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Johann Franck

1618 - 1677 Topics: Epiphany 2 Year A; Easter 3 Year A; Easter 3 Year A; Proper 10 Year A; Proper 12 Year A; Proper 5 Year B; Proper 9 Year B; Proper 14 Year B; Epiphany 2 Year C; Epiphany 7 Year C; Lent 3 Year C; Lent 5 Year C; Proper 11 Year C; Proper 19 Year C; Proper 23 Year C; Proper 26 Year C; Ash Wednesday Year ABC Author of "Jesus, Priceless Treasure" 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)

Jennie Evelyn Hussey

1874 - 1958 Topics: Year A Good Friday; Year A Holy Saturday; Year A Easter; Year B Good Friday; Year B Holy Saturday; Year B Easter; Year C Good Friday; Year C Holy Saturday; Year C Easter Author of "Ruler of Life, We Crown You Now" in The New Century Hymnal Jane Evelyn Hussy was born 8 February 1874 in Henniker, N.H. She was an invalid from rheumatism. She began writing verse as a child. The first were published when she was thirteen. At sixteen she began to write stories, articles and designs for crochet needlework for magazines. In 1898 her first hymns were published. She was a member of the Society of Friends. Dianne Shapiro, from "The Singers and Their Songs: sketches of living gospel hymn writers" by Charles Hutchinson Gabriel (Chicago: The Rodeheaver Company, 1916)

Martin Madan

1726 - 1790 Topics: Christian Year Advent; Advent 2 Year A; Advent 4 Year A; Easter 2 Year A; Proper 27 Year A; Reign of Christ Year A; Advent 1 Year B; Easter 2 Year B; Proper 27 Year B; Proper 28 Year B; Reign of Christ Year B; Advent 1 Year C; Easter 2 Year C Alterer of "Lo, He Comes with Clouds Descending" in Voices United Madan, Martin, son of Colonel Martin Madan, and brother of Dr. Spencer Madan, sometime Bishop of Peterborough, was born in 1726. He was to have qualified for the Bar, but through a sermon by J. Wesley on the words "Prepare to meet thy God," the whole current of his life was changed. After some difficulty he received Holy Orders, and subsequently founded and became chaplain of the Lock Hospital, Hyde Park Corner. He was popular as a preacher, and had no inconsiderable reputation as a musical composer. He ceased preaching on the publication of his work Thelyphthora, in which he advocated the practice of polygamy. He died in 1790. He published A Commentary on the Articles of the Church of England; A Treatise on the Christian Faith, &c, and:- A Collection of Psalms and Hymns Extracted from Various Authors, and published by the Reverend Mr. Madan. London, 1760. This Collection contained 170 hymns thrown together without order or system of any kind. In 1763 he added an Appendix of 24 hymns. This Collection, referred to as Madam’s Psalms & Hymns, had for many years a most powerful influence on the hymnody of the Church of England. Nearly the whole of its contents, together with its extensively altered texts, were reprinted in numerous hymnbooks for nearly one hundred years. At the present time many of the great hymns of the last century are in use as altered by him in 1760 and 1763. Although several hymns have been attributed to him, we have no evidence that he ever wrote one. His hymnological labours were employed in altering, piecing, and expanding the work of others. And in this he was most successful. -- John Julian, Dictionary of Hymnology (1907) ============================

John Wesley Work

1873 - 1925 Person Name: John Wesley Work II Topics: The Christian Year Christmas; Christian Year Christmas; Advent 4 Year A; Christmas Eve Year A; Christmas Day 2 Year A; Epiphany Year A; Advent 2 Year B; Christmas 1 Year B; Christmas Day 2 Year C; Epiphany 3 Year C Author of "Go, Tell It on the Mountain" in Voices United John W. Work, Jr. (b. Nashville, TN, 1872; d. Nashville, 1925), is well known for his pioneering studies of African American folk music and for his leadership in the performance of spirituals. He studied music at Fisk University in Nashville and classics at Harvard and then taught Latin, Greek, and history at Fisk from 1898 to 1923. Director of the Jubilee Singers at Fisk, Work also sang tenor in the Fisk Jubilee Quartet, which toured the country after 1909 and made commercial recordings. He was president of Roger Williams University in Nashville during the last two years of his life. Work and his brother Frederick Jerome Work (1879-1942) were devoted to collecting, arranging, and publishing African American slave songs and spirituals. They published two collections: New Jubilee Songs as Sung by the Fisk Jubilee Singers (1901) and Folk Songs of the American Negro (1907). Bert Polman

Bland Tucker

1895 - 1984 Person Name: Francis Bland Tucker Topics: Proper 5 Year A; Proper 8 Year A; Epiphany Last/Transfig. Year B; Lent 2 Year B; Easter 5 Year B; Easter 7 Year B; Proper 15 Year B; Proper 22 Year B; Lent 2 Year C; Reign of Christ Year C Author of "All Praise to Thee" in Voices United Francis Bland Tucker (born Norfolk, Virginia, January 6, 1895). The son of a bishop and brother of a Presiding bishop of the Episcopal Church, he was educated at the University of Virginia, B.A., 1914, and at Virginia Theological Seminary, B.D., 1920; D.D., 1944. He was ordained deacon in 1918, priest in 1920, after having served as a private in Evacuation Hospital No.15 of the American Expeditionary Forces in France during World War I. His first charge was as a rector of Grammer Parish, Brunswick County, in southern Virginia. From 1925 to 1945, he was rector of historic St. John's Church, Georgetown, Washington, D.C. Then until retirement in 1967 he was rector of John Wesley's parish in Georgia, old Christ Church, Savannah. In "Reflections of a Hymn Writer" (The Hymn 30.2, April 1979, pp.115–116), he speaks of never having a thought of writing a hymn until he was named a member of the Joint Commission on the Revision of the Hymnal in 1937 which prepared the Hymnal 1940

Phillips Brooks

1835 - 1893 Topics: The Christian Year Christmas; Christian Year Christmas; Advent 4 Year A; Christmas Eve Year A; Christmas Eve Year B; Christmas Day 1 Year B; Advent 4 Year C; Christmas Day 1 Year C Author of "O Little Town of Bethlehem" in Voices United Brooks, Phillips, D.D., was born at Boston, Dec. 13, 1835, graduated at Harvard College 1855, and was ordained in 1859. Successively Rector of the Church of the Advent, Philadelphia, and Trinity Church, Boston, he became Bishop of Mass. in 1891, and died at Boston in Jan., 1893. His Carol, "O little town of Bethlehem," was written for his Sunday School in 1868, the author having spent Christmas, 1866, at Bethlehem. His hymn, "God hath sent His angels to the earth again," is dated 1877. --John Julian, Dictionary of Hymnology, New Supplement (1907)

Robert Bridges

1844 - 1930 Person Name: Robert Seymour Bridges Topics: The Christian Year Holy Week; Christian Year Lent; Christian Year Holy Week; Christmas 1 Year A; Palm/Passion Sunday Year A; Proper 21 Year A; Lent 1 Year B; Lent 5 Year B; Palm/Passion Sunday Year B; Holy Thursday Year B; Good Friday Year B; Proper 14 Year B; Palm/Passion Sunday Year C; Holy Thursday Year C; Good Friday Year C; Ash Wednesday Year ABC; Holy thursday Year ABC; Good Friday Year ABC Translator of "Ah, Holy Jesus" in Voices United Robert S. Bridges (b. Walmer, Kent, England, 1844; d. Boar's Hill, Abingdon, Berkshire, England, 1930) In a modern listing of important poets Bridges' name is often omitted, but in his generation he was considered a great poet and fine scholar. He studied medicine and practiced as a physician until 1881, when he moved to the village of Yattendon. He had already written some poetry, but after 1881 his literary career became a full-time occupation, and in 1913 he was awarded the position of poet laureate in England. Bridges published The Yattendon Hymnal (1899), a collection of one hundred hymns (forty-four written or translated by him with settings mainly from the Genevan psalter, arranged for unaccompanied singing. In addition to volumes of poetry, Bridges also published A Practical Discourse on Some Principles of Hymn-Singing (1899) and About Hymns (1911). Bert Polman =================== Bridges, Robert Seymour, M.A., son of J. J. Bridges, of Walmer, Kent, was b. Oct. 23, 1844, and educated at Eton and at Corpus Christi College, Oxford (B.A. 1867, M.A. 1874). He took his M.A. in 1874, but retired from practice in 1882, and now (1906) resides at Yattendon, Berks. He is the author of many poems and plays. He edition and contributed to the Yattendon Hymnal, 1899 (originally printed at the Oxford Univ. Press in parts—Nos. 1-25, 1895; 26-50, 1897; 51-75, 1898; 76-100, 1899). [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology, New Supplement (1907)

Samuel Crossman

1623 - 1684 Topics: The Christian Year Holy Week; Christian Year Passion/Palm Sunday; Christian Year Holy Week; Palm/Passion Sunday Year A; Easter 6 Year A; Proper 22 Year A; Lent 1 Year B; Lent 5 Year B; Palm/Passion Sunday Year B; Good Friday Year B; Easter 3 Year B; Palm/Passion Sunday Year C; Good Friday Year C; Easter 3 Year C; Good Friday Year ABC Author of "My Song Is Love Unknown" in Voices United Crossman, Samuel , B.D. From A. Wood's Athenae Oxonienses (1720, vol. ii. p. 730) we gather all that is known of this hymnwriter. Wood says concerning him:— "Samuel Crossman, Bachelor of Divinity of Cambridge, and Prebendary of Bristol, son of Samuel Crossman, of Bradfield Monachorum, in Suffolk. He hath written and published several things, as The Young Man's Monitor, &c, London, 1664, 8vo., and several sermons, among which are two sermons preached in the Cathedral of Bristol, 30th Jan., 1679, and 30th Jan., 1680, being the days of public humiliation for the execrable murder of King Charles I, printed at London, 1681, &c.; also a sermon preached 23rd April, 1680, in the Cathedral Church of Bristol, before the Gentlemen of the Artillery Company newly raised in that City, printed at London, 1680, &c; and, "An Humble Plea for the quiet rest of God's Ark," preached before Sir Joh. Moore, Lord Mayor of London, at St. Mildred's Church in the Poultrey, 5th February, 1681, London, 1682, 4to, &c. He died 4th February, 1683, aged 69 years, and was buried in the South Aisle of the Cathedral Church in Bristol" [of which he had been appointed Dean a few weeks before]. Crossman's contributions to hymnody were given in a small pamphlet entitled:— The Young Man's Meditation, or some few Sacred Poems upon Select Subjects, and Scriptures. By Samuel Crossman, B.D. London, Printed by J. H., &c, 1664. This pamphlet, which was reprinted by D. Sedgwick, London, 1863, contains 9 sacred poems. Of these the following are in common use:— 1. My life's a shade, my days. Resurrection. This is in 6 stanzas of 4 lines, together with a chorus to each stanza of 4 Lines. It is sometimes given as "Life is a shade, my days," as in Kennedy, 1863. 2. Sweet place, sweet place alone, Pt. i. Jerusalem on high, Pt. ii. These two parts form one poem on Heaven. The most popular portion is Pt. ii. This is given in numerous collections in Great Britain and America. Part i. is not so extensively used. From the two parts the cento "Earth's but a sorry tent," in the Dutch Reformed Hymns of the Church, N. Y. 1869, is also taken. 3. Farewell, poor world, I must be gone. Death anticipated. This is given in the Comprehensive Rippon, 1844, and in a few of the older American hymnbooks. 4. My song is love unknown. In the Anglican Hymnbook, 1863 -- John Julian, Dictionary of Hymnology (1907)

Michael Haydn

1737 - 1806 Person Name: Johann Michael Haydn Topics: Epiphany 8 Year A; Proper 4 Year A; Proper 11 Year A; Proper 15 Year A; Lent 1 Year B; Proper 13 Year B; Thanksgiving Year B; Lent 1 Year C; Holy Thursday Year C; Proper 12 Year C; Proper 13 Year C; Proper 21 Year C; Ash Wednesday Year ABC; Holy thursday Year ABC; Easter Evening Year ABC Composer of "SALZBURG (HAYDN)" in Voices United Johann Michael Haydn Austria 1737-1806. Born at Rohrau, Austria, the son of a wheelwright and town mayor (a very religious man who also played the harp and was a great influence on his sons' religious thinking), and the younger brother of Franz Joseph Haydn, he became a choirboy in his youth at the Cathedral of St. Stephen in Vienna, as did his brother, Joseph, an exceptional singer. For that reason boys both were taken into the church choir. Michael was a brighter student than Joseph, but was expelled from music school when his voice broke at age 17. The brothers remained close all their lives, and Joseph regarded Michael's religious works superior to his own. Michael played harpsichord, violin, and organ, earning a precarious living as a freelance musician in his early years. In 1757 he became kapellmeister to Archbishop, Sigismund of Grosswardein, in Hungary, and in 1762 concertmaster to Archbishop, Hieronymous of Salzburg, where he remained the rest of his life (over 40 years), also assuming the duties of organist at the Church of St. Peter in Salzburg, presided over by the Benedictines. He also taught violin at the court. He married the court singer, Maria Magdalena Lipp in 1768, daughter of the cathedral choir-master, who was a very pious women, and had such an affect on her husband, trending his inertia and slothfulness into wonderful activity. They had one daughter, Aloysia Josepha, in 1770, but she died within a year. He succeeded Wolfgang Amadeus Mozart, an intimate friend, as cathedral organist in 1781. He also taught music to Carl Maria von Weber. His musical reputation was not recognized fully until after World War II. He was a prolific composer of music, considered better than his well-known brother at composing religious works. He produced some 43 symphonies,12 concertos, 21 serenades, 6 quintets, 19 quartets, 10 trio sonatas, 4 due sonatas, 2 solo sonatas, 19 keyboard compositions, 3 ballets, 15 collections of minuets (English and German dances), 15 marches and miscellaneous secular music. He is best known for his religious works (well over 400 pieces), which include 47 antiphons, 5 cantatas, 65 canticles, 130 graduals, 16 hymns, 47 masses, 7 motets, 65 offertories, 7 oratorios, 19 Psalms settings, 2 requiems, and 42 other compositions. He also composed 253 secular vocals of various types. He did not like seeing his works in print, and kept most in manuscript form. He never compiled or cataloged his works, but others did it later, after his death. Lothar Perger catalogued his orchestral works in 1807 and Nikolaus Lang did a biographical sketch in 1808. In 1815 Anton Maria Klafsky cataloged his sacred music. More complete cataloging has been done in the 1980s and 1990s by Charles H Sherman and T Donley Thomas. Several of Michael Haydn's works influenced Mozart. Haydn died at Salzburg, Austria. John Perry

Andrew Reed

1787 - 1862 Topics: Christian Year Pentecost; Lent 5 Year A; Pentecost Year A; Epiphany 2 Year B; Epiphany 7 Year B; Pentecost Year B; Proper 15 Year B; Proper 21 Year B; Pentecost Year C Author of "Spirit Divine, Attend Our Prayers" in Voices United Reed, Andrew, D.D., son of Andrew Reed, was born in London on Nov. 27, 1787, and educated for the Congregational Ministry at Hackney College, London. He was first the pastor of the New Road Chapel, St. George's-in-the-East, and then of the Wycliffe Chapel, which was built through his exertions in 1830. His degree was conferred by Yule College, America. He died Feb. 25, 1862. As the founder of "The London Orphan Asylum," "The Asylum for Fatherless Children," “The Asylum for Idiots” "The Infant Orphan Asylum," and "The Hospital for Incurables," Dr. Reed is more fully known, and will be longer remembered than by his literary publications. His Hymn Book was the growth of years. The preparation began in 1817, when he published a Supplement to Watts, in which were a few originals. This was enlarged in 1825; and entirely superseded by his collection The Hymn Book, prepared from Dr. Watts's Psalms & Hymns and Other Authors, with some Originals, in 1842 (Preface). His hymns, mostly of a plain and practical character, numbering 21, were contributed to these various editions, and were republished with those of his wife in the Wycliffe Supplement, 1872. The best known are "Ah Jesus, let me hear Thy voice” and ”Spirit Divine, attend our prayer." All Dr. and Mrs. Reed's hymns are anonymous in The Hymn Book, 1842, but are given with their names in the Wyclife Supplement, 1872. His hymns now in common use include, in addition to those annotated under their respective first lines :— 1. Come, let us strike our harps afresh. Praise. 2. Come, my Redeemer, come. Desiring Christ's Presence. 3. Gentle Saviour, look on me. Christ's protection Desired. 4. Gracious Lord, as Thou hast taught us. Public Worship. 5. Hark, hark, the notes of joy. Missions. 6. Holy Ghost, with light divine (1817). Prayer to the Holy Spirit. Sometimes given as "Holy Ghost, Thou light divine;" and again as "Holy Spirit, Light divine." 7. Listen, sinner, mercy hails you. Invitation. Generally given as "Hear, O Sinner, mercy hails you." 8. Rich are the joys of solitude. Retirement. Some-times given as "How deep and tranquil is the joy." 9. There [comes] is an hour when I must part. Death anticipated. 10. Ye saints your music bring. Praise of the Cross. --John Julian, Dictionary of Hymnology (1907)

