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Christopher Webber

b. 1932 Person Name: Christopher L. Webber Scripture: Exodus 20:1-17 Author of "Lord, Who May Dwell within Your House (Psalm 15)" in Glory to God

Scripture: Exodus 20:1-17 Composer of "RIDGEMOOR" in Glory to God Roy Hopp (b. 1951) is the Director of Music at Woodlawn Christian Reformed Church in Grand Rapids, MI and Adjunct Professor of Choral Music at Calvin Theological Seminary, where he directs the Calvin Theological Seminary Choir. Hopp graduated from Calvin College with a Bachelor’s Degree in Music Education and from Michigan State University with a Master’s Degree in Choral Conducting. He did further studies in church music and composition with Richard Hillert at Concordia University in River Forest, IL. He has served as a Director of Music in churches in West Michigan and Colorado for the past twenty years. His choral compositions have appeared in the catalogues of AugsburgFortress, earthsongs, GIA Publications, Inc., Kjos, MorningStar, and Selah and his hymn tunes have been published in hymnals and collections in the United States, Canada, England, Wales and Scotland. Emily Brink

Ira David Sankey

1840 - 1908 Person Name: Ira D. Sankey Scripture: Exodus 20:3 Composer of "[We thank Thee, O Lord, for a Sabbath of rest]" in Young People's Songs of Praise Sankey, Ira David, was born in Edinburgh, Pennsylvania, in 1840, of Methodist parents. About 1856 he removed with his parents to New Castle, Pennsylvania, where he became a member of the Methodist Episcopal Church. Four years afterwards he became the Superintendent of a large Sunday School in which he commenced his career of singing sacred songs and solos. Mr. Moody met with him and heard him sing at the International Convention of the Young Men's Christian Association, at Indianapolis, and through Mr. Moody's persuasion he joined him in his work at Chicago. After some two or three years' work in Chicago, they sailed for England on June 7, 1872, and held their first meeting at York a short time afterwards, only eight persons being present. Their subsequent work in Great Britain and America is well known. Mr. Sankey's special duty was the singing of sacred songs and solos at religious gatherings, a practice which was in use in America for some time before he adopted it. His volume of Sacred Songs and Solos is a compilation from various sources, mainly American and mostly in use before. Although known as Sankey and Moody’s Songs, only one song, "Home at last, thy labour done" is by Mr. Sankey, and not one is by Mr. Moody. Mr. Sankey supplied several of the melodies. The English edition of the Sacred Songs & Solos has had an enormous sale; and the work as a whole is very popular for Home Mission services. The Songs have been translated into several languages. --John Julian, Dictionary of Hymnology (1907) Pseudonymns: Harry S. Lower Rian A. Dykes ==================== Sankey, I. D., p. 994, i. During the past fifteen years Mr. Sankey's Sacred Songs and Solos have had a very large sale, which has justified him in increasing the number of songs and hymns, including " New Hymns and Solos," to 1200. In 1906 he published My Life and Sacred Songs (London : Morgan & Scott). In addition to the "Story of his Own Life," the work contains an account of the most popular of his solos, with interesting reminiscences of the spiritual awakening of many who were influenced through his singing of them in public. In this respect it corresponds in some measure with G. J. Stevenson's Methodist Hymn Book, &c, 1883 (p. 1094, i.). It is an addition to the Sacred Songs and Solos, which will be held in esteem by many. In addition to his hymn, noted on p. 994, ii., Mr. Sankey gives details of the following:— 1. Out of the shadow-land into the sunshine. [Heaven Anticipated.] Mr. Sankey's account of this hymn is:— "I wrote this hymn specially for the memorial service held for Mr. Moody in Carnegie Hall, where 1 also sang it as a solo. It is the last sacred song of which I wrote both the words and music. The idea was suggested by Mr. Moody's last words, 'Earth recedes; heaven opens before me . . . God is calling me, and I must go.' On account of its peculiar association with my fellow-labourer in the Gospel for so many years, the words are here given in full." The hymn follows on p. 185, in 3 stanzas of 4 lines and a chorus. 2. Rejoice! Rejoice! our King is coming, [Advent.] Mr. Sankey writes concerning this hymn:— "During one of my trips to Great Britain on the SS. City of Rome a storm raged on the sea. The wind was howling through the rigging, and waves like mountains of foam were breaking over the bow of the vessel. A great fear had fallen upon the passengers. When the storm was at its worst, we all thought we might soon go to the bottom of the sea. The conviction came to me that the Lord would be with us iu the trying hour, and sitting down in the reading room, I composed this hymn. Before reaching England the tune had formed itself in my mind, and on arriving in London I wrote it out, and had it published in Sacred Songs and Solos, where it is No. 524 in the edition. of 1888. From Mr. Sankey's autobiographical sketch we gather that he was born at Edinburgh, in Western Pennsylvania, Aug. 28, 1840, joined Mr. Moody in 1871, and visited England for the first time in 1873. The original of the Sacred Songs, &c, of 23 pieces only, was offered as a gift to the London publishers of P. Phillips's Hallowed Song, and declined by them. It was subsequently accepted by Mr. K. O. Morgan, of Morgan & Scott, and is now a volume of 1200 hymns. From a return kindly sent us by Messrs. Morgan & Scott, we find that the various issues of the Sacred Songs and Solos were:— In 1873, 24 pp.; 1874, 72 pp. ; 1876, 153 hymns; 1877, 271 hymns; 1881, 441 hymns; 1888, 750 hymns; 1903, 1200 hymns. In addition, The Christian Choir, which is generally associated with the Sacred Songs and Solos, was issued in 1884 with 75 hymns, and in 1896 with 281. The New Hymns & Solos, by the same firm, were published in 1888. --John Julian, Dictionary of Hymnology, New Supplement (1907)

