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James Phillip McAuley

1917 - 1976 Person Name: James Philip McAuley Topics: Discipleship; Images of God, Christ and the Holy Spirit Alpha and Omega; Images of God, Christ and the Holy Spirit Friend and Kindred; Images of God, Christ and the Holy Spirit Guide and Leader; Images of God, Christ and the Holy Spirit Refuge and Strength; Images of God, Christ and the Holy Spirit Savior and Redeemer; Images of God, Christ and the Holy Spirit The Life, Bread, Rice and Water; Images of God, Christ and the Holy Spirit The Way, Road and Map Author of "In Faith and Hope and Love" in Sound the Bamboo

Severus Gastorius

1646 - 1682 Topics: God the Father Providence and Care; God Sustainer; Adoration of God; Encouragement; God Guide; God Mystery; God Providence; God Sustainer Attributed to of "WAS GOTT TUT" in The Worshiping Church Severus Gastorius (1647-1682 ) was a cantor in Jena, central Germany. The son of a Weimar school teacher, Severus was born with the family name Bauchspiess (later Latinised to Gastorius) in Oettern, near Weimar. In 1667, he started studying at the University of Jena. From 1670, he deputized for cantor Andreas Zöll in Jena and married his daughter the following year. Gastorius assumed Zöll's position after his death in 1677. One of his friends, Samuel Rodigast, wrote the hymn "Was Gott tut, das ist wohlgetan" for Gastorius when he was sick (to cheer him up as Rodigast writes in his dedication). Even before he recovered, Gastorius set it to music based on a melody by Werner Fabricius. The tune became widely known in Germany as the cantor students of Jena cantor sang it every week at Gastorius' door as well as when they returned home. Gastorius was buried on 8 May 1682 in Jena's Johanniskirche cemetery. Gastorius had requested that the hymn "Was Gott tut, das ist wohlgetan" be sung at his funeral. Gastorius is also credited with composing music for the funeral motet Du aber gehe hin bis das Ende komme. It was sung at the funeral of the Jena professor of medicine Johann Arnold Friderici on 2 June 1672. --en.wikipedia.org/wiki/

Charles F. Roper

b. 1843 Topics: God Almighty; God Goodness of; God Our Guardian; God Our Guide; Morning Composer of "JERUSALEM" in Book of Worship with Hymns and Tunes

T. R. Birks

1810 - 1883 Person Name: Dr. T. R. Birks, 1810-1883 Topics: King Of Mercy; Strength Christ our; King Of Mercy; Strength Christ our; Bread Jesus the; Christ Bread of Heaven; Comfort, for mourners; The Christian Life Aspiration and Prayer; Jesus (See also Christ) Shepherd; Shepherd, the Good; Guide Jesus our Author of "O King of mercy, from Thy throne on high" in Methodist Hymn and Tune Book Birks, Thomas Rawson, M.A., b. Sept. 1810, and educated at Trinity College, Cambridge (B.A. 1834, M.A. 1837), of which he subsequently became a Fellow. Having taken Holy Orders in 1837, he became Rector of Kelshall, Herts, 1844; Vicar of Holy Trinity, Cambridge, 1866; Hon. Canon of Ely Cathedral, 1871; and Professor of Moral Philosophy, Cambridge, 1872. He d. at Cambridge, July 21, 1883. His works, to the number of 25, include Biblical, Astronomical, Scientific, Prophetic, and other subjects. He also wrote the Memoirs of the Rev. E Bickersteth (his father-in-law), 2 vols., 1851. His hymns appeared in Bickersteth's Christian Psalmody; 1833; and, together with Versions of the Psalms, in his Companion Psalter, 1874. They number upwards of 100. [Eng. Psalters, § xx.] Very few are in common use in Great Britain, but in America their use is extending. They include:— 1. Except the Lord do build the house. Ps. cxxvii. 2. O come, let us sing to the Lord. Ps. xcv. 3. O King of Mercy, from Thy throne on high. Ps. lxxx. 4. O taste and see that He is good. Ps. xxxiv. 5. O when from all the ends of earth. Psj xiv. 6. The heavens declare Thy glory. Ps. xix. 7. The Lord Himself my Portion is. Ps. liii. 8. The mighty God, the Lord hath spoken. Ps. l. 9. Thou art gone up on high, O Christ, &c. Ps. xlvii. 10. Whom have I [we] Lord in heaven, but Thee. Ps. lxxiii. Of these versions of the Psalms, all of which date from 1874, the most popular is No. 3. Mr. Birks' compositions are worthy of greater attention than they have hitherto received. --John Julian, Dictionary of Hymnology (1907)

