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Anonymous

Person Name: Anon. Author of "We bless thee for Thy peace, O God" in Church Hymns and Gospel Songs In some hymnals, the editors noted that a hymn's author is unknown to them, and so this artificial "person" entry is used to reflect that fact. Obviously, the hymns attributed to "Author Unknown" "Unknown" or "Anonymous" could have been written by many people over a span of many centuries.

Joseph Barnby

1838 - 1896 Composer of "HOLY TRINITY" in The Pilgrim Hymnal Joseph Barnby (b. York, England, 1838; d. London, England, 1896) An accomplished and popular choral director in England, Barnby showed his musical genius early: he was an organist and choirmaster at the age of twelve. He became organist at St. Andrews, Wells Street, London, where he developed an outstanding choral program (at times nicknamed "the Sunday Opera"). Barnby introduced annual performances of J. S. Bach's St. John Passion in St. Anne's, Soho, and directed the first performance in an English church of the St. Matthew Passion. He was also active in regional music festivals, conducted the Royal Choral Society, and composed and edited music (mainly for Novello and Company). In 1892 he was knighted by Queen Victoria. His compositions include many anthems and service music for the Anglican liturgy, as well as 246 hymn tunes (published posthumously in 1897). He edited four hymnals, including The Hymnary (1872) and The Congregational Sunday School Hymnal (1891), and coedited The Cathedral Psalter (1873). Bert Polman

John Bacchus Dykes

1823 - 1876 Person Name: Dykes Composer of "ST. AGNES" in School and College Hymnal As a young child John Bacchus Dykes (b. Kingston-upon-Hull' England, 1823; d. Ticehurst, Sussex, England, 1876) took violin and piano lessons. At the age of ten he became the organist of St. John's in Hull, where his grandfather was vicar. After receiving a classics degree from St. Catherine College, Cambridge, England, he was ordained in the Church of England in 1847. In 1849 he became the precentor and choir director at Durham Cathedral, where he introduced reforms in the choir by insisting on consistent attendance, increasing rehearsals, and initiating music festivals. He served the parish of St. Oswald in Durham from 1862 until the year of his death. To the chagrin of his bishop, Dykes favored the high church practices associated with the Oxford Movement (choir robes, incense, and the like). A number of his three hundred hymn tunes are still respected as durable examples of Victorian hymnody. Most of his tunes were first published in Chope's Congregational Hymn and Tune Book (1857) and in early editions of the famous British hymnal, Hymns Ancient and Modern. Bert Polman

Samuel Webbe

1740 - 1816 Person Name: S. Webbe (?) Composer of "LAMBETH" in Isles of Shoals Hymn Book and Candle Light Service Samuel Webbe (the elder; b. London, England, 1740; d. London, 1816) Webbe's father died soon after Samuel was born without providing financial security for the family. Thus Webbe received little education and was apprenticed to a cabinetmaker at the age of eleven. However, he was determined to study and taught himself Latin, Greek, Hebrew, French, German, and Italian while working on his apprenticeship. He also worked as a music copyist and received musical training from Carl Barbant, organist at the Bavarian Embassy. Restricted at this time in England, Roman Catholic worship was freely permitted in the foreign embassies. Because Webbe was Roman Catholic, he became organist at the Portuguese Chapel and later at the Sardinian and Spanish chapels in their respective embassies. He wrote much music for Roman Catholic services and composed hymn tunes, motets, and madrigals. Webbe is considered an outstanding composer of glees and catches, as is evident in his nine published collections of these smaller choral works. He also published A Collection of Sacred Music (c. 1790), A Collection of Masses for Small Choirs (1792), and, with his son Samuel (the younger), Antiphons in Six Books of Anthems (1818). Bert Polman

W. H. Havergal

1793 - 1870 Person Name: William Henry Havergal Arranger of "EVAN" in The Otterbein Hymnal 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)