Timothy T'ingfang Lew

1891 - 1947 Person Name: Timothy Ting Fang Lew Topics: Church Year Christ the King; Church Year Passion/Palm Sunday; Occasional Services New Year; Year A, Ordinary Time after Pentecost, June 12-18 (if ater Trinity Sunday); Year A, Reign of Christ, November 20-26; Year C, Thanksgiving Day, Canada, 2nd Monday in October; Year C, Thanksgiving Day, USA, 4th Thursday in November Translator (into Chinese) of "All People That on Earth Do Dwell" in Psalms for All Seasons T'ingfang Lew was a leading Chinese educator, author, and editor. He was educated in China and at Columbia University in New York City (M.A.; Ph.D.). His Bachelor of Divinity degree was from Yale and he studied at Union Theological Seminary, New York City, where he also taught Christian education. Lew lectured throughout America at schools and colleges from 1926 to 1938 and received an S.T.D. degree from Oberlin College. In 1932, Lew began to chair the commission to prepare a Chinese Union hymnal. The resulting Hymns of Universal Praise was published in 1936. Its music editor was Bliss Wiant, a colleague of Lews's at Yenching University in Peking. Lew also edited the Union Book of Common Prayer which was used by four Protestant Chinese groups having approximately one-half million members. He represented China at the World Council of Churches meetings (1927-1939). He served as a member of the Chinese government's legislative body (1936-1941). Lew is remembered for his work with Chinese Christian organizations in China and America where he resided from 1941 to 1947. He died while teaching at the University of New Mexico. --The Presbyterian Hymnal Companion, 1993

