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Garret Colley Wellesley, Earl of Mornington

1735 - 1781 Person Name: Earl of Mornington Hymnal Number: 342 Composer of "MORNINGTON" in The Tribute of Praise Garret Colley Wellesley, Earl of Mornington, father of the Duke of Wellington; b. Dongan, Ireland, 1735; d. there, 1781 Evangelical Lutheran Hymnal, 1908

James Green

Person Name: Dr. James Green Hymnal Number: 376 Composer of "AYLESBURY" in The Tribute of Praise

Nathaniel D. Gould

1781 - 1864 Person Name: N. D. Gould Hymnal Number: 192 Composer of "WOODLAND" in The Tribute of Praise Nathaniel Duren Gould 1781-1864. Born in Bedford, MA, into the Duren family, He was musically inclined and attended a singing school when young. He was also a master and teacher of penmanship and engraving. As a conservative music reformer he opened a singing school in 1799. He taught mostly Psalmody singing. He married Sally Andrews Prichard in 1801, and they had eight children: Nathaniel, Augustus, Charles, Mary Ann, (2 unnamed infants that died), Elizabeth and Sarah. He also formed the New Ipswitch military band in 1804 He was conductor of the Middlesex MA Musical Society in 1805. He took the name Gould in 1806 to qualify for an inheritance from an uncle. He taught music in NH and MA in some 115 singing schools over 50+ years and had more than 50,000 students. He also compiled and published music. He authored a number of books, one being “History of church music in America” (1853) about early singing schools. He noted traits and temperaments of many singers, some not really performing for the glory of God. He died in Boston, MA. John Perry

Basil Woodd

1760 - 1831 Person Name: Rev. Basil Wood Hymnal Number: 358 Composer of "PADDINGTON" in The Tribute of Praise Woodd, Basil , M.A., was born at Richmond in Surrey, Aug. 5, 1760. The influences of his home and of his widowed mother were most salutary, and produced the best results. As a boy he studied under the Rev. T. Clarke, of Chesham Bois, and at seventeen he entered Trinity College, Oxford. Taking Holy Orders in 1783, he was chosen lecturer of St. Peter's Cornhill, in 1784; morning preacher at Bentinck Chapel, Marylebone in 1785, and Rector of Drayton Beauchamp, Buckinghamshire, in 1808. Bentinck Chapel being a proprietary chapel, he purchased the lease in 1793, and held the Incumbency, together with the Rectory of Drayton, from 1808 to his death on April 12, 1831. He took a deep interest in the great religious societies, and in the anti-slavery movement. His prose works were not numerous or important. He is associated with hymnody through the publication of the following:— (l) The Psalms of David.....Adapted to the Services of the Church of England, &c, 1794. 2nd edition, 1800. (2.) The Psalms of David and other portions of the Sacred Scriptures arranged according to the Order of the Church of England, for every Sunday in the Year, &c, London: Printed and sold by Watts and Bridgewater, n.d. circa 1810-20. The Preface is signed "B. W." (3.) A New Metrical Version of the Psalms of David; with an Appendix of select Psalms and Hymns, adapted to the service of the United Church of England and Ireland ... .By the Rev. Basil Woodd, M.A., &c, London: Printed and sold by E. Bridgwater, 1821. Dedicated to the Bishop of Durham. A portion of the preface of No. 2 was repeated; but the preface as a whole, was more historical than the preceding. With the exception of 4 hymns, and 4 doxologies at the end, this collection is a reprint of No. 2, with a new title-page, a dedication, and an enlarged preface. Very few of Basil Woodd's hymns and paraphrases of the psalms are now in common use. The best known is "Hail, Thou Source of every blessing". The rest include:— 1. Blest be Jehovah, mighty Lord. Ps. cxliv. 1794. 2. Holy Ghost inspire our praises. Whitsuntide, circa 1810-20. 3. In Thee, O Lord, I trust, My hope is in Thy Name. Ps. xxxi. 1794. 4. Lord of glory and salvation. Praise, circa 1810-20. A short Memoir of the Rev. Basil Woodd, M.A. By the Rev. S. G. Wilks, M.A., was published by Hatchard & Son, London, 1831. -- John Julian, Dictionary of Hymnology (1907)

