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J. Marcus Ritchie

1946 - 1989 Person Name: J. Marcus Ritchie, b. 1946 Hymnal Number: S227 Composer of "[Arise, shine, for your light has come]" in The Hymnal 1982

1920 - 1991 Person Name: John Bennett, b. 1920 Hymnal Number: 196 Author of "Joy! joy! joy to the heart" in The Hymnal 1982 John Frederic Bennett was born March 12, 1920 in Pittsfield, Mass. He earned a B. A. from Oberlin College in 1942, an M.A. from the University of Wisconsin in 1950, and a Ph.D. from the University of Wisconsin in 1956. He was a poet and an English professor at Indiana University (Jeffersonville), Beloit College, Rockford College (Illinois), and St. Norbert College. His works include Fire in the Dust, Griefs and exultations, The holy unicorn and Beyond the compass rose. Dianne Shapiro, from PraBook.com, accessed 9/20/2020

Henri Dumont

1610 - 1684 Person Name: Henri Dumont, 1610-1684 Hymnal Number: S144 Composer of "[Amen, Amen]" in The Hymnal 1982

James Lewis Milligan

1876 - 1961 Person Name: James Lewis Milligan, 1876-1961 Hymnal Number: 75 Author of "There's a voice in the wilderness crying" in The Hymnal 1982 Milligan, James Lewis. (Liverpool, England, February 1, 1876--May 1, 1961, Scarborough Township, York County, Ontario). Son of Anglican parents, his early and only formal education was obtained at Anglican schools. Going to work in the building trades at the age of twelve, he applied himself so assiduously to self-study he soon began contributing to London papers. In 1910 a collection of his verse was published by a London hour resulting in his receiving the Hemans Prize for Lyrical Poetry. The next year, with his family, he emigrated to Canada and became a pastor on the Methodist circuit in Hastings County, Ontario. He was, variously, an editor, editorial writer, publicity director, and author. Among his published works are The Beckoning Skyline (verse), 1920; Judas Iscariot (a play), 1930. A more detailed account of his life can be found in Our Hymnody, p.483. Sources: McMillan, Alexander. Hymns of the Church; correspondence. --Robert G. McCutchan, DNAH Archives ========================= Milligan, James Lewis. (Liverpool, England, February 1, 1876--May 1, 1961, Toronto, Ont.). Methodist/United Church. After emigrating to Ontario in 1911, and spending two years at Actinolite as a Methodist lay-preacher, this active layman was never far from some form of journalism, having already written articles for London newspapers. He briefly edited the Peterborough Review (1913-1914) and the Stratford Beacon-Herald (1934-1937), besides writing editorials for the Toronto Globe and feature articles for the newspaper it later joined, The Mail and Empire. From 1926-1934 he handled public relations for Ontario's department of mines, as in 1922-1925 he had done for the three denominations (Methodist, Presbyterian, Congregational) which were planning to amalgamate into The United Church of Canada, despite signs that not all their members welcomed such a step. His sole hymn, a paraphrase of Isaiah 40, expressed the stated goals of the new denomination well enough to figure in its Hymnary (1930). --Hugh D. McKellar, DNAH Archives

W. H. Longhurst

1819 - 1904 Person Name: W. H. Longhurst, 1819-1904 Hymnal Number: S226 Composer of "[Arise, shine, for your light has come]" in The Hymnal 1982 Born: October 6, 1819, Lambeth, England. Died: June 17, 1904, Canterbury, England. Buried: Harbledown church yard (near Canterbury), Kent, England. Dr. Longhurst used to relate the following anecdote concerning himself and one of the Cathedral vergers:—"Some years ago, a certain Canon of the Cathedral sent one of the vergers to me while I was playing the opening voluntary, with a message to inform me that, as there was only one Minor Canon present that (Sunday) morning, he (the Canon) would chant the Litany." "And," said the verger, "would you give him the note?" "Certainly," I replied. To my surprise the verger still lingered on the steps. "All right, A—," I said. He still remained stationary, and at length made the innocent inquiry: "Please sir, shall I wait for it?" This was the same verger who when describing the new organ to some visitors pointed upwards and told them that "the new hargin was put up in the Trifolium"; that "the connection between the console and the hargin was done by helectrics"; and "the whole thing was set in motion by hydraulic water!" West, p. 13 Sources: Frost, p. 681 West, p. 13 Music: MILTON http://www.hymntime.com/tch/bio/l/o/n/longhurst_wh.htm

