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Robert Williams

1782 - 1818 Person Name: Robert Williams, 1781-1821 Topics: Easter; Easter Vigil ; Easter; Easter Season Composer of "LLANFAIR" in Worship (3rd ed.) Robert Williams United Kingdom 1782-1818. Born at Mynydd Ithel, Anglesey, Wales, blind from birth, he became a basket weaver. He had great innate musical ability. Although blind, he could write out a tune after hearing it just once. He sang hymns at public occasions. No information found regarding family. He died at Mynydd Ithel, Anglesey, Wales. John Perry

Betty Pulkingham

1928 - 2019 Person Name: Betty Pulkingham, b. 1929 Topics: Easter; Easter Vigil ; Easter; Easter Season Harmonizer of "ALLELUIA NO. 1" in Worship (3rd ed.) Betty Carr Pulkingham was born in 1928 in Burlington, North Carolina. She received a B.S. in Music in 1949 from the University of North Carolina, Greensboro and she did graduate studies at the Eastman School of Music. She was Instructor of Music Theory at the University of Texas. In 1951, she married a seminarian Graham Pulkingham. They ministered together in various places in the U.S., England and Scotland; they were founding members of the Community of Celebration, an Anglican religious order. She travelled widely with "The Fisherfolk," an outreach music ministry connected with the Community of Celebration. Betty Pulkingham was a well known composer and arranger. She co-edited and published a number of songbooks and books on worship; and served on the Episcopal Church's Standing Commission on Church Music from 1988-1994. She and her husband returned to Burlington and then she later moved to Austin, Texas to live with family. She died in Austin, May 9, 2019 at the age of 90. Dianne Shapiro, from Obituary (https://www.richandthompson.com/tributes/Betty-Pulkingham) (accessed 6-21-2019)

Randall Keith DeBruyn

b. 1947 Person Name: Randall DeBruyn, b. 1947 Topics: The Liturgical Year Easter (Sundays and Weekdays) Composer (refrain) of "O FILII ET FILIAE" in Journeysongs (3rd ed.)

Martin Shaw

1875 - 1958 Person Name: Martin Shaw, 1875-1958 Topics: Easter Harmonizer of "PUER NOBIS" in Ambassador Hymnal Martin F. Shaw was educated at the Royal College of Music in London and was organist and choirmaster at St. Mary's, Primrose Hill (1908-1920), St. Martin's in the Fields (1920-1924), and the Eccleston Guild House (1924-1935). From 1935 to 1945 he served as music director for the diocese of Chelmsford. He established the Purcell Operatic Society and was a founder of the Plainsong and Medieval Society and what later became the Royal Society of Church Music. Author of The Principles of English Church Music Composition (1921), Shaw was a notable reformer of English church music. He worked with Percy Dearmer (his rector at St. Mary's in Primrose Hill); Ralph Vaughan Williams, and his brother Geoffrey Shaw in publishing hymnals such as Songs of Praise (1925, 1931) and the Oxford Book of Carols (1928). A leader in the revival of English opera and folk music scholarship, Shaw composed some one hundred songs as well as anthems and service music; some of his best hymn tunes were published in his Additional Tunes in Use at St. Mary's (1915). Bert Polman

Kathleen Pluth

Topics: Easter Author of "Let Easter Alleluias Fill This Place" in One in Faith Kathleen Pluth, STL, is a Catholic hymn writer, translator, and teacher. Her first collection of hymns, Hymns for the Liturgical Year, was published by CanticaNOVA Publications in 2005. Her collection Hymn Tune Introits: Singing the Sundays of the Liturgical Year, was published by World Library Publications (now GIA) in 2016. In 2023, her hymn "Let The Earth Acclaim Christ Jesus" won a nationwide competition sponsored by the USCCB as part of the bishops' Eucharistic Revival. Her work is regularly in the monthly magazine "Magnificat" and appears in four hymnals. She also writes a column about hymns for Word on Fire's monthly Liturgy of the Hours. Kathleen Pluth (email to Hymnary)

Samuel Medley

1738 - 1799 Person Name: Samuel Medley, 1738-1799 Topics: Easter Vigil ; Easter; Easter 5, Year A; Easter Season 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)

Charles H. Webb

b. 1933 Person Name: Charles H. Webb Topics: Christian Year: Easter Descant of "EASTER HYMN" in Chalice Hymnal

Jakob Hintze

1622 - 1702 Person Name: Jakob Hintze (1622-1702) Topics: Church Year Easter; Easter; Easter Day; The Fifth Sunday of Easter Year C Composer of "SALZBURG (Hintze)" in Ancient and Modern Partly as a result of the Thirty Years' War and partly to further his musical education, Jakob Hintze (b. Bernau, Germany, 1622; d. Berlin, Germany, 1702) traveled widely as a youth, including trips to Sweden and Lithuania. In 1659 he settled in Berlin, where he served as court musician to the Elector of Brandenburg from 1666 to 1695. Hintze is known mainly for his editing of the later editions of Johann Crüger's Praxis Pietatis Melica, to which he contributed some sixty-five of his original tunes. Bert Polman

