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William Walsham How

1823 - 1897 Person Name: William W. How, 1823-1897 Topics: Christ the King; All Saints November 1st; All Souls November 2nd; Funeral Sacraments; Communion of Saints; Courage; Discipleship; Eternal Life; Faith; Heaven; Holy Name of Jesus; Music; Praise; Providence; Rest; Second Coming; Song; Strength; Struggle; Trust, Confidence; Worship and Adoration Author of "For All the Saints" in Lead Me, Guide Me (2nd ed.) William W. How (b. Shrewsbury, Shropshire, England, 1823; d. Leenane, County Mayo, Ireland, 1897) studied at Wadham College, Oxford, and Durham University and was ordained in the Church of England in 1847. He served various congregations and became Suffragan Bishop in east London in 1879 and Bishop of Wakefield in 1888. Called both the "poor man's bishop" and "the children's bishop," How was known for his work among the destitute in the London slums and among the factory workers in west Yorkshire. He wrote a number of theological works about controversies surrounding the Oxford Movement and attempted to reconcile biblical creation with the theory of evolution. He was joint editor of Psalms and Hymns (1854) and Church Hymns (1871). While rector in Whittington, How wrote some sixty hymns, including many for children. His collected Poems and Hymns were published in 1886. Bert Polman =============== How, William Walsham, D.D., son of William Wybergh How, Solicitor, Shrewsbury, was born Dec. 13, 1823, at Shrewsbury, and educated at Shrewsbury School and Wadham College, Oxford (B.A. 1845). Taking Holy Orders in 1846, he became successively Curate of St. George's, Kidderminster, 1846; and of Holy Cross, Shrewsbury, 1848. In 1851 he was preferred to the Rectory of Whittington, Diocese of St. Asaph, becoming Rural Dean in 1853, and Hon. Canon of the Cathedral in 1860. In 1879 he was appointed Rector of St. Andrew's Undershaft, London, and was consecrated Suffragan Bishop for East London, under the title of the Bishop of Bedford, and in 1888 Bishop of Wakefield. Bishop How is the author of the Society for Promoting Christian Knowledge Commentary on the Four Gospels; Plain Words , Four Series; Plain Words for Children; Pastor in Parochia; Lectures on Pastoral Work; Three All Saints Summers, and Other Poems , and numerous Sermons , &c. In 1854 was published Psalms and Hymns, Compiled by the Rev. Thomas Baker Morrell, M.A., . . . and the Rev. William Walsham How, M.A. This was republished in an enlarged form in 1864, and to it was added a Supplement in 1867. To this collection Bishop How contributed several hymns, and also to the S. P. C. K. Church Hymns , of which he was joint editor, in 1871. The Bishop's hymns in common use amount in all to nearly sixty. Combining pure rhythm with great directness and simplicity, Bishop How's compositions arrest attention more through a comprehensive grasp of the subject and the unexpected light thrown upon and warmth infused into facia and details usually shunned by the poet, than through glowing imagery and impassioned rhetoric. He has painted lovely images woven with tender thoughts, but these are few, and found in his least appreciated work. Those compositions which have laid the firmest hold upon the Church, are simple, unadorned, but enthusiastically practical hymns, the most popular of which, "O Jesu, Thou art standing"; "For all the Saints who from their labours rest," and "We give Thee but Thine own," have attained to a foremost rank. His adaptations from other writers as in the case from Bishop Ken, "Behold, the Master passeth by," are good, and his Children's hymns are useful and popular. Without any claims to rank as a poet, in the sense in which Cowper and Montgomery were poets, he has sung us songs which will probably outlive all his other literary works. The more important of Bishop How's hymns, including those already named, and "Lord, Thy children guide and keep"; "O Word of God Incarnate"; "This day at Thy creating word"; "Who is this so weak and helpless"; and others which have some special history or feature of interest, are annotated under their respective first lines. The following are also in common use:— i. From Psalms & Hymns, 1854. 1. Before Thine awful presence, Lord. Confirmation. 2. Jesus, Name of wondrous love [priceless worth]. Circumcision. The Name Jesus . 3. Lord Jesus, when we stand afar. Passiontide. 4. O blessing rich, for sons of men. Members of Christ. 5. 0 Lord of Hosts, the earth is Thine. In time of War. 6. O Lord, Who in Thy wondrous love. Advent. ii. From Psalms & Hymns, enlarged, 1864. 7. Lord, this day Thy children meet. Sunday School Anniversary. iii. From Supplement to the Psalms & Hymns, 1867. 8. Hope of hopes and joy of joys. Resurrection. 9. 0 daughters blest of Galilee. For Associations of Women. 10. O happy feet that tread. Public Worship. 11. With trembling awe the chosen three. Transfiguration. iv. From Parish Magazine, 1871, and Church Hymns, 1871. 12. O Jesu, crucified for man. Friday. 13. Yesterday, with worship blest. Monday. v. From the S. P. C. K. Church Hymns. 1871. 14. Bowed low in supplication. For the Parish. 15. Great Gabriel sped on wings of light. Annunciation, of the Blessed Virgin Mary. 16. O blest was he, whose earlier skill. St. Luke. 17. O God, enshrined in dazzling light. Omnipresence. Divine Worship . 18. O heavenly Fount of Light and Love. Witsuntide. 19. O Lord, it is a blessed thing. Weekdays. 20. 0 One with God the Father. Epiphany. 21. O Thou through suffering perfect made. Hospitals. 22. Rejoice, ye sons of men. Purification of the B. V. M. 23. Summer suns are glowing. Summer. 24. The year is swiftly waning. Autumn. 25. Thou art the Christ, O Lord. St. Peter. 26. To Thee our God we fly. National Hymn. 27. Upon the holy Mount they stood. Transfiguration and Church Guilds. 28. We praise Thy grace, 0 Saviour. St. Mark. vi. From the S. P. C. K. Children's Hymns, 1872. 29. Behold a little child. Jesus the Child's Example. 30. Come, praise your Lord and Saviour. Children's Praises. 31. It is a thing most wonderful. Sunday School Anniversary. 32. On wings of living light. Easter. Bishop How's hymns and sacred and secular pieces were collected and published as Poems and Hymns, 1886. The Hymns, 54 in all, are also published separately. He d. Aug. 10, 1897. --John Julian, Dictionary of Hymnology (1907) =================== How, W. W., p. 540, i. He died Aug. 10, 1897. His Memoir, by F. D. How, was published in 1898. --John Julian, Dictionary of Hymnology, New Supplement (1907)

