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Fred Kaan

1929 - 2009 Topics: Agnus Dei Translator (English) of "Vos sos el destazodo en la cruz" in Agape Fred Kaan Hymn writer. His hymns include both original work and translations. He sought to address issues of peace and justice. He was born in Haarlem in the Netherlands in July 1929. He was baptised in St Bavo Cathedral but his family did not attend church regularly. He lived through the Nazi occupation, saw three of his grandparents die of starvation, and witnessed his parents deep involvement in the resistance movement. They took in a number of refugees. He became a pacifist and began attending church in his teens. Having become interested in British Congregationalism (later to become the United Reformed Church) through a friendship, he was attended Western College in Bristol. He was ordained in 1955 at the Windsor Road Congregational Church in Barry, Glamorgan. In 1963 he was called to be minister of the Pilgrim Church in Plymouth. It was in this congregation that he began to write hymns. The first edition of Pilgrim Praise was published in 1968, going into second and third editions in 1972 and 1975. He continued writing many more hymns throughout his life. Dianne Shapiro, from obituary written by Keith Forecast in Independent (http://www.independent.co.uk/news/obituaries/fred-kaan-minister-and-celebrated-hymn-writer-1809481.html)

David Saint

Topics: liturgical Agnus Dei Composer of "[Lamb of God]" in Voices United Organist

Stephen Somerville

1931 - 2015 Topics: Agnus Dei Composer of "[Lamb of God, you take away the sin of the world]" in Catholic Book of Worship III Somerville, Stephen Francis. (London, England, April 1, 1931-- ). Roman Catholic. University of Toronto, B.A., 1952; Laval University (Quebec), L.Th., 1956; graduate study in Rome. Pastorates (in Ontario) at Grimsby, 1957-1960; Niagara Falls, 1960-1963; Ottawa, 1977-1979; Midland, 1979-?. Taught at St. Michael's Choir School, Toronto, 1963-1970. Edited (1970-1977) Living with Christ, a "missalette" issued every six weeks, giving prayer and scripture passages for all Masses to be celebrated, and including appropriate hymns. During this time he chaired the Diocese of Ottawa's liturgical commission, and represented Canada (1968-1975) on ICEL, charged by the Pope with preparing a text for the whole liturgy which the entire English-speaking world might use. --Hugh D. McKellar, DNAH Archives

John L. Bell

b. 1949 Topics: Agnus Dei Composer of "[Behold the Lamb of God] (Bell)" in Singing the New Testament John Bell (b. 1949) was born in the Scottish town of Kilmarnock in Ayrshire, intending to be a music teacher when he felt the call to the ministry. But in frustration with his classes, he did volunteer work in a deprived neighborhood in London for a time and also served for two years as an associate pastor at the English Reformed Church in Amsterdam. After graduating he worked for five years as a youth pastor for the Church of Scotland, serving a large region that included about 500 churches. He then took a similar position with the Iona Community, and with his colleague Graham Maule, began to broaden the youth ministry to focus on renewal of the church’s worship. His approach soon turned to composing songs within the identifiable traditions of hymnody that began to address concerns missing from the current Scottish hymnal: "I discovered that seldom did our hymns represent the plight of poor people to God. There was nothing that dealt with unemployment, nothing that dealt with living in a multicultural society and feeling disenfranchised. There was nothing about child abuse…,that reflected concern for the developing world, nothing that helped see ourselves as brothers and sisters to those who are suffering from poverty or persecution." [from an interview in Reformed Worship (March 1993)] That concern not only led to writing many songs, but increasingly to introducing them internationally in many conferences, while also gathering songs from around the world. He was convener for the fourth edition of the Church of Scotland’s Church Hymnary (2005), a very different collection from the previous 1973 edition. His books, The Singing Thing and The Singing Thing Too, as well as the many collections of songs and worship resources produced by John Bell—some together with other members of the Iona Community’s “Wild Goose Resource Group,” —are available in North America from GIA Publications. Emily Brink

Dietrich Werner

Topics: Agnus Dei Translator (German) of "Lamb of God" in Agape

Communauté de Taizé

Person Name: Taizé Community Topics: Service Music Agnus Dei Composer of "[Agnus Dei, qui tollis peccata mundi]" in Worship (3rd ed.)