John Lane

1853 - 1945 Person Name: J. L. Topics: Heaven; Jesus Guide; Solos Author of "Keep Close to Jesus" in Hymns of the Faith Lane, Rev. John. (New York City, 1853--1945, Nashville, Tennessee). Singing evangelist and hymn-writer. Son of Patrick and Alice O'Connor Lane (formerly "Lean"), Irish immigrants. He was an advertising solicitor for New York newspapers, when he was converted to Christianity and under the tutelage of Dr. T. De Witt Talmadge, he became a mission worker, and later conducted revival meetings in the East before going West in 1893 to Kansas City, Missouri. --Information from multiple letters from Laura B. Lane, daughter, to Leonard Ellinwood, DNAH Archives. A photo of John Lane is also in the DNAH Archives. =================================== Lane’s works include: Salvation Melodies (Kansas City, Missouri: John Lane, 1897) Lyrics-- As I Go Along My Pilgrim Way As You Travel Life’s Rough Pathway Christians, Rise and Join the Army How Happy the Home, with a Baby About I Am Going to Heaven with My Savior I Came to Jesus Weary Worn I Love My Savior, He’s Good to Me If You Have Lost in the Battle In the Home Where Jesus Is an Honored Guest In the Storms of Life Jesus Loves Little Children Jesus, We Look to Thee Keep Close to Jesus My Sins Are All Forgiven Out in the World I Wandered Remember Your Mother There Is Great Joy in Heaven There Is Hope for All There’s a Story Ever New ’Tis a Pleasure Sweet We Are Happy Children When a Brother Goes Wrong When from Friends on Earth We’re Parted --www.hymntime.com/tch

John Roberts

1822 - 1877 Person Name: John Roberts (Ieuan Gwyllt) Topics: Jesus Christ Grace; Jesus Christ Guide and Leader; Pilgrimage and Conflict Composer of "MOAB" in Rejoice in the Lord Used Ieuan Gwyllt as his bardic name. See also Ieuan Gwyllt, 1822-1877.

Christian Strover

1932 - 2020 Person Name: Christian Strover Topics: Church Year Advent; Church Year Easter; Comfort and Encouragement; Daily Prayer Night Prayer; Darkness; Disciples / Calling; Discipleship; Elements of Worship Baptism; Elements of Worship Lord's Supper; Eternal Life; Fear; God Light from; God as Refuge; God as Guide; God's Presence; God's Way; Hope; Life Stages Death; Longing for God; Salvation; Trust; Year A, B, C, Easter, Easter vigil; Year A, Easter, 2nd Sunday; Year B, Ordinary Time after Pentecost, November 13-19; Year C, Ordinary Time after Pentecost, June 26-July 2 Composer of "MEPHIBOSHETH" in Psalms for All Seasons Christian T. Strover (b. Colchester, Essex, England, 1932) received the B.Litt. and MA degrees from Hertford College in Oxford, England. He was director of music at Emanuel School (Battersea Rise), 1956-1997) and organist and choirmaster at Christ Church in Beckenham, Kent, England (1956-2020). He has composed and arranged a number of hymn tunes, some of which appeared in Psalm Praise (1973). Bert Polman, (revised Dianne Shapiro, from email sent to Hymnary)