Leland B. Sateren

1913 - 2007 Person Name: Leland Bernhard Sateren Topics: liturgical Communion Songs Harmonizer of "THE ASH GROVE" in Voices United From the obituary in the Star Tribune, Nov. 11-13, 2007:Sateren, Leland B. 94, Edina, died Saturday, Nov. 10, 2007. Sateren, a renowned composer and conductor, served as chairman of the Augsburg College Department of Music from 1950 to 1973, and as director of the Augsburg Choir from 1950 until his retirement in 1979. Survived by devoted wife, Pauline; sons, Terry, Mark (Judi), Roald (Shelley); daughter, Kirsten Bergherr (Jon); and grandchildren, Stacy Lindholm (Pete), Anne Sateren Burow (Matt), Ben Bergherr, Sara Bergherr, Erik Sateren, and Anders Sateren. Sateren is also survived by sisters, Margaret Trautwein, Norma (Ray) Anderson, Sylvia (Dean) Elness; and brother, Donald Sateren. The family would like to thank the staff at Redeemer Residence in Minneapolis for their concern and care. Memorial service at 11 am Saturday, Nov. 17 at the Augsburg College Foss Chapel. Visitation will be from 9:30-10:30 am. Memorials preferred to the Leland B. Sateren Choral Scholarship Fund at Augsburg. From Inside Augsburg:The campus community mourns the death of one of Augsburg’s music giants, composer and conductor Leland Sateren ‘35, who died on Saturday, Nov. 10, at the age of 94. His work includes more than 400 choral pieces he composed, which are sung in churches around the county. Sateren was passionate about Scandinavian choral music and introduced the work of many Scandinavian composers to American choral directors. Sateren graduated from Augsburg in 1935, and for the next 10 years, he attended graduate school at the University of Minnesota, was music director at the university’s KUOM radio station, and served in public service during World War II. In 1946, he returned to Augsburg; 4 years later, he became chair of the Music Department and director of the Augsburg Choir, which he led until his retirement in 1979. He is recognized for the excellence he brought to the Augsburg Choir and Augsburg’s choral arts program. During his long tenure, the choir developed a more contemporary sound and expanded its reach beyond churches into the community, and beyond the Midwest into Europe and international locations. Among Sateren’s many notable accomplishments are premieres of works with the Minnesota Symphony Orchestra and a commissioned piece at the United Nations to commemorate the 20th anniversary of the Universal Declaration of Human Rights. Sateren was the first recipient of the F. Melius Christiansen Memorial Award for choral directors. In 2002 he was awarded the Weston Noble Choral Directors Award. He was also honored with the St. Olaf Medal, presented by King Olav V of Norway, and received two honorary doctorates. Sateren’s impact on the many hundreds of Augsburg students who sang in his choir was remarkable. Peter Hendrickson ’76, director of choral activities and current conductor of the Augsburg Choir, studied with Sateren. A number of other choir alumni who studied under Sateren currently sing in the Masterworks Chorale at Augsburg, also directed by Hendrickson. Sateren’s first wife, Eldora, died in 1968. He is survived by his second wife, Pauline. He is also survived by four siblings, all of whom attended Augsburg — Margaret Trautwein ’37, Norma Anderson ’46, Sylvia Elness ’48, and Donald. Sateren’s four children also all graduated from Augsburg — Terry ’68, Mark ’69, Kirsten Bergherr ’78, and Roald ’80.

Iona Community

Person Name: The Iona Community Topics: liturgical Communion Songs Author of "Shout for Joy" in Voices United Iona Community, an ecumenical Christian group of men and women based on the small island of Iona off the coast of Scotland. The community began in 1938 when the Rev. George MacLeod of the Church of Scotland began a ministry among the unemployed poor who had been neglected by the church. He took a handful of men to the island to rebuild the ruins of a thousand-year-old abbey church. That rebuilding became a metaphor for the rebuilding of the common life, a return to the belief that daily activity is the stuff of godly service – work, and worship. The Community has since grown to include a group of members, associates, and friends all over the United Kingdom and many other countries. In addition to many conferences that attract people to Iona from around the world, the Community is known for its publishing of new songs and prayers for worship, both developed in community and gathered from around the world. For more information on the Iona Community, check their website: www.iona.org.uk. John Bell is probably the community’s most well-known member, having composed and arranged much of the community’s music. Sing! A New Creation

Henry Percy Smith

1825 - 1898 Topics: liturgical Communion Songs Composer of "MARYTON" in Voices United Henry Percy Smith (b. Malta, 1825; d. Bournemouth, Hampshire, England, 1898) was educated at Balliol College, Oxford, England, and ordained a priest in the Church of England in 1850. He served five churches, including St. Michael's York Town in Farnborough (1851-1868), Great Barton in Suffolk (1868-1882), Christ Church in Cannes, France (1882-1892), and the Cathedral in Gibraltar (1892-1898). MARYTON is his only tune found in contemporary hymnals and is thought to be the only tune he published. Bert Polman

