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James McGranahan

1840 - 1907 Topics: God's Work Providence Composer of "SHOWERS OF BLESSING" in Trinity Hymnal (Rev. ed.) James McGranahan USA 1840-1907. Born at West Fallowfield, PA, uncle of Hugh McGranahan, and son of a farmer, he farmed during boyhood. Due to his love of music his father let him attend singing school, where he learned to play the bass viol. At age 19 he organized his first singing class and soon became a popular teacher in his area of the state. He became a noted musician and hymns composer. His father was reluctant to let him pursue this career, but he soon made enough money doing it that he was able to hire a replacement farmhand to help his father while he studied music. His father, a wise man, soon realized how his son was being used by God to win souls through his music. He entered the Normal Music School at Genesco, NY, under William B Bradbury in 1861-62. He met Miss Addie Vickery there. They married in 1863, and were very close to each other their whole marriage, but had no children. She was also a musician and hymnwriter in her own right. For a time he held a postmaster’s job in Rome, PA. In 1875 he worked for three years as a teacher and director at Dr. Root’s Normal Music Institute. He because well-known and successful as a result, and his work attracted much attention. He had a rare tenor voice, and was told he should train for the operatic stage. It was a dazzling prospect, but his friend, Philip Bliss, who had given his wondrous voice to the service of song for Christ for more than a decade, urged him to do the same. Preparing to go on a Christmas vacation with his wife, Bliss wrote McGranahan a letter about it, which McGranahan discussed with his friend Major Whittle. Those two met in person for the first time at Ashtubula, OH, both trying to retrieve the bodies of the Bliss’s, who died in a bridge-failed train wreck. Whittle thought upon meeting McGranahan, that here is the man Bliss has chosen to replace him in evangelism. The men returned to Chicago together and prayed about the matter. McGranahan gave up his post office job and the world gained a sweet gospel singer/composer as a result. McGranahan and his wife, and Major Whittle worked together for 11 years evangelizing in the U.S., Great Britain, and Ireland. They made two visits to the United Kingdom, in 1880 and 1883, the latter associated with Dwight Moody and Ira Sankey evangelistic work. McGranahan pioneered use of the male choir in gospel song. While holding meetings in Worcester, MA, he found himself with a choir of only male voices. Resourcefully, he quickly adapted the music to those voices and continued with the meetings. The music was powerful and started what is known as male choir and quartet music. Music he published included: “The choice”, “Harvest of song”, “Gospel Choir”,, “Gospel hymns #3,#4, #5, #6” (with Sankey and Stebbins), “Songs of the gospel”, and “Male chorus book”. The latter three were issued in England. In 1887 McGranahan’s health compelled him to give up active work in evangelism. He then built a beautiful home, Maplehurst, among friends at Kinsman, OH, and settled down to the composition of music, which would become an extension of his evangelistic work. Though his health limited his hours, of productivity, some of his best hymns were written during these days. McGranahan was a most lovable, gentle, modest, unassuming, gentleman, and a refined and cultured Christian. He loved good fellowship, and often treated guests to the most delightful social feast. He died of diabetes at Kinsman, OH, and went home to be with his Savior. John Perry