Charles V. Stanford

1852 - 1924 Person Name: Charles Villiers Stanford Topics: Christmas 2 Year A; Lent 4 Year A; Easter 4 Year A; Proper 15 Year A; Christmas 2 Year B; Easter 4 Year B; Proper 11 Year B; Reign of Christ Year B; Easter 4 Year C; Proper 19 Year C Arranger of "ST COLUMBA" in Voices United Sir Charles Villiers Stanford (30 September 1852 – 29 March 1924) was an Irish composer, teacher and conductor. Born to a well-off and highly musical family in Dublin, Stanford was educated at the University of Cambridge before studying music in Leipzig and Berlin. He was instrumental in raising the status of the Cambridge University Musical Society, attracting international stars to perform with it. While still an undergraduate, Stanford was appointed organist of Trinity College, Cambridge. In 1882, aged 29, he was one of the founding professors of the Royal College of Music, where he taught composition for the rest of his life. From 1887 he was also the professor of music at Cambridge. As a teacher, Stanford was sceptical about modernism, and based his instruction chiefly on classical principles as exemplified in the music of Brahms. Among his pupils were rising composers whose fame went on to surpass his own, such as Gustav Holst and Ralph Vaughan Williams. As a conductor, Stanford held posts with the Bach Choir and the Leeds triennial music festival. Stanford composed a substantial number of concert works, including seven symphonies, but his best-remembered pieces are his choral works for church performance, chiefly composed in the Anglican tradition. He was a dedicated composer of opera, but none of his nine completed operas has endured in the general repertory. Some critics regarded Stanford, together with Hubert Parry and Alexander Mackenzie, as responsible for a renaissance in English music. However, after his conspicuous success as a composer in the last two decades of the 19th century, his music was eclipsed in the 20th century by that of Edward Elgar as well as former pupils. Stanford was born in Dublin, the only son of John James Stanford and his second wife, Mary, née Henn. John Stanford was a prominent Dublin lawyer, Examiner to the Court of Chancery in Ireland and Clerk of the Crown for County Meath. His wife was the third daughter of William Henn, Master of the High Court of Chancery in Ireland. Both parents were accomplished amateur musicians; John Stanford was a cellist and a noted bass singer who was chosen to perform the title role in Mendelssohn's Elijah at the Irish premiere in 1847. Mary Stanford was an amateur pianist, capable of playing the solo parts in concertos at Dublin concerts. The young Stanford was given a conventional education at a private day school in Dublin run by Henry Tilney Bassett, who concentrated on the classics to the exclusion of other subjects. Stanford's parents encouraged the boy's precocious musical talent, employing a succession of teachers in violin, piano, organ and composition. Three of his teachers were former pupils of Ignaz Moscheles, including his godmother Elizabeth Meeke, of whom Stanford recalled, "She taught me, before I was twelve years old, to read at sight. … She made me play every day at the end of my lesson a Mazurka of Chopin: never letting me stop for a mistake. … By the time I had played through the whole fifty-two Mazurkas, I could read most music of the calibre my fingers could tackle with comparative ease." One of the young Stanford's earliest compositions, a march in D♭ major, written when he was eight years old, was performed in the pantomime at the Theatre Royal, Dublin three years later. At the age of nine, Stanford gave a piano recital for an invited audience, playing works by Beethoven, Handel, Mendelssohn, Moscheles, Mozart and Bach. One of his songs was taken up by the University of Dublin Choral Society and was well received. In the 1860s Dublin received occasional visits from international stars, and Stanford was able to hear famous performers such as Joseph Joachim, Henri Vieuxtemps and Adelina Patti. The annual visit of the Italian Opera Company from London, led by Giulia Grisi, Giovanni Matteo Mario and later Thérèse Tietjens, gave Stanford a taste for opera that remained with him all his life. When he was ten, his parents took him to London for the summer, where he stayed with his mother's uncle in Mayfair. While there he took composition lessons from the composer and teacher Arthur O'Leary, and piano lessons from Ernst Pauer, professor of piano at the Royal Academy of Music (RAM). On his return to Dublin, his godmother having left Ireland, he took lessons from Henrietta Flynn, another former Leipzig Conservatory pupil of Moscheles, and later from Robert Stewart, organist of St Patrick's Cathedral, as well as from a third Moscheles pupil, Michael Quarry. During his second spell in London two years later, he met the composer Arthur Sullivan and the musical administrator and writer George Grove, who later played important parts in his career. John Stanford hoped that his son would follow him into the legal profession but accepted his decision to pursue music as a career. However, he stipulated that Stanford should have a conventional university education before going on to musical studies abroad. Stanford tried unsuccessfully for a classics scholarship at Trinity Hall, Cambridge, but gained an organ scholarship, and later a classics scholarship, at Queens' College. By the time he went up to Cambridge he had written a substantial number of compositions, including vocal music, both sacred and secular, and orchestral works (a rondo for cello and orchestra and a concert overture). Stanford immersed himself in the musical life of the university to the detriment of his Latin and Greek studies. He composed religious and secular vocal works, a piano concerto, and incidental music for Longfellow's play A Spanish Student. In November 1870 he appeared as piano soloist with the Cambridge University Musical Society (CUMS), and quickly became its assistant conductor and a committee member. The society had declined in excellence since its foundation in 1843. Its choir consisted solely of men and boys; the lack of women singers severely limited the works that the society could present. Stanford was unable to persuade the members to admit women, and so he staged what The Musical Times called "a bloodless revolution." In February 1872 he co-founded a mixed choir, the Amateur Vocal Guild, whose performances immediately put those of the CUMS singers in the shade. The members of CUMS rapidly changed their minds, and agreed to a merger of the two choirs, with women given associate membership of the society. The conductor of the combined choir was John Larkin Hopkins, who was also organist of Trinity College. He became ill, and handed over the conductorship to Stanford in 1873. Stanford was also appointed Hopkins's deputy organist at Trinity, and moved from Queens' to Trinity in April 1873. In the summer of that year Stanford made his first trip to continental Europe. He went to Bonn for the Schumann Festival held there, where he met Joachim and Brahms. His growing love of the music of Schumann and Brahms marked him as a classicist at a time when many music-lovers were divided into the classical or the modernist camps, the latter represented by the music of Liszt and Wagner. Stanford was not constrained by the fashion for belonging to one camp or the other; he immensely admired Die Meistersinger though he was unenthusiastic about some of Wagner's other works. After leaving Bonn he returned home by way of Switzerland and then Paris, where he saw Meyerbeer's Le prophète. Hopkins's illness proved fatal, and after his death the Trinity authorities invited Stanford to take over as organist of the college. He accepted with the proviso that he was to be released each year for a spell of musical study in Germany. The fellows of the college resolved on 21 February 1874: Two days after his appointment, Stanford took the final examinations for his classics degree. He ranked 65th of 66, and was awarded a third-class degree. On the recommendation of Sir William Sterndale Bennett, former professor of music at Cambridge and now director of the Royal Academy of Music, Stanford went to Leipzig in the summer of 1874 for lessons with Carl Reinecke, professor of composition and piano at the Leipzig Conservatory. The composer Thomas Dunhill commented that by 1874 it was "the tail-end of the Leipzig ascendancy, when the great traditions of Mendelssohn had already begun to fade." Nevertheless, Stanford did not seriously consider studying anywhere else. Neither Dublin nor London offered any comparable musical training; the most prestigious British music school, the RAM, was at that time hidebound and reactionary. He was dismayed to find in Leipzig that Bennett had recommended him to a German pedant no more progressive than the teachers at the RAM. Stanford said of Reinecke, "Of all the dry musicians I have ever known he was the most desiccated. He had not a good word for any contemporary composer… He loathed Wagner … sneered at Brahms and had no enthusiasm of any sort." Stanford's biographer Paul Rodmell suggests that Reinecke's ultra-conservatism may have been unexpectedly good for his pupil "as it may have encouraged Stanford to kick against the traces." During his time in Leipzig Stanford took piano lessons from Robert Papperitz (1826–1903), organist of the city's Nikolaikirche, whom he found more helpful. Among Stanford's compositions in 1874 was a setting of part one of Longfellow's poem "The Golden Legend." He intended to set the entire poem, but gave up, defeated by Longfellow's "numerous but unconnected characters." Stanford ignored this and other early works when assigning opus numbers in his mature years. The earliest compositions in his official list of works are a four-movement Suite for piano and a Toccata for piano, which both date from 1875. After a second spell in Leipzig with Reinecke in 1875, which was no more productive than the first, Stanford was recommended by Joachim to study in Berlin the following year with Friedrich Kiel, whom Stanford found "a master at once sympathetic and able … I learnt more from him in three months, than from all the others in three years." Returning to Cambridge in the intervals of his studies in Germany, Stanford had resumed his work as conductor of CUMS. He found the society in good shape under his deputy, Eaton Faning, and able to tackle demanding new works. In 1876 the society presented one of the first performances in Britain of the Brahms Requiem. In 1877 CUMS came to national attention when it presented the first British performance of Brahms's First Symphony. During the same period, Stanford was becoming known as a composer. He was composing prolifically, though he later withdrew some of his works from these years, including a violin concerto which, according to Rodmell, suffered from "undistinguished thematic material." In 1875 his First Symphony won the second prize in a competition held at the Alexandra Palace for symphonies by British composers, although he had to wait a further two years to hear the work performed. In the same year Stanford directed the first performance of his oratorio "The Resurrection," given by CUMS. At the request of Alfred Tennyson, he wrote incidental music for Tennyson's drama Queen Mary, performed at the Lyceum Theatre, London in April 1876. In April 1878, despite the disapproval of his father, Stanford married Jane Anna Maria Wetton, known as Jennie, a singer whom he had met when she was studying in Leipzig. They had a daughter, Geraldine Mary, born in 1883 and a son, Guy Desmond, born in 1885. In 1878 and 1879 Stanford worked on his first opera, The Veiled Prophet, to a libretto by his friend William Barclay Squire. It was based on a poem by Thomas Moore with characters including a virgin priestess and a mystic prophet, and a plot that culminates in poisoning and stabbing. Stanford offered the work to the opera impresario Carl Rosa, who refused it and suggested that the composer should try to have it staged in Germany: "Its success will (unfortunately) have much greater chances here if accepted abroad." Referring to the enormous popularity of Sullivan's comic operas, Rosa added, "If the work was of the Pinafore style it would be quite another matter." Stanford had greatly enjoyed Sullivan's Cox and Box, but The Veiled Prophet was intended to be a serious work of high drama and romance. Stanford had made many useful contacts during his months in Germany, and his friend the conductor Ernst Frank got the piece staged at the Königliches Schauspiel in Hanover in 1881. Reviewing the premiere for The Musical Times, Stanford's friend J A Fuller Maitland wrote, "Mr. Stanford's style of instrumentation … is built more or less on that of Schumann; while his style of dramatic treatment bears more resemblance to Meyerbeer than to that of any other master." Other reviews were mixed, and the opera had to wait until 1893 for its English premiere. Stanford nevertheless continued to seek operatic success throughout his career. In his lifelong enthusiasm for opera he differed strikingly from his contemporary Hubert Parry, who made one attempt at composing opera and then renounced the genre. By the early 1880s, Stanford was becoming a major figure in the British musical scene. His only major rivals were seen as Sullivan, Frederic Hymen Cowen, Parry, Alexander Mackenzie and Arthur Goring Thomas. Sullivan was by this time viewed with suspicion in high-minded musical circles for composing comic rather than grand operas; Cowen was regarded more as a conductor than as a composer; and the other three, though seen as promising, had not so far made a clear mark as Stanford had done. Stanford helped Parry in particular to gain recognition, commissioning incidental music from him for a Cambridge production of Aristophanes' The Birds and a symphony (the "Cambridge") for the musical society. At Cambridge Stanford continued to raise the profile of CUMS, as well as his own, by securing appearances by leading international musicians including Joachim, Hans Richter, Alfredo Piatti and Edward Dannreuther. The society attracted further attention by premiering works by Cowen, Parry, Mackenzie, Goring Thomas and others. Stanford was also making an impression in his capacity as organist of Trinity, raising musical standards and composing what his biographer Jeremy Dibble calls "some highly distinctive church music" including a Service in B♭ (1879), the anthem "The Lord is my shepherd" (1886) and the motet Justorum animae (1888). In the first half of the 1880s, Stanford collaborated with the author Gilbert à Beckett on two operas, Savonarola, and The Canterbury Pilgrims. The former was well received at its premiere in Hamburg in April 1884, but received a critical savaging when staged at Covent Garden in July of the same year. Parry commented privately, "It seems very badly constructed for the stage, poorly conceived and the music, though clean and well-managed, is not striking or dramatic." The most severe public criticism was in The Theatre, whose reviewer wrote, "The book of Savonarola is dull, stilted, and, from a dramatic point of view, weak. It is not, however, so crushingly tiresome as the music fitted to it. Savonarola has gone far to convince me that opera is quite out of [Stanford's] line and that the sooner he abandons the stage for the cathedral, the better for his musical reputation." The Canterbury Pilgrims had been premiered in London in April 1884, three months before Savonarola was presented at Covent Garden. It had a better reception than the latter, though reviews pointed out Stanford's debt to Die Meistersinger, and complained of a lack of emotion in the love music. George Grove agreed with the critics, writing to Parry, "Charlie's music contains everything but sentiment. Love not at all – that I heard not a grain of. … And I do think that there might be more tune. Melody is not a thing to be avoided surely." In 1896 a critic wrote that the opera had "just such a 'book' as would have suited the late Alfred Cellier. He would probably have made of it a charming light English opera. But Dr. Stanford has chosen to use it for the exemplification of those advanced theories which we know him to hold, and he has given us music which would incline us to think that Die Meistersinger had been his model. The effect of the combination is not happy." In 1883, the Royal College of Music was set up to replace the short-lived and unsuccessful National Training School for Music (NTSM). Neither the NTSM nor the longer-established Royal Academy of Music had provided adequate musical training for professional orchestral players, and the founder-director of the college, George Grove, was determined that the new institution should succeed in doing so. His two principal allies in this undertaking were the violinist Henry Holmes and Stanford. In a study of the founding of the college, David Wright notes that Stanford had two main reasons for supporting Grove's aim. The first was his belief that a capable college orchestra was essential to give students of composition the chance to experience the sound of their music. His second reason was the severe contrast between the competence of German orchestras and the performance of their British counterparts. He accepted Grove's offer of the posts of professor of composition and (with Holmes) conductor of the college orchestra. He held the professorship for the rest of his life; among the best known of his many pupils were Samuel Coleridge-Taylor, Gustav Holst, Ralph Vaughan Williams, John Ireland, Frank Bridge and Arthur Bliss. Stanford was never an easy-going teacher. He insisted on one-to-one tutorials, and worked his pupils hard. One of them, Herbert Howells, recalled, "Corner any Stanford pupil you like, and ask him to confess the sins he most hated being discovered in by his master. He will tell you 'slovenliness' and 'vulgarity.' When these went into the teacher's room they came out, badly damaged. Against compromise with dubious material or workmanship Stanford stubbornly set his face." Another pupil, Edgar Bainton, recalled: Stanford's teaching seemed to be without method or plan. His criticism consisted for the most part of "I like it, my boy," or "It's damned ugly, my boy" (the latter in most cases). In this, perhaps, lay its value. For in spite of his conservatism, and he was intensely and passionately conservative in music as in politics, his amazingly comprehensive knowledge of musical literature of all nations and ages made one feel that his opinions, however irritating, had weight. To Stanford's regret, many of his pupils who achieved eminence as composers broke away from his classical, Brahmsian precepts, as he had himself rebelled against Reinecke's conservatism. The composer George Dyson wrote, "In a certain sense the very rebellion he fought was the most obvious fruit of his methods. And in view of what some of these rebels have since achieved, one is tempted to wonder whether there is really anything better a teacher can do for his pupils than drive them into various forms of revolution." The works of some of Stanford's pupils, including Holst and Vaughan Williams, entered the general repertory in Britain, and to some extent elsewhere, as Stanford's never did. For many years after his death it seemed that Stanford's greatest fame would be as a teacher. Among his achievements at the RCM was the establishment of an opera class, with at least one operatic production every year. From 1885 to 1915 there were 32 productions, all of them conducted by Stanford. In 1887 Stanford was appointed professor of music at Cambridge in succession to Sir George Macfarren who died in October of that year. Up to this time, the university had awarded music degrees to candidates who had not been undergraduates at Cambridge; all that was required was to pass the university's music examinations. Stanford was determined to end the practice, and after six years he persuaded the university authorities to agree. Three years' study at the university became a prerequisite for sitting the bachelor of music examinations. During the last decades of the 19th century, Stanford's academic duties did not prevent him from composing or performing. He was appointed conductor of the Bach Choir, London, in 1885, succeeding its founding conductor Otto Goldschmidt. He held the post until 1902. Hans von Bülow conducted the German premiere of Stanford's Irish Symphony in Hamburg in January 1888, and was sufficiently impressed by the work to programme it in Berlin shortly afterwards. Richter conducted it in Vienna, and Mahler later conducted it in New York. For the Theatre Royal, Cambridge, Stanford composed incidental music for productions of Aeschylus's The Eumenides (1885), and Sophocles' Oedipus Tyrannos (1887). The Times said of the former, "Mr. Stanford's music is dramatically significant, as well as beautiful in itself. It has, moreover, that quality so rare among modern composers – style." In both sets of music Stanford made extensive use of leitmotifs, in the manner of Wagner; the critic of The Times noted the Wagnerian character of the prelude to Oedipus. In the 1890s, Bernard Shaw writing as "Corno di Bassetto", music critic of The World, voiced mixed feelings about Stanford. In Shaw's view, the best of Stanford's works displayed an uninhibited, Irish, character. The critic was dismissive of the composer's solemn Victorian choral music. In July 1891, Shaw's column was full of praise for Stanford's capacity for spirited tunes, declaring that Richard D'Oyly Carte should engage him to succeed Sullivan as the composer of Savoy operas. In October of the same year, Shaw attacked Stanford's oratorio Eden, bracketing the composer with Parry and Mackenzie as a mutual admiration society, purveying "sham classics": [W]ho am I that I should be believed, to the disparagement of eminent musicians? If you doubt that Eden is a masterpiece, ask Dr Parry and Dr Mackenzie, and they will applaud it to the skies. Surely Dr Mackenzie’s opinion is conclusive; for is he not the composer of Veni Creator, guaranteed as excellent music by Professor Stanford and Dr Parry? You want to know who Parry is? Why, the composer of "Blest Pair of Sirens," as to the merits of which you only have to consult Dr Mackenzie and Professor Stanford. To Fuller Maitland, the trio of composers lampooned by Shaw were the leaders of an English musical renaissance (although neither Stanford nor Mackenzie was English). This view persisted in some academic circles for many years. Stanford returned to opera in 1893, with an extensively revised and shortened version of The Veiled Prophet. It had its British premiere at Covent Garden in July. His friend Fuller Maitland was by this time the chief music critic of The Times, and the paper's review of the opera was laudatory. According to Fuller Maitland The Veiled Prophet was the best novelty of an opera season that had also included Leoncavallo's Pagliacci, Bizet's Djamileh and Mascagni's I Rantzau. Stanford's next opera was Shamus O'Brien (1896), a comic opera to a libretto by George H. Jessop. The conductor was the young Henry Wood, who recalled in his memoirs that the producer, Sir Augustus Harris, managed to quell the dictatorial composer and prevent him from interfering with the staging. Stanford attempted to give Wood lessons in conducting, but the young man was unimpressed. The opera was successful, running for 82 consecutive performances. The work was given in German translation in Breslau in 1907; Thomas Beecham thought it "a colourful, racy work", and revived it in his 1910 opéra comique season at His Majesty's Theatre, London. At the end of 1894, Grove retired from the Royal College of Music. Parry was chosen to succeed him, and although Stanford wholeheartedly congratulated his friend on his appointment, their relations soon deteriorated. Stanford was known as a hot-tempered and quarrelsome man. Grove had written of a board meeting at the Royal College "where somehow the spirit of the d----l himself had been working in Stanford all the time – as it sometimes does, making him so nasty and quarrelsome and contradictious as no one but he can be! He is a most remarkably clever and able fellow, full of resource and power – no doubt of that – but one has to purchase it often at a very dear price." Parry suffered worse at Stanford's hands with frequent rows, deeply upsetting to the highly-strung Parry. Some of their rows were caused by Stanford's reluctance to accept the authority of his old friend and protégé, but on other occasions Parry seriously provoked Stanford, notably in 1895 when he reduced the funding for Stanford's orchestral classes. In 1898, Sullivan, ageing and unwell, resigned as conductor of the Leeds triennial music festival, a post which he had held since 1880. He believed that Stanford's motive for accepting the conductorship of the Leeds Philharmonic Society the previous year was to position himself to take over the festival. Stanford later felt obliged to write to The Times, denying that he had been party to a conspiracy to oust Sullivan. Sullivan was by then thought to be a dull conductor of other composers' music, and although Stanford's work as a conductor was not without its critics, he was appointed in Sullivan's place. He remained in charge until 1910. His compositions for the festival included "Songs of the Sea" (1904), "Stabat Mater" (1907) and "Songs of the Fleet (1910)." New works by other composers presented at Leeds during Stanford's years in charge included pieces by Parry, Mackenzie, and seven of Stanford's former pupils. The best-known new work from Stanford's time is probably Vaughan Williams's A Sea Symphony, premiered in 1910. In 1901 Stanford returned once again to opera, with a version of Much Ado About Nothing, to a libretto by Julian Sturgis that was exceptionally faithful to Shakespeare's original. The Manchester Guardian commented, "Not even in the Falstaff of Arrigo Boito and Giuseppe Verdi have the characteristic charm, the ripe and pungent individuality of the original comedy been more sedulously preserved." Despite good notices for the opera, Stanford's star was waning. In the first decade of the century, his music became eclipsed by that of a younger composer, Edward Elgar. In the words of the music scholar Robert Anderson, Stanford "had his innings with continental reputation in the latter decades of the nineteenth century, but then Elgar bowled him out." When Elgar was struggling for recognition in the 1890s, Stanford had been supportive of his younger colleague, conducting his music, putting him forward for a Cambridge doctorate, and proposing him for membership of the exclusive London club, the Athenaeum. He was, however, put out when Elgar's success at home and abroad eclipsed his own, with Richard Strauss (whom Stanford detested) praising Elgar as the first progressive English composer. When Elgar was appointed professor of music at Birmingham University in 1904, Stanford wrote him a letter that the recipient found "odious". Elgar retaliated in his inaugural lecture with remarks about composers of rhapsodies, widely seen as denigrating Stanford. Stanford later counter-attacked in his book A History of Music, writing of Elgar, "Cut off from his contemporaries by his religion and his want of regular academic training, he was lucky enough to enter the field and find the preliminary ploughing done." Though bitter about being sidelined, Stanford continued to compose. Between the turn of the century and the outbreak of the First World War in 1914 his new works included a violin concerto (1901), a clarinet concerto (1902), a sixth and a seventh (and last) symphony (1906 and 1911), and his second piano concerto (1911). In 1916 he wrote his penultimate opera, The Critic. It was a setting of Sheridan's comedy of the same name, with the original text left mostly intact by the librettist, Lewis Cairns James. The work was well received at the premiere at the Shaftesbury Theatre, London, and was taken up later in the year by Beecham, who staged it in Manchester and London. The First World War had a severe effect on Stanford. He was frightened by air-raids, and had to move from London to Windsor to avoid them. Many of his former pupils were casualties of the fighting, including Arthur Bliss, injured, Ivor Gurney, gassed, and George Butterworth, killed. The annual RCM operatic production, which Stanford had supervised and conducted every year since 1885, had to be cancelled. His income declined, as the fall in student numbers at the college reduced the demand for his services. After a serious disagreement at the end of 1916, his relationship with Parry deteriorated to the point of hostility. Stanford's magnanimity, however, came to the fore when Parry died two years later and Stanford successfully lobbied for him to be buried in St Paul's Cathedral. After the war, Stanford handed over much of the direction of the RCM's orchestra to Adrian Boult, but continued to teach at the college. He gave occasional public lectures, including one on "Some Recent Tendencies in Composition", in January 1921 which was belligerently hostile to most of the music of the generation after his own. His last public appearance was on 5 March 1921 conducting the Royal Choral Society in his new cantata, At the Abbey Gate. Reviews were polite but unenthusiastic. The Times said, "we could not feel that the music had enough emotion behind it", The Observer thought it "quite appealing even though one feels it to be more facile than powerful." In September 1922, Stanford completed the sixth Irish Rhapsody, his final work. Two weeks later he celebrated his 70th birthday; thereafter his health declined. On 17 March 1924 he suffered a stroke and on 29 March he died at his home in London, survived by his wife and children. He was cremated at Golders Green Crematorium on 2 April and his ashes were buried in Westminster Abbey the following day. The orchestra of the Royal College of Music, conducted by Boult, played music by Stanford, ending the service with a funeral march that he had written for Tennyson's Becket in 1893. The grave is in the north choir aisle of the Abbey, near the graves of Henry Purcell, John Blow and William Sterndale Bennett. The Times said, "the conjunction of the music of Stanford with that of his great predecessors showed how thoroughly as composer he belonged to their line." Stanford's last opera, The Travelling Companion, composed during the war, was premiered by amateur performers at the David Lewis Theatre, Liverpool in 1925 with a reduced orchestra. The work was given complete at Bristol in 1928 and at Sadler's Wells Theatre, London, in 1935. Stanford received many honours, including honorary doctorates from Oxford (1883), Cambridge (1888), Durham (1894), Leeds (1904), and Trinity College, Dublin (1921). He was knighted in 1902 and in 1904 was elected a member of the Royal Academy of Arts, Berlin. In Stanford's music the sense of style, the sense of beauty, the feeling of a great tradition is never absent. His music is in the best sense of the word Victorian, that is to say it is the musical counterpart of the art of Tennyson, Watts and Matthew Arnold. Stanford composed about 200 works, including seven symphonies, about 40 choral works, nine operas, 11 concertos and 28 chamber works, as well as songs, piano pieces, incidental music, and organ works. He suppressed most of his earliest compositions; the earliest of works that he chose to include in his catalogue date from 1875. Throughout his career as a composer, Stanford's technical mastery was rarely in doubt. The composer Edgar Bainton said of him, "Whatever opinions may be held upon Stanford's music, and they are many and various, it is, I think, always recognised that he was a master of means. Everything he turned his hand to always 'comes off.'" On the day of Stanford's death, one former pupil, Gustav Holst, said to another, Herbert Howells, "The one man who could get any one of us out of a technical mess is now gone from us." After Stanford's death most of his music was quickly forgotten, with the exception of his works for church performance. His Stabat Mater and Requiem held their place in the choral repertoire, the latter championed by Sir Thomas Beecham. Stanford's two sets of sea songs and the song "The Blue Bird" were still performed from time to time, but even his most popular opera, Shamus O'Brien came to seem old fashioned with its "stage-Irish" vocabulary. However, in his 2002 study of Stanford Dibble writes that the music, increasingly available on disc if not in live performance, still has the power to surprise. In Dibble's view, the frequent charge that Stanford is "Brahms and water" was disproved once the symphonies and concertos, much of the chamber music and many of the songs became available for reappraisal when recorded for compact disc. In 2002, Rodmell's study of Stanford included a discography running to 16 pages. The criticism most often made of Stanford's music by writers from Shaw onwards is that his music lacks passion. Shaw praised "Stanford the Celt" and abominated "Stanford the Professor", who reined in the emotions of the Celt. In Stanford's church music, the critic Nicholas Temperley finds "a thoroughly satisfying artistic experience, but one that is perhaps lacking in deeply felt religious impulse." In his operas and elsewhere, Grove, Parry and later commentators found music that ought to convey love and romance failing to do so. Like Parry, Stanford strove for seriousness, and his competitive streak led him to emulate Sullivan not in comic opera, for which Stanford had a real gift, but in oratorio in what Rodmell calls grand statements that "only occasionally matched worthiness with power or profundity." --excerpts from en.wikipedia.org

Eleanor Hull

1860 - 1935 Person Name: Eleanor H. Hull Topics: Epiphany 4 Year A; Epiphany 4 Year A; Proper 8 Year A; Proper 13 Year A; Lent 2 Year B; Easter 2 Year B; Easter 3 Year B; Proper 15 Year B; Proper 18 Year B; Proper 19 Year B; Proper 20 Year B; Proper 21 Year B; Proper 25 Year B; Lent 5 Year C; Lent 5 Year C; Easter 2 Year C; Trinity Sunday Year C; Proper 8 Year C; Proper 11 Year C; Proper 14 Year C; Proper 15 Year C; Proper 16 Year C; Proper 18 Year C; Proper 26 Year C; Ash Wednesday Year ABC Versifier of "Be Thou My Vision" in Voices United

Conrad Kocher

1786 - 1872 Topics: The Christian Year Epiphany; Christian Year Epiphany; Christmas Day 2 Year A; Epiphany Year A; Baptism of Jesus Year A; Proper 28 Year A; Reign of Christ Year A; Christmas 2 Year B; Epiphany Year B; Epiphany 2 Year B; Proper 24 Year B; Proper 24 Year B; Proper 28 Year B; Reign of Christ Year B Composer of "DIX" in Voices United Trained as a teacher, Conrad Kocher (b. Ditzingen, Wurttemberg, Germany, 1786; d. Stuttgart, Germany, 1872) moved to St. Petersburg, Russia, to work as a tutor at the age of seventeen. But his love for the music of Haydn and Mozart impelled him to a career in music. He moved back to Germany in 1811, settled in Stuttgart, and remained there for most of his life. The prestigious Cotta music firm published some of his early compositions and sent him to study music in Italy, where he came under the influence of Palestrina's music. In 1821 Kocher founded the School for Sacred Song in Stuttgart, which popularized four-part singing in the churches of that region. He was organist and choir director at the Stiftskirche in Stuttgart from 1827 to 1865. Kocher wrote a treatise on church music, Die Tonkunst in der Kirche (1823), collected a large number of chorales in Zions Harfe (1855), and composed an oratorio, two operas, and some sonatas. William H. Monk created the current form of DIX by revising and shortening Conrad Kocher's chorale melody for “Treuer Heiland, wir sind hier,” found in Kocher's Stimmen aus dem Reiche Gottes (1838). Bert Polman