John Rippon

1751 - 1836 Person Name: John Rippon, 1751-1836 Topics: Angels; Communion of Saints; Holy Name of Jesus; Majesty and Power; Music; People of God; Praise; Song; Worship and Adoration Alterer of "All Hail the Power of Jesus' Name!" in Lead Me, Guide Me (2nd ed.) Rippon, John, D.D., was born at Tiverton, Devon, April 29, 1751, and was educated for the ministry at the Baptist College, Bristol. In 1773 he became Pastor of the Baptist church in Carter Lane, Tooley Street (afterwards removed to New Park Street), London, and over this church he continued to preside until his death, on Dec. 17, 1836. The degree of D.D. was conferred on him in 1792 by the Baptist College, Providence, Rhode Island. Dr. Rippon was one of the most popular and influential Dissenting ministers of his time. From 1790 to 1802 he issued the Baptist Annual Register, a periodical containing an account of the most important events in the history of the Baptist Denomination in Great Britain and America during that period, and very valuable now as a book of reference. But his most famous work is his Selection of hymns for public worship, which appeared in 1787. The full title of the first edition is A selection of Hymns from the best authors, intended as an Appendix to Dr. Watts's Psalms and Hymns. In 1791 he published a Selection of Psalm and Hymn Tunes from the Best Authors, adapted to Dr. Watts's Psalms and Hymns, and to his own Selection, and from that time the names of tunes were prefixed to the hymns in the successive editions of his hymn-book. In 1800 he published the 10th ed. of his Selections, containing more than sixty additional hymns. In 1827 it was still further enlarged, and in 1844, after his death, appeared The Comprehensive Edition, commonly known as The Comprehensive Rippon, containing most of the additional hymns, with about 400 then first added, making in all upwards of 1170, in 100 metres. A rival to the Comprehensive was also afterwards published under the old title, somewhat enlarged. In the preparation of the original book, and its subsequent improvement, Dr. Rippon performed an important service to Baptist Hymnody, and also, it is said, gained for himself "an estate" through its immense sale. In the preface to the tenth edition lie claims for himself the authorship of some of the hymns, but as he refrained from affixing his name to any of the hymns it is impossible now to say with certainty which ought to be ascribed to him. There can, however, be no reasonable doubt that hymn 535, 3rd part, "The day has dawned, Jehovah comes" (q.v.), is one of his compositions. Other hymns, probably by him, are, "Amid the splendours of Thy state" (Love of God), 1800; and "There is joy in heaven, and joy on earth" (Joy over the Repenting Sinner), 1787. He also altered the texts of and made additions to several of the older hymns. Some of these altered texts are still in common use. In 1830 the additions given in the 27th ed., 1827, of Rippon's Selections were reprinted, with notes by Dr. Slater, as:— Hymns Original and Selected; interspersed in the Twenty-seventh edition of the Selection, with Numerous Doxologies, in the Usual, the Peculiar, and in the less Common metres. By John Rippon, D.D. A second edition of this pamphlet of 82 hymns and doxologies appeared in 1832. [Rev. W. R. Stevenson, M.A.] --John Julian, Dictionary of Hymnology (1907)

Edward Miller

1735 - 1807 Person Name: Edward Miller (1731-1807) Topics: liturgical Communion Songs Arranger of "BISHOPTHORPE" in Common Praise (1998) Edward Miller, Born in the United Kingdom. The son of a pavior (stone paver), Miller left home to study music at King's Lynn. He was a flautist in Handel's orchestra. In 1752 he published “Six Solos for the German Flute”. In 1756 he was appointed organist of St. George Minster Doncaster, continuing in that post for 50 years. He also gave pianoforte lessons. He published hymns and sonatas for harpsichord, 16 editions of “The Institues of Music”, “Elegies for Voice & Pianoforte”, and Psalms of David set to music, arranged for each Sunday of the year. That work had over 5000 subscribers. He published his thoughts on performance of Psalmody in the Church of England, addressed to clergy. In 1801 he published the Psalms of Watts and Wesley for use by Methodists, and in 1804 the history and antiques of Doncaster with a map. John Perry

Fred Pratt Green

1903 - 2000 Topics: liturgical Communion Songs Author of "Lord, We Have Come at Your Own Invitation" The name of the Rev. F. Pratt Green is one of the best-known of the contemporary school of hymnwriters in the British Isles. His name and writings appear in practically every new hymnal and "hymn supplement" wherever English is spoken and sung. And now they are appearing in American hymnals, poetry magazines, and anthologies. Mr. Green was born in Liverpool, England, in 1903. Ordained in the British Methodist ministry, he has been pastor and district superintendent in Brighton and York, and now served in Norwich. There he continued to write new hymns "that fill the gap between the hymns of the first part of this century and the 'far-out' compositions that have crowded into some churches in the last decade or more." --Seven New Hymns of Hope , 1971. Used by permission.

