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Samuel Webbe

1740 - 1816 Composer of "DULCE CARMEN" in The Mission Hymnal Samuel Webbe (the elder; b. London, England, 1740; d. London, 1816) Webbe's father died soon after Samuel was born without providing financial security for the family. Thus Webbe received little education and was apprenticed to a cabinetmaker at the age of eleven. However, he was determined to study and taught himself Latin, Greek, Hebrew, French, German, and Italian while working on his apprenticeship. He also worked as a music copyist and received musical training from Carl Barbant, organist at the Bavarian Embassy. Restricted at this time in England, Roman Catholic worship was freely permitted in the foreign embassies. Because Webbe was Roman Catholic, he became organist at the Portuguese Chapel and later at the Sardinian and Spanish chapels in their respective embassies. He wrote much music for Roman Catholic services and composed hymn tunes, motets, and madrigals. Webbe is considered an outstanding composer of glees and catches, as is evident in his nine published collections of these smaller choral works. He also published A Collection of Sacred Music (c. 1790), A Collection of Masses for Small Choirs (1792), and, with his son Samuel (the younger), Antiphons in Six Books of Anthems (1818). Bert Polman

Henry J. Gauntlett

1805 - 1876 Person Name: Gauntlett Composer of "[Lead us, heavenly Father, lead us]" in The Canadian Hymnal Henry J. Gauntlett (b. Wellington, Shropshire, July 9, 1805; d. London, England, February 21, 1876) When he was nine years old, Henry John Gauntlett (b. Wellington, Shropshire, England, 1805; d. Kensington, London, England, 1876) became organist at his father's church in Olney, Buckinghamshire. At his father's insistence he studied law, practicing it until 1844, after which he chose to devote the rest of his life to music. He was an organist in various churches in the London area and became an important figure in the history of British pipe organs. A designer of organs for William Hill's company, Gauntlett extended the organ pedal range and in 1851 took out a patent on electric action for organs. Felix Mendelssohn chose him to play the organ part at the first performance of Elijah in Birmingham, England, in 1846. Gauntlett is said to have composed some ten thousand hymn tunes, most of which have been forgotten. Also a supporter of the use of plainchant in the church, Gauntlett published the Gregorian Hymnal of Matins and Evensong (1844). Bert Polman

Anonymous

Composer of "CORINTH" in The Psalter Hymnal In some hymnals, the editors noted that a hymn's author is unknown to them, and so this artificial "person" entry is used to reflect that fact. Obviously, the hymns attributed to "Author Unknown" "Unknown" or "Anonymous" could have been written by many people over a span of many centuries.

Dmitriĭ Stepanovich Bortnianskiĭ

1751 - 1825 Person Name: D. S. Bortniansky Composer of "VESPER HYMN" in Immanuel Hymnal Dimitri Stepanovitch Bortniansky (1751-1825) Ukraine 1751-1825 Born in Glukhov, Ukraine, he joined the imperial choir at age 8 and studied with Galuppi, who later took the lad with him to Italy, where he studied for 10 years, becoming a composer, harpsichordist, and conductor. While in Italy he composed several operas and other instrumental music, composing more operas and music later in Russia. In 1779 he returned to Russia, where he was appointed Director to the Imperial Chapel Choir, the first as a native citizen. In 1796 he was appointed music director. With such a great instrument at his disposal, he produced many compositions, 100+ religious works, sacred concertos, cantatas, and hymns. He influenced Rachmaninoff and Tchaikovshy, the latter editing Bortniansky's sacred work, amassing 10 volumnes. He died in St. Petersburg. He was so popular in Russia that a bronze statue was erected in his honor in the Novgorod Kremlin. He composed in different musical styles, including choral works in French, Italian, Latin, German, and Church Slavonic. John Perry

Timothy R. Matthews

1826 - 1910 Person Name: T. R. Matthews Arranger of "MADISON" in Songs for the Lord's House Timothy Richard Matthews MusB United Kingdom 1826-1910. Born at Colmworth, England, son of the Colmworth rector, he attended the Bedford and Gonville Schools and Caius College, Cambridge. In 1853 he became a private tutor to the family of Rev Lord Wriothesley Russell, a canon of St. George’s Chapel, Windsor Castle, where he studied under organist, George Elvey, subsequently a lifelong friend. He married Margaret Mary Thompson, and they had 11 children: Norton, Mary, George, Cecil, Evelyn, Eleanor, Anne, Arthur, Wilfred, Stephen, and John. Matthews served as Curate and Curate-in-Charge of St Mary’s Church, Nottingham (1853-1869). While there, he founded the Nottingham Working Men’s Institute. He became Rector at North Coates, Lincolnshire (1869-1907). He retired in 1907 to live with his eldest son, Norton, at Tetney vicarage. He edited the “North Coates supplemental tune book” and “Village organist”. An author, arranger, and editor, he composed morning and evening services, chants, and responses, earning a reputation for simple but effective hymn tunes, writing 100+. On a request he wrote six tunes for a children’s hymnal in one day. He composed a Christmas carol and a few songs. His sons, Norton, and Arthur, were also known as hymn tune composers. He died at Tetney, Lincolnshire, England. John Perry

