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Rowland Hugh Prichard

1811 - 1887 Person Name: Rowland Huw Prichard, 1811-1887 Scripture: Isaiah 42:5 Composer of "HYFRYDOL" in Singing the Faith Rowland H. Prichard (sometimes spelled Pritchard) (b. Graienyn, near Bala, Merionetshire, Wales, 1811; d. Holywell, Flintshire, Wales, 1887) was a textile worker and an amateur musician. He had a good singing voice and was appointed precentor in Graienyn. Many of his tunes were published in Welsh periodicals. In 1880 Prichard became a loom tender's assistant at the Welsh Flannel Manufacturing Company in Holywell. Bert Polman

Erik Routley

1917 - 1982 Person Name: Erik Routley, 1917-1982 Scripture: Isaiah 42:9 Composer of "ABINGDON" in Worship and Rejoice

William Knapp

1698 - 1768 Scripture: Isaiah 42:1-4 Composer of "WAREHAM" in Glory to God Born: 1698, Wareham, Dorsetshire, England. Died: September 26, 1768, Poole, Dorsetshire, England. Buried: Poole, Dorsetshire, England.

Martin West

b. 1929 Person Name: Martin West, b. 1929 Scripture: Isaiah 42:1-4 Harmonizer of "O WALY WALY" in Gather (3rd ed.)

Pablo D. Sosa

1933 - 2020 Person Name: Pablo Sosa Scripture: Isaiah 42:6-7 Author and Translator of "El cielo canta alegría (Heaven Is Singing for Joy)" in Voices Together Pablo Sosa (b. 1933 - d. 2020) grew up and was educated in Argentina, the U.S. (Westminster Choir College), and Germany. For years he pastored a large Methodist congregation in Buenos Aires, Argentina while composing songs, leading choirs, editing hymnals, producing religious broadcasts, and teaching liturgy and hymnology at a seminary. Meanwhile, life in Argentina pushed him to question his assumptions about what’s best for congregational singing. During Argentina’s “dirty war,” two young women from his church were disappeared, possibly for working among the poor. As Catholic and Protestant churches hesitated whether to speak out, remain silent, or support the government, many people lost faith. Economic meltdown after the war plunged many middle-class Argentinians into poverty. Sosa’s growing social awareness widened his vision for “lifting up hope with a song.” He often describes worship as “the fiesta of the faithful,” where all are welcome and all music is seen as “part of the ‘song of the earth,’ which answers the psalmist’s call ‘Sing joyfully to God, all the earth!’ (Psalm 98:4).” Whether in his home church, Iglesia Evangélica Metodista La Tercera (Third Methodist Church) in Buenos Aires, or at churches or conferences around the world, he urges people, “Put your body into worship!” And he reminds them of the biblical connection between justice and worship. CICW Website Bio (http://www.calvin.edu/worship)