George F. Root

1820 - 1895 Person Name: Geo. F. Root Topics: Christian Work Composer of "SHINING SHORE" in New Christian Hymn and Tune Book Root, George F., MUS. DOC, born in Sheffield, Berkshire County, Mass., Aug. 30, 1820. He is much more widely known as a composer of popular music than as a hymn writer. Four of his hymns are in I. D. Sankey's Sacred Songs & Solos, 1878. Nos. 16, 100, 293, and 297. A sympathetic biographical sketch, with portrait, is in The Tonic Sol-Fa Reporter, Sep. 1886. He died Aug. 6, 1895. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) ===================== George Frederick Root was born in Sheffield, Mass., August 30, 1820. His father moved to North Reading, near Boston, when the boy was six years old, and there his youth was spent. He was always fond of music— not singing at all as a boy, but played upon every kind of instrument that came in his way. At thirteen it was his pride that he could "play a tune" on as many instruments as he was years old. His dream of life was to be a musician, although such an ambition was looked down upon by all his relatives and friends, excepting a fond mother. In the fall of 1838 he went to Boston and made an engagement to work for Mr. A. N. Johnson and take lessons on the piano. His father and one of the brothers were at the time in South America, and the mother, with six younger children, was at home on the farm. When he secured the engagement with Mr. Johnson to receive three dollars a week and board and lessons, the neighbors became interested and encouraged him to go ahead, they promising to help look after the farm and see that the family got along. The young man's happiness over these events can better be imagined than described. On the second day of October, 1838, he entered upon his duties in his new heaven on earth located at Harmony Hall, Mr. Johnson's music-room, in Boston. His duties were to see to the fires, care for the room, answer callers, give information about Mr. Johnson when he was out, and practice his lessons when not otherwise engaged. He worked industriously and made steady progress. It was but a few weeks till Mr. Johnson had him playing for the prayer-meeting, and but a few more till he began turning over pupils to him. In about seven weeks' time Mr. Johnson encouraged him by a considerable increase of salary. A most important event to him was meeting Dr. Lowell Mason and being accepted as a bass singer in the celebrated Bowdoin Street choir. Also, on Mr. Johnson's recommendation, he began taking private voice lessons of Mr. Geo. Jas. Webb, the then celebrated voice teacher of Boston. He continued at least a year with Mr. Webb. His first real singing class was taught the following fall, 1839, at the North End. It lasted nearly through the winter, and on the closing night his class made him a present of a silver goblet, suitably engraved, which he kept among his treasures. Before the first year was up Mr. Johnson proposed a five year partnership, by which Mr. Root was to receive one-third of their earnings, and the former was to have the privilege of visiting Germany part of the time if he chose. They then changed their quarters to three rooms in the basement of Park Street Church. The annual rental was six hundred dollars. They were kept quite busy. At this time Dr. Mason's music teaching in the public schools was a growing success, and Messrs. Johnson and Root were employed to assist him. Drs. Mason and Webb had introduced what is now called Musical Conventions a year or two previous to this. They called them "The Teachers' Class." Teachers and singers were called to Boston from surrounding territory to study and practice pretty much as they do now at normals. In 1841 Mr. Root became one of the teachers in this class. He taught vocal training and continued this work for years afterward in Dr. Mason's teachers' classes, and later incorporated the same method in his own normals. During this year Mr. Johnson went to Germany, and left the two large church choirs (Winter Street and Park Street) in charge of Mr. Root. One of the organs was played by a pupil — Mr. S. A. Bancroft. Everything went smoothly during Mr. Johnson's absence as it did also after his return. During the last year of the five-year partnership, Mr. Root was called to take the organ at Bowdoin Street, Mr. Mason changing to Winter Street. An amicable settlement was made between Messrs. Johnson and Root, and the partnership dissolved. In 1811, Mr. Jacob Abbott (father of Lyman Abbott)and his three brothers had established a young ladies' school in New York City. They wanted a music teacher, and offered the position to Mr. Root. They also secured him the organ and choir of the Mercer Street Church, with prospects for other good work. It required pretty strong persuasive arguments to tempt Mr. Root to leave Boston, he was doing well there, and as the sequel shows, there was an attraction in Boston that held him in too tight a grasp to be relinquished by the mere offer of greater power and place. He made up his mind, however, only after getting the consent of the powders of Boston to take with him this [to him] the greatest