Carol Christopher Drake

1933 - 2022 Person Name: Carol Christopher Drake, b. 1933 Hymnal Number: 69 Author of "What is the crying at Jordan?" in The Hymnal 1982 From the newsletter of St. Mark's Episcopal Church in Berkeley, California: "Many of you asked about the communion hymn we sang last Sunday, Hymn 69. 'What is the crying at Jordan?' was written in the 1950s by Carol Christopher Drake, a former member of St. Mark’s Choir. Carol also wrote the parish centennial hymn 'Gather us in, God make us One.' [Hymn 69] voices a response to John the Baptist’s 'crying in the wilderness,' of his demand that people change their lives in preparation for the coming of the Messiah. She wrote this text specifically for the present tune, St. Mark’s, Berkeley, which in her words 'evoked a sense of mystery and awe.' The tune’s first American use was in the children’s songbook 'Sing for Joy,' compiled and edited by Norman and Meg Mealy, who 'were attracted to it for its haunting and simple quality.' It came from a Gaelic collection, Dánta Dé (Dublin 1928). The tune had no name in Dánta Dé. A former beloved choirmaster of St. Mark’s, Norman named it for St. Mark’s, Berkeley, his home parish, where he served as choirmaster from 1948-1962. He also served as Professor of Church Music at the Church Divinity School of the Pacific - Episcopal (CDSP) here in Berkeley from 1952-1987 and at the Graduate Theological Union from 1976-1987. We thank Norman and Meg for this gift to the church here and at large." -- Thanks to George Emblom, director of music at St. Mark's Church in Berkeley for providing this information about the hymn. Carol Christopher Drake also contributed five other hymn texts to Sing for Joy, the children's hymnal by Norman & Margaret Mealy.

John Jones

1728 - 1796 Person Name: John Jones, 1728-1796 Hymnal Number: S182 Composer of "[Blessed art thou Lord God of our fathers]" in The Hymnal 1982

Hieronymus Praetorius

1560 - 1629 Person Name: Hironymous Praetorius, 1560?-1629 Hymnal Number: 421 Harmonizer of "ALLEIN GOTT IN DER HÖH" in The Hymnal 1982 Hieronymus Praetorius (10 August 1560 – 27 January 1629) was a north German composer and organist of the late Renaissance and very early Baroque eras. He was not related to the much more famous Michael Praetorius, though the Praetorius family had many distinguished musicians throughout the 16th and 17th centuries. He was born in Hamburg, and spent most of his life there. Praetorius studied organ early with his father (Jacob Praetorius, also a composer), afterwards going to Cologne for further study. In 1580 he became organist in Erfurt, but only remained there two years, returning to Hamburg in 1582. Back in Hamburg he worked with his father as assistant organist at St. Jacobi, becoming principal organist in 1586 when his father died. His son, Jacob, was born that same year, and was also destined to become a composer. In 1596 he went to Gröningen where he met Michael Praetorius and Hans Leo Hassler; presumably he became acquainted with their music, and through them the music of the contemporary Italian Venetian School, at this time. He remained in Hamburg as organist at St. Jacobi until his death. Praetorius wrote masses, ten settings of the Magnificat, and numerous motets, mostly in Latin. Most of his music is in the Venetian polychoral style, which uses numerous voices divided into several groups. These compositions are the first to be written in north Germany in the progressive Venetian style. Choir sizes range from 8 to 20, with the voices divided into two, three or four groups, and he must have had well-trained and sophisticated musicians at his disposal, considering both the amount and the difficulty of music he wrote for these ensembles. While progressive in writing in the Venetian style, he was conservative in using Latin and avoiding the basso continuo, which was eagerly adopted by many other contemporary German composers. Most of his vocal music is a cappella. Praetorius was also the first composer to compile a collection of four-part German chorales with organ accompaniment, a sound which was to become a standard in Protestant churches for several centuries. The music in the collection was compiled from four churches in Hamburg; 21 of the 88 settings are of his own composition. Some of his organ compositions survive, including nine settings of the Magnificat, which are in a highly contrapuntal cantus firmus style. In addition to these settings, numerous anonymous pieces in north German collections of the time are now attributed with reasonable certainty to Hieronymus Praetorius. --en.wikipedia.org/wiki/