Melancthon Woolsey Stryker

1851 - 1929 Person Name: M. Woolsey Stryker, D. D. Topics: Holy Spirit Guide; Living His Life Call to Activity; Special Selections Choir or Quartet Author of "Man the Life-Boat!" in Christ in Song Stryker, Melancthon Woolsey, D.D., son of the Rev. Isaac Pierson Stryker, was born at Vernon, New York, Jan. 7, 1851, and educated at Hamilton College (1872) and Auburn Theological Seminary (1876). In 1876 he entered the Presbyterian ministry as Pastor at Auburn, New York. In 1878 he removed to Ithaca, N. Y.; in 1883 to Holyoke, Massachusetts, and in 1885 to Chicago, Illinois. He received his degree of D.D. from Hamilton College in 1889. He has edited Christian Chorals, 1885 ; New Alleluia, 1880-86; and Church Song, 1889. He was also joint editor with H. P. Main of The Church Praise Book, 1882. He has also published Hymns and Verses, 1883, and Song of Miriam, and Other Hymns and Verses, 1888. To two of these works which have been designed for daily use in divine worship Dr. Stryker contributed the following original hymns:— i. The Church Praise Book, 1882. 1. Burst forth, 0 Bridegroom, from Thy chamber bright. Second Advent Desired. (1880.) 2. Death cannot make my soul afraid. Death Contemplated. (1881.) 3. Eternal day hath dawned. Heaven. (1881.) 4. Mighty God, Thy Church recover. Missions. (1881.) 5. King again, ye starry chime. Christmas. (1881.) 6. Sing, Israel, for the Lord your strength. Passing the Red Sea. (1878.) 7. The tribes of faith from all the earth. Heaven. (1881.) 8. Thy Kingdom come, 0 blessed Son of God. Second Advent Desired, (1880.) Re-written in Church Song, 1889, as "Thy Kingdom come, 0 everlasting Lord." 9. When the everlasting Lord. Morning. (1880.) ii. Church Song, 1889. 10. Arouse Thy Church, Almighty God. Missions. (1887.) 11. Father, as here we bow. Holy Trinity. (1886.) 12. Four hundred years their course have sped. American National Hymn. (1888.) 13. God of our Fathers, our God to-day. National Hymn. (1889.) 14. Lo, where that spotless Lamb for sin provided. Passiontide. (1884.) 15. My Maker, at Thy holy throne. Holy Baptism. (1888.) 16. O God, Thy judgments give the King, Thy Son. Missions. (1883.) 17. O Thou, Eternal, Changeless, Infinite. Praise to God. (1882.) 18. 0 Thou, Omnipresent. Omnipresence of the Father. (1885.) 19. O Thou Shepherd of Thine Israel, hear us. Ps. lxxz. (1883.) 20. Our God, and our Redeemer. Opening of a Place of Worship. (1883.) 21. Robbed, bruised, and dying, once I lay. The Good Samaritan. (1886.) 22. Sing, every boy and maiden. Praise to God. (1885.) 23. Thou, Lord of my life, by the words Thou hast said. Lent. (1887.) 24. Thy grace is all of grace. Divine Grace. (1886.) 25. To Thee, our God, these babes we bring. Holy Baptism. (1886.) 26. Tranquilly, slowly, solemnly, lowly. Burial. (1884.) 27. We close Thy blessed Word. Sunday Evening. (1S87.) 28. While all the night-stars fade and wane. Easter. (1884.) In addition to these original hymns Dr. Stryker has several translations from the German which are in common use. One of his hymns, No. 513, "Now I lay me down to sleep" (Child's Evening hymn), in Church Song, 1889 (dated 1884), begins with a stanza by another hand. In the same work there are also several of his tunes. Dr. Stryker's hymns are massive and rugged, full of dogmatism and fire, but they lack unity and purity of rhythm. In some instances words stand for thoughts, and exclamations for ideas. Nevertheless a few will live. -- John Julian, Dictionary of Hymnology (1907) ================= Stryker, M. W., pp. 1098, i.; 1525, ii. 7; 1615, iv. In 1892, Dr. Stryker became Presi¬dent of Hamilton College and also received the LL.D. from Lafayette College. His College Hymnal, 1897, 1904, contains 28 of his hymns, the majority of which date 1890-1894. Of these "From doubt and all its sullen pain" (Faith), written in 1890, is found in other collections. Dr. Stryker d. in 1905. His Dies Irae was published 1892, and his Latermath (verse) 1896. --John Julian, Dictionary of Hymnology, New Supplement (1907)