attraction of the city — Miss Mary Olive Woodman — an accomplished lady, a sweet singer, and a member of a prominent family of musicians. He went to New York first to prepare a home, and in August, 1845, returned for his bride, who took her place in his New York choir as leading soprano, and through his long and eventful career she was ever at his side, a true helpmeet. He was soon employed at Rutger's Female Institute, Miss Haines' School for Young Ladies, Union Theological Seminary and the New York State Institution for the Blind. Within six weeks after he arrived in New York his time was fully occupied. He continued with Mr. Abbott's young ladies' school ten years. While teaching in New York he continued his summer work with Messrs. Mason and Webb in Teachers' Classes. Up to the year 1849 he had written but little music; only a few hymn tunes while in Boston. He needed more music for the young ladies of his schools, so he made his first book, The Young Ladies' Choir, of which he had enough copies made for his own use, as he had no thought of offering it to the public. Then in connection with Mr. J. E. Sweetser, they compiled the Root and Sweetser's Collection. Mr. Root did work enough for two men, hence broke down in health. Mr. Abbott suggested that he take a trip to Paris. After weighing the matter carefully, in December, 1853, he sailed, and in due time arrived at Paris, where he began studying French, voice culture and piano under celebrated teachers. After spending nearly a year abroad, he returned home in improved health and ready for active work. He began to feel the need of new music for his classes, and after some thought decided upon a musical play ; the subject and title, The Flower Queen. At the Institution for the Blind was a young lady, a former pupil, but now a teacher who had shown some poetical talent. He asked her to help him with the words. He would suggest in prose what the flowers might say and she would put it into rhyme. She did it so well that it seldom needed any alteration. This lady was the now famous Fanny Crosby. The cantata became very popular. About this time Mr. Root wrote a half dozen simple songs for the people. They all sold pretty well, but Hazel Dell and Rosalie, the Prairie Flower, became the most popular, and had a large sale. It was in the summer of 1853 that the first real normal was held. Mr. Root originated it, and held it in New York. The principal teachers were Messrs. Mason, Root, Hastings, and Bradbury. This school became famous. Sessions were also held at North Reading, Mass., a village near Mr. Root's "Willow Farm Home," with Dr. Mason, Mr. Webb, Mr. Bradbury and himself as principal teachers. About this time Mr. Root decided to give up his work in New York, and devote himself entirely to conventions, normal work and authorship. He was eminently successful. Among the most eminent teachers and composers of our country have been students in Dr. Geo. F. Root's Normal Musical Institute. In 1860 Dr. Root settled in Chicago and entered the music publishing business with his brother E. T. Root, and C. M. Cady, as "Root & Cady," Mr. Root's reputation being the most important capital of the firm. His books and popular songs soon made the new firm prosperous. Then came the war with its horror. Dr. Root wielded his musical sword in the way of writing war songs, which made him famous. The Battle Cry of Freedom, Just Before the Battle, Mother, and others, made thousands of dollars for the music house. In the great Chicago fire of 1871 the interests of the firm of Root & Cady became engulfed in the general ruin. Their loss was upward of a quarter of a million dollars. They then sold their book catalogue, plates and copyrights to John Church & Co., of Cincinnati, and the sheet music plates and copyrights to S. Brainard's Sons, Cleveland. These sales realized about §130,000. The final result was that Dr. Root, his talented son F. W., and others became connected with John Church & Co. Under this new business relationship Mr. Root went right on with his normal and convention work; also issued a great many new books and cantatas. In 1872 the Chicago University very worthily conferred upon him the degree Doctor of Music. In 1886 he made a trip to Scotland and England, and arranged with publishers to issue some of his cantatas. He was royally received. Dr. Root was the author of about seventy-five books, nearly two hundred songs in sheet form, and many popular gospel songs. Dr. Root occupies a prominent place in the musical history of this country. It was Dr. Mason who lifted music from almost nothing and gave it an impetus, but he left no better follower than Dr. Root to carry on his work. He was a man of spotless integrity and high Christian character, and to know him was to love him. At the time of Dr. Root's death he was at Bailey Island, Maine, a summer resort, where he and other relatives had cottages. On August 6, 1895, he was seized with neuralgia of the heart — and died within one hour. He was buried at North Reading, Mass., his old home. --Hall, J. H. (c1914). Biographies of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company.

