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Daniel Hughes

Person Name: D. H. Translator of "Crist, dy fawl a leinw'r nen (Christ, whose glory fills the skies)" in Mawl a chân = praise and song

W. T. Rees

1838 - 1904 Composer of "BHOI LYMBONG" in Mawl a chân = praise and song Also Alaw Ddu, 1838-1904

Alexander S. Cooper

1835 - 1900 Person Name: A. S. Cooper Composer of "CHARTERHOUSE" in Church Hymns and Tunes

1931 - 2003 Composer of "CHRIST WHOSE GLORY" in The Presbyterian Hymnal Malcolm Benjamin Graham Christopher Williamson AO (honorary), CBE (21 November 1931 – 2 March 2003) was an Australian composer. He was the Master of the Queen's Music from 1975 until his death. Williamson was born in Sydney and studied composition and horn at the Sydney Conservatorium of Music. His teachers included Eugene Goossens. In 1950 he moved to London where he worked as an organist, a proofreader, and a nightclub pianist. From 1953 he studied with Elisabeth Lutyens. Williamson was a prolific composer at this time, receiving many commissions and often performed his own works, both on organ and piano. In 1975, the death of Sir Arthur Bliss left the title of Master of the Queen's Music vacant. The selection of Williamson to fill this post was a surprise, over other composers such as Benjamin Britten, Michael Tippett and Malcolm Arnold, such that William Walton had remarked that "the wrong Malcolm" had been chosen. In addition, Williamson was the first non-Briton to hold the post. He wrote a number of pieces connected to his royal post, including Mass of Christ the King (1978) and Lament in Memory of Lord Mountbatten of Burma (1980). However, controversy attended his tenure, notably his failure to complete the intended "Jubilee Symphony" for the Silver Jubilee of Queen Elizabeth II in 1977. He became less prolific in "Royal" works during the last twenty years or so of his life, although he never completely ceased to take interest in writing music for the Royal Family. His overall compositional output slowed considerably due to a series of illnesses. He died in 2003 in a hospital in Cambridge. Williamson married Dolores Daniel in 1960 and had one son and two daughters. Some of Williamson's early works use the twelve tone technique of Arnold Schoenberg, but his greatest influence is often said to be Olivier Messiaen. He discovered Messiaen's music shortly before converting to Roman Catholicism in 1952. He was also influenced by Benjamin Britten, as well as by jazz and popular music (this latter influence may have come in part from him working as a night club pianist in the 1950s). Williamson wrote seven symphonies; four numbered piano concertos (plus the Concerto for Two Pianos and Strings, the Concerto for Two Pianos and Wind Quintet, after Alan Rawsthorne, and the Sinfonia Concertante), concertos for violin, organ, harp and saxophone; and many other orchestral works. He wrote ballets, including Sun Into Darkness and The Display, many effective choral works, chamber music, music for solo piano, and music for film and television including the Prologue and Main Title of Watership Down. His operas include English Eccentrics, to a libretto by Edith Sitwell; Our Man in Havana, after Graham Greene's novel; The Violins of Saint Jacques, from Patrick Leigh Fermor's novel, featuring a volcanic eruption that kills all but one of the principal characters; and Lucky Peter's Journey and The Growing Castle, both of which set plays by August Strindberg. Williamson's music for children includes the operas The Happy Prince (based on the story by Oscar Wilde) and Julius Caesar Jones as well as cassations, which are short operas with audience participation. The cassation The Valley and the Hill was written for the Silver Jubilee of Elizabeth II in 1977 and performed by 18,000 children. The composer's largest choral work, his Mass of Christ the King, was commissioned by the Three Choirs Festival, also for the 1977 jubilee. It attracted attention partly because Williamson delivered it late. Scored for two sopranos, tenor, baritone, SATB chorus, SATB echo choir, and large orchestra, the work received several performances over a few years, including a live BBC broadcast in 1981, but has more recently been overlooked. Williamson became generally much less prolific in later life, although he had some very busy years. For example, in 1988 Williamson wrote a large-scale choral-orchestral work The True Endeavour, the orchestral Bicentennial Anthem, the Fanfare of Homage for military band, a ballet Have Steps Will Travel for John Alleyne and the National Ballet of Canada, Ceremony for Oodgeroo (Oodgeroo Noonuccal, formerly known as Kath Walker) for brass quintet, and also commenced work on a substantial new choral-symphony The Dawn is at Hand (to texts by Kath Walker), completed and performed in Australia the following year. Other works include the Requiem for a Tribe Brother (another Australian work, completed in 1992), a third string quartet (1993), a fourth piano concerto (1994) and a symphony for solo harp, Day That I Have Loved (1994). The orchestral song cycle on texts by Iris Murdoch, A Year of Birds, premiered at The Proms in 1995. The same year also saw the premiere of an orchestral work With Proud Thanksgiving, commissioned for the fiftieth anniversary of the United Nations, and dedicated to the memory of Williamson's long-time friend, the UK Prime Minister Harold Wilson. Williamson was appointed a Commander of the Order of the British Empire (CBE) in 1976, and an honorary Officer of the Order of Australia (AO) in 1987. Honorary awards in the Order of Australia are made only to people who are not citizens of Australia. It is not clear why Williamson did not qualify for a substantive award, as there appears to be nothing on the public record to suggest he ever relinquished his Australian citizenship. The citation for the award read "For service to music and the mentally handicapped". He was the first Master of the Queen's Music in over a century not to be knighted. --en.wikipedia.org/wiki/

