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Glenn Edward Burleigh

1949 - 2007 Person Name: Glenn E. Burleigh, 1949-2007 Scripture: Psalm 107:20 Author of "Is There a Word from the Lord?" in Lead Me, Guide Me (2nd ed.) Glenn Burleigh (b. Guthrie, Oklahoma, July 5, 1949; d. Oklahoma City, Oklahoma, December 11, 2007) was born into a family of ministers. He was a renowned pianist, conductor, composer and clinician. Burleigh’s music has been performed in churches and on the classical concert stage, also making an appearance in the movie remake of “The Preacher’s Wife” starring Denzel Washington. Burleigh was best known for his ability to take disparate musical styles and weave them together. Laura de Jong

Rafael Montalvo

b. 1957 Person Name: Rafael Montalvo, 1957- Scripture: Psalm 107:21-22 Author of "My Gratitude Now Accept, O God (Gracias, Señor)" in Community of Christ Sings

Jack Michael Grotenhuis

1956 - 1983 Person Name: Jack Grotenhuis Scripture: Psalm 107 Harmonizer of "MORNING SONG (CONSOLATION)" in Psalms for All Seasons Jack Grotenhuis (b. 1983; d. 1983) studied music at Dordt College, Sioux Center, Iowa, and the University of lowa, and taught music at Lynden Christian High School, Lynden, Washington, from 1979 to 1981. Like his father, Dale Grotenhuis, his main interest was in choral music, but he also loved jazz. He had almost completed his doctoral program in choral music at the University of Arizona when he died in a traffic accident. Bert Polman

David J. Diephouse

b. 1947 Scripture: Psalm 107 Versifier of "Thanks Be to God Our Savior" in Psalter Hymnal (Gray) David James Diephouse (b. 1947) a long-time professor of history, received his B.A. from Calvin College, and M.A. and Ph.D. at Princeton University. He taught history at Rutgers University, New Brunswick, New Jersey, before moving to Calvin College in 1976, where he taught modern European history and also served as a visiting instructor at Calvin Theological Seminary. Much of his research deals with the role of religion in 19th and 20th century German society and culture; one of his publications is Pastors and Pluralism in Württemberg 1918-1933. He served Calvin College as an academic dean and in several other administrative capacities, and retired from teaching in 2013. Emily Brink