Richard Proulx

1937 - 2010 Topics: Setting One Agnus Dei Composer of "[Lamb of God, you take away the sins of the world]" in Worship (3rd ed.) Richard Proulx (b. St. Paul, MN, April 3, 1937; d. Chicago, IL, February 18, 2010). A composer, conductor, and teacher, Proulx was director of music at the Holy Name Cathedral in Chicago, Illinois (1980-1997); before that he was organist and choirmaster at St. Thomas' Episcopal Church in Seattle, Washington. He contributed his expertise to the Roman Catholic Worship III (1986), The Episcopal Hymnal 1982, The United Methodist Hymnal (1989), and the ecumenical A New Hymnal for Colleges and Schools (1992). He was educated at the University of Minnesota, MacPhail College of Music in Minneapolis, Minnesota, St. John's Abbey in Collegeville, Minnesota, and the Royal School of Church Music in England. He composed more than 250 works. Bert Polman

Toño Robira

Topics: Service Music Agnus Dei Composer of "[Cordero de Dios]" in Global Praise 3

David Hurd

b. 1950 Topics: Setting Three Agnus Dei Composer of "[Lamb of God, you take away the sins of the world]" in Worship (3rd ed.) David Hurd (b. Brooklyn, New York, 1950) was a boy soprano at St. Gabriel's Church in Hollis, Long Island, New York. Educated at Oberlin College and the University of North Carolina, he has been professor of church music and organist at General Theological Seminary in New York since 1976. In 1985 he also became director of music for All Saints Episcopal Church, New York. Hurd is an outstanding recitalist and improvisor and a composer of organ, choral, and instrumental music. In 1987 David Hurd was awarded the degree of Doctor of Music, honoris causa, by the Berkeley Divinity School at Yale. The following year he received honorary doctorates from the Church Divinity School of the Pacific, Berkeley, California, and from Seabury-Western Theological Seminary, Evanston, Illinois. His I Sing As I Arise Today, the collected hymn tunes of David Hurd, was published in 2010. Bert Polman and Emily Brink

Jacques Berthier

1923 - 1994 Topics: Service Music Agnus Dei Composer of "[Agnus Dei, qui tollis peccata mundi]" in Worship (3rd ed.) Jacques Berthier (b. Auxerre, Burgundy, June 27, 1923; d. June 27, 1994) A son of musical parents, Berthier studied music at the Ecole Cesar Franck in Paris. From 1961 until his death he served as organist at St. Ignace Church, Paris. Although his published works include numerous compositions for organ, voice, and instruments, Berthier is best known as the composer of service music for the Taizé community near Cluny, Burgundy. Influenced by the French liturgist and church musician Joseph Gelineau, Berthier began writing songs for equal voices in 1955 for the services of the then nascent community of twenty brothers at Taizé. As the Taizé community grew, Berthier continued to compose most of the mini-hymns, canons, and various associated instrumental arrangements, which are now universally known as the Taizé repertoire. In the past two decades this repertoire has become widely used in North American church music in both Roman Catholic and Protestant traditions. Bert Polman

Paul D. Weber

b. 1949 Person Name: Paul D. Weber, b. 1949 Topics: Agnus Dei Composer of "[Lamb of God]" in Lutheran Service Book

Nicolaus Decius

1485 - 1541 Person Name: N. Decius, 1485- aft. 1546 Topics: Agnus Dei Author of "Lamb of God, Pure and Holy" in Evangelical Lutheran Hymnary Decius, Nicolaus (Nicolaus a Curia or von Hofe, otherwise Hovesch, seems to have been a native of Hof, in Upper Franconia, Bavaria, and to have been originally called Tech. He became a monk, and was in 1519 Probst of the cloister at Steterburg, near Wolfenbüttel. Becoming favourable to the opinions of Luther, he left Steterburg in July, 1522, and went to Brunswick, where he was appointed a master in the St. Katherine and Egidien School. In 1523 he was invited by the burgesses of Stettin to labour there as an Evangelical preacher along with Paulus von Rhode. He became preacher at the Church of St. Nicholas; was probably instituted by the Town Council in 1526, when von Rhode was instituted to St. Jacob's; and at the visitation in 1535 was recognized as pastor of St. Nicholas'. He died suddenly at Stettin, March 21, 1541, with some suspicion of being poisoned by his enemies of the Roman Catholic faction (Koch, i. 419-421, 471, 472; ii. 483; Allg. Deutsche Biography, iii. 791-793).He seems to have been a popular preacher and a good musician. Three hymns are ascribed to him. These are versions of the “Sanctus," the "Gloria in excelsis," and the "Agnus Dei." The second and third are noted under these Latin first lines. He is also said to have composed or adapted the melodies set to them. [Rev. James Mearns, M.A.] -- John Julian, Dictionary of Hymnology (1907)

