Person Results

Switch back to the old search page.Advanced Search

Showing 1 - 10 of 19Results Per Page: 10 20 50

Anonymous

Author of "Hark! A Thrilling Voice Is Sounding" in The Cyber Hymnal 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.

Michael Weisse

1480 - 1534 Person Name: Michael Weisse, c. 1480-1534 Composer of "FREUEN WIR UNS ALL IN EIN" in Lutheran Book of Worship Michael Weiss was born at Neisse, in Silesia. He was a pastor among the Bohemian Brethren, and a contemporary with Luther. His hymns have received commendation. He died in 1540. --Annotations of the Hymnal, Charles Hutchins, M.A. 1872. ============ Weisse, Michael (Weiss, Wiss, Wegs, Weys, Weyss), was born circa 1480, in Neisse, Silesia, took priest's orders, and was for some time a monk at Breslau. When the early writings of Luther came into his hands, Weisse, with two other monks, abandoned the convent, and sought refuge in the Bohemian Brethren's House at Leutomischl in Bohemia. He became German preacher (and apparently founder of the German communities) to the Bohemian Brethren at Landskron in Bohemia, and Fulnck in Moravia, and died at Landskron in 1534 (Koch, ii. 115-120; Wackernagel's D. Kirchenlied, i. p. 727; Fontes rerum Austricarum, Scriptores, vol. ii. pt. ii. p. 227, Vienna, 18G3, &c). Weisse was admitted as a priest among the Brethren at the Synod of Brandeis, in 1531, and in 1532 was appointed a member of their Select Council, but he had previously performed important missions for the Brethren. He was, e.g., sent by Bishop Lucas, in 1522, along with J. Roh or Horn, to explain the views of the Bohemian Brethren to Luther; and again, in 1524, when they were appointed more especially to report on the practices and holiness of life of the followers of the German Reformers. He was also entrusted with the editing of the first German hymn-book of the Bohemian Brethren, which appeared as Ein New Gesengbuchlen at Jungen Bunzel (Jung Bunzlau) in Bohemia in 1531. This contained 155 hymns, all apparently either translations or else originals by himself. The proportion of translations is not very clear. In the preface to the 1531, Weisse addressing the German Communities at Fulnek and Landskron says, "I have also, according to my power, put forth all my ability, your old hymn-book as well as the Bohemian hymn-book (Cantional) being before me, and have brought the same sense, in accordance with Holy Scripture, into German rhyme." Luther called Weisse "a good poet, with somewhat erroneous views on the Sacrament" (i.e. Holy Communion); and, after the Sacramental hymns had been revised by Roh (1544), included 12 of his hymns in V. Babst's Gesang-Buch, 1545. Many of his hymns possess considerable merit. The style is flowing and musical, the religious tone is earnest and manly, but yet tender and truly devout, and the best of them are distinguished by a certain charming simplicity of thought and expression. At least 119 passed into the German Lutheran hymnbooks of the 16th and 17th centuries, and many are still in use. The following hymns by Weisse have also passed into English:— i. Christus ist erstanden. Von des Todes Banden. Easter. First published 1531 as above, and thence in Wackernagel, iii. p. 273, in 7 stanzas of 4 lines. It is suggested by the older hymn, "Christ ist erstanden". In the Unverfälschter Liedersegen, 1851, No. 129. The translation in common use is:— Christ the Lord is risen again! This is a full and very good translation by Miss Winkworth, in her Lyra Germanica, 2nd Ser., 1858, p. 37, and her Chorale Book for England, 1863, No. 58. It has been included in many recent English and American hymnals. Other translations are:— (1) "Christ (and 'tis no wonder"). This is No. 260 in pt. i. of the Moravian Hymn Book, 1754. (2) "Christ our Lord is risen," by Dr. H. Mills, 1856, p. 322. ii. Es geht daher des Tages Schein. Morning. 1531 as above, and thence in Wackernagel, iii. p. 318, in 7 stanzas of 4 lines. In the Unverfälschter Liedersegen, 1851, No. 455. The translations in common use are:— 1. The Light of Day again we see. In full, by H. J. Buckoll in his Hymns from German, 1842, p. 14. His translations of stanzas iii., iv., vi., vii., beginning “Great God, eternal Lord of Heaven," were included in the Rugby School Hymn Book, 1843. 2. Once more the daylight shines abroad. This is a full and very good translation by Miss Winkworth, in her Lyra Germanica, 2nd Ser., 1858, p. 69, and her Chorale Book for England, 1863, No. 18. Repeated in Thring's Collection, 1880-82. iii. Gelobt sei Gott im höchsten Thron. Easter. 