William Kethe

? - 1594 Person Name: W. K. Scripture: Psalm 107 Author of "Confitemini Dom." in The Whole Booke of Psalmes William Kethe (b. Scotland [?], d. Dorset England, c. 1594). Although both the time and place of Kethe's birth and death are unknown, scholars think he was a Scotsman. A Protestant, he fled to the continent during Queen Mary's persecution in the late 1550s. He lived in Geneva for some time but traveled to Basel and Strasbourg to maintain contact with other English refugees. Kethe is thought to be one of the scholars who translated and published the English-language Geneva Bible (1560), a version favored over the King James Bible by the Pilgrim fathers. The twenty-five psalm versifications Kethe prepared for the Anglo-Genevan Psalter of 1561 were also adopted into the Scottish Psalter of 1565. His versification of Psalm 100 (All People that on Earth do Dwell) is the only one that found its way into modern psalmody. Bert Polman ======================== Kethe, William, is said by Thomas Warton in his History of English Poetry, and by John Strype in his Annals of the Reformation, to have been a Scotsman. Where he was born, or whether he held any preferment in England in the time of Edward VI., we have been unable to discover. In the Brieff discours off the troubles begonne at Franckford, 1575, he is mentioned as in exile at Frankfurt in 1555, at Geneva in 1557; as being sent on a mission to the exiles in Basel, Strassburg, &c, in 1558; and as returning with their answers to Geneva in 1559. Whether he was one of those left behind in 1559 to "finishe the bible, and the psalmes bothe in meeter and prose," does not appear. The Discours further mentions him as being with the Earl of Warwick and the Queen's forces at Newhaven [Havre] in 1563, and in the north in 1569. John Hutchins in his County history of Dorset, 1774, vol. ii. p. 316, says that he was instituted in 1561 as Rector of Childe Okeford, near Blandford. But as there were two Rectors and only one church, leave of absence might easily be extended. His connection with Okeford seems to have ceased by death or otherwise about 1593. The Rev. Sir Talbot H. B. Baker, Bart., of Ranston, Blandford, who very kindly made researches on the spot, has informed me that the Registers at Childe Okeford begin with 1652-53, that the copies kept in Blandford date only from 1732 (the earlier having probably perished in the great fire there in 1731), that no will can be found in the district Probate Court, and that no monument or tablet is now to be found at Childe Okeford. By a communication to me from the Diocesan Registrar of Bristol, it appears that in a book professing to contain a list of Presentations deposited in the Consistory Court, Kethe is said to have been presented in 1565 by Henry Capel, the Patron of Childe Okeford Inferior. In the 1813 edition of Hutchins, vol. iii. pp. 355-6, William Watkinson is said to have been presented to this moiety by Arthur Capel in 1593. Twenty-five Psalm versions by Kethe are included in the Anglo-Genevan Psalter of 1561, viz. Ps. 27, 36, 47, 54, 58, 62, 70, 85, 88, 90, 91, 94, 100, 101, 104, 107, 111, 112, 113, 122, 125, 126, 134, 138, 142,—the whole of which were adopted in the Scottish Psalter of 1564-65. Only nine, viz. Ps. 104, 107, 111, 112, 113, 122, 125, 126, 134, were included in the English Psalter of 1562; Ps. 100 being however added in 1565. Being mostly in peculiar metres, only one, Ps. 100, was transferred to the Scottish Psalter of 1650. The version of Ps. 104, "My soul, praise the Lord," is found, in a greatly altered form, in some modern hymnals. Warton calls him ”a Scotch divine, no unready rhymer," says he had seen a moralisation of some of Ovid by him, and also mentions verses by him prefixed to a pamphlet by Christopher Goodman, printed at Geneva in 1558; a version of Ps. 93 added to Knox's Appellation to the Scottish Bishops, also printed at Geneva in 1558; and an anti-papal ballad, "Tye the mare Tom-boy." A sermon he preached before the Sessions at Blandford on Jan. 17, 1571, was printed by John Daye in 1571 (preface dated Childe Okeford, Jan. 29,157?), and dedicated to Ambrose Earl of Warwick. [Rev James Mearns, M.A]. -- John Julian, Dictionary of Hymnology (1907) ==================== Kethe, William, p. 624, i., line 30. The version which Warton describes as of Psalm 93 is really of Psalm 94, and is that noted under Scottish Hymnody, p. 1022, ii., as the version of Psalms 94 by W. Kethe. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

Richard Proulx

1937 - 2010 Scripture: Psalm 107 Composer of "[Give thanks to the Lord for steadfast love]" in The United Methodist Hymnal Richard Proulx (b. St. Paul, MN, April 3, 1937; d. Chicago, IL, February 18, 2010). A composer, conductor, and teacher, Proulx was director of music at the Holy Name Cathedral in Chicago, Illinois (1980-1997); before that he was organist and choirmaster at St. Thomas' Episcopal Church in Seattle, Washington. He contributed his expertise to the Roman Catholic Worship III (1986), The Episcopal Hymnal 1982, The United Methodist Hymnal (1989), and the ecumenical A New Hymnal for Colleges and Schools (1992). He was educated at the University of Minnesota, MacPhail College of Music in Minneapolis, Minnesota, St. John's Abbey in Collegeville, Minnesota, and the Royal School of Church Music in England. He composed more than 250 works. Bert Polman