Carlos Mejía Godoy

b. 1943 Person Name: Carlos Mejia Godoy Topics: Agnus Dei Author of "Vos sos el destazodo en la cruz" in Agape Carlos Mejía Godoy (born June 27, 1943) is a Nicaraguan musician, composer and singer. He was born in Somoto, Madriz. Son of Carlos Mejía Fajardo and María Elsa Godoy, his brother Luis Enrique Mejía Godoy, three years younger than he is, is also an acclaimed and much-loved musician. Carlos and Luis Enrique were pivotal in the New Song Movement in Central America beginning in the 1970s. Many of his songs, performed with his band los de Palacagüina, became associated with the Sandinista movement as songs of the workers and revolutionaries. He even composed a Mass for the working class, the Misa Campesina Nicaragüense. Many of his songs during the late 1970s gave instructions on how to use, assemble, and disassemble the rifles people were capturing from dictator Somoza's National Guard during street battles.

Franz Schubert

1797 - 1828 Person Name: Franz Schubert, 1797-1828 Topics: Service Music Agnus Dei Composer of "[Jesus, Lamb of God, have mercy on us]" in Christian Worship Franz Peter Schubert, 31 January 1797 – 19 November 1828) was an Austrian composer. In a short lifespan of just 31 years, Schubert was a prolific composer, writing some 600 Lieder, nine symphonies (including the famous "Unfinished Symphony"), liturgical music, operas, some incidental music, and a large body of chamber and solo piano music. Appreciation of Schubert's music during his lifetime was limited, but interest in his work increased significantly in the decades following his death. Franz Liszt, Robert Schumann, Johannes Brahms and Felix Mendelssohn, among others, discovered and championed his works in the 19th century. Today, Schubert is seen as one of the leading exponents of the early Romantic era in music and he remains one of the most frequently performed composers. Early life and education Schubert was born in Himmelpfortgrund (now a part of Alsergrund), Vienna, on 31 January 1797. His father, Franz Theodor Schubert, the son of a Moravian peasant, was a parish schoolmaster; his mother, Elisabeth Vietz, was the daughter of a Silesian master locksmith, and had also been a housemaid for a Viennese family prior to her marriage. Of Franz Theodor's fourteen children (one illegitimate child was born in 1783), nine died in infancy; five survived. Their father was a well-known teacher, and his school in Lichtental, a part of Vienna's 9th district, was well attended. He was not a musician of fame or with formal training, but he taught his son some elements of music. At the age of five, Schubert began receiving regular instruction from his father and a year later was enrolled at his father's school. His formal musical education also started around the same time. His father continued to teach him the basics of the violin, and his brother Ignaz gave him piano lessons. At the age of seven, Schubert began receiving lessons from Michael Holzer, the local church organist and choirmaster. Holzer's lessons seem to have mainly consisted of conversations and expressions of admiration and the boy gained more from his acquaintance with a friendly joiner's apprentice who used to take him to a neighboring pianoforte warehouse where he had the opportunity to practice on better instruments. He also played the viola in the family string quartet, with brothers Ferdinand and Ignaz on violin and his father on the cello. Schubert wrote many of his early string quartets for this ensemble. Schubert first came to the attention of Antonio Salieri, then Vienna's leading musical authority, in 1804, when his vocal talent was recognized. In October 1808, he became a pupil at the Stadtkonvikt (Imperial seminary) through a choir scholarship. At the Stadtkonvikt, Schubert was introduced to the overtures and symphonies of Mozart. His exposure to these pieces and various lighter compositions, combined with his occasional visits to the opera set the foundation for his greater musical knowledge. One important musical influence came from the songs of Johann Rudolf Zumsteeg, who was an important Lied composer of the time, which, his friend Joseph von Spaun reported, he "wanted to modernize". Schubert's friendship with Spaun began at the Stadtkonvikt and endured through his lifetime. In those early days, the more well-to-do Spaun furnished the impoverished Schubert with manuscript paper. Meanwhile, his genius began to show in his compositions. Schubert was occasionally permitted to lead the Stadtkonvikt's orchestra, and Salieri decided to begin training him privately in musical composition and theory in these years. It was the first germ of that amateur orchestra for which, in later years, many of his compositions were written. During the remainder of his stay at the Stadtkonvikt he wrote a good deal of chamber music, several songs, some miscellaneous pieces for the pianoforte and, among his more ambitious efforts, a Kyrie (D. 31) and Salve Regina (D. 27), an octet for wind instruments (D. 72/72a, said to commemorate the 1812 death of his mother), a cantata for guitar and male voices (D. 110, in honor of his father's birthday in 1813), and his first symphony (D. 82). At the end of 1813, he left the Stadtkonvikt, and returned home for studies at the Normalhauptschule to train as a teacher. In 1814, he entered his father's school as teacher of the youngest students. For over two years, the young man endured the drudgery of the work, which he performed with very indifferent success. There were, however, other interests to compensate. He continued to receive private lessons in composition from