Michael Korb

Topics: Church Year Lent; Daily Prayer Evening Prayer; Daily Prayer Night Prayer; Darkness; Discipleship; Elements of Worship Baptism; Elements of Worship Call to Confession; Elements of Worship Lord's Supper; God Desire for; God Light from; God as Spirit; God as Creator; God as Guide; God as Judge; God's Seeing; God's Sovereignty; God's Triumph; God's Knowing; God's Love; God's Protection; Grâce; Humanity Created by God; Jesus Christ Healer; Jesus Christ Way, Truth, and Life; Lament False Accusation; Lament Individual; Life Stages Birth; Life Stages Death; Mercy; New Creation; Occasional Services Christian Marriage; Occasional Services Funerals; Occasional Services Ordination and/or Installation; People of God / Church Citizens of Heaven; Servants of God; Suffering; Temptation And Trial; Ten Commandments 10th Commandment (do not covet); The Creation; The Fall; Year A, Ordinary Time after Pentecost, July 17-23; Year B, Ordinary Time after Pentecost, 2nd Sunday; Year B, Ordinary Time after Pentecost, May 29-June 4 (if after Trinity Sunday); Year C, Ordinary Time after Pentecost, September 4-10 Composer of "HIGHLAND CATHEDRAL" in Psalms for All Seasons Michael Korb is a German composer and musician, known particularly for writing the “Scottish Anthem,” HIGHLAND CATHEDRAL. Laura de Jong