Charles F. Gounod

1818 - 1893 Person Name: C. Gounod Composer of "REDEMPTION" in Church Hymns and Tunes Charles F. Gounod (b. Paris, France, 1818; d. St. Cloud, France, 1893) was taught initially by his pianist mother. Later he studied at the Paris Conservatory, won the "Grand Prix de Rome" in 1839, and continued his musical training in Vienna, Berlin, and Leipzig. Though probably most famous for his opera Faust (1859) and other instrumental music (including his Meditation sur le Prelude de Bach, to which someone added the Ave Maria text for soprano solo), Gounod also composed church music-four Masses, three Requiems, and a Magnificat. His smaller works for church use were published as Chants Sacres. When he lived in England (1870-1875), Gounod became familiar with British cathedral music and served as conductor of what later became the Royal Choral Society. Bert Polman

J. H. Tenney

1840 - 1918 Composer of "[Lead us, heavenly Father, lead us] (Tenney)" in Sacred Songs No. 2 John Harrison Tenney, 1840-1918 Born: November 22, 1840, Rowley, Massachusetts. Born just after the presidential campaign of "Tippecanoe and Tyler, too," Tenney was named after American president William Henry Harrison. A deacon in the Congregational Church in Linebrook, Massachusetts, he edited or was associate editor of over 30 books, and contributed to hundreds more. His works include: American Male Choir Temperance Jewels, with Elisha Hoffman (Boston, Massachusetts: Oliver Ditson & Company, 1879) Bells of Victory, with Elisha Hoffman (Boston, Massachusetts: Oliver Ditson & Company, 1888) Gems of Gospel Song Golden Sunbeams Sharon’s Dewy Rose Songs of Faith Shining Light Songs of Joy Sparkling and Bright Spiritual Songs, Nos. 1 and 2 Sweet Fields of Eden The Beacon Light The Singing School Banner The Anthem Offering The American Anthem Book The Crown of Praise Sources-- Hall, pp. 219-22 Music-- Asilomar Bogotá Beyond the Swelling Flood Cancún Come to Jesus Ever Will I Pray Hallowed Hour of Prayer Jesus Is Passing This Way Jubilate! My Anchor Is Holding Nothing Between Onward Christian Soldiers Sabbath Bell San Francisco We’ll Never Say Goodbye Where Will You Spend Eternity? --www.hymntime.com/tch

Arthur Henry Brown

1830 - 1926 Person Name: Arthur H. Brown Composer of "STAPLEFORD" in Hymns for the Children of the Church Born: July 24, 1830, Brentwood, Essex, England. Died: February 15, 1926, Brentwood, Essex, England. Almost completely self taught, Brown began playing the organ at the age 10. He was organist of the Brentwood Parish Church, Essex (1842-53); St. Edward’s, Romford (1853-58); Brentwood Parish Church (1858-88); St. Peter’s Church, South Weald (from 1889); and Sir Anthony Browne’s School (to 1926). A member of the London Gregorian Association, he helped assemble the Service Book for the annual festival in St. Paul’s Cathedral. He supported the Oxford Movement, and pioneered the restoration of plainchant and Gregorian music in Anglican worship. Brown edited various publications, including the Altar Hymnal. His other works include settings of the Canticles and the Holy Communion Service, a Children’s Festival Service, anthems, songs, part songs, and over 800 hymn tunes and carols. Music: Alleluia! Sing the Triumph Arthur Dale Abbey Fields of Gold Are Glowing Gerran Holy Church Holy Rood If Angels Sang Our Savior’s Birth Lammas O, Sing We a Carol Purleigh Redemptor Mundi Ring On, Ye Joyous Christmas Bells Saffron Walden St. Anatolius St. Austell St. John Damascene St. Mabyn St. Sophronius Story of the Cross Sweet Child Divine --www.hymntime.com/tch

Friedrich Filitz

1804 - 1876 Person Name: Friedrich Filitz, 1804 - 1876 Composer (Adapted from) of "MANNHEIM" in The Hymnary of the United Church of Canada Friedrich Filitz PhD Germany 1804-1876. Born at Arnstadt. Thuringia, he was a German composer and musicologist. He collected church music. He also studied philosophy. In 1833 he worked in Berlin as a music critic and at other employment. He was also a music historian. With Ludwig Erck, he published a collection of 15th & 17th Century chorales in 1845. He moved to Munich and published a chorale book in 1847. His legacy of vauable church music was donated to the Bavarian State Library, where it has made many forgotten works available once again. He died in Bonn, Germany. John Perry