Salieri, who did more for Schubert’s musical training than any of his other teachers. Salieri and Schubert would part ways in 1817. In 1814, Schubert met a young soprano named Therese Grob, the daughter of a local silk manufacturer. Several of his songs (Salve Regina and Tantum Ergo) were composed for her voice, and she also performed in the premiere of his first Mass (D. 105) in September 1814. Schubert intended to marry Grob, but was hindered by the harsh marriage consent law of 1815, which required the ability to show the means to support a family. In November 1816, after failing to gain a position at Laibach, Schubert sent Grob's brother Heinrich a collection of songs, which were retained by her family into the 20th century. One of Schubert's most prolific years was 1815. He composed over 20,000 bars of music, more than half of which was for orchestra, including nine church works, a symphony, and about 140 Lieder. In that year, he was also introduced to Anselm Hüttenbrenner and Franz von Schober, who would become his lifelong friends. Another friend, Johann Mayrhofer, was introduced to him by Spaun in 1814. Maynard Solomon suggested that Schubert was erotically attracted to men, a thesis that has, at times, been heatedly debated. Musicologist and Schubert expert Rita Steblin claimed that he was "chasing women". Supported by friends Significant changes happened in 1816. Schober, a student of good family and some means, invited Schubert to room with him at his mother's house. The proposal was particularly opportune, for Schubert had just made the unsuccessful application for the post of Kapellmeister at Laibach, and he had also decided not to resume teaching duties at his father's school. By the end of the year, he became a guest in Schober's lodgings. For a time, he attempted to increase the household resources by giving music lessons, but they were soon abandoned, and he devoted himself to composition. "I compose every morning, and when one piece is done, I begin another." During this year, he focused on orchestral and choral works, although he also continued to write Lieder. Much of this work was unpublished, but manuscripts and copies circulated among friends and admirers. In early 1817, Schober introduced Schubert to Johann Michael Vogl, a prominent baritone twenty years Schubert's senior. Vogl, for whom Schubert went on to write a great many songs, became one of Schubert's main proponents in Viennese musical circles. He also met Joseph Hüttenbrenner (brother to Anselm), who also played a role in promoting Schubert's music. These, and an increasing circle of friends and musicians, became responsible for promoting, collecting, and, after his death, preserving his work. In late 1817, Schubert's father gained a new position at a school in Rossau (not far from Lichtental). Schubert rejoined his father and reluctantly took up teaching duties there. In early 1818, he was rejected for membership in the prestigious Gesellschaft der Musikfreunde, something that might have furthered his musical career. However, he began to gain more notice in the press, and the first public performance of a secular work, an overture performed in February 1818, received praise from the press in Vienna and abroad. Schubert spent the summer of 1818 as music teacher to the family of Count Johann Karl Esterházy at their château in Zseliz (then in Hungary, now in Slovakia). His duties were relatively light (teaching piano and singing to the two daughters, Marie and Karoline), and the pay was relatively good. As a result, he happily continued to compose during this time. It may have been at this time that he wrote one of his now world-famous compositions, the Marche militaire No. 1 in D major. Marie and Karoline both being his piano students, and the original score of "Marche Militaire" being a piano duet, lend credence to this view. On his return from Zseliz, he took up residence with his friend Mayrhofer. The respite at Zseliz led to a succession of compositions for piano duet. During the early 1820s, Schubert was part of a close-knit circle of artists and students who had social gatherings together that became known as "Schubertiaden". The tight circle of friends with which Schubert surrounded himself was dealt a blow in early 1820. Schubert and four of his friends were arrested by the Austrian police, who (in the aftermath of the French Revolution and Napoleonic Wars) were on their guard against revolutionary activities and suspicious of any gathering of youth or students. One of Schubert's friends, Johann Senn, was put on trial, imprisoned for over a year, and then permanently forbidden to enter Vienna. The other four, including Schubert, were "severely reprimanded", in part for "inveighing against [officials] with insulting and opprobrious language". While Schubert never saw Senn again, he did set some of his poems, "Selige Welt" and "Schwanengesang", to music. The incident may have played a role in a falling-out with Mayrhofer, with whom he was living at the time. He was nicknamed "Schwämmerl" by his friends, which Gibbs describes as translating to "Tubby" or "Little Mushroom". "Schwammerl" is Austrian (and other) dialect for mushroom; the umlaut makes it a diminutive. Musical maturity The compositions of 1819 and 1820 show a marked advance in development and maturity of style. The unfinished oratorio "Lazarus" (D. 689) was begun in February; later followed, amid a number of smaller works, by the 23rd Psalm (D. 706), the Gesang der Geister (D. 705/714), the Quartettsatz in C minor (D. 703), and the "Wanderer Fantasy" for piano (D. 760). Of most notable interest is the