Lucy Larcom

1824 - 1893 Topics: Easter Author of "Breaks the joyful Easter dawn" in Carols Old and Carols New Larcom, Lucy, was born at Beverley Farm, Massachusetts, in 1826. Her Poems were published in 1864. Her hymn, "When for me the silent oar" [Death Anticipated), was published in 1868. She died in 1893. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) =============== Larcom, Lucy, p. 1576, ii. The extended use of this writer's hymns justifies a more detailed account of her life and work than is given on p. 1576. She was born in 1824, and worked from 1837-45 in the mills of Lawrence, Mass., then engaged in elementary teaching 1846-49, became a student at Monticello Female Seminary, Alton, Ill., 1849-52, and then entered upon advanced teaching in higher-class schools, and literary work. She edited with J. G. Whittier, Child Life in Poetry, 1871; Child Life in Prose, 1873; Songs of Three Centuries, 1875, &c. Her own works are Poems, 1869; Childhood Songs, 1875; Wild Roses of Cape Ann, 1881; Poetical Works, 1885; At the Beautiful Gate; And Other Songs of Faith, 1892. Her autobiography was published as A New England Girlhood. She died in 1893. In addition to "When for me the silent oar," of her hymns the following are in common use:— i. From her Poems, 1869. 1. Hand in hand with angels. Angelic companion¬ship. 2. If the world seems cold to you. 3. When for me the silent oar. Death ii. From her Wild Roses of Cape Ann, 1881. 4. In Christ I feel the heart of God. 5. O Spirit, "Whose name is the Saviour.” in. From her Poetical Works, 1885. 6. Breaks the joyful Easter dawn, master. 7. Heavenly Helper, Friend Divine. Christ the Friend. iv. From her At the Beautiful Gate, &c, 1892. 8. Draw Thou, my soul, O Christ. Looking to Jesus. 9. O God, Thy world is sweet with prayer. Prayer. 10. Open your hearts as a flower to the light. 11. King, happy bells of Easter time. Easter. The above notes are from the British Museum copies of Miss Larcom's works. --John Julian, Dictionary of Hymnology, New Supplement (1907)