1531 as above, and thence in Wackernagel, iii. p. 265, in 20 stanzas of 3 lines, with Alleluia. The translations in common use are: — 1. Praise God upon His heavenly throne. This is a free translation of stanzas 1, 4, 10, 19, 20, by A. T. Russell, as No. 112, in his Psalms & Hymns, 1851. 2. Glory to God upon His throne. By Mrs. H. R. Spaeth, in the Southern Lutheran Service and Hymns for Sunday Schools , Philadelphia, 1883. iv. Gott sah zu seiner Zeit. Christmas. 1531 as above, and thence in Wackernagel, iii. p. 244, in 10 stanzas of 9 lines. The translation in common use is:— When the due Time had taken place. By C. Kinchen, omitting stanza v., as No. 169 in the Moravian Hymn Book, 1742 (1849, No. 20). In the ed. of 1886, No. 954 consists of stanza x., beginning “Ah come, Lord Jesus, hear our prayer." v. Lob sei dem allmächtigen Gott. Advent. 1531 as above, and thence in Wackernagel, iii. p. 230, in 14 stanzas of 4 lines. Included in V. Babst's Gesang-Buch, 1545, and recently as No. 12 in the Unverfälschter Liedersegen , 1851. In the larger edition of the Moravian Hymn Book, 1886, it is marked as a translation from a Bohemian hymn, beginning "Cirkev Kristova Boha chval." The translations are:— 1. Praise be to that Almighty God. By J. Gambold, omitting stanza xi.-xiii., as No, 246, in pt. i. of the Moravian Hymn Book, 1754. In the 1789 and later eds. (1886, No. 31), it begins “To God we render thanks and praise." 2. O come, th' Almighty's praise declare. By A. T. Russell, of stanzas i.-iii., v., as No. 26 in his Psalms & Hymns, 1851. vi. O Herre Jesu Christ, der du erschienen bistanza. For Children. On Christ's Example in His early years on earth . 1531 as above, and in Wackernagel, iii. p. 326, in 7 stanzas of 7 lines. The first three stanzas are translated as “Christ Jesus, Lord most dear," in the Moravian Hymn Book, 1754, pt. i., No. 278. The form in common use is that in Knapp's Evangelischer Lieder-Schatz , 1837, No. 2951, which begins "Nun hilf uns, o Herr Jesu Christ," and is in 3 stanzas of 4 lines, entirely recast. This is translated as:— Lord Jesus Christ, we come to Thee . In full from Knapp, by Miss Winkworth, in her Chorale Book for England , 1863, No. 179. Hymns not in English common use:— vii. Den Vater dort oben. Grace after Meat. 1531, and thence in Wackernagel, iii., p. 321, in 5 stanzas of 7 lines. In the Berlin Geistliche Lieder, ed. 1863, No. 1136. Translated as, "Father, Lord of mercy," by J. V. Jacobi, 1122, p. 117. In his edition, 1732, p. 183, slightly altered, and thence in the Moravian Hymn Book, 1754, pt. i., No. 290. viii. Die Sonne wird mit ihrem Schein. Evening. 1531, and thence in Wackernagel, iii., p. 323, in 6 stanzas of 4 lines. In the Unverfälschter Liedersegen, 1851, No. 517. Translated as, "Soon from our wishful eyes awhile," by H. J. Buckoll, 1842. ix. Komm, heiliger Geist, wahrer Gott. Whitsuntide . 1531, and in Wackernagel , iii., p. 282, in 9 stanzas of 5 lines From the Bohemian as noted at p. 157, and partly suggested by the "Veni Sancte Spiritus reple " (q.v.). The translations are: (1) “Come, Holy Ghost, Lord God indeed." This is No. 285 in pt. i. of the Moravian Hymn Book, 1754. (2) "Thou great Teacher, Who instructest." This is a translation of stanza vii., as No. 234 in the Moravian Hymn Book, 1801 (1849, No. 267). x. Lob und Ehr mit stettem Dankopfer. The Creation: Septuagesima . 1531, and in Wackernagel, iii., p. 287, in 5 stanzas of 16 lines. Translated as, “Praise, glory, thanks, be ever paid," by Miss Winkworth, 1869, p. 137. xi. 0 Jesu Christ, der Heiden Licht. Epiphany. 1531, and in Wackernagel , iii. p. 248, in 2 stanzas of 14 lines. Translated as, "0 Jesus Christ, the Gentiles' Light." This is No. 253 in pt. i. of the Moravian Hymn Book, 1754. In the Brüder Gesang-Buch, 1778, No. 1467, stanza ii. was rewritten. This form begins, "Erscheine alien Auserwahlten," and is in 4 stanzas of 4 lines. Translated as, "Lord, to Thy chosen ones appear," by Miss Winkworth, 1869, p. 139. xii. Singet lieben Leut. Redemption by Christ. 1531, and in Wackernagel, iii. p. 243, in 16 stanzas of 4 lines. Translated as, "Sing, be glad, ye happy sheep." This is a translation of stanza xiv., by C. G. Clemens, as No. 299 in the Moravian Hymn Book, 1789. In the 1801 and later editions (1849, No. 403) it begins, "O rejoice, Christ's happy sheep." [Rev. James Mearns, M.A.] -- Excerpts from John Julian, Dictionary of Hymnology (1907)