staging in 1820 of two of Schubert's operas: Die Zwillingsbrüder (D. 647) appeared at the Theater am Kärntnertor on 14 June, and Die Zauberharfe (D. 644) appeared at the Theater an der Wien on 21 August. Hitherto, his larger compositions (apart from his masses) had been restricted to the amateur orchestra at the Gundelhof, a society which grew out of the quartet-parties at his home. Now he began to assume a more prominent position, addressing a wider public. Publishers, however, remained distant, with Anton Diabelli hesitantly agreeing to print some of his works on commission. The first seven opus numbers (all songs) appeared on these terms; then the commission ceased, and he began to receive the meager pittances which were all that the great publishing houses ever paid him. The situation improved somewhat in March 1821 when Vogl sang "Der Erlkönig" at a concert that was extremely well received. That month, Schubert composed a variation on a waltz by Anton Diabelli (D. 718), being one of the fifty composers who contributed to Vaterländischer Künstlerverein. The production of the two operas turned Schubert's attention more firmly than ever in the direction of the stage, where, for a variety of reasons, he was almost completely unsuccessful. All in all, he produced seventeen stage works, each of them failures which were quickly forgotten. In 1822, Alfonso und Estrella was refused, partly owing to its libretto. Fierrabras (D. 796) was rejected in the fall of 1823, but this was largely due to the popularity of Rossini and the Italian operatic style, and the failure of Carl Maria von Weber's Euryanthe. Die Verschworenen (The Conspirators, D. 787) was prohibited by the censor (apparently on the grounds of its title), and Rosamunde (D. 797) was withdrawn after two nights, owing to the poor quality of the play for which Schubert had written incidental music. Of these works, the two former are written on a scale which would make their performances exceedingly difficult (Fierrabras, for instance, contains over 1,000 pages of manuscript score), but Die Verschworenen is a bright attractive comedy, and Rosamunde contains some of the most charming music that Schubert ever composed. In 1822, he made the acquaintance of both Weber and Beethoven, but little came of it in either case. Beethoven is said to have acknowledged the younger man's gifts on a few occasions, but some of this is likely legend and in any case he could not have known the real scope of Schubert's music – especially not the instrumental works – as so little of it was printed or performed in the composer's lifetime. On his deathbed, Beethoven is said to have looked into some of the younger man's works and exclaimed, "Truly, the spark of divine genius resides in this Schubert!" but what would have come of it if he had recovered we can never know. Last years and masterworks Despite his preoccupation with the stage, and later with his official duties, Schubert found time during these years for a significant amount of composition. He completed the Mass in A flat (fr) (D. 678) and, in 1822, embarked suddenly on a work which more decisively than almost any other in those years showed his maturing personal vision, the "Unfinished Symphony" in B minor. The reason he left it unfinished after two movements and sketches some way into a third remains an enigma, and it is also remarkable that he did not mention it to any of his friends even though, as Brian Newbould notes, he must have felt thrilled by what he was achieving. The event has been debated endlessly without resolution. In 1823 Schubert, in addition to Fierrabras, also wrote his first song cycle, Die schöne Müllerin (D. 795), setting poems by Wilhelm Müller. This series, together with the later cycle "Winterreise" (D. 911, also setting texts of Müller in 1827) is widely considered one of the pinnacles of Lieder. He also composed the song Du bist die Ruh ("You are stillness/peace") D. 776 during this year. Also in that year, symptoms of syphilis first appeared. In 1824, he wrote the variations for flute and piano on "Trockne Blumen", from the cycle Die schöne Müllerin, and several string quartets. He also wrote the Arpeggione Sonata (D. 821), at a time when there was a minor craze over that instrument. In the spring of that year he wrote the Octet in F (D. 803), "A Sketch for a Grand Symphony"; and in the summer went back to Zseliz. There he became attracted to Hungarian musical idiom, and wrote the Divertissement à la hongroise (D. 818) for piano duet and the String Quartet in A minor (D. 804). It has been said that he held a hopeless passion for his pupil, the Countess Karoline Eszterházy, but the only work he dedicated to her was his Fantasie in F minor (D. 940) for piano duet. The setbacks of previous years were compensated for by the prosperity and happiness of 1825. Publication had been moving more rapidly; the stress of poverty was for a time lightened; and in the summer he had a pleasant holiday in Upper Austria, where he was welcomed with enthusiasm. It was during this tour that he produced his "Songs from Sir Walter Scott". This cycle contains Ellens dritter Gesang (D. 839), a setting of Adam Storck's German translation of Scott's hymn from The Lady of the Lake, which is widely, though mistakenly, referred to as "Schubert's Ave Maria". It opens with the greeting Ave Maria, which recurs in the refrain; the entire Scott/Storck text in Schubert's song is frequently substituted with the complete Latin text of the traditional Ave Maria prayer. In 1825, Schubert also wrote the Piano Sonata in A minor (Op. 42, D. 845), and began the "Great" C major