Wolfgang Amadeus Mozart

1756 - 1791 Person Name: Mozart Topics: Easter Composer of "EASTER SONG" in The Hymnal for Boys and Girls Wolfgang Amadeus Mozart Austria 1756-1791. Born at Salzburg, Austria, the son of Leopold Mozart, a minor composer and violinist, and youngest of seven children, he showed amazing ability on violin and keyboard from earliest childhood, even starting to compose music at age four when his father would play a piece and Mozart would play it exactly as did his father. At five, he composed some of his own music, which he played to his father, who wrote it down. When Mozart was eight, he wrote his first symphony, probably transcribed by his father. In his early years his father was his only teacher, teaching his children languages and academic subjects, as well as fundamentals of their strict Catholic faith. Some of his early compositions came as a surprise to his father, who eventually gave up composing himself when he realized how talented his son was. His family made several European journeys and he and his sister, Nanneri, performed as child prodigies, at the court of Prince-elector Maximillian II of Bavaria in Munich, and at the Imperial Courts in Vienna and Prague. A long concert tour followed, for 3.5 years, taking the family to courts in Munich, Mannheim, Paris, London, Dover, The Hague, Amsterdam, Utrecht, Mechelen, and again to Paris, and back home via Zurich, Donaueschingen, and Munich. During these trips Mozart met many musicians, acquainting himself with the works of other composers. He met Johann Christian Bach in London in 1764. Family trips were challenging, and travel conditions were primitive. They had to wait for invitations and reimbursements from nobility, and they endured long, near-fatal illnesses far from home. First Leopold (1764) got sick, then both children (1765). They traveled again to Vienna in 1767 and stayed there over a year. After a year back in Salzburg, Leopold and Wolfgang went to Italy (1769-1771), Leopold wished to display his son’s abilities as a performer and maturing composer. In Bologna, Italy, Wolfgang was accepted as a member of the famous Academia Filamonica. In Rome he heard Gregorio Allegri’s Miserere twice in performance. Back in the Sistine Chapel, Mozart wrote the whole performance out from memory, thus producing the first unauthorized copy of this closely guarded property of the Vatican. In the next few years Mozart wrote several operas performed with success in Italy, but his father’s hopes of securing a professional appointment for his son were not realized. At age 17 he was engaged as a musician at the Salzburg court, but grew restless and traveled in search of a better position. After returning to Salzburg, Mozart was employed as a court musician by the ruler of Salzburg, Prince Archbishop Hieronymus Colloredo. This gave Mozart ample opportunity to develop relationships with other musicians and his admirers, resulting in his development of new symphonies, sonatas, string quartets, masses, serenades, and some minor operas. In 1775 he wrote his only violin concertos, five in all. Again, he was discontent with work in Salzburg and traveled to find more opportunity to write operas. He and his father again visited Munich and Vienna, but neither visit was successful with the exception of his opera ‘La finta giardiniera’ in Munich. In 1777 he resigned his Salzburg position and went to Augsburg, Mannheim, Paris, and Munich again. In Mannheim he met and fell in love with Aloysia Weber, one of four daughters of a musical family. He could find no real employment there and left for Paris in 1778. He might have had a position as organist at Versailles, but he was not interested in that. He fell into debt and started pawning valuables. During these events his mother died. Meanwhile his father was still trying to find him a position in Salzburg. After checking out several other European cities and Munich, he again encountered Aloysia, but she was no longer interested in him, so he returned to Salzburg, having written another symphony, concerto, and piano sonata, and took the new appointment his father had found. However, he was still in discontent. Visiting Vienna in 1781, he was dismissed from his Salzburg position. He wrote another opera, ‘Idomeneo’, in 1781, that was successful in Munich. Two months later he was summoned to Vienna, where his employer, Archbishop Colloredo, wanted him around due to his notoriety. Mozart wished to meet the emperor and perform for him, and finally got that opportunity. It resulted in a part-time position and substantial commissions. Colloredo became a nemesis to Mozart’s career, finally releasing Mozart from his employ with a literal kick in the pants, much against his father’s wishes. However, he was now independent. Mozart then decided to settle in Vienna as a free lance performer and composer. He lived with the Fridolin Weber family, who had moved from Mannheim to Vienna. Fridolin, the father, had died, and they were taking in lodgers to make ends meet. His career there went well, and he performed as a pianist before the Emperor, establishing himself as the finest keyboard player in Vienna. He wrote another opera in 1782, again achieving success. Mozart had now become a prolific and influential composer of the Classical period and was known throughout Europe. Aloysia was now married to actor, Joseph Lange, and Mozart’s interest shifted to her sister, Constanze. In 1782 he married Constanze Weber Mozart Nissen. The marriage started out with a brief separation, and there was a problem getting Mozart’s father’s permission, which finally came. They had six children, but only two survived infancy: Carl and Franz. He lived in Vienna and achieved some notoriety, composing many of his best-known symphonies, concertos, and operas. In 1782-83 he became intimately acquainted with Johann Sebastian Bach and George Friederic Handel, as his friend, Gottfried van Swieten, owned many manuscripts of the Baroque masters, which Mozart studied intently. He altered his style of composition as a result. That year Mozart and his wife visited his father and sister, and he composed a liturgical piece, a Mass, with a singing part for his wife. He also met Joseph Hadyn in Vienna in 1784 and they became friends. They even played together in a string quartet from time to time. Mozart wrote six quartets dedicated to Hadyn. In 1785 Hadyn told Leopold Mozart, “Your son is the greatest composer known to me by person and repute, he has taste, and what is more, the greatest skill in composition”. Over the next several years Mozart booked several piano concertos in various places as a sole performer to delighted audiences, making substantial remuneration for his work. He and his wife then adopted a more luxurious lifestyle. They moved to an expensive apartment and he bought a fine fortepiano and billiard table. They sent their son, Karl, to an expensive boarding school and also kept servants. In 1784 Mozart became a Freemason and even composed Masonic music. Over the next several years he did little operatic writing and focused on his career as a piano soloist and writer of concertos. He again began operatic collaboration in 1785, creating ‘The marriage of Figaro’, then ‘Don Giovanni’ in 1787. That year his father died. Also that year he obtained a steady post under Emperor Joseph II as his chamber composer. This was part-time employment that was important when hard times arrived. However, Joseph aimed at keeping Mozart from leaving Vienna for better work. The Austrio-Turkish War made life difficult for musicians, and his aristocracy support had declined. He moved to save on expenses, but that did not help much, and he was reduced to borrowing funds from his friends, and pleading for loans. During this period he produced his last three symphonies. In 1789 he then set up on a journey to Leipzig, Dresden, and Berlin hoping to improve his fortunes. In 1790 he was highly productive, producing concertos, an opera, ‘The magic flute’, a series of string quintets, a motet, and an (unfinished) Requiem. Finances began to improve and he begin paying back his debts. Public reaction to his works also brought him great satisfaction. In 1791, while in Prague for the premiere of his opera, ‘La clemenza di Tito’, he fell ill. He continued professional functions for a short time, but had to go home and be nursed by his wife over the next couple of months. He died at Vienna, Austria, at the age of 35, a small thin man with undistinguishing characteristics. He was buried in a modest grave, having had a small funeral. Beethoven composed his early works in the shadow of Mozart, and Joseph Hadyn wrote “posterity will not see such a talent (as Mozart) again in 100 years”. 600+ works. Side note: Mozart enjoyed billiards, dancing, and had a pet canary, a starling, a dog, and a horse for recreational riding. He liked off-color humor. He wore elegant clothing when performing and had a modest tenor voice. John Perry

David Hurd

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

John Darwall

1732 - 1789 Person Name: John Darwall, 1731-1789 Topics: Hymns for the Church Year Easter Composer of "DARWALL'S 148TH" in CPWI Hymnal John Darwall (b. Haughton, Staffordshire, England, 1731; d. Walsall, Staffordshire, England, 1789) The son of a pastor, he attended Manchester Grammar School and Brasenose College, Oxford, England (1752-1756). He became the curate and later the vicar of St. Matthew's Parish Church in Walsall, where he remained until his death. Darwall was a poet and amateur musician. He composed a soprano tune and bass line for each of the 150 psalm versifications in the Tate and Brady New Version of the Psalms of David (l696). In an organ dedication speech in 1773 Darwall advocated singing the "Psalm tunes in quicker time than common [in order that] six verses might be sung in the same space of time that four generally are." Bert Polman

R. F. Smith

1833 - 1905 Topics: Easter Composer of "[The world itself keeps Easter Day]" in Carols Old and Carols New The Rev. Robert Frederick Smith Born Sheffield 1833. Lincoln College, Oxford, BA (1855), MA (1857). Vicar Edingley-cum-Halam, Nottinghamshire. Canon of Southwell Minster. Friend and collaborator with Herbert Stephen Irons (1834-1905) Miscellanea genealogica et heraldica by Joseph Jackson Howard, Vol. 1, London: Mitchell and Hughes, 1896 and Southwell and Nottingham Church History Project website "Edingley St. Giles" (http://southwellchurches.history.nottingham.ac.uk/edingley/hhistory.php) Accessed 5-2-2018