Ludvig Mathias Lindeman

1812 - 1887 Person Name: Ludv. M. Lindeman, 1812—87 Composer of "[Christ, whose glory fills the skies]" in The Lutheran Hymnary Ludvig M. Lindeman (b. 1812; d. 1887) was a Norwegian composer and organist. Born in Trondheim, he studied theology in Oslo where he remained the rest of his life. In 1839 he succeeded his brother as the organist and cantor of Oslo Cathedral, a position he held for 48 years up until his death. Lindeman was appointed Knight of the Royal Norwegian Order of St. Olav, and was invited to both help christen the new organ in Royal Albert Hall in London, as well as compose for the coronation of King Oscar II and Queen Sophie of Sweden. In 1883, he and his son started the Organist School in Oslo. Lindeman is perhaps best known for his arrangements of Norwegiam folk tales; over the course of his life he collected over 3000 folk melodies and tunes. Laura de Jong

Thomas Wallhead

Person Name: T. Wallhead Composer of "[Christ, whose glory fills the skies]" in The Standard Hymnal

Johann Christoph Bach

1642 - 1703 Person Name: Joh. Chr. Bach, 1643-1703 Composer of "[Christ, Whose glory fills the skies]" in Hymns and Chorales

H. D. Leslie

Composer of "[Christ, whose glory fills the skies]" in Songs of Worship

B. F. Baker

1811 - 1889 Composer of "CONCORD" in The Gospel Psalmist B. F. Baker, born at Wenham, Mass., July 10, 1811; held many conventions; was six years Vice-President of the Handel and Haydn Society, Boston; a teacher in the public schools; principal of the Boston Music School; a composer of much music, and editor of a large number of church music, school instruction, glee, and other music books. A Dictionary of Musical Information by John W. Moore, Boston: Oliver, Ditson & Company, 1876