Mabel Wu

Topics: Agnus Dei Author of "Shang di de gao yang" in Agape

Howard Hughes

b. 1930 Person Name: Howard Hughes, SM Topics: Service Music Agnus Dei Composer of "[Lamb of God, you take away the sins of the world]" in Worship (3rd ed.) In his letter of invitation to Brother Howard Hughes, the President of NPM, J. Michael McMahon, declared, “Board Members agreed unanimously that you have created compositions for the liturgy that are beautiful, delightful, and spirited, and that have fostered strong participation by the worshiping assembly as they pray the texts you have set to music.” The Marianist composer’s first published work was “Mass for Peace” which appeared in Peoples Mass Book, 1964 edition, released by World Library Publications. As liturgical celebration developed in the English vernacular following the Second Vatican Council, Brother Howard produced a wide range of liturgical compositions published by WLP, GIA, ICEL, OCP, LTP, CFCW, FDLC, USCC, RP, NPM, Presbyterian Church USA, and The United Methodist Hymnal Companion. And at the age of 81 he is still composing and accepting commissions for special events. A Marianist religious for 64 years, this distinguished liturgical musician and composer began as a high teacher of French and director of high school choral groups. In addition Brother Howard also sang in symphonic choruses in New York and in Baltimore. He commented that “conducting high school choral concerts and singing with adult symphonic choruses have been a great help in learning to write music.” The National Association of Pastoral Musicians will honor Brother Howard Hughes, S.M., as Pastoral Musician of the Year when it gathers for its national convention in Washington, DC, July 29 – August 2, 2012. Currently the awardee serves as organist and music director for the Marianist Center in Cupertino, CA. --http://www.dsj.org/being-catholic/worship

David Clark Isele

Topics: Service Music Agnus Dei Composer of "[Lamb of God, you take away the sins of the world]" in Worship (3rd ed.)