Bernard, of Cluny

1100 - 1199 Person Name: St Bernard of Cluny (12th century) Topics: Year A All Saints' Day; Year A Easter 2; Year B Second Sunday Before Advent; Year C Easter 4; Year C Proper 8 Author of "Jerusalem the golden" in Complete Anglican Hymns Old and New Bernard of Morlaix, or of Cluny, for he is equally well known by both titles, was an Englishman by extraction, both his parents being natives of this country. He was b., however, in France very early in the 12th cent, at Morlaix, Bretagne. Little or nothing is known of his life, beyond the fact that he entered the Abbey of Cluny, of which at that time Peter the Venerable, who filled the post from 1122 to 1156, was the head. There, so far as we know, he spent his whole after-life, and there he probably died, though the exact date of his death, as well as of his birth is unrecorded. The Abbey of Cluny was at that period at the zenith of its wealth and fame. Its buildings, especially its church (which was unequalled by any in France); the services therein, renowned for the elaborate order of their ritual; and its community, the most numerous of any like institution, gave it a position and an influence, such as no other monastery, perhaps, ever reached. Everything about it was splendid, almost luxurious. It was amid such surroundings that Bernard of Cluny spent his leisure hours in composing that wondrous satire against the vices and follies of his age, which has supplied—and it is the only satire that ever did so—some of the most widely known and admired hymns to the Church of today. His poem De Contemptu Mundi remains as an imperishable monument of an author of whom we know little besides except his name, and that a name overshadowed in his own day and in ours by his more illustrious contemporary and namesake, the saintly Abbot of Clairvaux. The poem itself consists of about 3000 lines in a meter which is technically known as Leonini Cristati Trilices Dactylici, or more familiarly—to use Dr. Neale's description in his Mediaeval Hymns, p. 69—" it is a dactylic hexameter, divided into three parts, between which a caesura is inadmissible. The hexameter has a tailed rhyme, and feminine leonine rhyme between the two first clauses, thus :— " Tune nova gloria, pectora sobria, clarificabit: Solvit enigmata, veraque sabbata, continuabit, Patria luminis, inscia turbinis, inscia litis, Cive replebitur, amplificabitur Israelitis." The difficulty of writing at all, much more of writing a poem of such length in a metre of this description, will be as apparent to all readers of it, as it was to the writer himself, who attributes his successful accomplishment of his task entirely to the direct inspiration of the Spirit of God. "Non ego arroganter," he says in his preface, "sed omnino humiliter, et ob id audenter affirmaverim, quia nisi spiritus sapicntiae et intellectus mihi affuisset et afftuxisset, tarn difficili metro tarn longum opus con-texere non sustinuissem." As to the character of the metre, on the other hand, opinions have widely differed, for while Dr. Neale, in his Mediaeval Hymns, speaks of its "majestic sweetness," and in his preface to the Rhythm of Bernard de Morlaix on the Celestial Country, says that it seems to him "one of the loveliest of mediaeval measures;" Archbishop Trench in his Sac. Lat. Poetry, 1873. p. 311, says "it must be confessed that" these dactylic hexameters "present as unattractive a garb for poetry to wear as can well be imagined;" and, a few lines further on, notes "the awkwardness and repulsiveness of the metre." The truth perhaps lies between these two very opposite criticisms. Without seeking to claim for the metre all that Dr. Neale is willing to attribute to it, it may be fairly said to be admirably adapted for the purpose to which it has been applied by Bernard, whose awe-stricken self-abasement as he contemplates in the spirit of the publican, “who would not so much as lift up his eyes unto heaven," the joys and the glory of the celestial country, or sorrowfully reviews the vices of his age, or solemnly denounces God's judgments on the reprobate, it eloquently pourtrays. So much is this the case, that the prevailing sentiment of the poem, that, viz., of an awful apprehension of the joys of heaven, the enormity of sin, and the terrors of hell, seems almost wholly lost in such translations as that of Dr. Neale. Beautiful as they are as hymns, "Brief life is here our portion," "Jerusalem the Golden," and their companion extracts from this great work, are far too jubilant to give any idea of the prevailing tone of the original. (See Hora Novissima.) In the original poem of Bernard it should be noted that the same fault has been remarked by Archbishop Trench, Dean Stanley, and Dr. Neale, which may be given in the Archbishop's words as excusing at the same time both the want, which still exists, of a very close translation of any part, and of a complete and continuous rendering of the whole poem. "The poet," observes Archbishop Trench, "instead of advancing, eddies round and round his object, recurring again and again to that which he seemed thoroughly to have discussed and dismissed." Sac. Lat. Poetry, 1873, p. 311. On other grounds also, more especially the character of the vices which the author lashes, it is alike impossible to expect, and undesirable to obtain, a literal translation of the whole. We may well be content with what we already owe to it as additions to our stores of church-hymns. -John Julian, Dictionary of Hymnology (1907) ================== Bernard of Cluny, p. 137, i., is best described thus: his place of origin is quite uncertain. See the Catalogue of the Additional MSS. of the B. M. under No. 35091, where it is said that he was perhaps of Morlas in the Basses-Pyrenees, or of Morval in the Jura, but that there is nothing to connect him with Morlaix in Brittany. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology, New Supplement (1907)

Erik Routley

1917 - 1982 Person Name: Erik Routley, 1917-1982 Topics: Baptism of Christ Year A; Proper 6 Year B; Proper 13 Year C; Third Sunday Before Advent Year A Harmonizer of "SLANE" in Common Praise

John Milton

1608 - 1674 Topics: Proper 10 Year A; Proper 13 Year A; Proper 18 Year A; Proper 21 Year A; Lent 4 Year B; Lent 5 Year C; Proper 12 Year C Author of "Let Us with a Gladsome Mind" in Voices United Milton, John, was born in London, Dec. 9, 1608, and died there Nov. 8, 1674. His poetical excellences and his literary fame are matters apart from hymnology, and are fully dealt with in numerous memoirs. His influence on English hymn-writing has been very slight, his 19 versions of various Psalms having lain for the most part unused by hymnal compilers. The dates of his paraphrases are:— Ps. cxiv. and cxxxvi., 1623, when he was 15 years of ago. These were given in his Poems in English and Latin 1645. Ps. lxxx.-lxxxviii., written in 1648, and published as Nine Psalmes done into Metre, 1645. Ps. i., 1653; ii., “Done August 8, 1653;" iii., Aug. 9, 1653; iv. Aug. 10, 1653; v., Aug. 12, 1653; vi., Aug. 13, 1653; vii.Aug. 14, 1653; viii., Aug. 14, 1653. These 19 versions were all included in the 2nd ed. of his Poems in English and Latin, 1673. From these, mainly in the form of centos, the following have come into common use:— 1. Cause us to see Thy goodness, Lord. Ps. lxxxv. 2. Defend the poor and desolate. Ps. lxxxii. 3. God in the great assembly stands. Ps. lxxxii. 4. How lovely are Thy dwellings fair. Ps. lxxxiv. From this, "They pass refreshed the thirsty vale," is taken. 5. Let us with a gladsome [joyful] mind. Ps. cxxxvi. 6. O let us with a joyful mind. Ps. cxxxvi. 7. The Lord will come and not be slow. Ps. lxxxv. Of these centos Nos. 4 and 5 are in extensive use. The rest are mostly in Unitarian collections. There are also centos from his hymn on the Nativity, "This is the month, and this the happy morn" (q.v.). --John Julian, Dictionary of Hymnology (1907)

Bianco da Siena

1350 - 1434 Topics: Christian Year Pentecost; Lent 3 Year A; Easter 2 Year A; Easter 6 Year A; Ascension Year A; Pentecost Year A; Proper 25 Year A; Proper 25 Year A; Epiphany 2 Year B; Pentecost Year B; Proper 19 Year B; Baptism of Jesus Year C; Epiphany 2 Year C; Easter 2 Year C; Easter 6 Year C; Pentecost Year C; Pentecost Year C; Trinity Sunday Year C Author of "Come Down, O Love Divine" in Voices United Bianco da Siena (b. Anciolina, circa 1350; d. Venice, Italy, circa 1434), an Italian poet and wool worker who was born at Anciolina, in the Val d'Arno. In 1367 he entered the Order of Jesuates, consisting of unordained men who followed the rule of St. Augustine. This order was instituted in that year by one John Colombinus of Siena, and suppressed by Pope Clement IX, possibly because of fear of not being able to control their mystical fervor. Little is known of Bianco beyond the fact that he is said to have lived in Venice for some years, and died there in 1434. His hymns were published at Lucca, in 1851, and edited by T. Bini, under the title, Laudi spirituali del Bianco da Siena. Emily Brink ============== Bianco da Siena, born at Anciolina, in the Val d'Arno, date unknown. In 1367 he entered the Order of Jesuates, consisting of unordained men who followed the rule of St. Augustine. This order was instituted in that year by one John Colombinus of Siena, and suppressed by Pope Clement IX. in 1668. Little is known of Bianco beyond the fact that he is said to have lived in Venice for some years, and died there in 1434. His hymns were published at Lucca, in 1851, and edited by T. Bini, under the title, Laudi spirituali del Bianco da Siena. This work contains 92 pieces. Of these the following have been translated into English, and have come into common use:— 1. Discendi, Amor santo. The Holy Spirit desired. This is No. 35 in the above work and is in 8 stanzas. Of these, Dr. Littledale gave 4 in the People's Hymnal, 1867, No. 473, as, "Come down, 0 Love Divine." 2. Gesil Christo amoroso. Missions. This is No. 79 of the above wdrk. It has been rendered into English by Dr. Littledale, and was published in the People's Hymnal, 1867, No. 400, as, "0 Jesu Christ, the loving.” 3. Vergine santa, sposa dell’ Agnello. St. Lucy. V. M . This is also from the foregoing work, No. 74, in 15 stanzas of 3 lines. Dr. Littledale's translation in the People's Hymnal, 1867, No. 226, is in 7 stanzas of 4 lines, and begins, "0 Virgin Spouse of Christ the Lamb." 4. Ama Jesu el tuo sposo diletto. Love for Jesus . This is No. 45 in the above work, in 33 stanzas. In 1866 Dr. Littledale contributed a cento therefrom to R. Brett's Office of the Moat Holy Name. This was transferred to Brooke's Churchman's Manual of Private & Family Devotion, 1882. It begins, "Love Jesus, Who hath sought thee so." Although the translations Nos. 1-3 have not gone any further than the People's Hymnal, Nos. 1 and 2 are worthy of more extended use. [Rev. John Julian, D.D.] -- John Julian, Dictionary of Hymnology (1907)

Hans G. Nägeli

1773 - 1836 Person Name: Johann G. Nägeli Topics: Epiphany 3 Year A; Trinity Sunday Year A; Proper 15 Year A; Easter 5 Year B; Proper 27 Year B; Easter 5 Year C; Proper 9 Year C Composer (attributed to) of "DENNIS" in Voices United Johann G. Nageli (b. Wetzikon, near Zurich, Switzerland, 1773; d. Wetzikon, 1836) was an influential music educator who lectured throughout Germany and France. Influenced by Johann Pestalozzi, he published his theories of music education in Gangbildungslehre (1810), a book that made a strong impact on Lowell Mason. Nageli composed mainly" choral works, including settings of Goethe's poetry. He received his early instruction from his father, then in Zurich, where he concentrated on the music of. S. Bach. In Zurich, he also established a lending library and a publishing house, which published first editions of Beethoven’s piano sonatas and music by Bach, Handel, and Frescobaldi. Bert Polman

Ernest Warburton Shurtleff

1862 - 1917 Person Name: Ernest W. Shurtleff Topics: Year A Epiphany 5; Year A Ash Wednesday; Year A All Saints; Year B Ash Wednesday; Year C Ash Wednesday; Year C Proper 16 Author of "Lead On Eternal Sovereign" in The New Century Hymnal Before studying at Andover, Ernest W. Shurtleff (Boston, MA, 1862; d. Paris, France, 1917) attended Harvard University. He served Congregational churches in Ventura, California; Old Plymouth, Massachusetts; and Minneapolis, Minnesota, before moving to Europe. In 1905 he established the American Church in Frankfurt, and in 1906 he moved to Paris, where he was involved in student ministry at the Academy Vitti. During World War I he and his wife were active in refugee relief work in Paris. Shurtleff wrote a number of books, including Poems (1883), Easter Gleams (1885), Song of Hope (1886), and Song on the Waters (1913). Bert Polman =============== Shurtleff, Ernest Warburton, b. at Boston, Mass., April 4, 1862, and educated at Boston Latin School, Harvard University, and Andover Theo. Seminary (1887). Entering the Congregational Ministry, he was Pastor at Palmer and Plymouth, Mass., and is now (1905) Minister of First Church, Minneapolis, Minn. His works include Poems, 1883, Easter Gleams, 1883, and others. His hymn, "Lead on, O King Eternal" (Christian Warfare), was written as a parting hymn to his class of fellow students at Andover, and was included in Hymns of the Faith, Boston, 1887. It has since appeared in several collections. [M. C. Hazard, Ph.D]. --John Julian, Dictionary of Hymnology, New Supplement (1907)

William Gardiner

1770 - 1853 Topics: Epiphany 2 Year A; Easter 4 Year A; Trinity Sunday Year A; Proper 6 Year A; Proper 9 Year A; All Saints Year A; Epiphany 3 Year B; Proper 20 Year B; Proper 24 Year B; Easter 4 Year C; Proper 13 Year C; Proper 20 Year C; Proper 22 Year C; Reign of Christ Year C; Tuesday in Holy Week Year ABC Composer of "LYONS" in Voices United William Gardiner (b. Leicester, England, 1770; d. Leicester, 1853) The son of an English hosiery manufacturer, Gardiner took up his father's trade in addition to writing about music, composing, and editing. Having met Joseph Haydn and Ludwig van Beethoven on his business travels, Gardiner then proceeded to help popularize their compositions, especially Beethoven's, in England. He recorded his memories of various musicians in Music and Friends (3 volumes, 1838-1853). In the first two volumes of Sacred Melodies (1812, 1815), Gardiner turned melodies from composers such as Haydn, Mozart, and Beethoven into hymn tunes in an attempt to rejuvenate the singing of psalms. His work became an important model for American editors like Lowell Mason (see Mason's Boston Handel and Haydn Collection, 1822), and later hymnbook editors often turned to Gardiner as a source of tunes derived from classical music. Bert Polman

Christian H. Bateman

1813 - 1889 Person Name: Christian Henry Bateman Topics: Easter 1 Year A; Easter 3 Year A; Easter 3 Year C; Trinity Sunday Year C; Proper 26 Year C Author of "Come, Children, Join to Sing" in Voices United Bateman, Christian Henry, son of John Bateman, was born Aug. 9, 1813, at Wyke, near Halifax. After studying in the Moravian Church and exercising his ministry there for a time, he became, in 1843, minister of Richmond Place Congregational Church, Edinburgh. After 1846 he was successively Congregational minister at Hopton, in Yorkshire, and Beading, in Berkshire. On taking Holy Orders in the Church of England he became, 1869-71, curate of St. Luke's, Jersey, and Chaplain to the Forces; 1871-75, Vicar of All Saints, Childshill, Middlesex; 1877-84, curate of St. John's, Penymynydd, Hawarden. His hymns appeared mainly in:— The Sacred Song Book (Edin., Gall & Inglis, subsequently published as Sacred Melodies for Children; and as 200 Sacred Melodies for Sunday Schools and Families, was edited by himself, with the Rev. James Gall, and latterly with Mr. Robert Inglis, the publisher. First pub. 1843 as 25; enlarged by a second part, 1846, to 60; revised and enlarged, 1854, to 80; 1862, to 130; and 1872, to 200; it reached a circulation of a million and a half before 1862, four millions before 1872, and above six millions before 1881. It was for many years the hymnbook for Sabbath School use in Scotland. (2) The Children's Hymnal and Christian Year (London., J. Hodges, 1872), including 11 original hymns, with others from many sources. His best known hymn is: “Come, children, join to sing" (q. v.). [Rev. James Mearns, M.A.] -- John Julian, Dictionary of Hymnology (1907) ======================= Bateman, C. H., p. 116, i. He finally resided at Carlisle without a charge, and died there in July, 1889. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