Samuel Wesley

1691 - 1739 Person Name: Samuel Wesley, Jr. Topics: Easter Author of "Easter Sunday" in Hymnal of the Methodist Episcopal Church Samuel Wesley, M.A., the younger, was the eldest child of Samuel and Susanna Wesley, and was born in or near London in 1691. He received his early education from his mother, who always took a special interest in him as her firstborn. In 1704 he went to Westminster School, where he was elected King's Scholar in 1707. Westminster had, under the mastership of Dr. Busby for 55 years, attained the highest reputation for scholarship, and Samuel Wesley, as a classical scholar, was not unworthy of his school. In 1709, Dr. Spratt, Bishop of Rochester, patronised the young scholar, and frequently invited him to Bromley. In 1711 he went with a Westminster studentship to Christ Church, Oxford, and having taken his degree, returned to Westminster as an Usher. He then received Holy Orders and became an intimate friend of Bishop Atterbury, who was then Dean of Westminster. His intimacy with this prelate was a bar to his advancement, and he was bitterly disappointed at not being appointed undermaster at Westminster when that post was vacant. But he was faithful to his friend in his adversity, and the banished prelate warmly appreciated his attachment. In 1732 he was invited, without solicitation, to accept the headmastership of the Free School at Tiverton, and here he spent the remainder of his life. He strongly disapproved of John and Charles Wesley's proceedings; but though the brothers expressed their opinions to one another with characteristic frankness, the disagreement did not cause any interruption in the friendly relations between them. Samuel Wesley was universally acknowledged to be an honest, conscientious and deeply religious man. He was a most uncompromising High Churchman both in the political and the theological sense of that term; and there is no doubt that he was the mainstay of the Wesley family at Epworth. His kindness to his father and mother was unbounded, and he acted like a father to his younger brothers and sisters. He also took a great interest in works of charity, and was one of the first promoters of the Westminster Infirmary. He died at Tiverton in the 49th year of his age, Nov. 6, 1739. His epitaph in Tiverton Churchyard does not exaggerate his merits, when it describes him as— "a man for his uncommon wit and learning, For the benevolence of his temper, and simplicity of manner, Deservedly loved and esteemed by all: An excellent Preacher; But whose best sermon Was the constant example of an edifying life: So continually and zealously employed In acts of beneficence and charity, That he truly followed His blessed Master's example In going about doing good; Of such scrupulous integrity, That he declined occasions of advancement in the world, Through fear of being involved in dangerous compliances; And avoided the usual ways to preferment As studiously as many others seek them." Samuel Wesley published in 1736 A Collection of Poems on several occasions, some of which are full of a rather coarse humour, but all of a good moral and religious tendency. This work was reprinted in 1743, and again by W. Nichols in 1862. Dr. Adam Clarke specifies eight hymns of S. Wesley's composition which were in use among the Methodists of that time (1823). The Wesleyan Hymn Book of the present day contains five, the best-known of which is "The Lord of Sabbath let us praise." Six of his hymns are in common use, and are annotated as follows:— 1. From whence these dire portents around. 2. Hail, Father, Whose creating call. 3. Hail, God the Son in glory crowned. 4. Hail, Holy Ghost, Jehovah, Third. 5. The Lord of Sabbath, let ns praise. 6. The morning flowers display their sweets. -- Excerpts from John Julian, Dictionary of Hymnology (1907)

John R. Sweney

1837 - 1899 Topics: Easter Composer of "STORY OF JESUS" in Community of Christ Sings John R. Sweney (1837-1899) was born in West Chester, Pennsylvania, and exhibited musical abilities at an early age. At nineteen he was studying with a German music teacher, leading a choir and glee club, and performing at children’s entertainments. By twenty-two he was teaching at a school in Dover, Delaware. Soon thereafter, he was put in charge of the band of the Third Delaware Regiment of the Union Army for the duration of the Civil War. After the war, he became Professor of Music at the Pennsylvania Military Academy, and director of Sweney’s Cornet Band. He eventually earned Bachelor and Doctor of Music degrees at the Academy. Sweney began composing church music in 1871 and became well-known as a leader of large congregations. His appreciators stated “Sweney knows how to make a congregation sing” and “He had great power in arousing multitudes.” He also became director of music for a large Sunday school at the Bethany Presbyterian Church in Philadelphia of which John Wanamaker was superintendent (Wanamaker was the founder of the first major department store in Philadelphia). In addition to his prolific output of hymn melodies and other compositions, Sweney edited or co-edited about sixty song collections, many in collaboration with William J. Kirkpatrick. Sweney died on April 10, 1899, and his memorial was widely attended and included a eulogy by Wanamaker. Joe Hickerson from "Joe's Jottings #9" used by permission