Elizabeth Howard Cuthbert

1800 - 1857 Person Name: Mrs. Cuthbert Hymnal Number: 306 Composer of "HOWARD" in The Tribute of Praise Howard was a native of Dublin, Ireland. --www.hymntime.com/tch/

John M. Evans

Person Name: J. M. Evans Hymnal Number: 579 Composer of "[Land ahead, its fruits are waving]" in The Tribute of Praise Evans, John M. (Hilltown, Pennsylvania, November 30, 1825--?). Baptist. Appointed superintendent of the Sunday School at Tenth Baptist Church, Philadelphia, in 1854. Under his direction, the Sunday School became the first in that city to make music a prominent feature of its activities. In 1872, he was elected President of the Baptist Sunday School Association of Philadelphia. Author of several hymns and tunes. Included in Devotional Hymn Book (Philadelphia, 1864) is the text "Amid the joyous scenes of earth" which is interesting in that the refrain is the same as the one for the Doddridge text "Oh, happy day, that fixed my choice." --Deborah Carlton Loftis, DNAH Archives

Heinrich Isaac

1450 - 1517 Person Name: H. Isaac Hymnal Number: 487 Composer of "ADORATION" in The Tribute of Praise Heinrich Isaac; b. about 1450, Germany; organist in Florence, Italy; supposed to have died there abour 1517 Evangelical Lutheran Hymnal, 1908

James L. Elginburg

Person Name: Jas. L. Elginburg Hymnal Number: 648 Author of "I will follow thee, my Savior" in The Tribute of Praise Late 19th Century

Hodgdon

Hymnal Number: 674 Composer of "[Here o'er the earth as a stranger I roam]" in The Tribute of Praise

Richard Farrant

1525 - 1580 Person Name: Farrant Hymnal Number: C11 Composer of "[The Lord is merciful and gracious]" in The Tribute of Praise Like many composers of his day, the early years of Richard Farrant’s (c.1525- November 30, 1580) life are not well documented. The first acknowledgment of him is in a list of the Gentleman of the Chapel Royal in 1552. It is assumed from that list that his birth was around 1525. Although, that cannot be accurately determined. During his life he was able to establish himself as a successful composer, develop the English drama considerably, founded the first Blackfriar Theatre, and be the first to write verse-anthems. He married Anne Bower, daughter of Richard Bower who was Master of the Chapel Royal choristers at the time. With Anne he conceived ten children, one of whom was also named, Richard. As a member of the Gentleman of the Chapel Royal, Farrant was active in ceremonies surrounding the royal family. He began his work with the Chapel Royal around 1550 under the reign of Edward VI. Fortunately, for Farrant, this is a time that saw huge developments in Latin Church Music. Composers like William Byrd and Christopher Tye were busy expanding and elaborating on the Church Music of the day. In Farrant's twelve years with the Chapel Royal, he was able to participate in funerals for Edward VI and Mary I, and coronations for Mary I and Elizabeth I. After his work there, he took up a post as organist at St. George’s Chapel at Windsor. For Farrant, the post at at Windsor became a permanent one that he retained for the rest of his life. Along with this, he also acquired the position of Master of the Chapel Royal choristers in November of 1569. Having the choirs of both of these institutions at his disposal gave him an outlet to showcase all of his compositions and plays. In fact, every winter he was able to produce a play for the Queen herself. These positions also allowed him to move back to London in 1576 and begin a public theater of sorts where he rehearsed some of his choir music openly. It was soon after, in 1580, that he passed away, having left his house to his wife. Unlike many composers of his day that stuck to only music composition, Farrant also wrote many plays. One of his most important contributions to drama in England is of course the creation of the first Blackfriars Theatre. This eventually became one of the most important places in London for drama to develop during the Renaissance. Farrant is also one of the earliest and most well known composers that began to mix the two mediums of music and drama. It was this uncommon mixture that allowed him to begin to develop the composition style of 'verse.' This becomes prominent in a lot of his pieces including the anthems "When as we sat in Babylon" and "Call to remembrance" and "Hide not thou thy face." --en.wikipedia.org/wiki/