Frederic Henry Hedge

1805 - 1890 Person Name: Frederick H. Hedge Topics: Christian Year Reformation Day; Proper 6 Year A; Proper 16 Year A; Lent 1 Year B; Lent 5 Year B; Proper 16 Year B; Proper 17 Year B; Proper 26 Year B; Epiphany 3 Year C; Epiphany 4 Year C; Lent 1 Year C; Proper 16 Year C; Proper 20 Year C; Proper 24 Year C; Reign of Christ Year C; Tuesday in Holy Week Year ABC Translator of "A Mighty Fortress Is Our God" in Voices United Hedge, Frederick Henry, D.D., son of Professor Hedge of Harvard College, was born at Cambridge, Massachusetts, 1805, and educated in Germany and at Harvard. In 1829 he became pastor of the Unitarian Church, West Cambridge. In 1835 he removed to Bangor, Maine; in 1850 to Providence, and in 1856 to Brookline, Mass. He was appointed in 1857, Professor of Ecclesiastical History at Cambridge (U.S.), and in 1872, Professor of German Literature at Harvard. Dr. Hedge is one of the editors of the Christian Examiner, and the author of The Prose Writers of Germany, and other works. In 1853 he edited, with Dr. F. D. Huntington, the Unitarian Hymns for the Church of Christ, Boston Crosby, Nichols & Co. To that collection and the supplement (1853) he contributed the following translations from the German:— 1. A mighty fortress is our God. (Ein feste Burg.) 2. Christ hath arisen! joy to, &c. (Goethe's Faust.) 3. The sun is still for ever sounding. (Goethe's Faust.) There is also in the Unitarian Hymn [& Tune] Book for The Church & Home, Boston, 1868, a translation from the Latin. 4. Holy Spirit, Fire divine. (“Veni Sancte Spiritus.") Dr. Hedge's original hymns, given in the Hymns for the Church, 1853, are:— 5. Beneath Thine hammer, Lord, I lie. Resignation. 6. Sovereign and transforming grace. Ordination. Written for the Ordination of H. D. Barlow at Lynn, Mass., Dec. 9, 1829. It is given in several collections. 7. 'Twas in the East, the mystic East. Christmas. 8. 'Twas the day when God's anointed. Good Friday. Written originally for a Confirmation at Bangor, Maine, held on Good Friday, 1843. The hymn "It is finished, Man of Sorrows! From Thy cross, &c," in a few collections, including Martineau's Hymns, &c, 1873, is composed of st. iv.-vi. of this hymn. [Rev. F. M. Bird, M.A.] --John Julian, Dictionary of Hymnology (1907)

Edmond Budry

1854 - 1932 Person Name: Edmond Louis Budry Topics: Christian Year Easter; Easter 1 Year A; Easter 2 Year A; Ascension Year A; Epiphany 6 Year B; Easter 2 Year B; Easter 3 Year B; Easter 1 Year C; Easter 2 Year C; Easter Evening Year ABC Author of "Thine is the Glory (À toi la gloire)" in Voices United

George Ratcliffe Woodward

1848 - 1934 Person Name: G. R. Woodward Topics: Christmas 1 Year A; Baptism of Jesus Year A; Epiphany 2 Year A; Epiphany 7 Year A; Lent 1 Year A; Proper 17 Year A; Proper 21 Year A; Proper 21 Year A; Reign of Christ Year A; Advent 2 Year B; Baptism of Jesus Year B; Lent 1 Year B; Lent 5 Year B; Palm/Passion Sunday Year B; Easter 5 Year B; Proper 12 Year B; Proper 26 Year B; Proper 27 Year B; Proper 28 Year B; Reign of Christ Year B; Epiphany 6 Year C; Epiphany Last/Transfig. Year C; Lent 1 Year C; Lent 2 Year C; Lent 4 Year C; Holy Thursday Year C; Easter 4 Year C; Easter 7 Year C; Tuesday in Holy Week Year ABC; Holy thursday Year ABC Harmonizer of "PUER NOBIS NASCITUR" in Voices United Educated at Caius College in Cambridge, England, George R. Woodward (b. Birkenhead, Cheshire, England, 1848; d. Highgate, London, England, 1934) was ordained in the Church of England in 1874. He served in six parishes in London, Norfolk, and Suffolk. He was a gifted linguist and translator of a large number of hymns from Greek, Latin, and German. But Woodward's theory of translation was a rigid one–he held that the translation ought to reproduce the meter and rhyme scheme of the original as well as its contents. This practice did not always produce singable hymns; his translations are therefore used more often today as valuable resources than as congregational hymns. With Charles Wood he published three series of The Cowley Carol Book (1901, 1902, 1919), two editions of Songs of Syon (1904, 1910), An Italian Carol Book (1920), and the Cambridge Carol Book

Phoebe Palmer Knapp

1839 - 1908 Person Name: Phoebe Palmer Knapp, 1839-1908 Topics: Year A All Saints' Day; Year A Proper 11; Year B Dedication Festival; Year B Easter 2; Year B Proper 23; Year C Easter 4; Year C Proper 2; Years A, B, and C Epiphany Composer of "BLESSED ASSURANCE" in Complete Anglican Hymns Old and New As a young girl Phoebe Palmer Knapp (b. New York, NY, 1839; d. Poland Springs, ME, 1908) displayed great musical talent; she composed and sang children’s song at an early age. The daughter of the Methodist evangelist Walter C. Palmer, she was married to John Fairfield Knapp at the age of sixteen. Her husband was a founder of the Metropolitan Life Insurance Company, and after his death, she shared her considerable inherited wealth with various charitable organizations. She composed over five hundred gospel songs, of which the tunes for “Blessed Assurance” and “Open the Gates of the Temple” are still popular today. Bert Polman

Cyril Taylor

1907 - 1991 Person Name: Cyril Vincent Taylor, 1907-1991 Topics: Year A Proper 20; Year A Proper 4; Year B Proper 13; Year B Proper 9; Year C Christ the King; Year C Easter 3; Year C Epiphany 4; Years A, B, and C Easter Vigil Composer of "ABBOT'S LEIGH" in Complete Anglican Hymns Old and New Cyril V. Taylor (b. Wigan, Lancashire, England, 1907; d. Petersfield, England, 1992) was a chorister at Magdalen College School, Oxford, and studied at Christ Church, Oxford, and Westcott House, Cambridge. Ordained a priest in the Church of England in 1932, he served the church as both pastor and musician. His positions included being a producer in the religious broadcasting department of the BBC (19391953), chaplain of the Royal School of Church Music (1953-1958), vicar of Cerne Abbas in Dorsetshire (1958-1969), and precentor of Salisbury Cathedral (1969-1975). He contributed twenty hymn tunes to the BBC Hymn Book (1951), which he edited, and other tunes to the Methodist Hymns and Psalms (1983). He also edited 100 Hymns for Today (1969) and More Hymns for Today (1980). Writer of the booklet Hymns for Today Discussed (1984), Taylor was chairman of the Hymn Society of Great Britain and Ireland from 1975 to 1980. Bert Polman

Thomas Andrew Dorsey

1899 - 1993 Person Name: Thomas A. Dorsey Topics: Lent 4 Year A; Easter 4 Year A; Proper 23 Year A; Epiphany 5 Year B; Proper 23 Year B; Easter 4 Year C Author of "Precious Lord, Take My Hand" in Voices United Thomas Andrew Dorsey was born in Villa Rica, a small rural town near Atlanta, Georgia. In 1919 he moved to Chicago. Most of his musical training was in the church, but he also studied and played jazz and blues. He later combined jazz and blues with religious texts, giving birth to gospel music. In 1931, along with Magnolia Lewis-Butts and Theodore Roosevelt Frye, he established the first gospel choir at Ebenezer Baptist Church in Chicago. He went on to lead the gospel choir at Pilgrim Baptist Church, which he led for 60 years. Dorsey was also instrumental in founding the National Convention of Gospel Choirs and Choruses (NCGCC) in 1933. The convention taught choirs all over the country how to sing gospel music. Dianne Shapiro, from "Gospel" in Encyclopedia of Chicago (accessed 8/12/2020)

Christian Fürchtegott Gellert

1715 - 1769 Person Name: C. F. Gellert, 1715-1769 Topics: Easter Day Year B; Easter II Year C; Easter IV Year A; Proper 20 Year A; Second Sunday Before Advent Year A Author of "Jesus lives! thy terrors now" in Common Praise Gellert, Christian Fürchtegott, son of Christian Gellert, pastor at Hainichen in the Saxon Harz, near Freiberg, was born at Hainichen, July 4, 1715. In 1734 he entered the University of Leipzig as a student of theology, and after completing his course acted for some time as assistant to his father. But then, as now, sermons preached from manuscript were not tolerated in the Lutheran Church, and as his memory was treacherous, he found himself compelled to try some other profession. In 1739 he became domestic tutor to the sons of Herr von Lüttichau, near Dresden, and in 1741 returned to Leipzig to superintend the studies of a nephew at the University. He also resumed his own studies. He graduated M.A. 1744; became in 1745 private tutor or lecturer in the philosophical faculty; and was in 1751 appointed extraordinary professor of philosophy, lecturing on poetry and rhetoric, and then on moral philosophy. An ordinary professorship offered to him in 1761 he refused, as he did not feel strong enough to fulfil its duties, having been delicate from a child, and after 1752 suffering very greatly from hypochondria. He died at Leipzig, Dec. 13, 1769 (Koch, vi. 263-277; Allgemeine Deutsche Biographie, viii. 544-549, &c). As a professor, Gellert was most popular, numbering Goethe and Lessing among his pupils, and won from his students extraordinary reverence and affection, due partly to the warm interest he took in their personal conduct and welfare. In his early life he was one of the contributors to the Bremer Beiträge; and was one of the leaders in the revolt against the domination of Gottsched and the writers of the French school. His Fables (1st Ser. 1746; 2nd 1748), by their charm of style, spirit, humour and point, may justly be characterised as epoch-making, won for him universal esteem and influence among his contemporaries of all classes, and still rank among the classics of German literature. As a hymnwriter he also marks an epoch; and while in the revival of churchly feeling the hymns of the Rationalistic period of 1760 to 1820 have been ignored by many recent compilers, yet the greatest admirers of the old standard hymns have been fain to stretch their area of selection from Luther to Gellert. He prepared himself by prayer for their composition, and selected the moments when his mental horizon was most unclouded. He was distinguished by deep and sincere piety, blameless life, and regularity in attendance on the services of the Church. His hymns are the utterances of a sincere Christian morality, not very elevated or enthusiastic, but genuine expressions of his own feelings and experiences; and what in them he preached he also put in practice in his daily life. Many are too didactic in tone, reading like versifications of portions of his lectures on morals, and are only suited for private use. But in regard to his best hymns, it may safely be said that their rational piety and good taste, combined with a certain earnestness and pathos, entitle them to a place among the classics of German hymnody. They exactly met the requirements of the time, won universal admiration, and speedily passed into the hymnbooks in use over all Germany, Roman Catholic as well as Lutheran. Two of Gellert's hymns are noted under their own first lines, viz., "Jesus lebt, mit ihm auch ich," and "Wie gross ist des All-mächtgen Güte." The following have also passed into English, almost all being taken from his Geistliche Oden und Lieder, a collection of 54 hymns first published at Leipzig, 1757, and which has passed through very numerous editions:— I. Hymns in English common use: i. An dir allein, an dir hab ich gesündigt. Lent. 1757, p. 102, in 6 stanzas of 4 lines, entitled "Hymn of Penitence." In Zollikofer's Gesange-Buch, 1766, and the Berlin Geistliche Lieder S., ed. 1863, No. 499. Translated as:— Against Thee only have I sinn'd, I own it. A good and full version, by Miss Wink worth, as No. 42 in her Chorale Book for England, 1863. Another translation is:— "Against Thee, Lord, Thee only my transgression," by N. L. Frothingham, 1870, p. 241. ii. Dies ist der Tag, den Gott gemacht. Christmas. One of his best and most popular hymns. 1757, p. 72, in 11 stanzas of 4 lines, repeated in the Berlin Gesang-Buch, 1765, No. 55, and the Berlin Geistliche Lieder S. ed. 1863, No. 154. Translated as:— This is the day the Lord hath made, O'er all the earth. A translation of stanzas i.-iii., x., by Miss Borthwick, as No. 22 in Dr. Pagenstecher's Collection, 1864, and included in Hymns from the Land of Luther, 1884, p. 256. Other trs. are:—(1) "This is the day which God ordains," by Dr. G. Walker, 1860, p. 27. (2) "This day shall yet by God's command," in the Family Treasury, 1811, p. 278. iii. Für alle Güte sei gepreist. Evening. 1757, p. 85, in 4 stanzas of 6 lines, included in Zollikofer's Gesang-Buch 1766, No. 78, and the Berlin Geistliche Lieder S., ed. 1863, No. 1160. Translated as:— To Father, Son, and Spirit praise. A good and full translation by A. T. Russell, as No. 7 in his Psalms & Hymns, 1851. Another translation is: — "For all Thy kindness laud I Thee," by H. J. Buckoll, 1842, p. 96. iv. Gott ist mein Lied. Praise. On God's Might and Providence. 1757, p. 78, in 15 st. of 5 1. In the Berlin Geistliche Lieder S.., ed. 1863, No. 24. Translated as:— God is my song, His praises I'll repeat, A free translation of stanzas i.-v., as No. 94 in Sir John Bowring's Hymns, 1825. Repeated, omitting stanza ii., as No. 114 in Dale's English Hymn Book, 1875. Other translations are:— (1) “Of God I sing," by Dr. H. Mills, 1856, p. 11. (2) "God is my song, With sovereign," by N. L. Frothingham, 1870, p. 243. v. Wenn ich, o Schöpfer, deine Macht. Praise. This fine hymn of Praise for Creation and Providence was first published 1757, p. 62, in 6 stanzas of 7 lines. In the Berlin Gesang-Buch, 1765, No. 25, and Berlin Geistliche Lieder S.ed. 1863, No. 72. Translated as:—- Thou Great First Cause! when of Thy skill. In full in Dr. H. Mills's Horae Germanicae, 1845 (1856, p. 5). Stanzas ii., iii., v., vi., altered and beginning, "The earth, where'er I turn mine eye," are in the American Lutheran General Synod's Collection, 1852. Other trs. are:— (1) "When, O my dearest Lord, I prove," by Miss Dunn, 1857, p. 80. (2) "Creator! when I see Thy might," in Madame de Pontes's Poets and Poetry of Germany, 1858, v. i. p. 472. (3) "When I, Creator, view Thy might," by Miss Manington, 1863. vi. Wer Gottes Wort nicht halt, und spricht. Faith in Works. This didactic hymn on Faith proved by Works, was first published 1757, p. 49, in 5 stanzas of 6 lines. In Zollikofer's Gesang-Buch, 1766, and the Berlin Geistliche Lieder S. ed. 1863, No. 72. Translated as:— Who keepeth not God's Word, yet saith. A good and full translation by Miss Winkworth, in her Lyra Germanica, 2nd Ser., 1858, p. 161. A greatly altered version of stanzas ii.—v., beginning, "True faith in holy life will shine," was included as No. 418 in Kennedy, 1863, and repeated in the Ibrox Hymnal 1871, J. L. Porter's Collection 1876, and others. II. Hymns not in English common use: vii. Auf Gott, und nicht auf meinen Rath. Trust in God's Providence. 1757, p. 134, in 6 stanzas. Translated as: (1) "Rule Thou my portion, Lord, my skill," by Dr. H. Mills, 1845 (1856, p. 164). (2) "On God and on no earthly trust," by J. D. Burns, in his Remains, 1869. viii. Auf, schicke dich. Christmas. 1757, p. 109, in 1 stanza. Translated as, "Come, tune your heart," by Miss Cox, 1841, p. 17 (1864, p. 39). ix. Dein Heil, o Christ! nicht zu verscherzen. Prayer. 1757, p. 6, in 14 stanzas of 8 lines. In J. A. Schlegel's Geistliche Gesänge, 3rd Ser., 1772, p. 193, recast as "Zu deinem Gotte beten," in 5 stanzas of 12 lines; and this in the Kaiserwerth Lieder-Buch für Kleinkinderschulen, 1842, No. 208, appears "Zu Gott im Himmel beten," in 8 stanzas of 4 lines. The 1842 was translated as, "O how sweet it is to pray," by Mrs. Bevan, 1859, p. 148. x. Der Tag ist wieder hin, und diesen Theil des Lebens. Evening. 1757, p. 13, in 10 stanzas, as "Self-Examination at Eventide." Translated as,"Another day is ended," by Miss Warner, 1869 (1871, p. 9). xi. Du klagst, und fühlest die Beschwerden. Contentment. 1757, p. 91, in 8 stanzas. Translated as "Thy wounded spirit feels its pain," by Dr. B. Maguire, 1883, p. 153. xii. Erinnre dich, mein Geist, erfreut. Easter. 1757, p. 27, in 13 stanzas. Translated as, "Awake, my soul, and hail the day," in Dr. J. D. Lang's Aurora Australis, Sydney, 1826, p. 43. xiii. Er ruft der Sonn, und schafft den Mond. New Year. 1757, p. 154, in 6 stanzas. In the Berlin Gesang-Buch, 1765, No. 233, as "Gott ruft." Translated as, “Lord, Thou that ever wast and art," in the British Magazine, Jan., 1838, p. 36. xiv. Gott, deine Güte reicht so weit. Supplication. 1757, p. 1, in 4 stanzas, founded on 1 Kings iii. 5-14. The translations are: (1) "O God, Thy goodness doth extend, Far as," by Dr. J. D. Lang, 1826, p. 10. (2) "Behold! Thy goodness, oh my God," by Miss Fry, 1845, p. 78. xv. Gott ist mein Hort. Holy Scripture. 1757, p. 70, in 8 stanzas. Translated as, "I trust the Lord, Upon His word," by Dr. H. Mills, 1845 (1856, p. 23). xvi. Herr, der du mir das Leben. Evening. 1757, p. 121, in 5 stanzas. Translated as, "By Thee, Thou Lord of Heaven," by H. J. Buckoll, 1842, p. 97. xvii. Herr, starke mich, dein Leiden su bedenken. Passiontide. 1757, p. 123, in 22 stanzas. Translated as, "Clothe me, oh Lord, with strength! that I may dwell” by Miss Fry, 1859, p. 153. xviii. Ich hab in guten Stunden. For the Sick. 1757, p. 128, in 6 stanzas. [See the Story of a Hymn, in the Sunday at Home for Sept., 1865.] Translated as: (1) “I have had my days of blessing," by Mrs. Findlater, in Hymns from the Land of Luther, 1855, p. 60. (2) "Once, happy hours with blessings crowned," by A. B. H., in the Day of Rest, 1877, p. 405. xix. Ich komme, Herr, und suche dich. Holy Communion. 1757, p. 89, in 5 stanzas. The translations are: (1) "I come, 0 Lord, and seek for Thee," by Miss Manington, 1863, p. 14. (2) “Weary and laden with my load, I come," by Dr. B. Maguire, 1872, p. 178. xx. Ich komme vor dein Angesicht. Supplication. 1757, p. 140. in 13 stanzas. The translations are: (1) "Great God, I bow before Thy face," by Dr. J. D. Lang, 1826, p. 23. (2) “Now in Thy presence I appear," by Dr. H. Mills, 1845 (1856, p. 137). xxi. Mein erst Gefühl sei Preis und Dank. Morning. 1757, p. 55, in 12 stanzas. Translated as, "I bless Thee, Lord, Thou God of might," beginning with st. vi., by H. J. Buckoll, 1842, p. 56. xxii. Nach einer Prüfung kurzer Tage. Eternal Life. 1757, p. 158, in 12 stanzas, as "The Consolation of Eternal Life." Though hardly a hymn for congregational use and too individualised, it has been a very great favourite in Germany. In the Berlin Gesang-Buch, 1765, 132, and the Berlin Geistliche Liedersegen, ed. 1863, No. 1483. The translations are: (1) "A few short days of trial past," in Miss Knight's Prayers and Hymns from the German, 1812 (1832, p. 107). (2) "A few short hours of transient joy," by Dr. J. D. Lang, 1826, p. 123. (3) “When these brief trial-days are past," by J. Sheppard, 1857, p. 98. (4) “A few short days of trial here,” by Miss Burlingham, in the British Herald, July 1865, p. 98. (5) "Our few short years of trial o'er," by Dr. J. Guthrie, 1869, d. 124. (6) “When these brief trial-days are spent," by Miss Winkworth, 1869, p. 318. (7) "A few more days, a few more years," by Dr. R. Maguire, 1883, p. 165. xxiii 0 Herr, mein Gott! durch den ich bin und lebe. Resignation to the will of God. 1757, p. 152. in 7 st. Translated as, "In Thee, my God, I live and move," by Dr. R. Maguire, 1883, p. 113. xxiv. So hoff’ ich denn mit festem Muth . Assurance of the Grace of God. 1757, p. 115, in 4 stanzas. The translations are: (1) "Firm is my hope of future good," by Dr. H. Mills, 1845 (1856, p. 188). (2) “In Thee, O Lord, my hope hath stood," by Dr. R. Maguire, 1872. zzv. Was ists dast ich mich quäle. Patience. 1757, p. 17, in 7 stanzas. The translations are: (1) "O foolish heart, be still," by Miss Warner, 1858 (1861, p. 452), repeated in Bishop Ryle's Collection, 1860, No. 181 (2) “What billows these that o'er thee roll," by Dr. R. Maguire, 1872. xxvi. Wie sicher lebt der Mensch, der Staub. For the Dying. 1757, p. 149, in 14 stanzas. Translated as, "How heedless, how secure is man!" by Dr. H. Mills, 1845 (1856, p. 238). One or two recasts from Gellert's Lehrgedichte und Erzählungen, Leipzig, 1754, came into German common use, and one has passed into English, viz.:— xxvii. Mensch, der du Christus schmähst, was ist in ihrer Lehre. Love to Mankind. 1754, pp. 27-56, being a poem entitled “The Christian." A recast from portions of this made by J. S. Diterich, beginning "Gieb mir, O Gott, ein Herz," in 9 stanzas, appears as No. 219 in the Berlin Gesang-Buch, 1765; and has been translated as "Grant me, O God! a tender heart," by Miss Knight, 1812 (1832, p. 97). [Rev. James Mearns, M.A.] -- John Julian, Dictionary of Hymnology (1907)