Johann Franck

1618 - 1677 Topics: liturgical Communion Songs Author of "Deck Yourself, My Soul, with Gladness" in Voices United Johann Franck (b. Guben, Brandenburg, Germany, 1618; d. Guben, 1677) was a law student at the University of Köningsberg and practiced law during the Thirty Years' War. He held several positions in civil service, including councillor and mayor of Guben. A significant poet, second only to Paul Gerhardt in his day, Franck wrote some 110 hymns, many of which were published by his friend Johann Crüger in various editions of the Praxis Pietatis melica. All were included in the first part of Franck’s Teutsche Gedichte bestehend im geistliche Sion (1672). Bert Polman ============= Franck, Johann, son of Johann Franck, advocate and councillor at Guben, Brandenburg, was born at Guben, June 1, 1618. After his father's death, in 1620, his uncle by marriage, the Town Judge, Adam Tielckau, adopted him and sent him for his education to the schools at Guben, Cottbus, Stettin and Thorn. On June 28, 1638, he matriculated as a student of law at the University of Königsberg, the only German university left undisturbed by the Thirty Years' War. Here his religious spirit, his love of nature, and his friendship with such men as Simon Dach and Heinrich Held, preserved him from sharing in the excesses of his fellow students. He returned to Guben at Easter, 1640, at the urgent request of his mother, who wished to have him near her in those times of war during which Guben frequently suffered from the presence of both Swedish and Saxon troops. After his return from Prague, May, 1645, he commenced practice as a lawyer. In 1648 he became a burgess and councillor, in 1661 burgomaster, and in 1671 was appointed the deputy from Guben to the Landtag (Diet) of Lower Lusatia. He died at Guben, June 18, 1677; and on the bicentenary of his death, June 18, 1877, a monumental tablet to his memory was affixed to the outer wall of the Stadtkirche at Guben (Koch, iii. 378-385; Allgemeine Deutsche Biographie, vii. 211-212; the two works by Dr. Hugo Jentsch of Guben, Johann Franck, 1877, and Die Abfassungszeit der geistlichen Lieder Johann Franck's, 1876). Of Franck's secular poems those before 1649 are much the best; his later productions becoming more and more affected and artificial, long-winded and full of classical allusions, and much inferior to those of Dach or Opitz. As a hymn writer he holds a high rank and is distinguished for unfeigned and firm faith, deep earnestness, finished form, and noble, pithy, simplicity of expression. In his hymns we miss the objectivity and congregational character of the older German hymns, and notice a more personal, individual tone; especially the longing for the inward and mystical union of Christ with the soul as in his "Jesus, meine Freude." He stands in close relationship with Gerhardt, sometimes more soaring and occasionally more profound, but neither on the whole so natural nor so suited for popular comprehension or Church use. His hymns appeared mostly in the works of his friends Weichmann, Crüger and Peter. They were collected in his Geistliches Sion, Guben, 1674, to the number of 110; and of these the 57 hymns (the other 53 being psalm versions of no great merit) were reprinted with a biographical preface by Dr. J. L. Pasig as Johann Franck's Geistliche Lieder, Grimma, 1846. Two of those translated into English are from the Latin of J. Campanus (q. v.). Four other hymns are annotated under their own first lines:—"Brunquell aller Güter"; "Dreieinigkeit der Gottheit wahrer Spiegel"; "Jesu, meine Freude"; "Schmücke dich, o liebe Secle." The rest are:— i. Hymns in English common use: -- i. Erweitert eure Pforten . [Advent]. Founded on Psalm xxiv. 7-10. First published in C. Peter's Andachts-Zymbeln, Freiberg, 1655, p. 25, in 7 stanzas of 8 lines; repeated 1674, p. 3, and 1846, p. 3, as above. Included in the 1688 and later editions of Crüger's Praxis pietatis, in Bollhagen's Gesang-Buch, 1736, &c. The only translation in common use is:—- Unfold your gates and open, a translation of st. 1, 3, 6, by A. T. Russell, as No. 30 in his Hymns & Psalms, 1851; repeated altered as No. 30 in Kennedy, 1863, and thus as No. 102 in Holy Song, 1869. ii. Herr Gott dich loben wir, Regier. Thanksgiving for Peace. Evidently written as a thanksgiving for the conclusion of the Thirty Years' War, by the Peace of Westphalia, Oct. 24, 1648. First published in the Crüger-Runge Gesang-Buch, Berlin, 1653, No. 306, in 9 st. of 8 l., as the first of the "Hymns of Thanksgiving for Peace attained"; and repeated 1674, p. 182, and 1846, p. 77, as above. Included in Crüger's Praxis, 1653, and many later collections, and, as No. 591, in the Unverfälschter Liedersegen, 1851. The only translation in common use is:— Lord God, we worship Thee, a very good version of st. 2, 3, 6, 8, by Miss Winkworth in her Chorale Book for England, 1863, No. 183. Repeated in full in the Society for Promoting Christian Knowledge Church Hymns, 1871; the Hymnary, 1872; the Psalmist, 1878; and in America in the Pennsylvania Lutheran Church Book, 1868. In the American Protestant Episcopal Collection, 1871; the Hymns & Songs of Praise, N. Y. 1874; and the Ohio Lutheran Hymnal, 1880, the translation of stanza 8 is omitted. iii. Herr ich habe missgehandelt. Lent. Of this fine hymn of penitence stanza i. appeared as No. 19 in Cruger's Geistliche Kirchenmelodien , Leipzig, 1649. The full form in 8 stanzas of 6 lines is No. 41 in the Crüger-Runge Gesang-Buch, Berlin, 1653, entitled "For the forgiveness of sins," repeated 1674, p. 39, and 1846, p. 37, as above. Included in Crüger's Praxis, 1653, and others, and in the Unverfälschter Liedersegen, 1851. The only translation in common use is:— Lord, to Thee I make confession, a very good translation, omitting st. 4, 5, 6, by Miss Winkworth in her Chorale Book for England, 1863, No. 44, repeated in the Appendix to the Hymnal for St. John's, Aberdeen, 1865-1870; and in the Pennsylvania Lutheran Ch. Book, 1868; Evangelical Hymnal, N. Y., 1880; Ohio Lutheran Hymnal, 1880. Another translation is: "Lord, how oft I have offended," by N. L. Frothingham, 1870, p. 177. iv. Herr Jesu, Licht der Heiden. Presentation in the Temple. Founded on the account in St. Luke ii., and probably the finest hymn on the subject. Dr. Jentsch, 1876, p. 9, thinks it was written before Dec. 8, 1669, as C. Peter, who died then, left a melody for it. We have not found the full text earlier than 1674, as above, p. 10, in 6 stanzas of 8 lines, entitled "On the Festival of the Purification of Mary" (1846, p. 10). Included in the 1688 and later editions of Crüger's Praxis, and in the Unverfälschter Liedersegen, 1851, No. 197. The translations in common use are:— 1. Light of the Gentile world , a translation, omitting st. 6, by Miss Winkworth in the first service of her Lyra Germanica, 1855, p. 193 (ed. 1876, p. 195), and thence as No. 147 in the Pennsylvania Lutheran Hymn Book, 1865. This version is in S.M. Double. 2. Light of the Gentile Nations, a good translation, omitting st. 6, by Miss Winkworth in her Chorale Book for England, 1863, No. 80. Repeated in Dr. Thomas's Augustine Hymn Book, 1866, and in America in the Pennsylvania Lutheran Church Book, 1868, and the Ohio Lutheran Hymnal, 1880. ii. Hymns not in English common use: v. Du geballtes Weltgebäude. Christ above all earthly things. Stanza i. in Cruger's Kirchenmelodien, 1649, No. 116. The full text (beginning "Du o schönes) is No. 239 in the Crüger-Runge Gesang-Buch, 1653, in 8 stanzas, entitled "Longing after Eternal Life." Repeated, 1674, p. 194, and 1846, p. 60, as above. The translations are: (1) "Let who will in thee rejoice," by Miss Winkworth, 1855, p. 180 (1876, p. 182). (2) "O beautiful abode of earth," by Miss Warner, 1858 (1861, p. 233). (3) "Thou, O fair Creation-building," by N. L. Frothingham, 1870, p. 232. vi. Unsre müden Augenlieder. Evening. Probably written while a student at Königsberg. First published in J. Weichmann's Sorgen-lägerin, Königsberg, 1648, Pt. iii., No. 4, in 7 st.; repeated 1674, p. 213, and 1846, p. 91, as above. The only translation is by H. J. Buckoll, 1842, p. 79, beginning with st. vi., "Ever, Lord, on Thee relying." [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology (1907)

