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Lee G. Kratz

Composer of "[Savior, teach me, day by day]" in New Gospel Quartets for Men's Voices

1836 - 1908 Person Name: Philip Armes, Mus. Doc. Composer of "[Saviour! teach me, day by day]" in The Hymnal, Revised and Enlarged, as adopted by the General Convention of the Protestant Episcopal Church in the United States of America in the year of our Lord 1892 Philip Armes, born in Norwich,England, Aug. 15, 1836. Organist; chorister in Norwich Cathedral in 1846-48, and in Rochester Cathedral 1848-51; articled pupil of Dr. John Larkin Hopkins at Rochester, 1850-55; was organist of Trinity Church, Milton, Gravesend in 1855-57, at St. Andrew's, Wells Street, London, in 1857-61, of Chichester Cathedral in 1861-62, and of Durham Cathedral since 1862. Mus. Bac., Oxford 1858; Mus. Doc., Oxford, 1865. degrees also from University of Durham, 1863-1864. Works: Hezekiah, oratorio, performed at Worcester Festival, 1878; St. John the Evangelist, do., York Festival 1881; Communion Services in A; do. in B-flat; Te Deum; Morning and Evening Service in G; Anthems; Chants; Hymns, etc. Cyclopedia of Music and Musicians by John Denison Camplin, Jr. and William Foster Apthorp (Charles Scribner’s Sons, 1888)

T. F. Seward

1835 - 1902 Person Name: Theo. F. Seward Composer of "[Saviour, teach me, day by day]" in Westminster Sabbath School Hymnal, a collection of hymns and tunes for use in sabbath-schools and social meetings

William W. Woodward

1822 - 1882 Person Name: W. W. Woodward Composer of "WOODWARD'S LITANY" in Common Praise

J. C. Ewing

1849 - 1937 Composer of "WARNER" in The Brethren Hymnody John Cook Ewing (1849-1937), who usually referred to himself as J.C. Ewing, was the pioneer Brethren musician, music teacher and composer. Before providing a synopsis of Ewing’s life and work it is appropriate to identify the Brethren of whom we are speaking, for several denominations have the term Brethren in their names, and to relate the religious and hymnological culture within which J. C. Ewing served. In the nineteenth century this particular body called themselves The Fraternity of German Baptists and the German Baptist Brethren. Their beginnings in 1708 were in the little village of Schwarzenau, Germany under the leadership of Alexander Mack Sr. (1679-1735). Due to religious persecution of Anabaptists, most of these Brethren emigrated for America by the 1730’s. By the 1880’s the Brethren were divided over several issues: notably whether or not they should be engaged in higher education, have Sunday Schools, participate in evangelistic endeavors, call persons to serve in foreign missions, sing from hymnals with musical notation, and use musical instruments in worship. The controversies led to schism and the establishment of three distinct Brethren groups: the more cautious, conservative parent body which retained the name German Baptist Brethren, a more “progressive” wing known as The Brethren Church, and the ultra-conservatives who referred to themselves as the Old German Baptist Brethren. Today there are several groups which share this common heritage: the German Baptist Brethren (renamed the Church of the Brethren in 1908, with administrative offices in Elgin, Illinois), The Brethren Church headquartered in Ashland, Ohio, The Fellowship of Grace Brethren Churches, Winona, Lake, Indiana (also known for business purposes as Charis Fellowship), the Conservative Grace Brethren Churches International, the Old German Baptist Brethren New Conference, and the Dunkard Brethren Church. The first Brethren hymnal in America was Das Kleine Davidische Psalterspiel der Kinder Zions (the Small Davidic Psaltery of the Children of Zion), a hymnbook for which early Brethren leaders and the prominent colonial American printer, Christopher Sauer, collaborated for its production in Germantown, Pennsylvania. In 1791 came the fifth edition of the Psalterspiel, and also the first English language hymnal of the Brethren, The Christian’s Duty. With this English language hymnbook began the second of two entirely separate tracks of Brethren hymnals in the nineteenth century. Over the course of the century there was a gradual shift to the English language among the Brethren and the demise of their hymnic heritage and original piety. During the first half of the nineteenth century the Brethren patterned their worship services according to what they believed to be the primitive church’s inclusions of singing, praying, reading Scripture, and preaching. Congregational hymn singing was “lined” and often led by a deacon serving as song leader (Vorsänger). Hymns were sung slowly and thoughtfully, with every stanza of a hymn sung, and rendered unaccompanied and in unison. Although it was stated at the denomination’s Annual Meeting of 1844 that four-part harmony was not acceptable as well as the use of musical instruments, four-part singing was evidenced in some Brethren congregations. Brethren hymnbooks in mid-century continued to be printed without musical notation. According to Annual Meeting decisions in 1825 and 1838, Brethren were also prohibited from providing a meeting place for or teaching in “singing schools.” The prohibition was moderated in later meetings (1862, 1874), most likely due to the fact that there was an interest in learning how to sing, and the pioneer Brethren musician traveled as a singing school teacher. John Cook Ewing, born near Benton, Holmes County, Ohio May 8, 1849, studied music with some of the foremost teachers of that era, including composer George Frederick Root of Chicago. Ewing became a skilled organist, pianist and song leader, a prolific composer of hymn tunes, and a very competent music teacher. Before the divisions of the early 1880’s, he served as the first instructor of music at the Brethren-affiliated Huntingdon Normal School (later Juniata College) in Huntingdon, Pennsylvania. He was entrusted with the 1879 revision of The Brethren’s Tune and Hymn Book (1872), the first Brethren hymnal with musical notation, set with shape-notes. Included were seventeen hymn tunes composed by Ewing. After the schism J. C. Ewing affiliated with The Brethren Church and was invited to be the first professor of music at the denomination’s newly established institution of higher learning, Ashland College, Ashland, Ohio. He was also called upon to serve as compiler and editor of the first of only two hymnals produced by The Brethren Church, The Brethren Hymnody with Tunes (for Sanctuary, Sunday School, Prayer Meeting, and Home Circle), published by J. C. Ewing in 1884 at Wilmington, Ohio, and set in round-note musical notation. Ewing contributed fourteen tunes to this hymnal. John Cook Ewing spent most of his career as a public school music teacher. He was teacher and music supervisor for the Lebanon, Ohio schools, and later the first music teacher of the South Bend, Indiana public schools. He also served as music director and deacon at the South Bend Brethren Church. In his later years he was music director at the First Brethren Church of Dayton, Ohio. Ewing died in Dayton May 27, 1937 and was buried in the Bear Creek Cemetery on Union Road in Dayton. Peter E. Roussakis