Johann Anastasius Freylinghausen

1670 - 1739 Person Name: Rev. Johann A. Freylinghausen, 1670-1739 Composer of "DAYSPRING" in Hymnal and Liturgies of the Moravian Church Freylinghausen, Johann Anastasius, son of Dietrich Freylinghausen, merchant and burgomaster at Gandersheim, Brunswick, was born at Gandersheim, Dec. 2, 1670. He entered the University of Jena at Easter, 1689. Attracted by the preaching of A. H. Francke and J. J. Breithaupt, he removed to Erfurt in 1691, and at Easter, 1692, followed them to Halle. About the end of 1693 he returned to Gandersheim, and employed himself as a private tutor. In 1695 he went to Glaucha as assistant to Francke; and when Francke became pastor of St. Ulrich's, in Halle,1715, Freylinghausen became his colleague, and in the same year married his only daughter. In 1723 he became also sub-director of the Paedagogium and the Orphanage; and after Francke's death in 1727, succeeded him as pastor of St. Ulrich's and director of the Francke Institutions. Under his fostering care these Institutions attained their highest development. From a stroke of paralysis in 1728, and a second in 1730, he recovered in great measure, but a third in 1737 crippled his right side, while the last, in Nov., 1738, left him almost helpless. He died on Feb. 12, 1739, and was buried beside Francke (Koch, vi. 322-334; Allgemine Deutsche Biographie, vii. 370-71; Bode, pp. 69-70; Grote's Introduction, &c.) Almost all Freylinghausen's hymns appeared in his own hymnbook, which was the standard collection of the Halle school, uniting the best productions of Pietism with a good representation of the older "classical" hymns. This work, which greatly influenced later collections, and was the source from which many editors drew not only the hymns of Pietism, but also the current forms of the earlier hymns (as well as the new "Halle" melodies, a number of which are ascribed to Freylinghausen himself) appeared in two parts, viz.:— i. Geistreiches Gesang-Buch, den Kern alter und neuer Lieder...in sich haltend &c, Halle. Gedrucktund verlegt im Waysen-Hause, 1704 [Hamburg], with 683 hymns and 173 melodies. To the second edition, 1705 [Rostock University], an Appendix was added with Hymns 684-758, and 21 melodies. Editions 3-18 are practically the same so far as the hymns are concerned, save that in ed. 11, 1719 [Berlin], and later issues, four hymns, written by J. J. Rambach at Freylinghausen's request, replaced four of those in eds. 1-10. ii. Neues Geistreiches Gesangbuch,&c, Halle . . . 1714 [Berlin], with 815 hymns and 154 melodies. In the 2nd edition, 1719 [Rostock University], Hymns 816-818, with one melody, were added. In 1741 these two parts were combined by G. A. Francke, seven hymns being added, all but one taken from the first edition, 1718, of the so-called Auszug, which was compiled for congregational use mainly from the original two parts: and this reached a second, and last, edition in 1771. So far as the melodies are concerned, the edition of 1771 is the most complete, containing some 600 to 1582 hymns. (Further details of these editions in the Blätter für Hymnologie, 1883, pp. 44-46, 106-109; 1885, pp. 13-14.) A little volume of notes on the hymns and hymnwriters of the 1771 edition, compiled by J. H. Grischow and completed by J. G. Kirchner, and occasionally referred to in these pages, appeared as Kurzgefasste Nachricht von ältern und ncuern Liederverfassern at Halle, 1771. As a hymnwriter Freylinghausen ranks not only as the best of the Pietistic school, but as the first among his contemporaries. His finest productions are distinguished by a sound and robust piety, warmth of feeling depth of Christian experience, scripturalness, clearness and variety of style, which gained for them wide acceptance, and have kept them still in popular use. A complete edition of his 44 hymns, with a biographical introduction by Ludwig Grote, appeared as his Geistliche Lieder, at Halle, 1855. A number of them, including No. v., are said to have been written during severe attacks of toothache. Two (“Auf, auf, weil der Tag erschienen"; "Der Tag ist hin") are noted under their own first lines. i. Hymns in English common use: -- i. Monarche aller Ding. God's Majesty. 1714, as above, No. 139, in 11 stanzas of 6 lines, repeated in Grote, 1855, p. 88, and as No. 38 in the Berlin Geistliche Lieder, ed. 1863. A fine hymn of Praise, on the majesty and love of God. Translated as:— Monarch of all, with lowly fear, by J. Wesley, in Hymns & Sacred Poems, 1739 (P. Works, 1868-1872, vol. i. p. 104), in 8 stanzas of 4 lines, from st. i., ii., v.-vii., ix.-xi. Repeated in full in the Moravian Hymnbook, 1754, pt. i., No. 456 (1886, No. 176); and in J. A. Latrobe's Collection, 1841. The following forms of this translation are also in common use:-- (1) To Thee, 0 Lord, with humble fear, being Wesley's st. i., iii.