Wolfgang Amadeus Mozart

1756 - 1791 Person Name: Mozart Composer of "BELMONT" in The Song Companion to the Scriptures Wolfgang Amadeus Mozart Austria 1756-1791. Born at Salzburg, Austria, the son of Leopold Mozart, a minor composer and violinist, and youngest of seven children, he showed amazing ability on violin and keyboard from earliest childhood, even starting to compose music at age four when his father would play a piece and Mozart would play it exactly as did his father. At five, he composed some of his own music, which he played to his father, who wrote it down. When Mozart was eight, he wrote his first symphony, probably transcribed by his father. In his early years his father was his only teacher, teaching his children languages and academic subjects, as well as fundamentals of their strict Catholic faith. Some of his early compositions came as a surprise to his father, who eventually gave up composing himself when he realized how talented his son was. His family made several European journeys and he and his sister, Nanneri, performed as child prodigies, at the court of Prince-elector Maximillian II of Bavaria in Munich, and at the Imperial Courts in Vienna and Prague. A long concert tour followed, for 3.5 years, taking the family to courts in Munich, Mannheim, Paris, London, Dover, The Hague, Amsterdam, Utrecht, Mechelen, and again to Paris, and back home via Zurich, Donaueschingen, and Munich. During these trips Mozart met many musicians, acquainting himself with the works of other composers. He met Johann Christian Bach in London in 1764. Family trips were challenging, and travel conditions were primitive. They had to wait for invitations and reimbursements from nobility, and they endured long, near-fatal illnesses far from home. First Leopold (1764) got sick, then both children (1765). They traveled again to Vienna in 1767 and stayed there over a year. After a year back in Salzburg, Leopold and Wolfgang went to Italy (1769-1771), Leopold wished to display his son’s abilities as a performer and maturing composer. In Bologna, Italy, Wolfgang was accepted as a member of the famous Academia Filamonica. In Rome he heard Gregorio Allegri’s Miserere twice in performance. Back in the Sistine Chapel, Mozart wrote the whole performance out from memory, thus producing the first unauthorized copy of this closely guarded property of the Vatican. In the next few years Mozart wrote several operas performed with success in Italy, but his father’s hopes of securing a professional appointment for his son were not realized. At age 17 he was engaged as a musician at the Salzburg court, but grew restless and traveled in search of a better position. After returning to Salzburg, Mozart was employed as a court musician by the ruler of Salzburg, Prince Archbishop Hieronymus Colloredo. This gave Mozart ample opportunity to develop relationships with other musicians and his admirers, resulting in his development of new symphonies, sonatas, string quartets, masses, serenades, and some minor operas. In 1775 he wrote his only violin concertos, five in all. Again, he was discontent with work in Salzburg and traveled to find more opportunity to write operas. He and his father again visited Munich and Vienna, but neither visit was successful with the exception of his opera ‘La finta giardiniera’ in Munich. In 1777 he resigned his Salzburg position and went to Augsburg, Mannheim, Paris, and Munich again. In Mannheim he met and fell in love with Aloysia Weber, one of four daughters of a musical family. He could find no real employment there and left for Paris in 1778. He might have had a position as organist at Versailles, but he was not interested in that. He fell into debt and started pawning valuables. During these events his mother died. Meanwhile his father was still trying to find him a position in Salzburg. After checking out several other European cities and Munich, he again encountered Aloysia, but she was no longer interested in him, so he returned to Salzburg, having written another symphony, concerto, and piano sonata, and took the new appointment his father had found. However, he was still in discontent. Visiting Vienna in 1781, he was dismissed from his Salzburg position. He wrote another opera, ‘Idomeneo’, in 1781, that was successful in Munich. Two months later he was summoned to Vienna, where his employer, Archbishop Colloredo, wanted him around due to his notoriety. Mozart wished to meet the emperor and perform for him, and finally got that opportunity. It resulted in a part-time position and substantial commissions. Colloredo became a nemesis to Mozart’s career, finally releasing Mozart from his employ with a literal kick in the pants, much against his father’s wishes. However, he was now independent. Mozart then decided to settle in Vienna as a free lance performer and composer. He lived with the Fridolin Weber family, who had moved from Mannheim to Vienna. Fridolin, the father, had died, and they were taking in lodgers to make ends meet. His career there went well, and he performed as a pianist before the Emperor, establishing himself as the finest keyboard player in Vienna. He wrote another opera in 1782, again achieving success. Mozart had now become a prolific and influential composer of the Classical period and was known throughout Europe. Aloysia was now married to actor, Joseph Lange, and Mozart’s interest shifted to her sister, Constanze. In 1782 he married Constanze Weber Mozart Nissen. The marriage started out with a brief separation, and there was a problem getting Mozart’s father’s permission, which finally came. They had six children, but only two survived infancy: Carl and Franz. He lived in Vienna and achieved some notoriety, composing many of his best-known symphonies, concertos, and operas. In 1782-83 he became intimately acquainted with Johann Sebastian Bach and George Friederic Handel, as his friend, Gottfried van Swieten, owned many manuscripts of the Baroque masters, which Mozart studied intently. He altered his style of composition as a result. That year Mozart and his wife visited his father and sister, and he composed a liturgical piece, a Mass, with a singing part for his wife. He also met Joseph Hadyn in Vienna in 1784 and they became friends. They even played together in a string quartet from time to time. Mozart wrote six quartets dedicated to Hadyn. In 1785 Hadyn told Leopold Mozart, “Your son is the greatest composer known to me by person and repute, he has taste, and what is more, the greatest skill in composition”. Over the next several years Mozart booked several piano concertos in various places as a sole performer to delighted audiences, making substantial remuneration for his work. He and his wife then adopted a more luxurious lifestyle. They moved to an expensive apartment and he bought a fine fortepiano and billiard table. They sent their son, Karl, to an expensive boarding school and also kept servants. In 1784 Mozart became a Freemason and even composed Masonic music. Over the next several years he did little operatic writing and focused on his career as a piano soloist and writer of concertos. He again began operatic collaboration in 1785, creating ‘The marriage of Figaro’, then ‘Don Giovanni’ in 1787. That year his father died. Also that year he obtained a steady post under Emperor Joseph II as his chamber composer. This was part-time employment that was important when hard times arrived. However, Joseph aimed at keeping Mozart from leaving Vienna for better work. The Austrio-Turkish War made life difficult for musicians, and his aristocracy support had declined. He moved to save on expenses, but that did not help much, and he was reduced to borrowing funds from his friends, and pleading for loans. During this period he produced his last three symphonies. In 1789 he then set up on a journey to Leipzig, Dresden, and Berlin hoping to improve his fortunes. In 1790 he was highly productive, producing concertos, an opera, ‘The magic flute’, a series of string quintets, a motet, and an (unfinished) Requiem. Finances began to improve and he begin paying back his debts. Public reaction to his works also brought him great satisfaction. In 1791, while in Prague for the premiere of his opera, ‘La clemenza di Tito’, he fell ill. He continued professional functions for a short time, but had to go home and be nursed by his wife over the next couple of months. He died at Vienna, Austria, at the age of 35, a small thin man with undistinguishing characteristics. He was buried in a modest grave, having had a small funeral. Beethoven composed his early works in the shadow of Mozart, and Joseph Hadyn wrote “posterity will not see such a talent (as Mozart) again in 100 years”. 600+ works. Side note: Mozart enjoyed billiards, dancing, and had a pet canary, a starling, a dog, and a horse for recreational riding. He liked off-color humor. He wore elegant clothing when performing and had a modest tenor voice. John Perry

