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Arthur Sullivan

1842 - 1900 Composer of "[O gentle Saviour, from Thy throne on high]" in Church Hymnal, Mennonite 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

Orlando Gibbons

1583 - 1625 Person Name: O. Gibbons (1583-1625) Composer of "SONG 46" in A Missionary Hymn Book Orlando Gibbons (baptised 25 December 1583 – 5 June 1625) was an English composer, virginalist and organist of the late Tudor and early Jacobean periods. He was a leading composer in the England of his day. Gibbons was born in Cambridge and christened at Oxford the same year – thus appearing in Oxford church records. Between 1596 and 1598 he sang in the Choir of King's College, Cambridge, where his brother Edward Gibbons (1568–1650), eldest of the four sons of William Gibbons, was master of the choristers. The second brother Ellis Gibbons (1573–1603) was also a promising composer, but died young. Orlando entered the university in 1598 and achieved the degree of Bachelor of Music in 1606. James I appointed him a Gentleman of the Chapel Royal, where he served as an organist from at least 1615 until his death. In 1623 he became senior organist at the Chapel Royal, with Thomas Tomkins as junior organist. He also held positions as keyboard player in the privy chamber of the court of Prince Charles (later King Charles I), and organist at Westminster Abbey. He died at age 41 in Canterbury of apoplexy, and a monument to him was built in Canterbury Cathedral. A suspicion immediately arose that Gibbons had died of the plague, which was rife in England that year. Two physicians who had been present at his death were ordered to make a report, and performed an autopsy, the account of which survives in The National Archives: We whose names are here underwritten: having been called to give our counsels to Mr. Orlando Gibbons; in the time of his late and sudden sickness, which we found in the beginning lethargical, or a profound sleep; out of which, we could never recover him, neither by inward nor outward medicines, & then instantly he fell in most strong, & sharp convulsions; which did wring his mouth up to his ears, & his eyes were distorted, as though they would have been thrust out of his head & then suddenly he lost both speech, sight and hearing, & so grew apoplectical & lost the whole motion of every part of his body, & so died. Then here upon (his death being so sudden) rumours were cast out that he did die of the plague, whereupon we . . . caused his body to be searched by certain women that were sworn to deliver the truth, who did affirm that they never saw a fairer corpse. Yet notwithstanding we to give full satisfaction to all did cause the skull to be opened in our presence & we carefully viewed the body, which we found also to be very clean without any show or spot of any contagious matter. In the brain we found the whole & sole cause of his sickness namely a great admirable blackness & syderation in the outside of the brain. Within the brain (being opened) there did issue out abundance of water intermixed with blood & this we affirm to be the only cause of his sudden death. His death was a shock to peers and the suddenness of his passing drew comment more for the haste of his burial – and of its location at Canterbury rather than the body being returned to London. His wife, Elizabeth, died a little over a year later, aged in her mid-30s, leaving Orlando's eldest brother, Edward, to care for the children left orphans by this event. Of these children only the eldest son, Christopher Gibbons, went on to become a musician. One of the most versatile English composers of his time, Gibbons wrote a quantity of keyboard works, around thirty fantasias for viols, a number of madrigals (the best-known being "The Silver Swan"), and many popular verse anthems. His choral music is distinguished by his complete mastery of counterpoint, combined with his wonderful gift for melody. Perhaps his most well known verse anthem is This is the record of John, which sets an Advent text for solo countertenor or tenor, alternating with full chorus. The soloist is required to demonstrate considerable technical facility at points, and the work at once expresses the rhetorical force of the text, whilst never being demonstrative or bombastic. He also produced two major settings of Evensong, the Short Service and the Second Service. The former includes a beautifully expressive Nunc dimittis, while the latter is an extended composition, combining verse and full sections. Gibbons's full anthems include the expressive O Lord, in thy wrath, and the Ascension Day anthem O clap your hands together for eight voices. He contributed six pieces to the first printed collection of keyboard music in England, Parthenia (to which he was by far the youngest of the three contributors), published in about 1611. Gibbons's surviving keyboard output comprises some 45 pieces. The polyphonic fantasia and dance forms are the best represented genres. Gibbons's writing exhibits full mastery of three- and four-part counterpoint. Most of the fantasias are complex, multisectional pieces, treating multiple subjects imitatively. Gibbons's approach to melody in both fantasias and dances features a capability for almost limitless development of simple musical ideas, on display in works such as Pavane in D minor and Lord Salisbury's Pavan and Galliard. In the 20th century, the Canadian pianist Glenn Gould championed Gibbons's music, and named him as his favorite composer. Gould wrote of Gibbons's hymns and anthems: "ever since my teen-age years this music ... has moved me more deeply than any other sound experience I can think of." In one interview, Gould compared Gibbons to Beethoven and Webern: ...despite the requisite quota of scales and shakes in such half-hearted virtuoso vehicles as the Salisbury Galliard, one is never quite able to counter the impression of music of supreme beauty that lacks its ideal means of reproduction. Like Beethoven in his last quartets, or Webern at almost any time, Gibbons is an artist of such intractable commitment that, in the keyboard field, at least, his works work better in one's memory, or on paper, than they ever can through the intercession of a sounding-board. To this day, Gibbons's obit service is commemorated every year in King's College Chapel, Cambridge. --wikipedia.org

T. R. Birks

1810 - 1883 Person Name: Thomas R. Birks Author of "O King of mercy, from thy throne on high" in Pilgrim Songs (Number Two) 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)

James Langran

1835 - 1909 Composer of "LANGRAN" in Pilgrim Songs (Number Two) James Langran (b. St. Pancras, London, England, November 10, 1835; d. Tottenham, London, England, June 8, 1909) studied organ as a youth but did not receive his Bachelor of Music degree from Oxford until he was forty-nine years old. He had several organist positions–the longest was at St. Paul's Church, Tottenham, England, from 1870 to 1909. He also taught music at St. Katherine's Training College for Schoolmistresses (1878-1909). Music editor of theNew Mitre Hymnal　(1875), Langran composed around fifty hymn tunes and contributed several of them to early editions of Hymns Ancient and Modern. Bert Polman

Charles Vincent

1852 - 1934 Person Name: C. Vincent, 1852-1934 Composer of "ST. CYRIL" in The Methodist Hymn-Book with Tunes Vincent, Charles; b. 9-19-1852, Houghton-le-Spring, Durham, d. 2-28-34, Monte Carlo; English organist. Full name Charles John Vincent, Jr.

Edgar Pettman

1886 - 1943 Composer of "REX GRATIAE" in The Song Companion to the Scriptures

Robbins Battell

1819 - 1895 Composer of "BATTELL" in The Pilgrim Hymnal Robbins Battell, was born in Norfolk, Connecticut in 1819 and died there in 1895. He was the son of Joseph Battell, a wealthy merchant. He graduated from Yale in 1839 and was an adviser to Abraham Lincoln, and a benefactor to his town and Yale University. Battell was also a composer and art collector. Nancy Naber. Source: Historic Buildings of Connecticut

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