W. H. Turton

1856 - 1938 Person Name: William Harry Turton (1856-1938) Topics: liturgical Communion Songs Author of "Thou, Who at Thy First Eucharist" in Common Praise (1998) Turton, W. H., a Lieut. in the Royal Engineers, has published A Few Hymns written by A Layman between the Festivals of All Saints, 1880 and 1881. This contains 12 hymns. The Second Series, "written between the Festivals of All Saints, 1881 and 1882," also contains 12 hymns, and the Third Series, 1882-1883, another 12. These hymns are worthy of attention. Those which have passed into common use include;— 1. And now our Eucharist is o'er (1881-1882). Holy Communion. 2. 0 Thou who at Thy Eucharist didst pray. For Unity. "This hymn was used at S. Mary Magdalene's, Munster Square, N. W., in the Anniversary Service of the English Church Union, June 22,1881. It is intended to be sung after the ‘Agnus Dei,' at a choral celebration." In the 1889 Supplemental Hymns to Hymns Ancient & Modern it reads "Thou, Who at Thy first Eucharist didst pray." "This hymn was used at S. Mary Magdalene's, Munster Square, N. W., in the Anniversary Service of the English Church Union, June 22,1881. It is intended to be sung after the ‘Agnus Dei,' at a choral celebration." In the 1889 Supplemental Hymns to Hymns Ancient & Modern it reads "Thou, Who at Thy first Eucharist didst pray." These hymns are in the Altar Hymnal, 1884, together with a third, "Behold! the star is shining." (Epiphany.) Lieut. Turton's signature on A Few Hymns is "R. E." and his publishers, The Church Printing Co., London. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

Orlando Gibbons

1583 - 1625 Person Name: Orlando Gibbons (1583-1625) Topics: liturgical Communion Songs Composer of "SONG 1" in Common Praise (1998) 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