W. H. Havergal

1793 - 1870 Composer of "[Hark! a thrilling voice is sounding]" in Hymns of the Second Coming of Our Lord Jesus Christ 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)

John Stainer

1840 - 1901 Composer of "CROSS OF JESUS" in Hymns of the Church

John Bacchus Dykes

1823 - 1876 Person Name: John B. Dykes, 1823—76 Composer of "[Hark! a thrilling voice is sounding]" in The Lutheran Hymnary 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

Edward Caswall

1814 - 1878 Translator of "Hark! a thrilling voice is sounding" in The Hymnal Edward Caswall was born in 1814, at Yately, in Hampshire, where his father was a clergyman. In 1832, he went to Brasenose College, Oxford, and in 1836, took a second-class in classics. His humorous work, "The Art of Pluck," was published in 1835; it is still selling at Oxford, having passed through many editions. In 1838, he was ordained Deacon, and in 1839, Priest. He became perpetural Curate of Stratford-sub-Castle in 1840. In 1841, he resigned his incumbency and visited Ireland. In 1847, he joined the Church of Rome. In 1850, he was admitted into the Congregation of the Oratory at Birmingham, where he has since remained. He has published several works in prose and poetry. --Annotations of the Hymnal, Charles Hutchins, M.A. 1872 ===================== Caswall, Edward, M.A., son of the Rev. R. C. Caswall, sometime Vicar of Yately, Hampshire, born at Yately, July 15, 1814, and educated at Brasenose College, Oxford, graduating in honours in 1836. Taking Holy Orders in 1838, he became in 1840 Incumbent of Stratford-sub-Castle, near Salisbury, and resigned the same in 1847. In 1850 (Mrs. Caswall having died in 1849) he was received into the Roman Catholic communion, and joined Dr. Newman at the Oratory, Edgbaston. His life thenceforth, although void of stirring incidents, was marked by earnest devotion to his clerical duties and a loving interest in the poor, the sick, and in little children. His original poems and hymns were mostly written at the Oratory. He died at Edgbaston, Jan. 2, 1878, and was buried on Jan. 7 at Redwall, near Bromsgrove, by his leader and friend Cardinal Newman. Caswall's translations of Latin hymns from the Roman Breviary and other sources have a wider circulation in modern hymnals than those of any other translator, Dr. Neale alone excepted. This is owing to his general faithfulness to the originals, and the purity of his rhythm, the latter feature specially adapting his hymns to music, and for congregational purposes. His original compositions, although marked by considerable poetical ability, are not extensive in their use, their doctrinal teaching being against their general adoption outside the Roman communion. His hymns appeared in:— (1) Lyra Catholica, which contained 197 translations from the Roman Breviary, Missal, and other sources. First ed. London, James Burns, 1849. This was reprinted in New York in 1851, with several hymns from other sources added thereto. This edition is quoted in the indices to some American hymn-books as Lyra Cath., as in Beecher's Plymouth Collection, 1855, and others. (2) Masque of Mary, and Other Poems, having in addition to the opening poem and a few miscellaneous pieces, 53 translations, and 51 hymns. 1st ed. Lon., Burns and Lambert, 1858. (3) A May Pageant and Other Poems, including 10 original hymns. Lon., Burns and Lambert, 1865. (4) Hymns and Poems, being the three preceding volumes embodied in one, with many of the hymns rewritten or revised, together with elaborate indices. 