Richard Redhead

1820 - 1901 Person Name: R. Redhead, 1820-1901 Topics: Christian At work; Work, Christian Arranger of "LAUDS" in Methodist Hymn and Tune Book Richard Redhead (b. Harrow, Middlesex, England, 1820; d. Hellingley, Sussex, England, 1901) was a chorister at Magdalen College, Oxford. At age nineteen he was invited to become organist at Margaret Chapel (later All Saints Church), London. Greatly influencing the musical tradition of the church, he remained in that position for twenty-five years as organist and an excellent trainer of the boys' choirs. Redhead and the church's rector, Frederick Oakeley, were strongly committed to the Oxford Movement, which favored the introduction of Roman elements into Anglican worship. Together they produced the first Anglican plainsong psalter, Laudes Diurnae (1843). Redhead spent the latter part of his career as organist at St. Mary Magdalene Church in Paddington (1864-1894). Bert Polman

W. Chatterton Dix

1837 - 1898 Person Name: William C. Dix Topics: Praise and Thanksgiving Songs to Remember the Work of the Son Author of "Alleluia, Sing to Jesus" in Renew! Songs and Hymns for Blended Worship Most British hymn writers in the nineteenth century were clergymen, but William C. Dix (b. Bristol, England, 1837; d. Cheddar, Somerset, England, 1898) was a notable exception. Trained in the business world, he became the manager of a marine insurance company in Glasgow, Scotland. Dix published various volumes of his hymns, such as Hymns of Love and Joy (1861) and Altar Songs: Verses on the Holy Eucharist (1867). A number of his texts were first published in Hymns Ancient and Modern (1861). Bert Polman ======================== Dix, William Chatterton, son of John Dix, surgeon, of Bristol, author of the Life of Chatterton; Local Legends, &c, born at Bristol, June 14, 1837, and educated at the Grammar School of that city. Mr. Chatterton Dix's contributions to modern hymnody are numerous and of value. His fine Epiphany hymn, "As with gladness men of old,” and his plaintive ”Come unto Me, ye weary," are examples of his compositions, many of which rank high amongst modern hymns. In his Hymns of Love and Joy, 1861, Altar Songs, Verses on the Holy Eucharist, 1867; Vision of All Saints, &c, 1871; and Seekers of a City, 1878, some of his compositions were first published. The greater part, however, were contributed to Hymns Ancient & Modern; St. Raphaels Hymnbook, 1861; Lyra Eucharidica, 1863; Lyra Messianica, 1864; Lyra Mystica, 1865; The People's Hymns, 1867; The Hymnary, 1872; Church Hymns, 1871, and others. Many of his contributions are renderings in metrical form of Dr. Littledale's translation from the Greek in his Offices . . . of the Holy Eastern Church, 1863; and of the Rev. J. M. Rodwell's translation of hymns of the Abyssinian Church. These renderings of the "songs of other Churches" have not received the attention they deserve, and the sources from whence they come are practically unknown to most hymnal compilers. Mr. Dix has also written many Christmas and Easter carols, the most widely known of which is "The Manger Throne." In addition to detached pieces in prose and verse for various magazines, he has published two devotional works, Light; and The Risen Life, 1883; and a book of instructions for children entitled The Pattern Life, 1885. The last-named contains original hymns by Mr. Dix not given elsewhere. In addition to the more important of Mr. Dix's hymns which are annotated under their respective first lines, the following are also in common use:- 1. God cometh, let the heart prepare. Advent. In his Vision of All Saints, &c, 1871. 2. Holy, holy, holy, to Thee our vows we pay. Holy Communion. Published in his Altar Songs, 1867, in 6 stanzas of 6 lines, and headed "Eucharistic Processional for Dedication Feast." In the Society for Promoting Christian Knowledge Church Hymns, 1871, and others in an abridged form. 3. How long, O Lord, how long, we ask. Second Advent. Appeared in the Appendix to the Society for Promoting Christian Knowledge Psalms & Hymns, 1869, and repeated in several collections. 4. In our work and in our play. Children's Hymn. Published in his Hymns and Carols for Children, 1869, and is largely adopted in children's hymnbooks, as Mrs. Brock's Children's Hymnbook, 1881, and others. Also in the Society for Promoting Christian Knowledge Church Hymns, 1871. 5. In the hollow of Thine hand. For Fair Weather. Appeared in the People's Hymns, 1867, and repeated in several others. 6. Joy fills our inmost heart today. Christmas. Printed in the Church Times, and then on a Flysheet by Gr. J. Palmer, as the third of Four Joyful Hymns for Christmas, circa 1865. It is in the Society for Promoting Christian Knowledge Church Hymns, 1871, and other hymnals. It is also one of Mr. Dix's Christmas Customs & Christmas Carols, not dated. 7. Lift up your songs, ye thankful. St. Ambrose. Contributed to the People's Hymns, 1867. 8. Now in numbers softly flowing. St. Cecilia. Contributed to the People's Hymns, 1867. 9. Now, our Father, we adore Thee. Praise to the Father. Appeared in the Appendix to the S. P. C. K. Psalms & Hymns, 1869. 10. O Christ, Thou Son of Mary. St. Crispin. First printed in the Union Review, Sept., 1866, and thence into the People's Hymns, 1887. 11. O Cross which only canst allay. Glorying and Trusting in the Cross. Published in the People's Hymns, 1867. 12. O Thou the Eternal Son of God. Good Friday. Appeared in Lyra Messianica, 1864; the author's Hymns and Carols for Children, 1869; the S. P. C. K. Church Hymns, 1871, &c. 13. On the waters dark and drear. For use at Sea. Published in Hymns for Public Worship, &c. (St. Raphael's, Bristol), 1861; the S. P. C. K. Church Hymns, 1871, &c. 14. Only one prayer to-day. Ash Wednesday. Contributed to the People's Hymns, 1867. 15. Sitting at receipt of custom. St. Matthew. Appeared in the People's Hymns, 1867. 16. The Cross is on thy brow. Confirmation. In the 1869 Appendix to the S. P. C. K. Psalms & Hymns. 17. The stars above our head. Work and Humility. In the 1869 Appendix to the S. P. C. K. Psalms & Hymns. 18. When the shades of night are falling. Evening Hymn to the Good Shepherd. In the author's Seekers of a City, &c. [1878]. Most of Mr. Dix's best-known hymns, and also some of those named above, are in common use in America and other English-speaking countries. In Great Britain and America from 30 to 40 are in common use. He died Sept. 9, 1898. -- John Julian, Dictionary of Hymnology (1907) ====================== Dix, William Chatterton, p. 302, ii. Additional hymns by Mr. Dix now in common use are:— 1. Lift up your songs, ye angel choirs. Ascension. 2. Now, my soul rehearse the story. Christ Feeding the Multitude. 3. Within the temple's hallowed courts. Blessed Virgin Mary. These hymns are from his Altar Songs, 1867. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