Reginald Heber

1783 - 1826 Topics: liturgical Communion Songs Author of "Bread of the World (Tu es notre pain véritable)" in Voices United Reginald Heber was born in 1783 into a wealthy, educated family. He was a bright youth, translating a Latin classic into English verse by the time he was seven, entering Oxford at 17, and winning two awards for his poetry during his time there. After his graduation he became rector of his father's church in the village of Hodnet near Shrewsbury in the west of England where he remained for 16 years. He was appointed Bishop of Calcutta in 1823 and worked tirelessly for three years until the weather and travel took its toll on his health and he died of a stroke. Most of his 57 hymns, which include "Holy, Holy, Holy," are still in use today. -- Greg Scheer, 1995 ==================== Heber, Reginald, D.D. Born at Malpas, April 21, 1783, educated at Brasenose College, Oxford; Vicar of Hodnet, 1807; Bishop of Calcutta, 1823; died at Trichinopoly, India, April 3, 1826. The gift of versification shewed itself in Heber's childhood; and his Newdigate prize poem Palestine, which was read to Scott at breakfast in his rooms at Brazenose, Oxford, and owed one of its most striking passages to Scott's suggestion, is almost the only prize poem that has won a permanent place in poetical literature. His sixteen years at Hodnet, where he held a halfway position between a parson and a squire, were marked not only by his devoted care of his people, as a parish priest, but by literary work. He was the friend of Milman, Gifford, Southey, and others, in the world of letters, endeared to them by his candour, gentleness, "salient playfulness," as well as learning and culture. He was on the original staff of The Quarterly Review; Bampton Lecturer (1815); and Preacher at Lincoln's Inn (1822). His edition of Jeremy Taylor is still the classic edition. During this portion of his life he had often had a lurking fondness for India, had traced on the map Indian journeys, and had been tempted to wish himself Bishop of Calcutta. When he was forty years old the literary life was closed by his call to the Episcopate. No memory of Indian annals is holier than that of the three years of ceaseless travel, splendid administration, and saintly enthusiasm, of his tenure of the see of Calcutta. He ordained the first Christian native—Christian David. His first visitation ranged through Bengal, Bombay, and Ceylon; and at Delhi and Lucknow he was prostrated with fever. His second visitation took him through the scenes of Schwartz's labours in Madras Presidency to Trichinopoly, where on April 3,1826, he confirmed forty-two persons, and he was deeply moved by the impression of the struggling mission, so much so that “he showed no appearance of bodily exhaus¬tion." On his return from the service ”He retired into his own room, and according to his invariable custom, wrote on the back of the address on Confirmation 'Trichinopoly, April 3, 1826.' This was his last act, for immediately on taking off his clothes, he went into a large cold bath, where he had bathed the two preceding mornings, but which was now the destined agent of his removal to Paradise. Half an hour after, his servant, alarmed at his long absence, entered the room and found him a lifeless corpse." Life, &c, 1830, vol. ii. p. 437. Heber's hymns were all written during the Hodnet period. Even the great missionary hymn, "From Greenland's icy mountains," notwithstanding the Indian allusions ("India's coral strand," "Ceylon's isle"), was written before he received the offer of Calcutta. The touching funeral hymn, "Thou art gone to the grave," was written on the loss of his first babe, which was a deep grief to him. Some of the hymns were published (1811-16) in the Christian Observer, the rest were not published till after his death. They formed part of a ms. collection made for Hodnet (but not published), which contained, besides a few hymns from older and special sources, contributions by Milman. The first idea of the collection appears in a letter in 1809 asking for a copy of the Olney Hymns, which he "admired very much." The plan was to compose hymns connected with the Epistles and Gospels, to be sung after the Nicene Creed. He was the first to publish sermons on the Sunday services (1822), and a writer in The Guardian has pointed out that these efforts of Heber were the germs of the now familiar practice, developed through the Christian Year (perhaps following Ken's Hymns on the Festivals), and by Augustus Hare, of welding together sermon, hymnal, and liturgy. Heber tried to obtain from Archbishop Manners Sutton and the Bishop of London (1820) authorization of his ms. collection of hymns by the Church, enlarging on the "powerful engine" which hymns were among Dissenters, and the irregular use of them in the church, which it was impossible to suppress, and better to regulate. The authorization was not granted. The lyric spirit of Scott and Byron passed into our hymns in Heber's verse; imparting a fuller rhythm to the older measures, as illustrated by "Oh, Saviour, is Thy promise fled," or the martial hymn, "The Son of God goes forth to war;" pressing into sacred service the freer rhythms of contemporary poetry (e.g. "Brightest and best of the sons of the morning"; "God that madest earth and heaven"); and aiming at consistent grace of literary expression.. Their beauties and faults spring from this modern spirit. They have not the scriptural strength of our best early hymns, nor the dogmatic force of the best Latin ones. They are too flowing and florid, and the conditions of hymn composition are not sufficiently understood. But as pure and graceful devotional poetry, always true and reverent, they are an unfailing pleasure. The finest of them is that majestic anthem, founded on the rhythm of the English Bible, "Holy, Holy, Holy, Lord God Almighty." The greatest evidence of Heber's popularity as a hymnwriter, and his refined taste as a compiler, is found in the fact that the total contents of his ms. collection which were given in his posthumous Hymns written and adapted to the Weekly Church Service of the Year. London, J. Murray, 1827; which included 57 hymns by Heber, 12 by Milman, and 29 by other writers, are in common in Great Britain and America at the present time. [Rev. H. Leigh Bennett, M.A.] Of Bishop Heber's hymns, about one half are annotated under their respective first lines. Those given below were published in Heber's posthumous Hymns, &c, 1827. Some of them are in extensive use in Great Britain and America; but as they possess no special histories they are grouped together as from the Hymns, &c, 1827:— 1. Beneath our feet, and o'er our head. Burial. 2. Creator of the rolling flood. St. Peter's Day, or, Gospel for 6th Sunday after Trinity. 3. Lo, the lilies of the field. Teachings of Nature: or, Gospel for 15th Sunday after Trinity. 4. 0 God, by Whom the seed is given. Sexagesima. 6. 0 God, my sins are manifold. Forgiveness, or, Gospel for 22nd S. after Trinity. 6. 0 hand of bounty, largely spread. Water into Wine, or, Gospel for 2nd S. after Epiphany. 7. 0 King of earth, and air, and sea. Feeding the Multitude; or, Gospel for 4th S. in Lent. 8. 0 more than merciful, Whose bounty gave. Good Friday. 9. 0 most merciful! 0 most bountiful. Introit Holy Communion. 10. 0 Thou, Whom neither time nor space. God unsearchable, or, Gospel for 5th Sunday in Lent. 11. 0 weep not o'er thy children's tomb. Innocents Day. 12. Room for the proud! Ye sons of clay. Dives and Lazarus, or, Gospel for 1st Sunday after Trinity. 13. Sit thou on my right hand, my Son, saith the Lord. Ascension. 14. Spirit of truth, on this thy day. Whit-Sunday. 15. The feeble pulse, the gasping breath. Burial, or, Gospel for 1st S. after Trinity. 16. The God of glory walks His round. Septuagesima, or, the Labourers in the Marketplace. 17. The sound of war in earth and air. Wrestling against Principalities and Powers, or, Epistle for 2lst Sunday after Trinity. 18. The world is grown old, her pleasures are past. Advent; or, Epistle for 4th Sunday in Advent. 19. There was joy in heaven. The Lost Sheep; or, Gospel for 3rd S. after Trinity. 20. Though sorrows rise and dangers roll. St. James's Day. 21. To conquer and to save, the Son of God. Christ the Conqueror. 22. Virgin-born, we bow before Thee. The Virgin Mary. Blessed amongst women, or, Gospel for 3rd S. in Lent. 23. Wake not, 0 mother, sounds of lamentation. Raising the Widow's Son, or, Gospel for 16th S. after Trinity. 24. When on her Maker's bosom. Holy Matrimony, or, Gospel for 2nd S. after Epiphany. 25. When through the torn sail the wild tempest is streaming. Stilling the Sea, or, Gospel for 4th Sunday after Epiphany. 26. Who yonder on the desert heath. The Good Samaritan, or, Gospel for 13th Sunday after Trinity. This list is a good index of the subjects treated of in those of Heber's hymns which are given under their first lines, and shows that he used the Gospels far more than the Epistles in his work. --John Julian, Dictionary of Hymnology (1907)