W. H. Havergal

1793 - 1870 Person Name: William Henry Havergal, 1793-1870 Scripture: Isaiah 42:1-5 Composer of "EDEN" in The Irish Presbyterian Hymnbook Havergal, William Henry, M.A, son of William Havergal, was born at High Wycombe, Buckinghamshire, 1793, and was educated at St. Edmund's Hall, Oxford (B.A. 1815, M.A. 1819). On taking Holy Orders he became in 1829 Rector of Astley, Worcestershire; in 1842, Rector of St. Nicholas, Worcester; and in 1860, Rector of Shareshill, near Wolverhampton. He was also Hon. Canon in Worcester Cathedral from 1845. He died April 18, 1870. His hymns, about 100 in all, were in many instances written for special services in his own church, and printed as leaflets. Several were included in W. Carus Wilson's Book of General Psalmody, 1840 (2nd ed., 1842); and in Metrical Psalms & Hymns for Singing in Churches, Worcester, Deighton, 1849, commonly known as the Worcester Diocesan Hymn Book, and of which he was the Editor. In Life Echoes, 1883, his hymns are given with those of Miss Havergal. Of those in common use the greater part are in Mercer, and Snepp's Songs of Grace & Glory. Although his hymns are all good, and two or three are excellent, it is not as a hymnwriter but as a musician that Canon Havergal is best known. His musical works and compositions included, in addition to numerous individual hymn tunes and chants, the Gresham Prize Service, 1836; the Gresham Prize Anthem, 1845; Old Church Psalmody, 1849; History of the Old 100th Psalm tune, 1854, &c. He also reprinted Ravenscroft’s Psalter of 1611. His hymns in common use include:— 1. Blessed Jesus, lord and Brother. School Festivals, 1833. Published in Life Echoes, 1883. 2. Brighter than meridian splendour. Christ the glory of His Church. 1830. Published in W. C. Wilson's Book of General Psalms, 1840; the Worcester Psalms & Hymns, 1849, &c. 3. Christians, awake to joy and praise. Christmas Carol, c. 1860. Printed on broadsheet, with music by the author, and sold on behalf of the Lancashire Cotton Distress Fund. 4. Come, Shepherds, come, 'tis just a year. Christmas Carol. 1860. Published in Snepp's Songs of Grace & Glory, 5. For ever and for ever, Lord. Missions, 1866, for the Church Mission Society. Published in Snepp's Songs of Grace & Glory, 1872, and the Life Echoes, 1883. 6. Hallelujah, Lord, our voices. Sunday. 1828. Published in W. C. Wilson's Book of General Psalms, 1840; the Worcester Psalms & Hymns, 1849; Life Echoes, 1883, &c. 7. Heralds of the Lord of glory. Missions. First sung in Astley Church, Sep. 23, 1827. Published in Miss Havergal's Starlight through the Shadows, 1880; Snepp's Songs of Grace & Glory, 1872, &c. 8. Hosanna, raise the pealing hymn. Praise to Christ, 1833, and first sung in Astley Church, June 9, 1833. Published in W. C. Wilson's Book of General Psalmody, 1840; the Worcester Psalms & Hymns, 1849; Life Echoes 1883, &c. 9. How vast the field of souls. Missions. 1858. Printed for Shareshill Church Miss. Anniversary, 1863, and published in Snepp's Songs of Grace & Glory, 1872, and the Life Echoes, 1883. 10. In doubt and dread dismay. Missions. Written in 1837, and published in W. C. Wilson's Book of General Psalmody, 1840; the Worcester Psalms & Hymns, 1849, &c. 11. Jerusalem the golden, The home of saints shall be. Heaven. Published in Life Echoes, 1883. 12. My times are in Thy hand, Their best, &c. 1860. Published in Snepp's Songs of Grace & Glory, 1872, the Records of the author's life and work, and Life Echoes, 1883. The editor of the Records says (p. 159) "this hymn has been much appreciated, and well illustrates the devotional and cheerful spirit of the writer." 13. No dawn of holy light. Sunday. 1825. Printed in 1831 on a leaflet, and published in W. C. Wilson's Book of General Psalmody, 1840; the Worcester Psalms & Hymns, 1849; Life Echoes, 1883, &c. 14. Our faithful God hath sent us. Harvest. Written at Shareshill in 1863, for a Harvest Festival. Published in Snepp's Songs of Grace & Glory 1872, and Life Echoes, 1883. 15. Shout, 0 earth! from silence waking. Praise to Jesus for Redemption. 1841. Published in the Worcester Psalms & Hymns, 1849; Snepp's Songs of Grace & Glory, 1872, &c. 16. So happy all the day. Christmas Carol, c. 1834. Published in Snepp's Songs of Grace & Glory, 1872. 17. Soon the trumpet of salvation. Missions. 1826. Published in Snepp's Songs of Grace & Glory, 1872. 18. To praise our Shepherd's [Saviour's] care. The Good Shepherd. Written after witnessing the death of Elizabeth Edwards, aged 12, of St. Nicholas, Worcester, and printed as a leaflet. Published in W. C. Wilson's Book of General Psalmody, 1840; the Worcester Psalms & Hymns, 1849; Life Echoes, &c, 1883. The author also published a Memoir of the child. 19. Widely 'midst the slumbering nations. Missions. 1828. Published in the Worcester Psalms & Hymns, 1849; Snepp's Songs of Grace & Glory, 1872, &c. In addition to these hymns, his carols, "How grand, and how bright," "Our festal morn is come," and others are annotated under their respective first lines. Most of these carols and hymns were reprinted in Christmas Carols & Sacred Songs, Chiefly by the Rev. W. H. Havergal, London, Nisbet, 1869. --John Julian, Dictionary of Hymnology (1907) ===================== Havergal, W. H., p. 498, i. Other hymns are: — 1. Lord, if judgments now are waking. Second Advent. Published in W. Carus Wilson's Book of General Psalmody, 1840; in Kennedy, 1863, &c. 2. Remember, Lord, Thy word of old displayed. Missions. "Composed for a special prayer-meeting for missionary labourers, held in the author's schoolroom, in the parish of St. Nicholas's, Worcester." (W. F. Stevenson's Hymns for Church and Home, 1873, where the original text is also given.) It must be noted that No. 17, at p. 498, ii., "Soon the trumpet of salvation," was first published in A Collection of Original Airs adapted to Hymns, &c, 1826. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

Shirley Erena Murray

1931 - 2020 Person Name: Shirley Erena Murray, 1931- Scripture: Isaiah 42:1-9 Author of "Loving Spirit" in Common Praise (1998) Shirley Erena Murray (b. Invercargill, New Zealand, 1931) studied music as an undergraduate but received a master’s degree (with honors) in classics and French from Otago University. Her upbringing was Methodist, but she became a Presbyterian when she married the Reverend John Stewart Murray, who was a moderator of the Presbyterian Church of New Zealand. Shirley began her career as a teacher of languages, but she became more active in Amnesty International, and for eight years she served the Labor Party Research Unit of Parliament. Her involvement in these organizations has enriched her writing of hymns, which address human rights, women’s concerns, justice, peace, the integrity of creation, and the unity of the church. Many of her hymns have been performed in CCA and WCC assemblies. In recognition for her service as a writer of hymns, the New Zealand government honored her as a Member of the New Zealand Order of Merit on the Queen’s birthday on 3 June 2001. Through Hope Publishing House, Murray has published three collections of her hymns: In Every Corner Sing (eighty-four hymns, 1992), Everyday in Your Spirit (forty-one hymns, 1996), and Faith Makes the Song (fifty hymns, 2002). The New Zealand Hymnbook Trust, for which she worked for a long time, has also published many of her texts (cf. back cover, Faith Makes the Song). In 2009, Otaga University conferred on her an honorary doctorate in literature for her contribution to the art of hymn writing. I-to Loh, Hymnal Companion to “Sound the Bamboo”: Asian Hymns in Their Cultural and Liturgical Context, p. 468, ©2011 GIA Publications, Inc., Chicago