William Crotch

1775 - 1847 Person Name: W. Crotch, 1775 - 1847 Scripture: Psalm 107 Composer of "[O give thanks unto the Lord, for he is good] (Crotch)" in The Hymnary for use in Baptist churches William Crotch (5 July 1775 – 29 December 1847) was an English composer, organist and artist. Born in Norwich, Norfolk to a master carpenter he showed early musical talent as a child prodigy. The three and a half year old Master William Crotch was taken to London by his ambitious mother, where he not only played on the organ of the Chapel Royal in St James's Palace, but for King George III. The London Magazine of April 1779 records: He appears to be fondest of solemn tunes and church musick, particularly the 104th Psalm. As soon as he has finished a regular tune, or part of a tune, or played some little fancy notes of his own, he stops, and has some of the pranks of a wanton boy; some of the company then generally give him a cake, an apple, or an orange, to induce him to play again... Crotch was later to observe that this experience led him to become a rather spoiled child, excessively indulged so that he would perform. He was for a time organist at Christ Church, Oxford, from which he was later to graduate with a Bachelor of Music degree. His composition The Captivity of Judah was played at Trinity Hall, Cambridge, on 4 June 1789; his most successful composition in adulthood was the oratorio Palestine (1812). He may have composed the Westminster Chimes in 1793. In 1797 Crotch was given a professorship at Oxford University, and in 1799 he acquired a doctorate in music. While at Oxford, he became acquainted with the musician and artist John Malchair, and took up sketching. He followed Malchair's style in recording the exact time and date of each of his pictures, and when he met John Constable in London in 1805, he passed the habit along to the more famous artist. In 1834, to commemorate the installation of the Duke of Wellington as chancellor of the University of Oxford, Crotch penned a second oratorio titled The Captivity of Judah. The 1834 work bears little resemblance to the oratorio he wrote as a child in 1789. In 1822, Crotch was appointed to the Royal Academy of Music as its first Principal, but resigned ten years later.[2] He spent his last years at his son's house in Taunton, Somerset, where he died suddenly in 1847. Among his notable pupils were William Sterndale Bennett, Lucy Anderson, Stephen Codman, George Job Elvey, Cipriani Potter, and Charles Kensington Salaman --en.wikipedia.org/