William B. Bradbury

1816 - 1868 Topics: Redemption in Christ Christ's Saving Work; Saving Work of Christ Composer of "JESUS LOVES ME" in The Worshiping Church William Batchelder Bradbury USA 1816-1868. Born at York, ME, he was raised on his father's farm, with rainy days spent in a shoe-shop, the custom in those days. He loved music and spent spare hours practicing any music he could find. In 1830 the family moved to Boston, where he first saw and heard an organ and piano, and other instruments. He became an organist at 15. He attended Dr. Lowell Mason's singing classes, and later sang in the Bowdoin Street church choir. Dr. Mason became a good friend. He made $100/yr playing the organ, and was still in Dr. Mason's choir. Dr. Mason gave him a chance to teach singing in Machias, ME, which he accepted. He returned to Boston the following year to marry Adra Esther Fessenden in 1838, then relocated to Saint John, New Brunswick. Where his efforts were not much appreciated, so he returned to Boston. He was offered charge of music and organ at the First Baptist Church of Brooklyn. That led to similar work at the Baptist Tabernacle, New York City, where he also started a singing class. That started singing schools in various parts of the city, and eventually resulted in music festivals, held at the Broadway Tabernacle, a prominent city event. He conducted a 1000 children choir there, which resulted in music being taught as regular study in public schools of the city. He began writing music and publishing it. In 1847 he went with his wife to Europe to study with some of the music masters in London and also Germany. He attended Mendelssohn funeral while there. He went to Switzerland before returning to the states, and upon returning, commenced teaching, conducting conventions, composing, and editing music books. In 1851, with his brother, Edward, he began manufacturring Bradbury pianos, which became popular. Also, he had a small office in one of his warehouses in New York and often went there to spend time in private devotions. As a professor, he edited 59 books of sacred and secular music, much of which he wrote. He attended the Presbyterian church in Bloomfield, NJ, for many years later in life. He contracted tuberculosis the last two years of his life. John Perry