-v., vii., viii. altered as No. 156 in Dr. Martineau's Hymns for Christian Church & Home, 1840, and repeated in Miss Courtauld's Psalms, Hymns & Anthems, 1860, and in America in the Cheshire Association Unitarian Collection, 1844. (2) Thou, Lord, of all the parent art, Wesley's, st. iii.-v., vii. altered in the College Hymnal, N. Y., 1876. (3) Thou, Lord, art Light; Thy native ray, Wesley's st. iv., v., vii., in Hymns of the Spirit, 1864. ii. 0 reines Wesen, lautre Quelle. Penitence. Founded on Psalm li. 12, 1714, as above, No. 321, in 7 stanzas of 8 lines, repeated in Grote, 1855, p. 41, and in Bunsen's Versuch, 1833, No. 777 (ed. 1881, No. 435). The only translation in common use is:— Pure Essence: Spotless Fount of Light. A good and full translation by Miss Winkworth in the first series of her Lyra Germanica, 1855, p. 43, and in her Chorale Book for England, 1863, No. 113. iii. Wer ist wohl wie du. Names and offices of Christ. One of his noblest and most beautiful hymns, a mirror of his inner life, and one of the finest of the German "Jesus Hymns." 1704, as above, No. 66, in 14 st. of 6 l., repeated in Grote, 1855, p. 33, and is No. 96 in the Berlin Geistliche Lieder, ed. 1863. The translations in common use are: 1. 0 Jesu, source of calm repose, by J. Wesley, being a free translation of st. i., iii., v., viii., xiii. First published in his Psalms & Hymns, Charlestown, 1737 (Poetical Works, 1868-1872, vol. i. p. 161). Repeated in full as No. 462 in pt. i. of the Moravian Hymnbook, 1754. In the 1826 and later editions (1886, No. 233) it begins, "Jesus, Thou source." The original form was included as No. 49 in the Wesley Hymns & Spiritual Songs , 1753, and, as No. 343, in the Wesley Hymnbook, 1780 (1875, No. 353). Varying centos under the original first line are found in Mercer's Church Psalter & Hymn Book, 1855-1864; Kennedy , 1863; Irish Church Hymnal, 1869-1873; J. L. Porter's Collection, 1876, &c. It has also furnished the following centos:— (1) Messiah! Lord! rejoicing still, being Wesley's st. iv.-vi. altered in Dr. Martineau's Collection of Hymns for Christian Worship, 1840. (2) Lord over all, sent to fulfil, Wesley's st. iv., iii., v., vi. in the American Methodist Episcopal Hymnbook, 1849. 2. Who is like Thee, Who? a translation of st. i., ii., v., vii., x., xiii., as No. 687, in pt. i. of the Moravian Hymnbook, 1754. Translations of st. xi., xiv. were added in 1789, and the first line altered in 1801(1886, No. 234), to "Jesus, who with Thee." The translations of st. i., ii., x., xiv., from the 1801, altered and beginning, "Jesus, who can be," are included in America in the Dutch Reformed Hymns of the Church, 1869; Hymns & Songs of Praise, N. Y., 1874; and Richards's Collection, N.Y., 1881. 3. Who is there like Thee, a good translation of st. i., ii., viii., xiv., by J. S. Stallybrass, as No. 234 in Curwen's Sabbath Hymnbook, 1859, repeated in the Irish Church Hymnal, 1873, and in W. F. Stevenson's Hymns for Church & Home, 1873. 4. Who is, Jesus blest, a translation of stanzas i., ii., v., vi., xii., xiv., by M. Loy, in the Ohio Lutheran Hymnal, 1880. 5. Who, as Thou, makes blest, a good translation, omitting st. vii., ix., x., contributed by Dr. F. W Gotch to the Baptist Magazine, 1857. Repeated in the 1880 Supplement to the Baptist Psalms & Hymns, 1858. The translations not in common use are: — (1) "Whither shall we flee," by Miss Dunn, 1857, p. 55. (2) "Who has worth like Thine," in the U. P. Juvenile Miss. Magazine, 1857, p. 217. (3) "Thou art First and Best," by Miss Winkworth, 1869, p. 267. ii. Hymns translated into English but not in common use:— iv. Herr und Gott der Tag und Nächte. Evening. 1705, as above, No. 755, in 6 stanzas, Grote, p. 105. Translated by H. J. Buckoll, 1842, p. 106, beginning with stanza. ii. v. Mein Herz, gieb dioh rufrieden. Cross and Consolation. First in the Halle Stadt Gesangbuch, 1711, No. 503, in 11 stanzas; repeated 1714, No. 450, and in Grote, p. 71. Translated by Dr. G. Walker, 1860, p. 86. vi. 0 Lamm, das keine Sünde je beflecket. Passiontide. 1714, No. 85, in 19 stanzas, Grote, p. 14. Translated as, (1) "Lamb, for Thy boundless love I praises offer," of st. xii. as stanza i. of No. 1023 in the Supplement of 1808 to the Moravian Hymn Book, 1801 (1849, No. 121). (2) "O Lamb, whom never spot of sin defiled," in the British Magazine, June, 1838, p. 625. vii. 0 Lamm, das meine Sündenlast getragen. Easter Eve. 1714, No. 95, in 8 stanzas; Grote, p. 23. Translated as "Christ Jesus is that precious grain," a translation of st. v. by F. W. Foster, as No. 71 in the Moravian Hymnbook, 1789 (1886, No. 921). viii. Zu dir, Herr Jesu, komme ich. Penitence. Founded on St. Matthew xi. 28-30. 1714, as above, No. 306, in 4 stanzas; Grote, p. 39. Translated by Dr. H. Mills, 1845 (1856, p. 80). [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology (1907)