Matthias Claudius

1740 - 1815 Person Name: Matthias Claudius (1740-1815) Scripture: Psalm 107 Author of "We Plough the Fields and Scatter" in Common Praise (1998) Claudius, Matthias, son of Matthias Claudius, Lutheran pastor at Reinfeld in Holstein (near Lübeck), was born at Reinfeld, Aug. 15, 1740. An ancestor, who died as a Lutheran pastor in 1586, had Latinized his name, Claus Paulsen, to Claudius Pauli, and his descendants had adopted Claudius as their surname. Claudius entered the University of Jena, in 1759, as a student of theology, but being troubled with an affection of the chest, and finding little attraction in the Rationalism of Jena, he turned his attention to law and languages. After a short visit to Copenhagen, as private secretary to a Danish count, he joined in 1768 the staff of the Hamburg News Agency (Adress-Comptoirnachrichten). Removing to Wandsbeck, near Hamburg, he undertook in 1771 the editing of the literary portion of the Wandsbecker Bote, and contributed a number of his poems to the Göttingen Musen-Almanach. In 1776 he was appointed one of the Commissioners of Agriculture and Manufactures of Hesse-Darmstadt, and in 1777 editor of the official Hesse-Darmstadt newspaper, which he conducted in the same spirit as his Wandsbeck Bote. At Darmstadt he became acquainted with Goethe (then living near by at Frankfurt), and with a circle of freethinking philosophers. During a severe illness in 1777, he realised, however, the spiritual emptiness of the life at Darmstadt; the buried seeds sown in his youth sprang up; and he once more became in faith as a little child. Renouncing position and income, he returned to Wandsbeck to re-edit the Bote, which he conducted in a distinctively Christian spirit. In 1788 he was appointed by the Crown Prince of Denmark auditor of the Scheswig-Holstein Bank at Altona, but continued to reside at Wandsbeck till 1813, when he was forced by the war to flee, and was unable to return till May, 1814. The next year he removed to the house of his eldest daughter in Hamburg, and died there Jan. 21, 1815 (Koch, vi. 417-429; Allg. Deutsche Biographie, iv. 279-281). His fugitive pieces appeared in two parts as Asmus omnia sua secum portans; oder sammtliche Werke des Wandsbecker Bothen, Wandsbeck and Hamburg, 1774 (pt. iii. 1777, iv. 1782, v. 1789, vi. 1797, vii. 1802, viii. 1812). While much of his poetry was distinctively Christian in its spirit, and many of his pieces might rank as popular sacred songs, yet he wrote no hymns designed for use in Church. Three pieces have, however, passed into the German hymn-books, all of which have been translated into English, viz.:— i. Das Grab ist leer, das Grab ist leer. [Easter.] First published in pt. viii., 1812, as above, p. 121, in 10 stanzas. Translated as "The grave is empty now, its prey," by Dr. H. Mills, 1859, printed in Schaff’s Christ in Song, 1870. ii. Der Mond ist aufgegangen. [Evening.] His finest hymn, conceived in a child-like, popular spirit—a companion to the more famous hymn, "Nun ruhen alle Walder " (q. v.). According to tradition it was composed during his residence at Darmstadt, 1762, while walking on the so-called Schnempelweg, a footpath leading by the river-side up to the Odenwald. First published in J. H. Voss's Musen-Almanach, Hamburg, 1770, p. 184, and then in pt. iv., 1782, as above, p. 57, in 7 stanzas of 6 lines. Included as No. 452 in the Oldenburg Gesang-Buch, 1791, as No. 570 in the Württemberg Gesang-Buch, 1842, and No. 509 in the Unverfälschter Liedersegen, 1851. The only translation in common use is:— The silent moon is risen, good and full, as No. 322, in the Ohio Lutheran Hymnal, 1880. Other translations are:— (1) "The fair moon hath ascended," in the British Magazine, Nov. 1837, p. 518. (2) "The moon on high Is beaming,",by H. J. Buckoll, 1842, p. 105. (3) "The moon hath risen on high," by Miss Winkworth, 1855, p. 229 (1876, p. 231). (4) "The moon up heaven is going," by J. D. Bums, in Family Treasury, 1860, p. 92, repeated in his Memoir, 1869, p. 269. (5) “The moon is upwards climbing," by Miss Manington, 1863, p. 124. (6) "The moon is up in splendour," by E. Massie, 1866, E. 115. (7) "The moon hath risen clear," in Alice Lucas's Trs.from German Poets, 1876, p. 12. (8) "The moon is up and beaming," in Mrs. A. W. Johns's Original Poems and Translations, 1882, p. 61. iii. Im Anfang war's auf Erden. [Harvest.] First published in pt. iv., 1782, as above, p. 42, in 17 stanzas of 4 lines, and chorus (see also G. W. Fink's Musikalischer Hausschatz der Deutschen, Altona, 1860, No. 77). It occurs in a sketch entitled, Paid Erdmann's Fest. The neighbours are represented as coming to Paul's house and there singing this so-called “Peasants' Song," the last four stanzas of which specially relate to the occasion; the stanzas being sung as a solo, and all joining in the chorus. It can hardly be called a hymn, though it has passed into a few German hymnals principally for use in school. Beginning, "Auf! Lasset Gott uns loben," 10 stanzas were included as No. 482 in the Oldenburg G. B., 1791. In T. Fliedner's Liederbuch, Kaiserswerth, 1842, No. 95 begins with stanza vii., "Was nah ist und was feme." The form most popular is that beginning with stanza iii., "Wir pflügen und wir streuen," as in Dr. Wichern's Unsere Lieder, Hamburg, 1844, No. 55, and other collections. Translations in common use:— 1. We plough the fields and scatter, by Miss J. M. Campbell, contributed to the Rev. C. S. Bere's Garland of Songs, Lond., 1861, p. 61 (later eds. p. 27). A free rendering in 3 stanzas of 8 lines, with chorus, entitled, "Thanksgiving for the Harvest." Since its reception into the Appendix to Hymns Ancient & Modern, 1868 (No. 360, ed. 1875, No. 383), it has passed into numerous hymnals in Great Britain, and America. In Thring's Collection, 1882, No. 609, st. iv., "Our souls, Blest Saviour, gather," is an original stanza by Rev. H. Downton, added to supply some distinctly Christian expressions to the hymn, and first published in the Record newspaper in 1875. 2. We plough the fertile meadows. Of this translation there are two forms greatly differing, both ascribed to Dr. S. F. Smith, but whether either form is really by him we have failed to ascertain. What seems to be the original form, in 6 stanzas of 4 lines and chorus, is found in the Methodist Free Church Sunday School Hymns; Curwen's New Child's Own Hymn Book &c. The other form, in 3 stanzas of 8 lines and chorus, is in Allon's Supplemental Hymns; New Congregational Hymn Book, &c. 3. We plough the ground, we sow the seed, in 4 stanzas of 8 lines with chorus, without name of translation, is No. 215 in G. S. Jellicoe's Collection, 1867. [Rev. James Mearns, M.A.] --Excerpts from John Julian, Dictionary of Hymnology (1907)