Vincent Novello

1781 - 1861 Person Name: Novello Composer of "[Saviour! teach me, day by day]" in The Sunday School Hymnal

J. B. Herbert

1852 - 1927 Composer of "[Savior, teach me day by day]" in Rodeheaver Collection for Male Voices

Herbert B. Turner

1852 - 1927 Person Name: Rev. Herbert B. Turner (1852- ) Composer of "GIBSON" in Carmina for the Sunday School and Social Worship Turner, Herbert Barclay; b. 1852, Brooklyn, New York, d. 1927, Washington, Connecticut; composer

J. H. Cornell

1828 - 1894 Composer of "[Saviour, teach me, day by day]" in Hosanna for the Sunday School An organist for St. Paul’s Chapel, Trinity Church, Cornell compiled the Congregational Tune Book in 1872. --www.hymntime.com/tch/

E. T. Hildebrand

1866 - 1931 Person Name: E. T. H. Arranger of "[Saviour, teach me, day by day]" in New Onward and Upward Born: January 18, 1866, Rockingham County, Virginia. Died: March 23, 1931. Buried: Weaver Mennonite Church Cemetery, Dayton, Virginia. Hildebrand attended the public schools and Shenandoah Seminary. His mother taught him to sing as soon as he could talk, but his first regular teacher was D. M. Click. He later studied with James Ruebush, Benjamin Unseld, P. J. Merges, George and Frederick Root, C. B. Shaw, F. H. Tubbs and others. He began teaching singing schools during the summer months while pursuing his college course. He was elected principal of the Dayton Music School in 1894, resigning in 1899 to become Director of Music at Bridgewater College, Virginia. He owned the Hildebrand-Burnette music publishing company in Waynesboro, Virginia, and helped edit several music books. Hildebrand married Zona T. Wise in 1902. His parents and other members of his family were Mennonites, but his membership was with the United Brethren Church. --www.hymntime.com/tch/ ================= Ephraim Timothy Hildebrand (1866-1932) was raised in a Mennonite family near Bridgewater and Dayton, Virginia. He attended Shenandoah College, associated with the United Brethren Church, and was a member of that body during his adult life.(Gospel Herald) He studied music education at Shenandoah, which at that time was located in Dayton, VA, where he also joined the influential circle of the Ruebush-Kieffer gospel music enterprise. From 1895-99 Hildebrand actually directed the music program at Shenandoah, rather remarkable for such a recent graduate; then beginning in 1899 he did the same at Bridgewater College. In the early 20th century he also pursued a more classical career in New York City, studying under the popular composer George F. Root and singing with the New York Oratorio Society.(Bridgewater) A search of Worldcat.org shows that Hildebrand continued to publish primarily in the gospel song genre, however, collaborating with the Fillmore Brothers and even decidedly "Southern gospel" publishers such as James D. Vaughan and Virgil O. Stamps. For someone who was so active and apparently well-known in his time, it is surprising how few of his works have survived to the present day. --drhamrick.blogspot.com