Conrad Kocher

1786 - 1872 Topics: Work and Duty Composer of "DIX" in The Pilgrim Hymnal Trained as a teacher, Conrad Kocher (b. Ditzingen, Wurttemberg, Germany, 1786; d. Stuttgart, Germany, 1872) moved to St. Petersburg, Russia, to work as a tutor at the age of seventeen. But his love for the music of Haydn and Mozart impelled him to a career in music. He moved back to Germany in 1811, settled in Stuttgart, and remained there for most of his life. The prestigious Cotta music firm published some of his early compositions and sent him to study music in Italy, where he came under the influence of Palestrina's music. In 1821 Kocher founded the School for Sacred Song in Stuttgart, which popularized four-part singing in the churches of that region. He was organist and choir director at the Stiftskirche in Stuttgart from 1827 to 1865. Kocher wrote a treatise on church music, Die Tonkunst in der Kirche (1823), collected a large number of chorales in Zions Harfe (1855), and composed an oratorio, two operas, and some sonatas. William H. Monk created the current form of DIX by revising and shortening Conrad Kocher's chorale melody for “Treuer Heiland, wir sind hier,” found in Kocher's Stimmen aus dem Reiche Gottes (1838). Bert Polman

Herbert Brokering

1926 - 2009 Topics: God in Creation God's Work in Nature Author of "Earth and All Stars" in The Worshiping Church Herbert F. Brokering (b. Beatrice, Nebraska, May 21, 1926; d. Bloomington, Minnesota, November 7, 2009) was a Lutheran pastor with German roots, an author of more than forty books, and a poet and hymn writer known especially for two hymn texts, “Earth and All Stars” and “Alleluia! Christ Is Risen,” both set to the same tune. He was born in Nebraska, the son of a German Lutheran pastor; earned degrees from Wartburg College in Iowa, University of Iowa, and Trinity Lutheran Seminary in Columbus, OH, and pursued graduate study in Germany at the University of Kiel and the University of Erlangen. He served as a pastor of three Lutheran congregations, in Pennsylvania, New York, and Texas; taught at the Navy Chaplain’s Career School in Newport, Rhode Island, Luther Seminary and Trinity Seminary, and was also active in the Lutheran World Federation services and the World Council of Churches. Emily Brink

Godfrey Thring

1823 - 1903 Topics: Work and Duty Author of "The Blessing of Work" in The Pilgrim Hymnal Godfrey Thring (b. Alford, Somersetshire, England, 1823; d. Shamley Green, Guilford, Surrey, England, 1903) was born in the parsonage of Alford, where his father was rector. Educated at Balliol College, Oxford, England, he was ordained a priest in the Church of England in 1847. After serving in several other parishes, Thring returned to Alford and Hornblotten in 1858 to succeed his father as rector, a position he retained until his own retirement in 1893. He was also associated with Wells Cathedral (1867-1893). After 1861 Thring wrote many hymns and published several hymnals, including Hymns Congregational (1866), Hymns and Sacred Lyrics (1874), and the respected A Church of England Hymn Book Adapted to the Daily Services of the Church Throughout the Year (1880), which was enlarged as The Church of England Hymn Book (1882). Bert Polman ================ Thring, Godfrey, B.A., son of the Rev. J. G. D. Thring, of Alford, Somerset, was born at Alford, March 25, 1823, and educated at Shrewsbury School, and at Balliol College, Oxford, B.A. in 1845. On taking Holy Orders he was curate of Stratfield-Turgis, 1846-50; of Strathfieldsaye, 1850-53; and of other parishes to 1858, when he became rector of Alford-with-Hornblotton, Somerset. R.D. 1867-76. In 1876 he was preferred as prebend of East Harptree in Wells cathedral. Prebendary Thring's poetical works are:— Hymns Congregational and Others, 1866; Hymns and Verses, 1866; and Hymns and Sacred Lyrics, 1874. In 1880 he published A Church of England Hymnbook Adapted to the Daily Services of the Church throughout the Year; and in 1882, a revised and much improved edition of the same as The Church of England Hymn Book, &c. A great many of Prebendary Thring's hymns are annotated under their respective first lines; the rest in common use include:— 1. Beneath the Church's hallowed shade. Consecration of a Burial Ground. Written in 1870. This is one of four hymns set to music by Dr. Dykes, and first published by Novello & Co., 1873. It was also included (but without music) in the author's Hymns & Sacred Lyrics, 1874, p. 170, and in his Collection, 1882. 2. Blessed Saviour, Thou hast taught us. Quinquagesima. Written in 1866, and first published in the author's Hymns Congregational and Others, 1866. It was republished in his Hymns & Sacred Lyrics, 1874; and his Collection, 1882. It is based upon the Epistle for Quinquagesima. 3. Blot out our sins of old. Lent. Written in 1862, and first published in Hymns Congregational and Others