1st ed. Lon., Burns, Oates & Co., 1873. Of his original hymns about 20 are given in the Roman Catholic Crown of Jesus Hymn Book, N.D; there are also several in the Hymns for the Year, N.D., and other Roman Catholic collections. --John Julian, Dictionary of Hymnology (1907) ====================== Caswall, E. , p. 214, ii. Additional original hymns by Caswall are in the Arundel Hymns, 1902, and other collections. The following are from the Masque of Mary, &c, 1858:— 1. Christian soul, dost thou desire. After Holy Communion. 2. Come, let me for a moment cast. Holy Communion. 3. O Jesu Christ [Lord], remember. Holy Communion. 4. Oft, my soul, thyself remind. Man's Chief End. 5. Sleep, Holy Babe. Christmas. Appeared in the Rambler, June 1850, p. 528. Sometimes given as "Sleep, Jesus, sleep." 6. The glory of summer. Autumn. 7. This is the image of the queen. B. V. M. His "See! amid the winter's snow,” p. 1037, i., was published in Easy Hymn Tunes, 1851, p. 36. In addition the following, mainly altered texts or centos of his translations are also in common use:— 1. A regal throne, for Christ's dear sake. From "Riches and regal throne," p. 870, ii. 2. Come, Holy Ghost, Thy grace inspire. From "Spirit of grace and union," p. 945, i. 3. Hail! ocean star, p. 99, ii,, as 1873. In the Birmingham Oratory Hymn Book, 1850, p. 158. 4. Lovely flow'rs of martyrs, hail. This is the 1849 text. His 1873 text is "Flowers of martyrdom," p. 947, i. 5. None of all the noble cities. From "Bethlehem! of noblest cities," p. 946, ii. 6. O Jesu, Saviour of the World. From “Jesu, Redeemer of the world," p. 228, ii. 7. 0 Lady, high in glory raised. From "O Lady, high in glory, Whose," p. 945, i. The Parochial Hymn Book, 1880, has also the following original hymns by Caswall. As their use is confined to this collection, we give the numbers only:— IS os. 1, 2, 3, 159 (Poems, 1873, p. 453), 209 (1873, p. 288), 299, 324 (1873, p. 323), 357, 402, 554, 555, 558, 569 (1873, p. 334). These are from his Masque of Mary 1858. Nos. 156, 207 (1873, p. 296), 208 (1873, p. 297), 518. These are from his May Pageant, 1865. As several of these hymns do not begin with the original first lines, the original texts are indicated as found in his Poems, 1873. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology, New Supplement (1907)

William Henry Monk

1823 - 1889 Person Name: William H. Monk Composer of "MERTON" in Psalter Hymnal (Gray) William H. Monk (b. Brompton, London, England, 1823; d. London, 1889) is best known for his music editing of Hymns Ancient and Modern (1861, 1868; 1875, and 1889 editions). He also adapted music from plainsong and added accompaniments for Introits for Use Throughout the Year, a book issued with that famous hymnal. Beginning in his teenage years, Monk held a number of musical positions. He became choirmaster at King's College in London in 1847 and was organist and choirmaster at St. Matthias, Stoke Newington, from 1852 to 1889, where he was influenced by the Oxford Movement. At St. Matthias, Monk also began daily choral services with the choir leading the congregation in music chosen according to the church year, including psalms chanted to plainsong. He composed over fifty hymn tunes and edited The Scottish Hymnal (1872 edition) and Wordsworth's Hymns for the Holy Year (1862) as well as the periodical Parish Choir (1840-1851). Bert Polman

John Barnard

b. 1948 Person Name: John Barnard (b. 1948) Composer (descant) of "MERTON" in Ancient and Modern