Bryn Rees

1911 - 1983 Person Name: Bryn Rees, 1911-1983 Scripture: Isaiah 42:1-9 Author of "The kingdom of God" in Singing the Faith

W. S. Rockstro

1823 - 1895 Person Name: William Smith Rockstro, 1823-1895 Scripture: Isaiah 42:1-9 Arranger of "OMNI DIE DIC MARIA" in Common Praise (1998) William Rockstro (Composer, Arranger) Born: January 5, 1823 - North Cheam, Surrey (baptisized at Modern Church), England Died: July 2, 1895 - London, England The English composer and writer on music, William Smith [Smyth] Rockstro (originally: Rackstraw), was distinguished as a student of modal music and an important contributor to the Grove’s Dictionary of Music and Musicians. The form of his surname by which he was known was an older style resumed after 1846. He was successively pupil of John Purkis, the blind organist, of Sterndale Bennett, and at the Leipzig Conservatorium, where he studied from I845 to 1846. He enjoyed the special friendship and tuition of Felix Mendelssohn, and was with Moritz Hauptmann for theory and with Plaidy for pianoforte. For some years after his return to England, William Rockstro was active as a teacher and performer in London, being regular accompanist at the 'Wednesday concerts,' where Braham and other eminent singers were to be heard. At this period he wrote his most popular and beautiful song, Queen and huntress; and his pianoforte editions of classical and other operas led the way in popularising that class of music in an available form for the use of those who could not read full scores; and in his indications of the orchestral instruments above the music-staves he did much to point the way towards a general appreciation of orchestral colour. In the early 1860's he left London for Torquay on account of his mother's health and his own, and on her death in 1876 he became a Roman Catholic. William Rockstro had been organist and honorary precentor at All Saints' Church, Babbacombe, from 1867, and won a high position as a teacher. Re published, with T. F. Ravenshaw, a Festival Psalter, adapted to the Gregorian Tones, in 1863, and Accompanying Harmonies to the Ferial Psalter in 1869. These were the first fruits of his assiduous study of ancient music, on which he became the first authority of his time in England. A couple of textbooks on harmony (1881) and counterpoint (1882) had a great success, and in the latter part of the first edition of the Grove’s Dictionary of Music and Musicians he wrote a large number of articles on musical archaeology generally. Later research has superseded his, but at the time he wrote, his contributions to such subjects as the music of the period which closed in 1600 were important. He was too ardent a partisan to be an ideal historian, but his History of Music for Young Students (1879) and his larger work, A General History of Music (1886), contain much that is of permanent value. His Life of Handel (1883) and Mendelssohn (1884) are fine examples of eulogistic biography, though they are hardly to be recommended as embodying a calmly critical estimate of either composer. In his larger History he showed that he was, nevertheless, not above owning himself in the wrong, and his recantation of certain excessive opinions expressed by him in the Dictionary against Wagner's later works was due to true moral courage. He conducted a concert of sacred music of the 16th and 17th centuries at the Inventions Exhibition of 1885, and in 1891 gave up Torquay for London, giving lectures at the Royal Academy of Music and Royal College of Music, and holding a class to counterpoint and plain-song at the latter institution. As a singing-master and teacher of the pianoforte his method of imparting instruction was remarkably successful. As a composer, William Rockstro never quite freed himself from the powerful influences engendered by his studies: the lovely madrigal, "O too cruel fair," was judged unworthy of a prize by the Madrigal Society on the ground that it was modelled too closely on Giovanni Pierluigi da Palestrina; and his oratorio, The Good Shepherd, produced at the Gloucester Festival of 1886 under his own direction, was found to bear too many traces of Mendelssohnian influence to deserve success. In 1891 he collaborated with Canon Scott Holland in writing the life of his old friend, Jenny Lind-Goldschmidt; an abbreviated edition came out in 1863, and with Otto Goldschmidt he wrote still a shorter book, Jenny Lind, her Vocal Art and Culture (partly reprinted from the biography). For many years his health had been bad, and he had many adverse circumstances to contend with. He fought bravely for all that he held best in art, and boundless enthusiasm carried him through. Source: Grove’s Dictionary of Music and Musicians (1952 Edition; Author: J.A. Fuller Maitland; revised: H.C. Colles) Contributed by Aryeh Oron (July 2007) --www.bach-cantatas.com/Lib/