Ira B. Wilson

1880 - 1950 Topics: Easter Composer of "[From golden hearts of sweetness, the Easter lilies rare]" in The King's Message Ira Bishop Wilson, 1880-1950 Born: September 6, 1880, Bedford, Iowa. Died: April 3, 1950, Los Angeles, California. Buried: Forest Lawn Memorial Park, Glendale, California. Pseudonym: Fred B. Holton. Wilson’s sister taught him to play the violin and organ while still at home. Around 1902, Ira began studies at the Moody Bible Institute in Chicago, Illinois. In 1905, he went to work for the Lorenz Publishing Company in Dayton, Ohio. His compositions appeared in The Choir Leader and The Choir Herald; he also served as editor in chief of The Volunteer Choir. His works include: The King’s Message, with Edmund Lorenz (New York: Lorenz Publishing Company, 1910) The Beginners’ Choir, with Edmund Lorenz (Dayton, Ohio: Lorenz Publishing Company, 1911) Praise Ye, a Collection of Sacred Songs, with Edmund Lorenz (New York: Lorenz Publishing Company, 1913) His Worthy Praise, with Edmund Lorenz (Dayton, Ohio: Lorenz Publishing Company, 1915) Sources-- Hall, pp. 413-5 Lyrics-- Go Forward to Conquer Look Above Make Me a Blessing © 1924 My Savior’s Voice This Wonderful Christ Is Mine Trustingly Follow Music-- Across the Templed Hills Angels’ Chorus, The Christ Is Born Christ the Lord Is Born Christmas Lullaby Conchita Exalt the King Give Praise God Is Goodness, God Is Love God Is So Good He Arose Today His Love Is Always True Jesus Wants Us to Help Joy to the World Loving Jesus Christ Marching Forward May God Depend on You? Night of Nights O Star of Matchless Splendor On Calvary’s Cross One Day Out in the Highways and Byways of Life Rejoice! Rejoice! Ring, Sweet Bells Song of the Morning, The Stars of December Walking with Jesus Was There Ever a Friend So True? We Come Today What Do the Flowers Say? Who Will Our Pilot Be? Win One --hymntime.com/tch