Jane M. Campbell

1817 - 1878 Person Name: Jane Montgomery Campbell (1817-1878) Scripture: Psalm 107 Translator of "We Plough the Fields and Scatter" in Common Praise (1998) Campbell, Jane Montgomery, daughter of the Rev. A. Montgomery Campbell, born in London, 1817, died at Bovey Tracey, Nov. 15, 1878. Miss Campbell contributed in 1861, a number of translations from the German to the Rev. C. S. Bere's Garland of Songs; or, an English Liederkranz, 1862; and also to his Children’s Choral Book, 1869. The best known and most widely used of these translations is a portion of "Im Anfang war's auf Erden," as the harvest hymn, "We plough the fields and scatter.” Miss Campbell also published A Handbook for Singers, Lond., Society for Promoting Christian Knowledge, n.d. This small work contains the musical exercises which she taught in her father's parish school. --John Julian, Dictionary of Hymnology (1907)

J. A. P. Schulz

1747 - 1800 Person Name: Johann Abraham Peter Schulz (1747-1800) Scripture: Psalm 107 Composer of "WIR PFLÜGEN" in Common Praise (1998) Johann Abraham Peter Schulz Germany 1747-1800. Born at Luneburg, Germany, son of a baker, he attended St Michaelis school in Luneburg and studied organ, then the Johanneum from 1759-1764. In 1765 he was a student of composer, Johann Kimberger, and then taught in Berlin himself. In 1768 Kimberger recommended Schulz for the position of music teacher and accompanist to the Polish Princess Sapieha Woiwodin von Smolensk. Schulz moved to Berlin and traveled with her for three years performing throughout Europe, where he came in contact with many new musical ideas. He married Catharina Maria Gercken, and they had a daughter, Celle. He served as the conductor of the French Theatre in Berlin from 1776-1780. From 1786-1787 he was the Kapellmeister of Prince Henry in Rheinsberg. He began writing operas in 1785 and became musical director of the Berlin French theatre. Schulz went on to serve as Court Kapellmeister in Copenhagen from 1787-1795 before returning to Berlin. In Copenhagen the music library burned down, and he had a breakdown in health from trying to save it. His health suffered further from the effects of a shipwreck he experienced in 1796. Schulz wrote seven operas, stage music, oratorios, and cantatas, as well as piano pieces, folk songs, and church music. He also wrote articles on music theory for Johann Georg Sulzer’s ‘Allgemeine Theorie der schonen Kunste’ in four volumes. He died at Schwedt an der Oder, Germany. John Perry