William S. Bambridge

1842 - 1923 Composer of "ST. ASAPH" in The Evangelical Hymnal

C. Hubert H. Parry

1848 - 1918 Person Name: C. H. H. Parry Composer of "BISHOPTHORPE" in The Church Hymnal Charles Hubert Hastings Parry KnBch/Brnt BMus United Kingdom 1848-1918. Born at Richmond Hill, Bournemouth, England, son of a wealthy director of the East India Company (also a painter, piano and horn musician, and art collector). His mother died of consumption shortly after his birth. His father remarried when he was three, and his stepmother favored her own children over her stepchildren, so he and two siblings were sometimes left out. He attended a preparatory school in Malvern, then at Twyford in Hampshire. He studied music from 1856-58 and became a pianist and composer. His musical interest was encouraged by the headmaster and by two organists. He gained an enduring love for Bach’s music from S S Wesley and took piano and harmony lessons from Edward Brind, who also took him to the ‘Three Choirs Festival in Hereford in 1861, where Mendelssohn, Mozart, Handel, and Beethoven works were performed. That left a great impression on Hubert. It also sparked the beginning of a lifelong association with the festival. That year, his brother was disgraced at Oxford for drug and alcohol use, and his sister, Lucy, died of consumption as well. Both events saddened Hubert. However, he began study at Eton College and distinguished himself at both sport and music. He also began having heart trouble, that would plague him the rest of his life. Eton was not known for its music program, and although some others had interest in music, there were no teachers there that could help Hubert much. He turned to George Elvey, organist of St George’s Chapel, Windsor Castle, and started studying with him in 1863. Hubert eventually wrote some anthems for the choir of St George’s Chapel, and eventually earned his music degree. While still at Eton, Hubert sat for the Oxford Bachelor of Music exam, the youngest person ever to have done so. His exam exercise, a cantata: “O Lord, Thou hast cast us out” astonished the Heather Professor of Music, Sir Frederick Ouseley, and was triumphantly performed and published in 1867. In 1867 he left Eton and went to Exeter College, Oxford. He did not study music there, his music concerns taking second place, but read law and modern history. However, he did go to Stuttgart, Germany, at the urging of Henry Hugh Pierson, to learn re-orchestration, leaving him much more critical of Mendelssohn’s works. When he left Exeter College, at his father’s behest, he felt obliged to try insurance work, as his father considered music only a pastime (too uncertain as a profession). He became an underwriter at Lloyd’s of London, 1870-77, but he found the work unappealing to his interests and inclinations. In 1872 he married Elizabeth Maude Herbert, and they had two daughters: Dorothea and Gwendolen. His in-laws agreed with his father that a conventional career was best, but it did not suit him. He began studying advanced piano with W S Bennett, but found it insufficient. He then took lessons with Edward Dannreuther, a wise and sympathetic teacher, who taught him of Wagner’s music. At the same time as Hubert’s compositions were coming to public notice (1875), he became a scholar of George Grove and soon an assistant editor for his new “Dictionary of Music and Musicians”. He contributed 123 articles to it. His own first work appeared in 1880. In 1883 he became professor of composition and musical history at the Royal College of Music (of which Grove was the head). In 1895 Parry succeeded Grove as head of the college, remaining in the post the remainder of his life. He also succeeded John Stainer as Heather Professor of Music at the University of Oxford (1900-1908). His academic duties were considerable and likely prevented him from composing as much as he might have. However, he was rated a very fine composer, nontheless, of orchestrations, overtures, symphonies, and other music. He only attempted one opera, deemed unsuccessful. Edward Elgar learned much of his craft from Parry’s articles in Grove’s Dictionary, and from those who studied under Parry at the Royal College, including Ralph Vaughn Williams, Gustav Holst, Frank Bridge, and John Ireland. Parry had the ability when teaching music to ascertain a student’s potential for creativity and direct it positively. In 1902 he was created a Baronet of Highnam Court in Gloucester. Parry was also an avid sailor and owned several yachts, becoming a member of the Royal Yacht Squadron in 1908, the only composer so honored. He was a Darwinian and a humanist. His daughter reiterated his liberal, non-conventional thinking. On medical advice he resigned his Oxford appointment in 1908 and produced some of his best known works. He and his wife were taken up with the ‘Suffrage Movement’ in 1916. He hated to see the WW1 ravage young potential musical talent from England and Germany. In 1918 he contracted Spanish flu during the global pandemic and died at Knightsscroft, Rustington, West Sussex. In 2015 they found 70 unpublished works of Parry’s hidden away in a family archive. It is thought some may never have been performed in public. The documents were sold at auction for a large sum. Other works he wrote include: “Studies of great composers” (1886), “The art of music” (1893), “The evolution of the art of music” (1896), “The music of the 17th century” (1902). His best known work is probably his 1909 study of “Johann Sebastian Bach”. John Perry