W. H. Havergal

1793 - 1870 Topics: Christian Year Advent; Advent 2 Year A; Advent 2 Year B; Advent 2 Year C; Advent 3 Year C Arranger of "WINCHESTER NEW" in Voices United 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)

Henry Hart Milman

1791 - 1868 Topics: The Christian Year Palm Sunday; Christian Year Passion/Palm Sunday; Palm/Passion Sunday Year A; Palm/Passion Sunday Year B; Palm/Passion Sunday Year C Author of "Ride On! Ride On in Majesty!" in Voices United Milman, Henry Hart, D.D., the youngest son of Sir Francis Milman (who received his Baronetage as an eminent Court physician), was born Feb. 10th, 1791, and educated at Dr. Burney's at Greenwich, and subsequently at Eton. His career at B. N. C. Oxford, was brilliant. He took a first class in classics, and carried off the Newdigate, Latin Verse, Latin Essay, and English Essay. His Newdigate on the Apollo Belvedere, 1812, is styled by Dean Stanley "the most perfect of Oxford prize poems." His literary career for several years promised to be poetical. His tragedy Fazio was played at Covent Garden, Miss O'Neill acting Bianca. Samor was written in the year of his appointment to St. Mary's, Reading (1817); The Fall of Jerusalem (1820); Belshazzar and The Martyr of Antioch (1822), and Anne Boleyn, gained a brilliant reception from the reviewers and the public. He was appointed Poetry Professor at Oxford in 1821, and was succeeded ten years after by Keble. It must have been before 1823, the date of Heber's consecration to Calcutta, that the 13 hymns he contributed to Heber's Hymns were composed. But his poetry was only the prelude to his larger work. The Bampton Lectures (1827) mark his transition to theological study, and the future direction of it was permanently fixed by his History of the Jews (1829). This book raised a storm of obloquy. It was denounced from the University pulpit, and in the British Critic. "It was the first decisive inroad of German theology into England, the first palpable indication that the Bible could be studied like another book, that the characters and events of the sacred history could be treated at once critically and reverently" (Dean Stanley). In 1835 he was presented by Sir Robert Peel to a Canonry at Westminster and the Rectory of St. Margaret's. In 1839 appeared his valuable edition of Gibbon's Decline and Fall; and in 1840 his History of Christianity to the Abolition of Paganism in the Roman Empire. Among his minor works in a different field were his Life of Keats and his edition and Life of Horace. It was not till 1854 that his greatest work—-for "vast and varied learning, indefatigable industry, calm impartiality, and subtle and acute criticism, among the most memorable in our language" (Quart Rev.)—-Latin Christianity—-appeared. He had been appointed Dean of St. Paul's in 1849. The great services under the dome originated in his tenure of the Deanery. His latest work, published after his death, Sept. 24, 1868, was The Annals of St. Paul’s. Though one of the most illustrious in the school of English liberal theology, he had no sympathy with the extreme speculations of Germany. The "criticism" of Tübingen "will rarely bear criticism." He "should like an Ewald to criticise Ewald." "Christianity will survive the criticism of Dr. Strauss," and the "bright flashing artillery" of Rénan. His historical style has been compared to Gibbon in its use of epigram and antithesis. His narrative is full of rapidity of movement. His long complex paragraphs have often a splendour of imagination as well as wealth of thought. All the varied powers of his mind found vent in his conversation; he was called, after his death, "the last of the great converters." The catalogue of his friends from the days of Heber, "his early friend," to those of Hallam, Macaulay, and Dean Stanley, was long and distinguished. Milman's 13 hymns were published in Heber's posthumous Hymns in 1827, and subsequently in his own Selection of Psalms & Hymns, 1837. The fine hymn for The Burial of the Dead, in Thring's Collection, "Brother, thou art gone before us," is from The Martyr of Antioch (1822). Like Heber's, they aim at higher literary expression and lyric grace. He makes free use of refrains. The structure is often excellent. His style is less florid and fuller of burning, sometimes lurid force than Heber's. His hymn for the 16th Sunday after Trinity, "When our heads are bowed with woe," has no peer in its presentation of Christ's human sympathy; the hymn for the 2nd Sunday in Lent, “Oh! help us, Lord! each hour of need," is a piece of pure deep devotion. "Ride on, ride on in majesty," the hymn for Palm Sunday, is one of our best hymns. And the stanzas for Good Friday, "Bound upon the accursed tree," form one of the finest meditations on the Passion. All his hymns are still in common use. [Rev.H.Leigh Bennett, M.A.] --John Julian, Dictionary of Hymnology (1907)

Civilla D. Martin

1866 - 1948 Topics: Year A Epiphany 8; Year B Proper 24; Year C Lent 1; Year C Proper 21; Year C Proper 28 Author of "Be Not Dismayed (God Will Take Care of You)" in The New Century Hymnal Martin, Civilla Durfee (Jordan Falls, Nova Scotia, August 21, 1866--March 9, 1948, Atlanta, Georgia). Daughter of James N. and Irene (Harding) Holden. She married Rev. John F. Geddes, Congregational minister of Coventryvilee, N.Y. at Jordan Falls Methodist Church, Shelbourne Co., Nova Scotia, on May 19, 1891. There is thus far no information about their marriage and its end. After several years of teaching school, she married Walter Stillman Martin, a Baptist minister, and traveled with him in evangelistic work. However, because of frail health, she was compelled to remain home much of the time. In 1916, they became members of the Christian Church (Disciples of Christ). They had one son, A.G. Martin. In her writing, she used only her initials, "C.D." rather than her full name of that of her composer-husband. She is reputed to have written several hundred hymns and religious songs. Her first one, "God Will Take Care of You," written in 1904 became world-famous. Her husband wrote the music for this and many of her other hymns. "His Eye is on the Sparrow" written in 1906 and set to music by Charles H. Gabriel, has also received wide acclaim. In addition to the above, "Like As A Father," "A Welcome for Me," and "The Blood Will Never Lose Its Power" are among her better-known hymns. Her husband and collaborator, W.S. Martin (1862-1935) preceded her in death. For the last 29 years of her life, she made her home in Atlanta, Georgia, where she was a member of the First Christian Church. Her funeral was held on March 10, 1948 at Spring Hill and the interment was in the West View Cemetery in Atlanta. --Carlton C. Buck, DNAH Archives and email from Rev. Lester M. Settle (Glenholme, Nova Scotia) to Mary Louise VanDyke 18 September 2008, DNAH Archives.

Anna Letitia Waring

1823 - 1910 Person Name: Anna Laetitia Waring, 1820-1910 Topics: Year A Easter 4; Year A Proper 23; Year B Easter 4; Year B Proper 11; Year C Easter 4 Author of "In heavenly love abiding" in Complete Anglican Hymns Old and New See also in: Hymn Writers of the Church ================ Waring, Anna Laetitia, daughter of Elijah Waring, and niece of Samuel Miller Waring, was born at Neath, Glamorganshire, in 1820. In 1850 she published her Hymns and Meditations, by A. L. W., a small book of 19 hymns. The 4th edition was published in 1854. The 10th edition, 1863, is enlarged to 38 hymns. She also published Additional Hymns, 1858, and contributed some pieces to the Sunday Magazine, 1871. Her most widely known hymns are: "Father, I know that all my life," "Go not far from me, O my Strength," and "My heart is resting, O my God." The rest in common use include:— 1. Dear Saviour of a dying world. Resurrection. (1854.) 2. In heavenly love abiding. Safety in God. (1850.) 3. Jesus, Lord of heaven above. Love to Jesus desired. (1854.) 4. Lord, a happy child of Thine. Evening. (1850.) 5. My Saviour, on the [Thy] words of truth. Hope in the Word of God. (1850.) Sometimes stanza iv., "It is not as Thou wilt with me," is given separately. 6. O this is blessing, this is rest. Rest in the Love of Jesus. (1854.) 7. O Thou Lord of heaven above. The Resurrection. 8. Source of my life's refreshing springs. Rest in God. (1850.) 9. Sunlight of the heavenly day. New Year (1854.) 10. Sweet is the solace of Thy love. Safety and Comfort in God. (1850.) 11. Tender mercies on my way. Praise of Divine Mercies. (1850.) 12. Thanksgiving and the voice of melody. New Year (1854). 13. Though some good things of lower worth. Love of God in Christ, (1860.) These hymns are marked by great simplicity, concentration of thought, and elegance of diction. They are popular, and deserve to be so. [George Arthur Crawford, M.A.] -- John Julian, Dictionary of Hymnology (1907) =============== Waring, Anna L., p. 1233, ii. Of her hymns we have found the following in Lovell Squire's Selection of Scriptural Poetry, 3rd ed., 1848: 1. Father, I know that all my life, p. 367, ii. 2. Sweet is the solace of Thy love, p. 1233, ii. 10. 3. Though some good things of, &c., p. 1233, ii. 13. The statement in J. Telford's The Methodist Hymn Book Illustrated, 1906, p. 271, that Miss Waring contributed to her uncle's (S. M. Waring's) Sacred Melodies, 182G, cannot be correct, as she was then only six years old. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology, New Supplement (1907)

