and introduced the work of many Scandinavian composers to American choral directors. Sateren graduated from Augsburg in 1935, and for the next 10 years, he attended graduate school at the University of Minnesota, was music director at the university’s KUOM radio station, and served in public service during World War II. In 1946, he returned to Augsburg; 4 years later, he became chair of the Music Department and director of the Augsburg Choir, which he led until his retirement in 1979. He is recognized for the excellence he brought to the Augsburg Choir and Augsburg’s choral arts program. During his long tenure, the choir developed a more contemporary sound and expanded its reach beyond churches into the community, and beyond the Midwest into Europe and international locations. Among Sateren’s many notable accomplishments are premieres of works with the Minnesota Symphony Orchestra and a commissioned piece at the United Nations to commemorate the 20th anniversary of the Universal Declaration of Human Rights. Sateren was the first recipient of the F. Melius Christiansen Memorial Award for choral directors. In 2002 he was awarded the Weston Noble Choral Directors Award. He was also honored with the St. Olaf Medal, presented by King Olav V of Norway, and received two honorary doctorates. Sateren’s impact on the many hundreds of Augsburg students who sang in his choir was remarkable. Peter Hendrickson ’76, director of choral activities and current conductor of the Augsburg Choir, studied with Sateren. A number of other choir alumni who studied under Sateren currently sing in the Masterworks Chorale at Augsburg, also directed by Hendrickson. Sateren’s first wife, Eldora, died in 1968. He is survived by his second wife, Pauline. He is also survived by four siblings, all of whom attended Augsburg — Margaret Trautwein ’37, Norma Anderson ’46, Sylvia Elness ’48, and Donald. Sateren’s four children also all graduated from Augsburg — Terry ’68, Mark ’69, Kirsten Bergherr ’78, and Roald ’80.

Fred Kaan

1929 - 2009 Topics: liturgical Communion Songs Author of "Now Let Us from This Table Rise" in Voices United Fred Kaan Hymn writer. His hymns include both original work and translations. He sought to address issues of peace and justice. He was born in Haarlem in the Netherlands in July 1929. He was baptised in St Bavo Cathedral but his family did not attend church regularly. He lived through the Nazi occupation, saw three of his grandparents die of starvation, and witnessed his parents deep involvement in the resistance movement. They took in a number of refugees. He became a pacifist and began attending church in his teens. Having become interested in British Congregationalism (later to become the United Reformed Church) through a friendship, he was attended Western College in Bristol. He was ordained in 1955 at the Windsor Road Congregational Church in Barry, Glamorgan. In 1963 he was called to be minister of the Pilgrim Church in Plymouth. It was in this congregation that he began to write hymns. The first edition of Pilgrim Praise was published in 1968, going into second and third editions in 1972 and 1975. He continued writing many more hymns throughout his life. Dianne Shapiro, from obituary written by Keith Forecast in Independent (http://www.independent.co.uk/news/obituaries/fred-kaan-minister-and-celebrated-hymn-writer-1809481.html)

William Moore

1790 - 1850 Topics: liturgical Communion Songs Composer of "HOLY MANNA" in Voices United William B Moore USA 1790-1850. He was born, possibly in TN. He was a composer, having contributed tunes to” Wyeth’s Repository” (1810) and known for his tunebook “Columbian Harmony” (1825) in TN. He also composed and arranged several tunes in William Walker’s “Southern Harmony” (1835). John Perry

James Quinn

1919 - 2010 Topics: liturgical Communion Songs Author of "Now, from the Heav'ns Descending" James Quinn (b. Glasgow, Scotland, April 21, 1919; d. Edinburgh, Scotland, April 8, 2010) was a Roman Catholic Jesuit priest who was ordained in 1950. As a consultant for the International Commission on English in the Liturgy, sparked by Vatican II, he has exerted influence far beyond his native Scotland. A collection of his hymn texts is available from Selah Publishing company. Sing a New Creation