Henry J. Gauntlett

1805 - 1876 Person Name: Henry John Gauntlett Composer of "ST. FULBERT" in Services for Congregational Worship. The New Hymn and Tune Book Henry J. Gauntlett (b. Wellington, Shropshire, July 9, 1805; d. London, England, February 21, 1876) When he was nine years old, Henry John Gauntlett (b. Wellington, Shropshire, England, 1805; d. Kensington, London, England, 1876) became organist at his father's church in Olney, Buckinghamshire. At his father's insistence he studied law, practicing it until 1844, after which he chose to devote the rest of his life to music. He was an organist in various churches in the London area and became an important figure in the history of British pipe organs. A designer of organs for William Hill's company, Gauntlett extended the organ pedal range and in 1851 took out a patent on electric action for organs. Felix Mendelssohn chose him to play the organ part at the first performance of Elijah in Birmingham, England, in 1846. Gauntlett is said to have composed some ten thousand hymn tunes, most of which have been forgotten. Also a supporter of the use of plainchant in the church, Gauntlett published the Gregorian Hymnal of Matins and Evensong (1844). Bert Polman

Hugh Wilson

1766 - 1824 Composer of "MARTYRDOM" in The Harvard University Hymn Book Hugh Wilson (b. Fenwick, Ayrshire, Scotland, c. 1766; d. Duntocher, Scotland, 1824) learned the shoemaker trade from his father. He also studied music and mathematics and became proficient enough in various subjects to become a part-time teacher to the villagers. Around 1800, he moved to Pollokshaws to work in the cotton mills and later moved to Duntocher, where he became a draftsman in the local mill. He also made sundials and composed hymn tunes as a hobby. Wilson was a member of the Secession Church, which had separated from the Church of Scotland. He served as a manager and precentor in the church in Duntocher and helped found its first Sunday school. It is thought that he composed and adapted a number of psalm tunes, but only two have survived because he gave instructions shortly before his death that all his music manuscripts were to be destroyed. Bert Polman

John Stainer

1840 - 1901 Person Name: J. Stainer Composer of "[We bless thee for thy peace, O God]" in The Assembly Praise Book

George Kingsley

1811 - 1884 Person Name: Kingsley Composer of "[We bless thee for thy peace, O God!]" in Good-Will Songs Born: July 7, 1811, Northampton, Massachusetts. Died: March 14, 1884, Northampton, Massachusetts. Kingsley played the organ at the Old South Church and Hollis Street Church in Boston, Massachusetts. He also taught music at Girard College in Philadelphia, Pennsylvania, served as music supervisor for public schools in Philadelphia, and compiled a number of music books, including: Sunday School Singing Book, 1832 The Harmonist, 1833 The Social Choir, 1836 The Sacred Choir, 1838 The Harp of David, 1844 The Young Ladies’ Harp, 1847 Templi Carmina (Northampton, Massachusetts: 1853) The Juvenile Choir, 1865 --www.hymntime.com/tch