John Keble

1792 - 1866 Topics: Easter 5 Year C Author of "New Every Morning" in Voices United Keble, John, M.A., was born at Fairford, in Gloucestershire, on St. Mark's Day, 1792. His father was Vicar of Coln St. Aldwin's, about three miles distant, but lived at Fairford in a house of his own, where he educated entirely his two sons, John and Thomas, up to the time of their entrance at Oxford. In 1806 John Keble won a Scholarship at Corpus Christi College, and in 1810 a Double First Class, a distinction which up to that time had been gained by no one except Sir Robert Peel. In 1811 he was elected a Fellow of Oriel, a very great honour, especially for a boy under 19 years of age; and in 1811 he won the University Prizes both for the English and Latin Essays. It is somewhat remarkable that amid this brilliantly successful career, one competition in which the future poet was unsuccessful was that for English verse, in which he was defeated by Mr. Rolleston. After his election at Oriel, he resided in College, and engaged in private tuition. At the close of 1813 he was appointed Examining Master in the Schools, and was an exceedingly popular and efficient examiner. On Trinity Sunday, 1815, he was ordained Deacon, and in 1816 Priest, by the Bishop of Oxford, and became Curate of East Leach and Burthorpe, though he still continued to reside at Oxford. In 1818 he was appointed College Tutor at Oriel, which office he retained until 1823. On the death of his mother in the same year, he left Oxford, and returned to live with his father and two surviving sisters at Fairford. In addition to East Leach and Burthorpe, he also accepted the Curacy of Southrop, and the two brothers, John and Thomas, undertook the duties between them, at the same time helping their father at Coln. It should be added, as an apology for Keble thus becoming a sort of pluralist among "the inferior clergy," that the population of all his little cures did not exceed 1000, nor the income £100 a year. In 1824 came the only offer of a dignity in the Church, and that a very humble one, which he ever received. The newly-appointed Bishop of Barbadoes (Coleridge) wished Keble to go out with him as Archdeacon, and but for his father's delicate state of health, he would probably have accepted the offer. In 1825 he became Curate of Hursley, on the recommendation of his old pupil, Sir William Heathcote; but in 1826, on the death of his sister, Mary Ann, he returned to Fairford, feeling that he ought not to separate himself from his father and only surviving sister. He supplied his father's place at Coln entirely. 1827 was memorable for the publication of The Christian Year, and 1828 for the election to the Provostship of Oriel, which his friends, rather than himself, seem to have been anxious to secure for him. In 1829 the living of Hursley was offered to him by Sir William Heathcote, but declined on the ground that he could not leave his father. In 1830 he published his admirable edition of Hooker's Works. In 1831 the Bishop of Exeter (Dr. Philpotts) offered him the valuable living of Paignton, but it was declined for the same reason that Hursley had been declined. In the same year he was also elected to the Poetry Professorship at Oxford. His Praelectiones in that capacity were much admired. In 1833 he preached his famous Assize Sermon at Oxford, which is said by Dr. Newman to have given the first start to the Oxford Movement. Very soon after the publication of this sermon the Tracts for the Times began to be issued. Of these Tracts Keble wrote Nos. 4, 13, 40, and 89. In 1835 his father died, and Keble and his sister retired from Fairford to Coln. In the same year he married Miss Clarke and the Vicarage of Hursley, again becoming vacant, was again offered to him by Sir W. Heathcote, and as the reason for his previous refusal of it no longer existed, he accepted the offer, and in 1836 settled at Hursley for the remainder of his life. That life was simply the life of a devoted and indefatigable parish priest, varied by intellectual pursuits. In 1864 his health began to give way, and on March 29, 1866, he passed away, his dearly loved wife only surviving him six weeks. Both are buried, side by side, in Hursley churchyard. In his country vicarage he was not idle with his pen. In 1839 he published his Metrical Version of the Psalms. The year before, he began to edit, in conjunction with Drs. Pusey and Newman, the Library of the Fathers. In 1846 he published the Lyra Innocentium, and in 1847 a volume of Academical and Occasional Sermons. His pen then seems to have rested for nearly ten years, when the agitation about the Divorce Bill called forth from him in 1851 an essay entitled, An Argument for not proceeding immediately to repeal the Laws which treat the Nuptial Bond as Indissoluble; and in the same year the decision of Archbishop Sumner in the Denison case elicited another essay, the full title of which is The Worship of Our Lord and Saviour in the Sacrament of the Holy Communion, but which is shortly entitled, Eucharistical Adoration. In 1863 he published his last work, The Life of Bishop Wilson (of Sodor and Man). This cost him more pains than anything he wrote, but it was essentially a labour of love. In the popular sense of the word "hymn," Keble can scarcely be called a hymnwriter at all. Very many of his verses have found their way into popular collections of Hymns for Public Worship, but these are mostly centos. Often they are violently detached from their context in a way which seriously damages their significance. Two glaring instances of this occur in the Morning and Evening hymns. In the former the verse "Only, O Lord, in Thy dear love, Fit us for perfect rest above," loses half its meaning when the preceding verse, ending "The secret this of rest below," is excised, as it generally is in collections for public worship, and the same may be said of that most familiar of all Keble's lines, "Sun of my soul, thou Saviour dear," which has of course especial reference to the preceding verse, "'Tis gone, that bright and orbed blaze," &c. The Lyra Innocentium has furnished but few verses which have been adopted into hymn collections; the Psalter has been more fortunate, but the translations from the Latin are almost unknown. Taking, however, the word "hymn" in the wider sense in which Dr. Johnson defines it, as "a song of adoration to some superior being," Keble stands in the very first rank of hymnwriters. His uneventful life was the very ideal life for such a poet as Keble was, but not the sort of life which would be best adapted to train a popular hymnwriter. The Christian Year and the Lyra Innocentium reflect in a remarkable degree the surroundings of the writer. They are essentially the works of a refined and cultured mind, and require a refined and cultured mind to enter into their spirit. Keble, all his life long, and never more than in the earlier portion of it, before he wrote, and when he was writing The Christian Year, breathed an atmosphere of culture and refinement. He had imbibed neither the good nor the evil which the training of a public or even of a private, school brings. It was not even the ordinary home education which he had received. He had been trained, up to the very time of his going to college, by his father, who was clearly a man of culture and refinement, and had