L. O. Emerson

1820 - 1915 Arranger of "[Lead us, heavenly Father, lead us]" in Praise in Song Luther Orlando Emerson was born at Parsonsfield, Maine, August 3, 1820. He descended from distinguished English ancestry. His parents were quite musical, and while the family circle were together, they had a choir and orchestra of their own. The father played the violoncello, the mother was an excellent singer, the flute and violin added their sweet tones, till the quiet homestead rang with melody. Mr. Emerson's education was obtained at the district school, Parsonsfield Seminary and Effingham Academy. He was full of energy, quick and versatile, an apt scholar, and with a view to entering the profession of medicine he entered Dracut Academy, Mass. But his great love for music swerved him from that course, and now, having far better opportunities for cultivating and enjoying this taste and ability, he soon determined upon music as the profession of his choice. He accordingly commenced a course of musical instruction under the late I. B. Woodbury, then a popular teacher of music. After several years of study on the voice, piano, organ and in harmony, Mr. Emerson went to Salem, Mass., began teaching, and took charge of his first choir at a salary of one hundred dollars per year. Here he commenced the composition of music for his own choir, whiich was so popular with its members and the congregation, that Mr. Emerson was encouraged to seek a larger hearing by publishing a collection of church music. Among the tunes was that of Sessions, named after his pastor, which was destined to have a perennial popularity, and is often used in worship in the place of Old Hundred, for the Doxology. At the great Peace Jubilee it was received with applause when sung by a chorus of ten thousand voices, accompanied by an orchestra of two hundred instruments and a great pipe organ. The effect was sublime beyond expression. In 1847 occurred the marriage of Mr. Emerson to Miss Mary Gore, daughter of a prominent Boston merchant. She was a lady of much musical taste and ability. In 1853 he decided to make an effort to put his music before the public, and accordingly went to Boston in search of a publisher. Like most young and unknown authors, he met with but little encouragement, but finally found a publisher in the person of Mr. B. B. Muzzy. Thus was the Romberg Collection published. The book was not pushed — hence it found no market. After a residence of eight years in Salem, Mr. Emerson removed to Boston, accepting the position of organist and musical director at the Bulfinch Street Church, then under the pastoral care of Rev. Wm. R. Alger, which he filled for four years. He eagerly improved the rare means of culture which were once more enjoyed, meanwhile teaching and composing music. In 1857 he formed the connection with Oliver Ditson Company, of Boston, of author and publisher, which has continued to the present time with but one interruption (a single volume brought out by another firm), the Golden Wreath, which at once became popular, and sold forty thousand during the first year, this being the initial volume in the long series since brought out by these publishers. In 1858 came the Golden Harp, which was also a success. These successes gave him not only encouragement, but reputation. Mr. Emerson now entered upon a career of usefulness and popularity for which he had been preparing during the years of self-denying struggle and discipline. He was called to take charge of the music in the Second Congregational Church, Greenfield, Mass., and also of the musical department of Power's Institute, at Bernardston. Amid nature's most beautiful surroundings, he had a quiet retreat for the pursuit of his true vocation, the composition of church music. The first fruit of his genius here was the Sabbath Harmony, in 1860. This book was also a success. In 1863 followed the Harp of Judah, which had the remarkable sale of nearly fifty thousand copies in the first three months. This book probably gave Mr. Emerson his preeminence as a composer of church music, containing as it did his anthem, Guide Me, O Thou Great Jehovah, and many of his finest compositions. Having declined the solicitations of Dr. Lowell Mason to become his associate in music, Mr. Emerson started forth on his own plans, and attained the highest rank among those who loved the pure and beautiful in song. Mr. W. S. B. Mathews, a musical critic, pronounces him the best melodist of all the psalmodic writers. In 1866 the equally successful Jubilate appeared, followed by the Choral Tribute, the Standard and the Leader. In the last two Dr. I. R. Pahner was associated with him. Later on came the Salutation, Voice of Worship, Herald of Praise, etc. The diligence with which Mr. Emerson plied his pen can be estimated when one recalls the fact that he has made seventy-two collections of music, embracing music for churches, singing schools, public schools, choral societies and conventions, instruction books for voice, organ, etc. He has also composed and published scores of songs, quartets and instrumental pieces. The great amount of work this represents can only be appreciated by those who have undertaken similar labors. Some years ago the degree of Doctor of Music was conferred upon Professor Emerson by the Faculty of Findlay College, Findlay, Ohio. For many years past. Dr. Emerson has devoted his energies to the grand purpose of elevating the general character of music in our churches, and thus largely advancing the interests of true worship. He places great stress upon the mission of church music. He regards sacred music as the best expression of devotional feeling that exists. He looks upon sacred song as prayer, and believes that it inspires and intensifies prayer. With this view he has taken an active and prominent part in musical festivals and conventions, of which he has conducted over three hundred throughout the United States and Canada. As a conductor, he stands in the front rank. As a teacher. Dr. Emerson has an exceedingly happy faculty of imparting in a concise manner to his classes. His very pleasing address enables him to command the undivided attention of his pupils. As a singer, he has always held high rank, and has sung much in public. His voice is a baritone of great compass, and quite powerful. As a lecturer upon music, Dr. Emerson has attracted much attention. His most popular lecture is entitled The World of Music, in which he traces its origin and progress, and gives some excellent traits of the lives of the great composers. In this lecture he also shows the design of music, and how it has been prized in every age of the world, among all nations — its power in the Church and State, and the need of its influence in the family — in joy and sorrow — for this life and the life to come. -Biography of Gospel Song and Hymn Writers