E. J. Hopkins

1818 - 1901 Person Name: Edward John Hopkins, 1818-1901 Topics: Year B Lent 5; Year B Proper 13; Year C Proper 12; Year C Proper 19; Years A, B, and C Ash Wednesday Composer of "ST HUGH" in Complete Anglican Hymns Old and New Dr Edward John Hopkins MusDoc United Kingdom 1818-1901. Born at Westminster, England, the son of a clarinetist with the Royal Opera House orchestra, he became an organist (as did two of his brothers) and a composer. In 1826 he became a chorister of the Chapel Royal and sang at the coronation of King William IV in Westminster Abbey. He also sang in the choir of St. Paul’s Cathedral, a double schedule requiring skill and dexterity. On Sunday evenings he would play the outgoing voluntary at St. Martin’s in-the-field. He left Chapel Royal in 1834 and started studying organ construction at two organ factories. He took an appointment at Mitcham Church as organist at age 16, winning an audition against other organists. Four years later he became organist at the Church of St. Peter, Islington. In 1841 he became organist at St. Luke’s, Berwick St., Soho. Two Years later he was organist at Temple Church, which had a historic organ (built in 1683). He held this position for 55 years. In 1845 he married Sarah Lovett, and they had four sons and five daughters. He was closely associated with the Bach Society and was organist for the first English performances of Bach’s St. Matthew Passion. In 1855 he collaborated with Edward Rimbault publishing “The organ, its history and construction” (3 editions 1855-70-77). In 1864 he was one of the founders of the “College of organists”. In 1882 he received an honorary Doctorate of Music from the Archbishop of Canterbury. He composed 30+ hymn tunes and some psalm chants, used by the Church of England. He died in London, England. John Perry

Nahum Tate

1652 - 1715 Topics: The Christian Year Christmas; Christian Year Christmas; Christmas Eve Year A; Christmas Eve Year C Author of "While Shepherds Watched Their Flocks" in Voices United Nahum Tate was born in Dublin and graduated from Trinity College, Dublin, B.A. 1672. He lacked great talent but wrote much for the stage, adapting other men's work, really successful only in a version of King Lear. Although he collaborated with Dryden on several occasions, he was never fully in step with the intellectual life of his times, and spent most of his life in a futile pursuit of popular favor. Nonetheless, he was appointed poet laureate in 1692 and royal historiographer in 1702. He is now known only for the New Version of the Psalms of David, 1696, which he produced in collaboration with Nicholas Brady. Poverty stricken throughout much of his life, he died in the Mint at Southwark, where he had taken refuge from his creditors, on August 12, 1715. --The Hymnal 1940 Companion See also in: Hymn Writers of the Church

Sarah Flower Adams

1805 - 1848 Topics: Proper 7 Year A; Proper 11 Year A; Proper 19 Year B; Proper 20 Year B Author of "Nearer, My God, to Thee ( Mon Dieu, plus près de toi)" in Voices United Adams, Sarah, nee Flower. born at Harlow, Essex, Feb. 22nd, 1805; died in London, Aug. 14, 1848, and was buried at Harlow, Aug. 21,1848. She was the younger daughter of Mr. Benjamin Flower, editor and proprietor, of The Cambridge Intelligencer; and was married, in 1834, to William B. Adams, a civil engineer. In 1841 she published Vivia Perpetua, a dramatic poem dealing with the conflict of heathenism and Christianity, in which Vivia Perpetua suffered martyrdom; and in 1845, The Flock at the Fountain; a catechism and hymns for children. As a member of the congregation of the Rev. W. J. Fox, an Unitarian minister in London, she contributed 13 hymns to the Hymns and Anthems, published by C. Fox, Lond., in 1841, for use in his chapel. Of these hymns the most widely known are— "Nearer,my God,to Thee," and "He sendeth sun, He sendeth shower." The remaining eleven, most of which have come into common use, more especially in America, are:— Creator Spirit! Thou the first. Holy Spirit. Darkness shrouded Calvary. Good Friday. Gently fall the dews of eve. Evening. Go, and watch the Autumn leaves. Autumn. O hallowed memories of the past. Memories. O human heart! thou hast a song. Praise. O I would sing a song of praise. Praise. O Love! thou makest all things even. Love. Part in Peace! is day before us? Close of Service. Sing to the Lord! for His mercies are sure. Praise. The mourners came at break of day. Easter. Mrs. Adams also contributed to Novello's musical edition of Songs for the Months, n. d. Nearly all of the above hymns are found in the Unitarian collections of Great Britain, and America. In Martineau's Hymns of Praise & Prayer, 1873, No. 389, there is a rendering by her from Fenelon: —" Living or dying, Lord, I would be Thine." It appeared in the Hymns and Anthems, 1841. -John Julian, Dictionary of Hymnology (1907)

Thomas Olivers

1725 - 1799 Person Name: Thomas Olivers, 1725-1799 Topics: Year A Easter 2; Year A Proper 17; Year A Proper 8; Year A Trinity Sunday; Year B Christ the King; Year B Lent 2; Year B Proper 1; Year B Second Sunday Before Advent; Year C Epiphany 4; Year C Proper 8; Years A, B, and C Ascension Day Author of "The God of Abraham praise" in Complete Anglican Hymns Old and New Thomas Olivers was born in Tregonan, Montgomeryshire, in 1725. His youth was one of profligacy, but under the ministry of Whitefield, he was led to a change of life. He was for a time apprenticed to a shoemaker, and followed his trade in several places. In 1763, John Wesley engaged him as an assistant; and for twenty-five years he performed the duties of an itinerant ministry. During the latter portion of his life he was dependent on a pension granted him by the Wesleyan Conference. He died in 1799. --Annotations of the Hymnal, Charles Hutchins, M.A., 1872. ================== Olivers, Thomas, was born at Tregynon, near Newtown, Montgomeryshire, in 1725. His father's death, when the son was only four years of age, followed by that of the mother shortly afterwards, caused him to be passed on to the care of one relative after another, by whom he was brought up in a somewhat careless manner, and with little education. He was apprenticed to a shoemaker. His youth was one of great ungodliness, through which at the age of 18 he was compelled to leave his native place. He journeyed to Shrewsbury, Wrexham, and Bristol, miserably poor and very wretched. At Bristol he heard G. Whitefield preach from the text "Is not this a brand plucked out of the fire?" That sermon turned the whole current of his life, and he became a decided Christian. His intention at the first was to join the followers of Whitefield, but being discouraged from doing so by one of Whitefield's preachers, he subsequently joined the Methodist Society at Bradford-on-Avon. At that town, where he purposed carrying on his business of shoemaking, he met John Wesley, who, recognising in him both ability and zeal, engaged him as one of his preachers. Olivers joined Wesley at once, and proceeded as an evangelist to Cornwall. This was on Oct. 1, 1753. He continued his work till his death, which took place suddenly in London, in March 1799. He was buried in Wesley's tomb in the City Road Chapel burying ground, London. Olivers was for some time co-editor with J. Wesley of the Arminian Magazine, but his lack of education unfitted him for the work. As the author of the tune Helmsley, and of the hymn “The God of Abraham praise," he is widely known. He also wrote “Come Immortal King of glory;" and "O Thou God of my salvation," whilst residing at Chester; and an Elegy on the death of John Wesley. His hymns and the Elegy were reprinted (with a Memoir by the Rev. J. Kirk) by D. Sedgwick, in 1868. --John Julian, Dictionary of Hymnology (1907)

Edward Hopper

1816 - 1888 Topics: Proper 14 Year A; Proper 7 Year B Author of "Jesus, Saviour, Pilot Me" in Voices United Rv Edward Hopper DD USA 1816-1888. Born at New York City, the son of a merchant, he graduated from Union Theological Seminary, New York. He married Margaretta Wheeler. He was an author and poet and wrote several books. He pastored the Greenville Presbyterian Church, Sag Harbor Presbyterian Church on Long Island, and the Church of Sea and Land, NYC, a church for sailors, where he remained the rest of his life (for years the church building was shared with the First Chinese Presbyterian Church). Once he was asked to compose a hymn verse for the anniversary of the Seamen’s Friend’s Society meeting. Instead, he brought the verse for a hymn he had written eight years before (noted below). John Edgar Gould saw Hopper’s poem (6 stanzas) and composed a tune for it. Hopper died of a heart attack while writing a poem about heaven at his desk. John Perry =============== Hopper, Edward, D.D., was born in 1818, and graduated at Union Theological Seminary, New York, 1842. He is pastor of the Church of Sea and Land, N. Y. He is the author of 1. Jesus, Saviour, pilot me [us]. Jesus the Pilot. 2. They pray the best who pray and watch. Watching & Prayer. 3. Wrecked and struggling in mid-ocean. Wreck & Rescue. Of these No. 1 appeared in the Baptist Praise Book, 1871, and 2 & 3 in Hymns & Songs of Praise, N. Y., 1874. -- John Julian, Dictionary of Hymnology ======================= See also in: Hymn Writers of the Church

Timothy Dwight

1752 - 1817 Topics: Year A Advent 3; Year A Proper 18; Year B Proper 5; Year B Proper 21; Year C Proper 11 Author of "We Love Your Realm, O God" in The New Century Hymnal Timothy Dwight (b. Northampton, MA, 1752; d. Philadelphia, PA, 1817) was a grandson of Jonathan Edwards who became a Congregationalist pastor, a Revolutionary War army chaplain, a tutor and professor at Yale College, and president of Yale from 1795 to 1817. As president he continued to teach and serve as chaplain and was instrumental in improving both the academic and the spiritual life of the college. Bert Polman =============== Dwight, Timothy, D.D. This is the most important name in early American hymnology, as it is also one of the most illustrious in American literature and education. He was born at Northampton, Massachusetts, May 14, 1752, and graduated at Yale College, 1769; was a tutor there from 1771 to 1777. He then became for a short time a chaplain in the United States Army, but passed on in 1783 to Fairfield, Connecticut, where he held a pastorate, and taught in an Academy, till his appointment, in 1795, as President of Yale College. His works are well known, and need no enumeration. He died at New Haven, Jan. 11, 1817. In 1797 the General Association of Connecticut, being dissatisfied with Joel Barlow's 1785 revision of Watts, requested Dwight to do the work de novo. This he did liberally, furnishing in some instances several paraphrases of the same psalm, and adding a selection of hymns, mainly from Watts. The book appeared as— "The Psalms of David, &c.... By I. Watts, D.D. A New Edition in which the Psalms omitted by Dr. Watts are versified, local passages are altered, and a number of Psalms are versified anew in proper metres. By Timothy Dwight, D.D., &c….To the Psalms is added a Selection of Hymns," 1800. Dwight's lyrics are all professedly psalms, but they are by no means literal versions. His original compositions number 33. Of these many are still in common use, the most important being:— 1. Blest be the Lord, Who heard my prayer. Psalm xxviii. This is the second part of Psalm xxviii., in 5 stanzas of 4 lines. It is in the English New Congregational Hymn Book, 1859. 2. I Love Thy kingdom, Lord. Psalm cxxxvii. This is version three of Ps. 137, in 8 stanzas of 4 lines, and is in extensive use at the present time throughout the States. It is also included in many English, Irish, and Scottish collections, sometimes in the original form, as in Alford's Year of Praise, 1867; again as, "I love Thy Church, 0 God," which opens with the second stanza, as in the Scottish Evangelical Union Hymnal, 1878, in 3 stanzas, and "We love Thy kingdom, Lord," in the Irish Church Hymnal, 1873. In Cleveland's Lyra Sacra Americana six stanzas only are given from the original. Next to this in popularity are his 2nd and 3rd renderings of Psalm lxxxviii.:— 3. Shall man, 0 God of life and light. (3rd stanza) 4. While life prolongs its precious light. (2nd stanza) Both of which are in extensive use. From his 4th version of the same Psalm (88), the following hymns have been compiled, each opening with the stanza indicated:— 5. Just o'er the grave I hung. Stanza ii. 6. I saw beyond the tomb. Stanza iv. 7. Ye sinners, fear the Lord. Stanza xii. This last is found in Spurgeon's 0ur Own Hymnbook. The original version consists of 13 stanzas. 8. 0 Thou Whose sceptre earth and seas obey. Psalm lxxii. This is his second version of this Psalm, and was given in the Comprehensive Rippon, 1844. The following, most of which are of a more jubilant character, are well known:— 9. How pleasing is Thy voice. Psalm lxv. 10. In Zion's sacred gates. Psalm cl. 11. Lord of all worlds, incline Thy gracious [bounteous] ear. Psalm llii. 12. Now to Thy sacred house. Psalm xliii., st. 3. 13. Sing to the Lord most high. Psalm c. 14. In barren wilds shall living waters spring. Psalm liii. 15. Lord, in these dark and dismal days. Psalm cxxxvii. No. 9 is found in Lyra Sacra Americana, pp. 101-2, the seven stanzas of the original being abbreviated to five. In addition to the Psalms, Dr. Dwight published three poems, "The Conquest of Canaan," 1785; "Greenfield Hill," 1794; "Triumph of Infidelity," 1788. [Rev. F. M. Bird, M.A.] - John Julian, Dictionary of Hymnology (1907)

Gregory Murray

1905 - 1992 Topics: Year A Proper 21; Year A Proper 22 Arranger of "CONDITOR AME SIDERUM" in Complete Anglican Hymns Old and New

Priscilla Jane Owens

1829 - 1907 Topics: Proper 14 Year A Author of "Will Your Anchor Hold" in Voices United Owens, Priscilla Jane, was born July 21, 1829, of Scotch and Welsh descent, and is now (1906) resident at Baltimore, where she is engaged in public-school work. For 50 years Miss Owen has interested herself in Sunday-school work, and most of her hymns were written for children's services. Her hymn in the Scotch Church Hymnary, 1898, "We have heard a joyful sound" (Missions), was written for a Sunday-school Mission Anniversary, and the words were adapted to the chorus "Vive le Roi" in the opera The Huguenots. [Rev. James Bonar, M.A.] --John Julian, Dictionary of Hymnology, Appendix II (1907) ========================= Owens, Priscilla Jane. (July 21, 1829--December 5, 1907). Of Scottish and Welsh ancestry, she spent her entire life in Baltimore. She was a public school teacher there for 49 years. She was a member of the Union Square Methodist Church and took particular interest in its Sunday School. Her literary efforts, both in prose and poetry, appeared in such religious periodicals as the Methodist Protestant and the Christian Standard. --William J. Reynolds, DNAH Archives

Will L. Thompson

1847 - 1909 Topics: Year A Proper 9 Author of "Softly and Tenderly" in The New Century Hymnal Will Lamartine Thompson (1847-1909) Born: November 7, 1847, East Liverpool, Ohio. Died: September 20, 1909, New York, New York. Buried: Riverview Cemetery, East Liverpool, Ohio. Rebuffed in an early attempt to sell his songs to a commercial publisher, Thompson started his own publishing company. He later expanded, opening a store to sell pianos, organs and sheet music. Both a lyricist and composer, he ensured he would always remember words or melodies that came to him at odd times: "No matter where I am, at home or hotel, at the store or traveling, if an idea or theme comes to me that I deem worthy of a song, I jot it down in verse. In this way I never lose it." Thompson took ill during a tour of Europe, and his family cut short their travels to return home. He died a few weeks later. Music-- 1.Jesus Is All the World to Me 2.Lead Me Gently Home, Father 3.Softly and Tenderly Jesus Is Calling 4.There’s a Great Day Coming --hymntime.com/tch ================================== Various biographical sketches and newspaper articles about Thompson are available in the DNAH Archives.