Arthur Campbell Ainger

1841 - 1919 Person Name: Arthur C. Ainger Topics: Church Work Author of "God is working His purpose out" in The Hymnal Ainger, Arthur Campbell, M.A., son of the Rev. F. A. Ainger, incumbent of Hampstead, Middlesex; born in 1841, educated Trinity College, Cambridge, 1st Class Class. Trip. 1864, Assistant Master at Eton 1864-1901. Author of Eton Songs, 1901-2; Carmen Etonense, Vale, &c, and joint author with H. G. Winkle, M.A., of an English-Latin Verse Dictionary. Mr. Ainger's hymns in common use are the following :— 1. God is working His purpose out. [Missions.] Written and first published in 1894, with Dedication to Archbishop Benson. It was given in Church Hymns, 1903, Hymns Ancient & Modern, 1904, and other collections. 2. God of our Fathers, unto Thee. [National Thanksgiving.] Included in English Hymnal, 1906. 3. Let all our brethren join in one. [Harvest.] Included in C. W. A. Brooke's Additional Hymns, 1903. 4. Let God arise to lead forth those. [In Time of War.] Written in 1900, and first printed in the Times the same year. Subsequently pub. by Novello & Co., with music by Sir J. Stainer, and included in Church Hymns, 1903, and Hymns Ancient & Modern, 1904. 5. Like a mighty man rejoicing in his strength. [Missions.] Written by request for the S.P.G. Centenary, and published in the Centenary collection of Hymns, 1901. 6. Not ours to mourn and weep. [Lent. For the Young.] First published in the Public School Hymn Book, 1903. 7. On them who here, 0 Lord. [Holy Matrimony.] A Wedding Hymn, published with music by Novello & Co., 1903. A most acceptable addition to hymns for Holy Matrimony. 8. Praise the Lord: to-day we raise Hymns of thankfulness and praise. [For Victory] Written in 1902, and first printed in the Times, and t' en, with music, by Novello & Co. Included in Church Hymns, 1903. 9. Praise the Lord! to-day we sing. Birthday of our Founder King. [For Founder's Day.] Written for use at Eton, and included in Eton Songs, 1891-2, as "Hymn for Founder's Day." Admirably suited, with slight change in the opening line, for any Public School. 10. Uprose the stately temple. [Dedication of a School Chapel]. Written in 1891, and published in his Eton Songs, 1891-2. Mr. Ainger has written several other hymns, including one for the Coronation of King Edward VII., a Thanksgiving Hymn for his recovery from sickness (Skeffingtons), and others not in common use. --John Julian, Dictionary of Hymnology, New Supplement (1907)

Joseph Barnby

1838 - 1896 Topics: Redemption in Christ Christ's Saving Work; Saving Work of Christ Composer of "ST. ANDREW" in The Worshiping Church 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