Carl P. Daw Jr.

b. 1944 Scripture: Exodus 20:1-17 Author of "O God, Who Gives Us Life" in Glory to God Carl P. Daw, Jr. (b. Louisville, KY, 1944) is the son of a Baptist minister. He holds a PhD degree in English (University of Virginia) and taught English from 1970-1979 at the College of William and Mary, Williamsburg, Virginia. As an Episcopal priest (MDiv, 1981, University of the South, Sewanee, Tennesee) he served several congregations in Virginia, Connecticut and Pennsylvania. From 1996-2009 he served as the Executive Director of The Hymn Society in the United States and Canada. Carl Daw began to write hymns as a consultant member of the Text committee for The Hymnal 1982, and his many texts often appeared first in several small collections, including A Year of Grace: Hymns for the Church Year (1990); To Sing God’s Praise (1992), New Psalms and Hymns and Spiritual Songs (1996), Gathered for Worship (2006). Other publications include A Hymntune Psalter (2 volumes, 1988-1989) and Breaking the Word: Essays on the Liturgical Dimensions of Preaching (1994, for which he served as editor and contributed two essays. In 2002 a collection of 25 of his hymns in Japanese was published by the United Church of Christ in Japan. He wrote Glory to God: A Companion (2016) for the 2013 hymnal of the Presbyterian Church (U.S.A.). Emily Brink

John Merbecke

1510 - 1585 Person Name: J. Merbecke Scripture: Exodus 20 Composer of "[Lord, have mercy upon us]" in The Hymnary of the United Church of Canada John Marbeck, Merbeck or Merbecke (c. 1510 – c. 1585) was an English theological writer and musician who produced a standard setting of the Anglican liturgy. He is also known today for his setting of the Mass, Missa Per arma justitiae. Probably a native of Beverley in Yorkshire, Merbecke appears to have been a boy chorister at St. George's Chapel, Windsor, and was employed as an organist there from about 1541. Two years later he was convicted with four others of heresy and sentenced to be burnt at the stake, but received a pardon owing to the intervention of Stephen Gardiner, Bishop of Winchester. An English Concordance of the Bible which Merbecke had been preparing at the suggestion of Richard Turner, was however confiscated and destroyed. A later version of this work, the first of its kind in English, was published in 1550 with a dedication to Edward VI. In the same year, Merbecke published his Booke of Common Praier Noted, intended to provide for musical uniformity in the use of the First Prayer Book of Edward VI. This set the liturgy to semi-rhythmical melodies partly adapted from Gregorian chant; it was rendered obsolete when the Prayer Book was revised in 1552. Merbecke wrote several devotional and controversial works of a strongly Calvinistic character, and a number of his musical compositions are preserved in manuscript in the British Library, and at Oxford and Cambridge. He died, probably while still organist at Windsor, about 1585. His son, Roger Marbeck (1536–1605), was a noted classical scholar and physician. In the first half of the 19th century, the Oxford Movement inspired renewed interest in liturgical music within the Church of England. John Jebb first drew attention to Merbecke's Prayer Book settings in 1841. In 1843, William Dyce published plain song music for all the Anglican services, which included nearly all of Merbecke's settings, adapted for the 1662 edition of the Book of Common Prayer then in use. During the latter half of the 19th century, many different editions of Merbecke's settings were published, especially for the Communion Service, with arrangements by noted musicians such as Sir John Stainer, Charles Villiers Stanford and Basil Harwood, Merbecke's Communion setting was very widely sung by choirs and congregations throughout the Anglican Communion until the 1662 Book of Common Prayer began to be supplanted by more modern liturgy in the late 20th century. Parts of his service, notably the Nicene Creed, have been adapted to "modern" wording. His setting has also been adapted for the liturgy of many other denominations; the Roman Catholic Church used it for the new English language rite following the Second Vatican Council of 1962-65. His complete Latin Church music was recorded by The Cardinall's Musick under the direction of Andrew Carwood in 1996. A voluntary choir for young men and women at Southwark Cathedral in London is named the Merbecke Choir in his honour, because Merbecke's heresy trial had been partly held at the church in 1543. Merbecke is honoured, together with William Byrd and Thomas Tallis, with a feast day in the liturgical calendar of the Episcopal Church (United States) on 21 November. --en.wikipedia.org/wiki/