Richard Hillert

1923 - 2010 Topics: Service Music Agnus Dei Composer of "[Lamb of God, you take away the sins of the world]" in Worship (3rd ed.) Richard Hillert was born in Granton, Clark County, Wis., on March 14, 1923. There he attended parochial and public schools and later enrolled at Concordia Teachers College (now Concordia University Chicago), River Forest, where he received the Bachelor of Science degree in Education. He served as teacher and music director for parishes in St. Louis, Mo., Wausau, Wis., and Chicago and Westchester, Ill. He received both the Master of Music and the Doctor of Music degrees in composition from Northwestern University, Evanston, Ill. His teachers included Matthew Nathaniel Lundquist, Anthony Donato, Alan Stout, Arrand Parsons, Emil Nolte, and John Ohl. He studied composition with the Italian composer, Goffredo Petrassi, at Aaron Copland’s Berkshire Music Center, Tanglewood, Mass. Richard Hillert was a noted Lutheran composer. He was Distinguished Professor of Music Emeritus at Concordia University Chicago, River Forest, Ill. He was best known for his work as a composer and teacher of composition. Among his most frequently performed liturgical works for congregation is Worthy Is Christ, with its antiphon, “This is the Feast of Victory” which was written as an alternate Song of Praise for inclusion in Setting One of the Holy Communion in Lutheran Book of Worship (1978) and Lutheran Worship (1982). "This is the Feast" is now widely published in more than 20 recent worship books of many denominations, most recently in Lutheran Service Book (2006) and Evangelical Lutheran Worship (2006). Other major liturgical works include a setting of Evening Prayer (1984) and a Eucharistic Festival Liturgy (1983), which was first performed at Holy Name Cathedral in Chicago. He wrote liturgical pieces and hymns and served as music editor for Worship Supplement(1969) and Lutheran Book of Worship (1978). His compositions and publications include an array of pieces of liturgical music for congregation, choral motets, hymns and hymn anthems, psalm settings and organ works, concertatos, and cantatas, including settings of The Christmas Story According to Saint Luke and The Passion According to Saint John. He edited eleven volumes of the Concordia Hymn Prelude Series. Hillert's career as Professor of Music at Concordia (now Concordia University Chicago) spanned four decades, from 1959 to 1993. During this time he taught classes in music theory and composition, music literature, 20th century music, orchestration, keyboard instruction, comparative arts and liturgical worship. He served in various capacities in the music department, as chair in 1964-65 and from 1986–89, as coordinator of the Master of Church Music program, and as associate editor of the journal Church Music (1966–80). Non-liturgical compositions include symphonic works for orchestra (Symphony in Three Movements, Variations for Orchestra, Suite for Strings), chamber works for small orchestra and ensembles (Alternations for Seven Instruments, Divertimento I and II) as well as many works for keyboard, instrumental solos and songs. The latter include Sonata for Piano (1961), a violin sonata, and two sonatas for flute and keyboard. Major organ works include Prelude and Toccata, Ricercata, Passacaglia on Innocent Sounds, Partita on Picardy, and Partita on Atkinson. There are also concert works with sacred texts, such as Five Canticles from the Exodus (1958), Te Deum for two pianos, percussion, and wind instruments (1962), The Alleluiatic Sequence (1980), and Seven Psalms of Grace for baritone solo and chamber orchestra (1998). Extended choral works, many written for Concordia’s Kapelle conducted by Thomas Gieschen, include the Cantata: "May God Bestow on Us His Grace" (1964), "Motet for the Day of Pentecost" for choir, vibraphone, and prepared electronic tape (written for the round-the-world tour in 1969), "Motet for the Time of Easter" for double choir, percussion, and harp (1971), and "Agnus Dei" for three choirs and percussion instruments (1974). Richard Hillert authored numerous scholarly articles and reviews for the periodicals such as Church Music, CrossAccent, and Currents in Theology and Mission, and other professional books and journals. He received an honorary Doctor of Sacred Music degree from Valparaiso University, and honorary Doctor of Letters degrees from Concordia University at Seward, Nebraska, and Concordia Seminary, St. Louis. He was an honorary life member of the Association of Lutheran Church Musicians. His former students throughout the land have careers as practicing church musicians, elementary and secondary school teachers, teachers in higher education, music editors and publishers, and composers. Richard Hillert was married to Gloria Bonnin Hillert. They had three children: Kathryn Brewer, Virginia and Jonathan Hillert. --en.wikipedia.org