Herman G. Stuempfle

1923 - 2007 Person Name: Herman G. Stuempfle, Jr. Topics: liturgical Communion Songs Author of "Christ, Be Our Host" in Voices United Rev. Dr. Herman G. Stuempfle, Jr., 83, died Tuesday, March 13, 2007, after a long illness. Born April 2, 1923, in Clarion, he was the son of the late Herman G. and Helen (Wolfe) Stuempfle, Sr. Stuempfle lived most of his life in Gettysburg, PA. He served as President of the Lutheran Theological Seminary in Gettysburg. He attended Hughesville public schools, and was a graduate of Susquehanna University and the Lutheran Theological Seminary at Gettysburg. He received additional advanced degrees from Union Theological Seminary in New York and a doctoral degree at Southern California School of Theology at Claremont. He retired in 1989. Rev. Dr. Stuempfle was the author of several books and numerous articles and lectures on preaching, history, and theology. He was also among the most honored and respected hymn writers of the 20th and 21st centuries. Rev. Dr. Stuempfle was known for his leadership in community and civic projects. Always taking an active stance on social issues, he participated in the creation of day care centers, served on the Gettysburg interchurch social action committee, helped create and support prison ministries and a homeless shelter, and tutored young people in the after school program of Christ Lutheran Church, where he was a long time member. --Excerpts from his obituary published in Evening Sun from Mar. 15 to Mar. 16, 2007

Colin Gibson

b. 1933 Topics: liturgical Communion Songs Composer of "WROSLYN ROAD" in Voices United Colin Gibson (b. 1933) was born in Dunedin, the south island of New Zealand. He has been writing hymn texts and hymn settings for over 20 years. His works have been published and performed in Africa, the United States, Asia and Australasia, Great Britain and Europe. He is organist and director of the Mornington Methodist Choir, Dunedin, New Zealand, a lay preacher, and retired in 1999 as Head of the Department and Donald Collie Professor of English at the University of Otago where he currently heads the Department of Theatre Studies and continues to lecture on English Literature as Emeritus Professor. He has conducted numerous hymn workshops in New Zealand, Australia and Great Britain, and has been co-editor of a number of hymn collections. His frequent collaboration with Shirley Erena Murray is represented in several Hope publications, and he has his own published collections of hymns: Singing Love (Collins) and more recently Reading the Signature (Hope, 1994 - Code #1753) and Songs for a Rainbow People (Hope, 1998 - Code #8005). Three of his hymns are included in the Hope hymnal Worship & Rejoice (2001). --www.hopepublishing.com

William Moore

1790 - 1850 Topics: liturgical Communion Songs Composer of "HOLY MANNA" in Voices United William B Moore USA 1790-1850. He was born, possibly in TN. He was a composer, having contributed tunes to” Wyeth’s Repository” (1810) and known for his tunebook “Columbian Harmony” (1825) in TN. He also composed and arranged several tunes in William Walker’s “Southern Harmony” (1835). John Perry

Michael Joncas

b. 1951 Person Name: Michael Joncas, b. 1951 Topics: Service Music for Mass Communion Song Author (verses) of "Psalm 116: Our Blessing-Cup" in Glory and Praise (3rd. ed.)