been himself successively Scholar and Fellow of Corpus. When he went to Oxford, he can scarcely be said to have entered into the whirl of university life. The Corpus of those days has been admirably described by Keble's own biographer, Sir John Coleridge, and by Dean Stanley in his Life of Dr. Arnold; and the impression which the two vivid pictures leave upon the mind is that of a home circle, on rather a large scale, composed of about twenty youths, all more or less scholarly and refined, and some of them clearly destined to become men of mark. When he removed across the road to Oriel, he found himself in the midst of a still more distinguished band. Whether at home or at college he had never come into contact with anything rude or coarse. And his poetry is just what one would expect from such a career. Exquisitely delicate and refined thoughts, expressed in the most delicate and refined language, are characteristic of it all. Even the occasional roughnesses of versification may not be altogether unconnected with the absence of a public school education, when public schools laid excessive stress upon the form of composition, especially in verse. The Christian Year again bears traces of the life which the writer led, in a clerical atmosphere, just at the eve of a great Church Revival, "cujus pars magna fuit." “You know," he writes to a friend, “the C. Y. (as far as I remember it) everywhere supposes the Church to be in a state of decay." Still more obviously is this the case in regard to the Lyra Innocentium. It was being composed during the time when the writer was stricken by what he always seems to have regarded as the great sorrow of his life. Not the death of his nearest relations—-and he had several trials of this kind—-not the greatest of his own personal troubles dealt to him so severe a blow as the secession of J. H. Newman to the Church of Rome. The whole circumstances of the fierce controversy connected with the Tract movement troubled and unsettled him; and one can well understand with what a sense of relief he turned to write, not for, but about, little children, a most important distinction, which has too often been unnoticed. If the Lyra had been written for children it would have been an almost ludicrous failure, for the obscurity which has been frequently complained of in The Christian Year, is still more conspicuous in the latter work. The title is somewhat misleading, and has caused it to be regarded as a suitable gift-book for the young, who are quite incapable of appreciating it. For the Lyra is written in a deeper tone, and expresses the more matured convictions of the author; and though it is a far less successful achievement as a whole, it rises in places to a higher strain of poetry than The Christian Year does. Another marked feature of Keble's poetry is to a great extent traceable to his early life, viz. the wonderful accuracy and vividness of his descriptions of natural scenery. The ordinary schoolboy or undergraduate cares little for natural scenery. The country is to him a mere playing field. But Keble's training led him to love the country for its own sake. Hence, as Dean Stanley remarks, “Oxford, Bagley Wood, and the neighbourhood of Hursley might be traced through hundreds of lines, both in The Christian Year and the Lyra Innocentium.” The same writer testifies, with an authority which no other Englishman could claim, to "the exactness of the descriptions of Palestine, which he [Keble] had never visited.” And may not this remarkable fact be also traced to some extent to his early training? Brought up under the immediate supervision of a pious father, whom he venerated and loved dearly, he had been encouraged to study intelligently his Bible in a way in which a boy differently educated was not likely to do. Hence, as Sir John Coleridge remarks, "The Christian Year is so wonderfully scriptural. Keble's mind was, by long, patient and affectionate study of Scripture, so imbued with it that its language, its train of thought, its mode of reasoning, seems to flow out into his poetry, almost, one should think, unconsciously to himself." To this may we not add that the same intimate knowledge of the Bible had rendered the memory of the Holy Land so familiar to him that he was able to describe it as accurately as if he had seen it? One other early influence of Keble's life upon his poetry must be noticed. Circumstances brought him into contact with the "Lake poets." The near relation of one of the greatest of them had been his college friend, and John Coleridge introduced him to the writings not only of his uncle, S. T. Coleridge, but also of Wordsworth, to whom he dedicated his Praelectiones, and whose poetry and personal character he admired enthusiastically. To the same college friend he was indebted for an introduction to Southey, whom he found to be "a noble and delightful character," and there is no doubt that the writings of these three great men, but especially Wordsworth, had very much to do with the formation of Keble's own mind as a poet. It has been remarked that in Keble's later life his poetical genius seemed to have, to a great extent, forsaken him; and that the Miscellaneous Poems do not show many traces of the spirit which animated The Christian Year and the Lyra Innocentium. Perhaps one reason for this change may be found in the increased interest "which Keble took in public questions which were not conducive to the calm, introspective state of mind so necessary to the production of good poetry. The poet should live in a world of his own, not in a world perpetually wrangling about University Reform, about Courts of Final Appeal, about Marriage with Deceased Wife's Sister, and other like matters into which Keble, in his later years, threw himself—heart and soul. It is not needful to say much about Keble's other poetical works, The Psalter was not a success, and Keble did not expect it to be. It was undertaken," he tells us, "in the first instance with a serious apprehension, which has since grown into a full conviction, that the thing attempted is, strictly speaking, impossible." At the same time, if Keble did not achieve what he owned to be impossible, he produced a version which has the rare merit of never offending against good taste; one which in every line reflects the mind of the cultured and elegant scholar, who had been used to the work of translating from other languages into English. Hymnal compilers have hitherto strangely neglected this volume; but it is a volume worth the attention of the hymn compiler of the future. There is scarcely a verse in it which would do discredit to any hymnbook; while there are parts which would be an acquisition to any collection. His translations from the Latin have not commended themselves to hymnal compilers. Some of his detached hymns have been more popular. But it is after all as writer of The Christian Year that Keble has established his claim to be reckoned among the immortals. It would be hardly too much to say that what the Prayer Book is in prose, The Christian Year is in poetry. They never pall upon one; they realise Keble's own exquisite simile:— "As for some dear familiar strain Untired we ask, and ask again; Ever in its melodious store Finding a spell unheard before." And it would hardly be too bold to prophesy that The Christian Year will live as long