ICEL

Person Name: International Consultation of English Texts Topics: Agnus Dei Translator of "Agnus Dei - I (Lamb of God)" in Lutheran Service Book

Marty Haugen

b. 1950 Topics: Agnus Dei Composer of "[Jesus, Lamb of God, you take away the sin of the world]" in Catholic Book of Worship III Marty Haugen (b. 1950), is a prolific liturgical composer with many songs included in hymnals across the liturgical spectrum of North American hymnals and beyond, with many songs translated into different languages. He was raised in the American Lutheran Church, received a BA in psychology from Luther College, yet found his first position as a church musician in a Roman Catholic parish at a time when the Roman Catholic Church was undergoing profound liturgical and musical changes after Vatican II. Finding a vocation in that parish to provide accessible songs for worship, he continued to compose and to study, receiving an MA in pastoral studies at the University of St. Thomas in St. Paul Minnesota. A number of liturgical settings were prepared for the Evangelical Lutheran Church in America and more than 400 of his compositions are available from several publishers, especially GIA Publications, who also produced some 30 recordings of his songs. He is composer-in-residence at Mayflower Community Congregational Church in Minneapolis and continues to compose and travel to speak and teach at worship events around the world. Emily Brink

Paul Benoît

1893 - 1979 Person Name: Paul Benoit Topics: Agnus Dei Composer of "[Lamb of God, you take away the sin of the world]" in Catholic Book of Worship III

C. Alexander Peloquin

1918 - 1997 Person Name: Alexander Peloquin Topics: Service Music Agnus Dei Composer of "[Lamb of God, you take away the sins of the world]" in Worship (3rd ed.)

James E. Clemens

b. 1966 Topics: Agnus Dei / Lamb of God; Agnus Dei / Lamb of God Composer of "LAMB OF GOD" in Voices Together

Yusuf Khill

Topics: Agnus Dei / Lamb of God Author of "یا حمل الله Ya hamala Allah (O Lamb of God)" in Voices Together Yusuf Khill, an Arab composer

Barrie Cabena

b. 1933 Topics: Agnus Dei Composer of "[Lamb of God, you take away the sins of the world]" in Agape

David M. Young

1928 - 1997 Topics: Agnus Dei Composer of "[Lamb of God, you take away the sin of the world]" in Catholic Book of Worship III

Jeffrey Blersch

b. 1967 Person Name: Jeffrey N. Blersch, b. 1967 Topics: Agnus Dei Composer of "[Lamb of God]" in Lutheran Service Book

Lynn Trapp

Topics: Agnus Dei Composer of "[Lamb of God, You take away the sin of the world]" in Catholic Book of Worship III

Marc Chambron

Topics: Agnus Dei Translator (French) of "Jesus, Lamb of God (Agnus Dei)" in Agape

Angelika Joachim

Topics: Agnus Dei Translator (German) of "Jesus, Lamb of God (Agnus Dei)" in Agape

Päivi Hannele Jussila

Person Name: Päivi Jussila Topics: Agnus Dei Translator (German) of "Shang di de gao yang" in Agape

Grace Coutinho

Topics: Agnus Dei Composer of "[Lamb of God, you take away the sin of the world]" in Catholic Book of Worship III

Reinhold Renner

Person Name: R. Renner Topics: Agnus Dei Translator (German) of "Ya hamalaLah" in Agape

U. Schwendler

Topics: Agnus Dei Translator (German) of "Ya hamalaLah" in Agape

Jen-se Wu

Topics: Service Music Agnus Dei Composer of "[Siōng-te ê lû-ko, chiūsī tûkhì sèkan ê chōe ê]" in Sound the Bamboo

Jules Martel

1905 - 1981 Person Name: J. Martel Topics: Agnus Dei Composer of "[Agneau de Dieu, qui enlèves le péché du monde]" in Catholic Book of Worship III

Louis Philippe Normand

Person Name: L. P. Normand, OMI Topics: Agnus Dei Composer of "[Agneau de Dieu, qui enlèves le péché du monde]" in Catholic Book of Worship III

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