Catherine Winkworth

1827 - 1878 Topics: liturgical Communion Songs Translator of "Deck Yourself, My Soul, with Gladness" in Voices United Catherine Winkworth (b. Holborn, London, England, 1827; d. Monnetier, Savoy, France, 1878) is well known for her English translations of German hymns; her translations were polished and yet remained close to the original. Educated initially by her mother, she lived with relatives in Dresden, Germany, in 1845, where she acquired her knowledge of German and interest in German hymnody. After residing near Manchester until 1862, she moved to Clifton, near Bristol. A pioneer in promoting women's rights, Winkworth put much of her energy into the encouragement of higher education for women. She translated a large number of German hymn texts from hymnals owned by a friend, Baron Bunsen. Though often altered, these translations continue to be used in many modern hymnals. Her work was published in two series of Lyra Germanica (1855, 1858) and in The Chorale Book for England (1863), which included the appropriate German tune with each text as provided by Sterndale Bennett and Otto Goldschmidt. Winkworth also translated biographies of German Christians who promoted ministries to the poor and sick and compiled a handbook of biographies of German hymn authors, Christian Singers of Germany (1869). Bert Polman ======================== Winkworth, Catherine, daughter of Henry Winkworth, of Alderley Edge, Cheshire, was born in London, Sep. 13, 1829. Most of her early life was spent in the neighbourhood of Manchester. Subsequently she removed with the family to Clifton, near Bristol. She died suddenly of heart disease, at Monnetier, in Savoy, in July, 1878. Miss Winkworth published:— Translations from the German of the Life of Pastor Fliedner, the Founder of the Sisterhood of Protestant Deaconesses at Kaiserworth, 1861; and of the Life of Amelia Sieveking, 1863. Her sympathy with practical efforts for the benefit of women, and with a pure devotional life, as seen in these translations, received from her the most practical illustration possible in the deep and active interest which she took in educational work in connection with the Clifton Association for the Higher Education of Women, and kindred societies there and elsewhere. Our interest, however, is mainly centred in her hymnological work as embodied in her:— (1) Lyra Germanica, 1st Ser., 1855. (2) Lyra Germanica, 2nd Ser., 1858. (3) The Chorale Book for England (containing translations from the German, together with music), 1863; and (4) her charming biographical work, the Christian Singers of Germany, 1869. In a sympathetic article on Miss Winkworth in the Inquirer of July 20, 1878, Dr. Martineau says:— "The translations contained in these volumes are invariably faithful, and for the most part both terse and delicate; and an admirable art is applied to the management of complex and difficult versification. They have not quite the fire of John Wesley's versions of Moravian hymns, or the wonderful fusion and reproduction of thought which may be found in Coleridge. But if less flowing they are more conscientious than either, and attain a result as poetical as severe exactitude admits, being only a little short of ‘native music'" Dr. Percival, then Principal of Clifton College, also wrote concerning her (in the Bristol Times and Mirror), in July, 1878:— "She was a person of remarkable intellectual and social gifts, and very unusual attainments; but what specially distinguished her was her combination of rare ability and great knowledge with a certain tender and sympathetic refinement which constitutes the special charm of the true womanly character." Dr. Martineau (as above) says her religious life afforded "a happy example of the piety which the Church of England discipline may implant.....The fast hold she retained of her discipleship of Christ was no example of ‘feminine simplicity,' carrying on the childish mind into maturer years, but the clear allegiance of a firm mind, familiar with the pretensions of non-Christian schools, well able to test them, and undiverted by them from her first love." Miss Winkworth, although not the earliest of modern translators from the German into English, is certainly the foremost in rank and popularity. Her translations are the most widely used of any from that language, and have had more to do with the modern revival of the English use of German hymns than the versions of any other writer. -- John Julian, Dictionary of Hymnology (1907) ============================ See also in: Hymn Writers of the Church

T. A. Lacey

1853 - 1931 Topics: liturgical Communion Songs Translator of "O Word immortal of eternal God" Lacey, Thomas Alexander, s. of G. F. Lacey, was b. at Nottingham, Dec. 20, 1853. He entered Balliol Coll., Oxford, as an exhibitioner in 1871 (B.A. 1876, M.A. 1885), was ordained D. 1876, P. 1879, was from 1894 to 1903 Vicar of Madingley near Cambridge, and since then has been Chaplain of the London Diocesan Penitentiary. He was one of the Committee who compiled The English Hymnal, 1906, and contributed to it twelve translations (8, 66, 67, 69, 104, 123, 124, 174, 208, 226, 249, 325), also one unpublished and one previously published original, viz., 1. O Faith of England, taught of old. [Church Defence.] 2. The dying robber raised his aching brow. [Good Friday.] First in the Treasury, Sept. 1905, p. 482, headed "Sursum." Three other translations by him are noted at pp. 989, i. 1139, ii. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology, New Supplement (1907)

G. W. Kitchin

1827 - 1912 Person Name: George W. Kitchin Topics: Service of the Table Post-Communion Songs Author of "Lift High the Cross" in Renew! Songs and Hymns for Blended Worship A scholar and Anglican clergyman, George W. Kitchin (b. Naughton, Suffolk, England, 1827; d. Durham, England, 1912) spent most of his life in academic institutions. Educated at Christ Church, Oxford, England, he was ordained in the Church of England in 1852. He served initially as a headmaster in Twyford, Hampshire, and then as a tutor at Oxford (1863-1883). Later he served as Dean of Winchester Cathedral from 1883 to 1894 and of Durham Cathedral from 1894 to 1912; Kitchin was also chancellor of Durham University the last few years of his life. His publications include A Life of Pope Pius II (1881), a three volume work entitled A History of France (1877), and archeological writings. Bert Polman

Robert Jackson

1840 - 1914 Topics: liturgical Communion Songs Composer of "NIAGARA" in Voices United After receiving his musical training at the Royal Academy of Music, Robert Jackson (b, Oldham, Lancashire, England, 1840; d. Oldham, 1914) worked briefly as organist at St. Mark's Church, Grosvenor Square, in London. But he spent most of his life as organist at St. Peter's Church in Oldham (1868-1914), where his father had previously been organist for forty-eight years. A composer of hymn tunes, Jackson was also the conductor of the Oldham Music Society and Werneth Vocal Society. Bert Polman

James Quinn

1919 - 2010 Topics: liturgical Communion Songs Author of "Now, from the Heav'ns Descending" James Quinn (b. Glasgow, Scotland, April 21, 1919; d. Edinburgh, Scotland, April 8, 2010) was a Roman Catholic Jesuit priest who was ordained in 1950. As a consultant for the International Commission on English in the Liturgy, sparked by Vatican II, he has exerted influence far beyond his native Scotland. A collection of his hymn texts is available from Selah Publishing company. Sing a New Creation

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