Samuel Medley

1738 - 1799 Person Name: Samuel Medley, 1738-1799 Topics: Easter 5, Year A Author of "I Know That My Redeemer Lives" in Worship (3rd ed.) Medley, Samuel, born June 23, 1738, at Cheshunt, Herts, where his father kept a school. He received a good education; but not liking the business to which he was apprenticed, he entered the Royal Navy. Having been severely wounded in a battle with the French fleet off Port Lagos, in 1759, he was obliged to retire from active service. A sermon by Dr. Watts, read to him about this time, led to his conversion. He joined the Baptist Church in Eagle Street, London, then under the care of Dr. Gifford, and shortly afterwards opened a school, which for several years he conducted with great success. Having begun to preach, he received, in 1767, a call to become pastor of the Baptist church at Watford. Thence, in 1772, he removed to Byrom Street, Liverpool, where he gathered a large congregation, and for 27 years was remarkably popular and useful. After a long and painful illness he died July 17, 1799. Most of Medley's hymns were first printed on leaflets or in magazines (the Gospel Magazine being one). They appeared in book form as:— (1) Hymns, &c. Bradford, 1785. This contains 42 hymns. (2) Hymns on Select Portions of Scripture by the Rev. Mr. Medley. 2nd ed. Bristol. W. Pine. 1785. This contains 34 hymns, and differs much from the Bradford edition both in the text and in the order of the hymns. (3) An enlargement of the same in 1787. (4) A small collection of new Hymns, London, 1794. This contains 23 hymns. (5) Hymns. The Public Worship and Private Devotion of True Christians Assisted in some thoughts in Verse; principally drawn from Select Passages of the Word of God. By Samuel Medley. London. Printed for J. Johnson. 1800. A few of his hymns are also found in a Collection for the use of All Denominations, published in London in 1782. Medley's hymns have been very popular in his own denomination, particularly among the more Calvinistic churches. In Denham's Selections there are 48, and in J. Stevens's Selections, 30. Their charm consists less in their poetry than in the warmth and occasional pathos with which they give expression to Christian experience. In most of them also there is a refrain in the last line of each verse which is often effective. Those in common use include:— 1. Come, join ye saints, with heart and voice. (1800). Complete in Christ. 2. Death is no more among our foes. Easter. 3. Eternal Sovereign Lord of all. (1789). Praise for Providential Care. 4. Far, far beyond these lower skies. (1789). Jesus, the Forerunner. 5. Father of mercies, God of love, whose kind, &c. (1789.) New Year. 6. Great God, today Thy grace impart. Sermon. 7. Hear, gracious God! a sinner's cry. (1789). Lent. 8. In heaven the rapturous song began. Christmas. 9. Jesus, engrave it on my heart. (1789). Jesus, Needful to all. 10. Mortals, awake, with angels join. (1782). Christmas. 11. My soul, arise in joyful lays. (1789). Joy in God. 12. Now, in a song of grateful praise. Praise to Jesus. In the Gospel Magazine, June, 1776. 13. O could I speak the matchless worth. (1789.) Praise of Jesus. 14. O for a bright celestial ray. Lent. 15. O God, Thy mercy, vast and free. (1800). Dedication of Self to God. 16. O let us tell the matchless love. Praise to Jesus. 17. O what amazing words of grace. (1789). Foutain of Living Waters. 18. Saints die, and we should gently weep. (1800). Death and Burial. From his "Dearest of Names, Our Lord and King." 19. See a poor sinner, dearest Lord. Lent. 20. Sing the dear Saviour's glorious fame. (1789). Jesus the Breaker of bonds. In 1800 a Memoir of Medley was published by his son, which is regarded by members of the family now living as authoritative. But in 1833 appeared another Memoir by Medley's daughter Sarah, to which are appended 52 hymns for use on Sacramental occasions. These she gives as her father's. But 8 of them are undoubtedly by Thos. Kelly, published by him in 1815, and reprinted in subsequent editions of his Hymns. The remainder are by Medley. Nearly all of these 52 hymns (both Medley's and Kelly's) have been altered in order to adapt them to Sacramental use. In Sarah Medley's volume, Kelly's hymns all follow one another, and three of them are in a metre which Medley apparently never used. What could have been Sarah Medley's motive in all this it is hard to divine. She is said to have been a clever, though unamiable woman, and was herself the author of a small volume of Poems published in 1807. In the Memoir she does not conceal her hatred of her brother. [Rev. W. R. Stevenson, M.A.] -- John Julian, Dictionary of Hymnology (1907)

John H. Hopkins

1820 - 1891 Person Name: John Henry Hopkins Topics: Years A, B, and C Epiphany Author of "We three kings of Orient are" in Complete Anglican Hymns Old and New John Henry Hopkins, Jr MA USA 1820-1891. Born in Pittsburgh, PA, having 12 siblings, the son of pioneer parents (his father from Dublin, his mother from Hamburg) he became an ecclesiologist. His father had been an ironmaster, school teacher, lawyer, priest and second Episcopal Bishop of Vermont, (becoming presiding bishop in 1865). When his father founded the Vermont Episcopal Institute, he needed an assistant to help run it, so he picked his son to become a tutor and disciplinarian. The younger Hopkins played the flute and bugle in the school orchestra and also taught Sunday school. John Henry reflected the artistic talents of both parents in music, poetry, and art. After graduating from the University of Vermont in 1839, he returned to help his father with the school, but a financial crisis hit that year and the school had to close. He worked as a reported in New York City while studying law. He developed a throat ailment and went south to be in a warmer climate. From 1842-1844 he tutored the children of Episcopal Bishop Elliott of Savannah, GA, returning to take his M.A. from Vermont in 1845. He graduated from General Theological Seminary in 1850 and was ordained a deacon, serving as first instructor in church music at the Seminary. He founded and edited the “Church Journal” from 1853 to 1868. Interested in New York’s Ecclesiological Society, his artistic talents were apparent in designing stained-glass windows, episcopal seals, and a variety of other church ornaments. At the same time, his musical talents led to the writing and composing of a number of fine hymns and tunes, as well as anthems and services. He was ordained a priest in 1872, and was Rector of Trinity Church, Plattsburg, NY, from 1872-1876, then of Christ Episcopal Church in Williamsport, PA, from 1876-1887. He helped get the building debt paid off by 1879 with(in 10 years of its construction). During his time there a Sunday school building was also erected, having steam heat and a tiled floor. He designed some of the church furniture and bishop periphernalia as well as wrought iron tombs in Wildwood Cemetery. He also helped design two other church buildings in the area. A man of many talents, he was much beloved as a scholar, writer, preacher, controvertialist, musician, poet, and artist, excelling in all that he did. Totally devoted to his parish people, he especially loved children and was kind to anyone in need. He was considered very down-to-earth. He delivered the eulogy at the funeral of President Usysses S Grant in 1885. He was considered a great developer of hymnody in the Episcopal Church in the mid-19th century. His “Carols, hymns, and songs,”, published in 1863, had a 4th edition in 1883. In 1887 he edited “Great hymns of the church”. He wrote a biography of his father (the life of John Henry Hopkins, S.T.D.) He never married. He died at Hudson, NY. John Perry ======================= Hopkins, John Henry, D.D., Jun., son of J. H. Hopkins, sometime Bishop of Vermont, was born at Pittsburg, Pa., Oct. 28, 1820, educated at the University of Vermont, ordained in 1850, Rector of Christ's Church, Williamsport, Pa., 1876, and died at Troy, New York, Aug. 13, 1891. He published Poems by the Wayside written during more than Forty Years, N.Y., James Pott, 1883; and Carols, Hymns, and Songs, 1862; 3rd ed. 1882. Of his hymns the following are in common use: 1. Blow on, thou [ye] mighty Wind. Missions. 2. Come with us, O blessed Jesus. Holy Communion. 3. Glory to God the Father be. (Dated 1867.) Holy Trinity. 4. God hath made the moon whose beam. (Dated 1840.) Duty. 5. Lord, now round Thy Church behold. (Dated 1867.) For the Reunion of Christendom. These hymns are in his Poems by the Wayside, 1883. In the same volume there are translations of the O Antiphons. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) ============== Hopkins, J. H., p. 1571, ii. The following additional hymns by him are in the American Hymnal, revised and enlarged .... Protestant Episcopal Church. . . U.S.A., 1892:— 1. God of our fathers, bless this our land. National Hymn. 2. When from the east the wise men came. Epiphany. --John Julian, Dictionary of Hymnology, New Supplement (1907)

Oliver Holden

1765 - 1844 Topics: Year A Holy Name; Year A Palm Sunday; Year A Proper 21; Year B Holy Name; Year B Palm Sunday; Year C Holy Name; Year C Palm Sunday; Year C Passion Sunday Composer of "CORONATION" in The New Century Hymnal Holden, Oliver, one of the pioneers of American psalmody, was born in 1765, and was brought up as a carpenter. Subsequently he became a teacher and music-seller. He died at Charlestown, Massachusetts, 1844. His published works are American Harmony, 1793; the Worcester Collection, 1797; and other Tune books. One of his most popular tunes is "Coronation." It is thought that he edited a small hymn-book, published at Boston before 1808, in which are 21 of his hymns with the signature "H." A single copy only of this book is known, and that is without title-page. Of his hymns the following are in common use:— 1. All those who seek a throne of grace. [God present where prayer is offered.] Was given in Peabody's Springfield Collection, 1835, No. 92, in a recast form as, “They who seek the throne of grace." This form is in extensive use in America, and is also in a few collections in Great Britain. 2. With conscious guilt, and bleeding heart. [Lent.] This, although one of the best of Holden's hymns, has passed out of use. It appeared, with two others, each bearing bis signature, in the Boston Collection (Baptist), 1808. 3. Within these doors assembled now. [Divine Worship.] [Rev. F. M. Bird, M.A.] -- John Julian, Dictionary of Hymnology

Christopher M. Idle

b. 1938 Person Name: Christopher Idle Topics: Church Year Good Friday; Church Year Lent; Church Year Passion/Palm Sunday; Church Year Transfiguration; Year A, Ordinary Time after Pentecost, June 26-July 2 Author of "How Long Will You Forget Me" in Psalms for All Seasons Christopher Martin Idle (b. Bromley, Kent, England, 1938) was educated at Elthan College, St. Peter's College, Oxford, and Clifton Theological College in Bristol, and was ordained in the Church of England. He served churches in Barrow-in-Furness, Cumbria; London; and Oakley, Suffolk; and recently returned to London, where he is involved in various hymnal projects. A prolific author of articles on the Christian's public responsibilities, Idle has also published The Lion Book of Favorite Hymns (1980) and at least one hundred of his own hymns and biblical paraphrases. Some of his texts first appeared in hymnals published by the Jubilate Group, with which he is associated. He was also editor of Anglican Praise (1987). In 1998 Hope Publishing released Light Upon the River, a collection of 279 of his psalm and hymn texts, along with suggested tunes, scripture references, and commentary. Bert Polman

Michael Baughen

b. 1930 Topics: Christian Year Pentecost; Epiphany 5 Year A; Epiphany 6 Year A; Easter 6 Year A; Epiphany 8 Year B; Pentecost Year B; Lent 3 Year C; Easter 5 Year C; Easter 7 Year C; Trinity Sunday Year C; Proper 8 Year C; Proper 18 Year C Author (v. 2) of "Spirit of the Living God" in Voices United

Mary E. Byrne

1880 - 1931 Person Name: Mary Elizabeth Byrne Topics: Epiphany 4 Year A; Epiphany 4 Year A; Proper 8 Year A; Proper 13 Year A; Lent 2 Year B; Easter 2 Year B; Easter 3 Year B; Proper 15 Year B; Proper 18 Year B; Proper 19 Year B; Proper 20 Year B; Proper 21 Year B; Proper 25 Year B; Lent 5 Year C; Lent 5 Year C; Easter 2 Year C; Trinity Sunday Year C; Proper 8 Year C; Proper 11 Year C; Proper 14 Year C; Proper 15 Year C; Proper 16 Year C; Proper 18 Year C; Proper 26 Year C; Ash Wednesday Year ABC Translator of "Be Thou My Vision" in Voices United Mary Elizabeth Byrne, M.A. (July 2, 1880 – January 19, 1931) was born in Ireland. She translated the Old Irish Hymn, "Bí Thusa 'mo Shúile," into English as "Be Thou My Vision" in Ériu (the journal of the School of Irish Learning), in 1905. See also in: Wikipedia

William Williams

1717 - 1791 Topics: Epiphany Last/Transfig. Year A; Lent 3 Year A; Easter 1 Year A; Proper 12 Year A; Proper 16 Year A; Proper 19 Year A; Proper 19 Year A; Proper 20 Year A; Proper 21 Year A; Proper 12 Year B; Proper 13 Year B; Proper 14 Year B; Proper 16 Year B; Proper 24 Year B; Baptism of Jesus Year C; Lent 3 Year C; Proper 7 Year C; Proper 13 Year C; Proper 13 Year C; Thanksgiving Year C; Ash Wednesday Year ABC Author (Welsh) and Translator (Englsih) of "Guide Me, O Thou Great Jehovah (Guide-moi, Berger fidèle)" in Voices United William Williams, called the "Watts of Wales," was born in 1717, at Cefn-y-coed, near Llandovery, Carmarthenshire. He originally studied medicine, but abandoned it for theology. He was ordained Deacon in the Church of England, but was refused Priest's Orders, and subsequently attached himself to the Calvinistic Methodists. For half a century he travelled in Wales, preaching the Gospel. He died in 1791. Williams composed his hymns chiefly in the Welsh language; they are still largely used by various religious bodies in the principality. Many of his hymns have appeared in English, and have been collected and published by Sedgwick. His two principal poetical works are "Hosannah to the Son of David," and "Gloria in Excelsis." --Annotations of the Hymnal, Charles Hutchins, M.A. 1872. ===================== Williams, William, of Pantycelyn, was the Sweet Singer of Wales. He was born at Cefn-y-Coed, in the Parish of Llanfair-y-bryn, near Llandovery, in 1717. He was ordained a deacon of the Established Church in 1740, by Dr. Claget, Bishop of St. Davids, and for three years he served the Curacies of Llan-wrtyd and Llanddewi-Abergwesyn. He never received Priest's Orders. He became early acquainted with the revivalist Daniel Rowlands, and for thirty-five years he preached once a month at Llanllian and Caio and Llansawel, besides the preaching journeys he took in North and South Wales. He was held in great esteem as a preacher. In 1744 his first book of hymns appeared under the title of Halleluiah, and soon ran through three editions. In1762, he published another book under the title of Y Môr o Wydr, which soon went through five editions. His son John published an excellent edition of his hymns in the year 181lines In addition to his Welsh hymns Williams also published several in English as:— (1.) Hosannah to the Son of David; or, Hymns of Praise to God, For our glorious Redemption by Christ. Some few translated from the Welsh Hymn-Book, but mostly composed on new Subjects. By William Williams. Bristol: Printed by John Grabham, in Narrow-Wine Street, 1759. This contains 51 hymns of which 11 are translated from his Welsh hymns. This little book was reprinted by D. Sedgwick in 1859. (2.) Gloria in Excelsis: or, Hymns of Praise to God and the Lamb. By W. Williams . . . Carmarthen. Printed for the Author by John Ross, removed to Priory Street, near the Church, M.DCC.LXXI. This contains 70 hymns, not including parts. From these volumes the following hymns are in common use:— i. From the Hosannah, 1759:— 1. Jesus, my Saviour is enough. Jesus, All in All. 2. My God, my God, Who art my all. Communion with God desired. 3. The enormous load of human guilt. God's love unspeakable. ii. From the Gloria in Excelsis, 1772. 4. Awake, my soul, and rise. Passiontide. 5. Beneath Thy Cross I lay me down. Passiontide. 6. Hark! the voice of my Beloved. The Voice of Jesus. 7. Jesus, lead us with Thy power. Divine Guidance Desired. Sometimes given as "Father, lead us with Thy power." 8. Jesus, Whose Almighty sceptre. Jesus as King. 9. Saviour, look on Thy beloved. The Help of Jesus desired. 10. White and ruddy is my Beloved. Beauties of Jesus. Williams is most widely known through his two hymns, "Guide me, O Thou great Jehovah," and "O'er those gloomy hills of darkness." Williams died at Pantycelyn, Jan. 11, 1791. [Rev. W. Glanffrwd Thomas] -- John Julian, Dictionary of Hymnology (1907) ================= See also in: Hymn Writers of the Church

Hal H. Hopson

b. 1933 Person Name: Hal Hopson Topics: The Christian Year Reign of Christ; Christian Year Passion/Palm Sunday; Christian Year Holy Week; Christian Year Ascension; Christian Year Christ the King/Reign of Christ; Easter 1 Year A; Easter 2 Year A; Ascension Year A; Easter 7 Year A; Proper 19 Year A; All Saints Year A; Reign of Christ Year A; Easter 6 Year B; Ascension Year B; Easter 7 Year B; Proper 22 Year B; Reign of Christ Year B; Easter 4 Year C; Ascension Year C; Reign of Christ Year C Composer (descant) of "DIADEMATA" in Voices United Hal H. Hopson (b. Texas, 1933) is a prolific composer, arranger, clinician, teacher and promoter of congregational song, with more than 1300 published works, especially of hymn and psalm arrangements, choir anthems, and creative ideas for choral and organ music in worship. Born in Texas, with degrees from Baylor University (BA, 1954), and Southern Baptist Seminary (MSM, 1956), he served churches in Nashville, TN, and most recently at Preston Hollow Presbyterian Church in Dallas, Texas. He has served on national boards of the Presbyterian Association of Musicians and the Choristers Guild, and taught numerous workshops at various national conferences. In 2009, a collection of sixty four of his hymn tunes were published in Hymns for Our Time: The Collected Tunes of Hal H. Hopson. Emily Brink

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