Maria Luigi Cherubini

1760 - 1842 Person Name: Cherubini Topics: Afflictions Watchfulness in; Aspirations For Holiness; Aspirations For Peace and Rest; Assurance Declared; Blessedness Of Those Fearing God; Christ Communion with; Christ Light and Guide; Christ Prophetic Office of; Church Covenanted; Covenant Keeping; Covenant Of God; Covenant Promises; Deliverance From Sin; Godly Fear Blessedness of; God Attributes of; God Love and Mercy; Gospel Freeness of ; Gospel Privileges of; Gospel Sanctifying and Saving; Grace Sustaining; Mercy of God Prayer for; Pardon Sought; Praise For Spiritual Blessings; Prayer confidence in; Prayer For Christ's Sake; Prayer For Deliverance from Trouble; Salvation From Sin and Trouble; Salvation Prayers for; Sin Salvation from; Trust in God Expression of; Truth Composer of "DALLAS" in The Psalter Luigi Cherubini (Italian: [luˈiːdʒi keruˈbiːni]; 8 or 14 September 1760 – 15 March 1842) was an Italian composer who spent most of his working life in France. His most significant compositions are operas and sacred music. Beethoven regarded Cherubini as the greatest of his contemporaries. Cherubini was born Maria Luigi Carlo Zenobio Salvatore Cherubini in Florence. There is uncertainty about his exact date of birth. Although 14 September is sometimes stated, evidence from baptismal records and Cherubini himself suggests the 8th is correct. Perhaps the strongest evidence is his first name, Maria, which is traditional for a child born on 8 September, feast-day of the Nativity of the Virgin. His instruction in music began at the age of six with his father, Bartolomeo, maestro al cembalo ("Master of the harpsichord", in other words, ensemble leader from the harpsichord). Considered a child prodigy, Cherubini studied counterpoint and dramatic style at an early age. By the time he was thirteen, he had composed several religious works. In 1780, he was awarded a scholarship by the Grand Duke of Tuscany to study music in Bologna and Milan. Cherubini's early opera serie used libretti by Apostolo Zeno, Metastasio (Pietro Trapassi), and others that adhered closely to standard dramatic conventions. His music was strongly influenced by Niccolò Jommelli, Tommaso Traetta, and Antonio Sacchini, who were the leading composers of the day. The first of his two comic works, Lo sposo di tre e marito di nessuna, premiered at a Venetian theater in November 1783. Feeling constrained by Italian traditions and eager to experiment, Cherubini traveled to London in 1785 where he produced two opere serie and an opera buffa for the King's Theater. In the same year, he made an excursion to Paris with his friend Giovanni Battista Viotti, who presented him to Marie Antoinette and Parisian society. Cherubini received an important commission to write Démophon to a French libretto by Jean-François Marmontel that would be his first tragédie en musique. Except for a brief return trip to London and to Turin for an opera seria commissioned by the King of the House of Savoy, Cherubini spent the rest of his life in France where he was initiated into Grand Orient de France "Saint-Jean de Palestine" Masonic Lodge in 1784. Title page of the first edition of Cherubini's Médée, full score, 1797. Cherubini adopted the French version of his name, Marie-Louis-Charles-Zénobi-Salvador Cherubini; this appears in all extant documents that show his full name after 1790, though his Italian name is favored nowadays. Performances of Démophon were favorably received at the Grand Opéra in 1788. With Viotti's help, the Théâtre de Monsieur in the Tuileries appointed Cherubini as its director in 1789. Three years later, after a move to the rue Feydeau and the fall of the monarchy, the company became known as the Théâtre Feydeau. This position gave Cherubini the opportunity to read countless libretti and choose one that best suited his temperament. Cherubini's music began to show more originality and daring. His first major success was Lodoïska (1791), which was admired for its realistic heroism. This was followed by Eliza (1794), set in the Swiss Alps, and Médée (1797), Cherubini's best-known work. Les deux journées (1800), in which Cherubini simplified his style, was a popular success. These and other operas were premièred at the Théâtre Feydeau or the Opéra-Comique. Feeling financially secure, he married Anne Cécile Tourette in 1794 and began a family of three children. The fallout from the French Revolution affected Cherubini until the end of his life. Politics forced him to hide his connections with the former aristocracy and seek governmental appointments. Although Napoléon found him too complex, Cherubini wrote at least one patriotic work per year for more than a decade. He was appointed Napoléon's director of music in Vienna for part of 1805 and 1806, whereupon he conducted several of his works in that city. After Les deux journées, Parisian audiences began to favor younger composers such as Boieldieu. Cherubini's opera-ballet Anacréon was an outright failure and most stage works after it did not achieve success. Faniska, produced in 1806, was an exception, receiving an enthusiastic response, in particular, by Haydn and Beethoven. Les Abencérages (1813), an heroic drama set in Spain during the last days of the Moorish kingdom of Granada, was Cherubini's attempt to compete with Spontini's La vestale; it received critical praise but few performances. Disappointed with his lack of acclaim in the theater, Cherubini turned increasingly to church music, writing seven masses, two requiems, and many shorter pieces. During this period (under the restored monarchy) he was appointed Surintendant de la Musique du Roi, a position he would hold until the fall of the Bourbon Dynasty. In 1815 London's Royal Philharmonic Society commissioned him to write a symphony, an overture, and a composition for chorus and orchestra, the performances of which he went especially to London to conduct, increasing his fame. Cherubini's Requiem in C minor (1816), commemorating the anniversary of the execution of King Louis XVI of France, was a huge success. The work was greatly admired by Beethoven, Schumann and Brahms. In 1836, Cherubini wrote a Requiem in D minor to be performed at his own funeral. It is for male choir only, as the religious authorities had criticised his use of female voices in the earlier work. In 1822, Cherubini became director of the Conservatoire and completed his textbook, Cours de contrepoint et de fugue, in 1835. His role at the Conservatoire would bring him into conflict with the young Hector Berlioz, who went on to portray the old composer in his memoirs as a crotchety pedant. Some critics, such as Basil Deane, maintain that Berlioz's depiction has distorted Cherubini's image with posterity. There are many allusions to Cherubini's personal irritability among his contemporaries; Adolphe Adam wrote, "some maintain his temper was very even, because he was always angry." Nevertheless, Cherubini had many friends, including Szymanowska, Rossini, Chopin and, above all, the artist Ingres. The two had mutual interests: Cherubini was a keen amateur painter and Ingres enjoyed practising the violin. In 1841, Ingres produced the most celebrated portrait of the old composer. Although chamber music does not make up a large portion of his output, what he did write was important. Wilhelm Altmann, writing in his Handbuch für Streichquartettspieler (Handbook for String Quartet Players) about Cherubini's six string quartets, states that they are first rate and regarded Nos. 1 and 3 as masterworks. His String Quintet for two violins, viola and two cellos is also considered a first rate work. During his life, Cherubini received France's highest and most prestigious honors. These included the Chevalier de la Légion d'honneur (1814) and Membre de l'Académie des Beaux-Arts (1815). In 1841, he was made Commandeur de la Légion d'honneur, the first musician to receive that title. Cherubini died in Paris at age 81 and is buried at Père Lachaise Cemetery, just four metres from his friend Chopin. His tomb was designed by the architect Achille Leclère and includes a figure by the sculptor Augustin-Alexandre Dumont representing "Music" crowning a bust of the composer with a wreath. --en.wikipedia.org/wiki/