Thomas Tallis

1505 - 1585 Person Name: T. Tallis Scripture: Exodus 20 Composer of "[THE TEN COMMANDMENTS] TALLIS" in The Hymnary of the United Church of Canada Thomas Tallis (b. Leicestershire [?], England, c. 1505; d. Greenwich, Kent, England 1585) was one of the few Tudor musicians who served during the reigns of Henry VIII: Edward VI, Mary, and Elizabeth I and managed to remain in the good favor of both Catholic and Protestant monarchs. He was court organist and composer from 1543 until his death, composing music for Roman Catholic masses and Anglican liturgies (depending on the monarch). With William Byrd, Tallis also enjoyed a long-term monopoly on music printing. Prior to his court connections Tallis had served at Waltham Abbey and Canterbury Cathedral. He composed mostly church music, including Latin motets, English anthems, settings of the liturgy, magnificats, and two sets of lamentations. His most extensive contrapuntal work was the choral composition, "Spem in alium," a work in forty parts for eight five-voice choirs. He also provided nine modal psalm tunes for Matthew Parker's Psalter (c. 1561). Bert Polman

Felix Mendelssohn-Bartholdy

1809 - 1847 Person Name: Mendelssohn Scripture: Exodus 20 Composer (Adapted from) of "[THE TEN COMMANDMENTS] MENDELSSOHN" in The Hymnary of the United Church of Canada Felix Mendelssohn-Bartholdy (b. Hamburg, Germany, 1809; d. Leipzig, Germany, 1847) was the son of banker Abraham Mendelssohn and the grandson of philosopher Moses Mendelssohn. His Jewish family became Christian and took the Bartholdy name (name of the estate of Mendelssohn's uncle) when baptized into the Lutheran church. The children all received an excellent musical education. Mendelssohn had his first public performance at the age of nine and by the age of sixteen had written several symphonies. Profoundly influenced by J. S. Bach's music, he conducted a performance of the St. Matthew Passion in 1829 (at age 20!) – the first performance since Bach's death, thus reintroducing Bach to the world. Mendelssohn organized the Domchor in Berlin and founded the Leipzig Conservatory of Music in 1843. Traveling widely, he not only became familiar with various styles of music but also became well known himself in countries other than Germany, especially in England. He left a rich treasury of music: organ and piano works, overtures and incidental music, oratorios (including St. Paul or Elijah and choral works, and symphonies. He harmonized a number of hymn tunes himself, but hymnbook editors also arranged some of his other tunes into hymn tunes. Bert Polman

Arthur Sullivan

1842 - 1900 Person Name: Arthur S. Sullivan Scripture: Exodus 20:1-17 Arranger of "NOEL" in Glory to God Arthur Seymour Sullivan (b Lambeth, London. England. 1842; d. Westminster, London, 1900) was born of an Italian mother and an Irish father who was an army bandmaster and a professor of music. Sullivan entered the Chapel Royal as a chorister in 1854. He was elected as the first Mendelssohn scholar in 1856, when he began his studies at the Royal Academy of Music in London. He also studied at the Leipzig Conservatory (1858-1861) and in 1866 was appointed professor of composition at the Royal Academy of Music. Early in his career Sullivan composed oratorios and music for some Shakespeare plays. However, he is best known for writing the music for lyrics by William S. Gilbert, which produced popular operettas such as H.M.S. Pinafore (1878), The Pirates of Penzance (1879), The Mikado (1884), and Yeomen of the Guard (1888). These operettas satirized the court and everyday life in Victorian times. Although he composed some anthems, in the area of church music Sullivan is best remembered for his hymn tunes, written between 1867 and 1874 and published in The Hymnary (1872) and Church Hymns (1874), both of which he edited. He contributed hymns to A Hymnal Chiefly from The Book of Praise (1867) and to the Presbyterian collection Psalms and Hymns for Divine Worship (1867). A complete collection of his hymns and arrangements was published posthumously as Hymn Tunes by Arthur Sullivan (1902). Sullivan steadfastly refused to grant permission to those who wished to make hymn tunes from the popular melodies in his operettas. Bert Polman

Paul Henkel

Scripture: Exodus 20:1-7 Author of "The great command Jehovah gave" in Church Hymn Book; consisting of hymns and psalms, original and selected. adapted to public worship and many other occasions. 2nd ed.