as the Prayer Book, whose spirit Keble had so thoroughly imbibed, and whose "soothing influence" it was his especial object to illustrate and commend. [Rev. John H. 0verton, D.D.] Keble's hymns, poetical pieces, and translations appeared in the following works :— (1.) The Christian Year: Thoughts in Verse for the Sundays and Holy days Throughout the Year. Oxford: John Henry Parker, 1827. Preface dated "May 30th, 1827." The last poem, that on the “Commination," is dated March 9, 1827. The poems on the "Forms of Prayer to be used at Sea," "Gunpowder Treason," "King Charles the Martyr," "The Restoration of the Royal Family," "The Accession," and "Ordination," were added to the 4th edition, 1828. The Messrs. Parker have pub. a large number of editions to date, including a facsimile reprint of the first edition, and an edition with the addition of the dates of composition of each poem. A facsimile of Keble's manuscript as it existed in 1822 was also lithographed in 1882, by Eliot Stock, but its publication was suppressed by a legal injunction, and only a few copies came into the hands of the public. Since the expiration of the first copyright other publishers have issued the work in various forms. (2.) Contributions to the British Magazine, which were included in Lyra Apostolica, 1836, with the signature of "γ." (3.) The Psalter or Psalms of David; In English Verse; By a Member of the University of Oxford. Adapted for the most part, to Tunes in Common Use; and dedicated by permission to the Lord Bishop of Oxford. . . . Oxford, John Henry Parker: J. G. & F. Rivington, London, MDCCCXXXIX. Preface dated “Oxford, May 29, 1839." (4.) The Child's Christian Year: Hymns for every Sunday and Holy-Day. Compiled for the use of Parochial Schools. Oxford: John Henry Parker, 1841. This was compiled by Mrs. Yonge. Keble wrote the Preface, dated “Hursley, Nov. 6, 1841," and signed it “J. K." To it he contributed the four poems noted below. (5.) Lyra Innocentium: Thoughts in Verse on Christian Children, their Ways and their Privileges . . . Oxford: John Henry Parker : F. & J. Rivington, London, 1846. The Metrical Address (in place of Preface) “To all Friendly Readers," is dated "Feb. 8, 1846." (6.) Lays of the Sanctuary, and otter Poems. Compiled and Edited by G. Stevenson de M. Rutherford... London: Hamilton, Adams & Co., 1859. This was a volume of poems published on behalf of Mrs. Elizabeth Good. To it Keble contributed the three pieces noted below. (7.) The Salisbury Hymn-Book 1857. Edited by Earl Nelson. To this be contributed a few hymns, some translations from the Latin, and some rewritten forms of well-known hymns, as "Guide me, 0 Thou great Jehovah," &c. (8.) Miscellaneous Poems by the. Rev. J. Keble, M.A., Vicar of Hursley. Oxford and London: Parker & Co., 1869. The excellent Preface to this posthumous work is dated "Chester, Feb. 22, 1869," and is signed "G.M," i.e. by George Moberly, late Bishop of Salisbury. This volume contains Keble's Ode written for the Installation of the Duke of Wellington as Chancellor of the University of Oxford, in 1834, his poems from the Lyra Apostolica, his hymns named above, his translations from the Latin, and other pieces not published in his works. The most important centos from The Christian Year, which are in common use as hymns, and also the hymns contributed to the Salisbury Hymn Book, 1857, are annotated in full under the first lines of the original poems. The translations from the Latin and Greek are given under the first lines of the originals. There are also several of his more important pieces noted in the body of this work. Those that …have no special history, are the following (the dates given being those of the composition of each piece):— i. From The Christian Year, 1827 and 1828. 1. Creator, Saviour, strengthening Guide. Trinity Sunday. (March 3, 1826.) 2. Father, what treasures of sweet thought. Churching of Women. (March 13, 1827.) 3. God is not in the earthquake: but behold. 9th Sunday after Trinity. The still mall voice. (Aug. 13,1822.) 4. In troublous days of anguish and rebuke. 9th S. after Trinity. The still small voice. (Aug. 13, 1822.) 5. Lessons sweet of spring returning. 1st Sunday after Epiphany. Spring. (May 17,1824.) 6. My Saviour, can it ever be? 4th Sunday after Easter. The promised Comforter. 7. 0 Father of long suffering grace. 18th Sunday after Trinity. God's longsuffering. (Oct. 6, 1823.) 8. 0 God of mercy, God of might, How should, &c. Holy Communion. (Jan. 31, 1827.) 9. 0 Lord my God, do Thou Thy holy will. Wednesday before Easter. Resignation. (Aug. 13, 1821.) 10. 0 say not, dream [think] not, heavenly notes. Catechism. (Feb. 16, 1827.) 11. 0 shame upon thee, listless heart. SS. Philip & James. (Aug. 3, 1825.) 12. 0 who shall dare in this frail scene? St. Mark's Day. (1820.) 13. Red o'er the forest peers the setting sun. 23rd Sunday after Trinity. The Resurrection of the body. (Nov. 12, 1825.) 14. Spirit of Christ, Thine earnest give. Ordination. (March 28, 1828.) 15. Spirit of light and truth, to Thee. Ordination. (March 28, 1828.) 16. Spirit of might and sweetness too. Confirmation. (Feb. 21, 1827.) 17. Sweet nurslings of the vernal skies. 15th S. after Trinity. Consider the lilies. Live for today. (Feb. 3, 1826) 18. The days of hope and prayer are past. 4th Sunday after Easter. The promised Comforter. 19. The live-long night we've toiled in vain. 5th Sunday after Trinity. Miracle of the Fishes. (1821.) 20. The midday sun with fiercest glare. Conversion of St. Paul. (Mar. 2,1822.) 21. The shadow of the Almighty's cloud. Confirmation. (Feb. 22, 1827.) 22. The silent joy that sinks so deep. 2nd Sunday after Epiphany. Turning Water into Wine. 23. Then, fainting soul, arise and sing. 4th Sunday after Easter. The promised Comforter. 24. When brothers part for manhood's race. St. Andrew's Day. (Jan. 27, 1822.) 25. Who is God’s chosen priest ? St. Matthias's Day. 26. Why doth my Saviour weep? 10th Sunday after Trinity. Christ weeping over Jerusalem. (1819.) 27. Why should we faint and fear to live alone? 24th Sunday after Trinity. God's goodness in veiling the future. (June 7, 1825.) 28. Wish not, dear friends, my pain away. 16th Sunday after Trinity. Resignation. (1824.) ii. From The Psalter, 1839. 29. From deeps so wild and drear. Ps. cxxx. 30. God our Hope and Strength abiding. Ps. xlvi. 31. How pleasant, Lord of hosts, how dear. Ps. lxxxiv. 32. Lord, be my Judge, for I have trod. Ps. xxvi. 33. Lord, Thy heart in love hath yearned. Ps. lxxxv. 34. Lord, Thou hast search'd me out and known. Ps. cxxxix 35. My God, my God, why hast Thou me? Ps. xxii. 36. My Shepherd is the living God. Ps. xxiii. 37. My Shepherd is the Lord; J know. Ps. xxiii. 38. Praise the Lord, for He is love. Ps. cxxxvi. 39. Praise ye the Lord from heaven. Ps.cxlviii. 40. Sing the song unheard before. Ps. xcvi. 41. Sound high Jehovah's Name. Ps. cxxxv. 42. The earth is all the Lord's, with all. Ps. xxiv. 43. The mercies of the Lord my God. Ps. lxxxix. 44. The seed of Jacob, one and all. Ps. xxii. iii. From The Child's Christian Year, 1841, and later editions. 45. Bethlehem, above all cities blest. Innocents’ Day. 46. Lo, from the Eastern hills the Lord. l0th Sunday after Trinity. The Gospel. (Late editions.) 47. Our God in glory sits on high. 1st Sunday after Easter. The Epistle. 48. When Christ to village comes or town. 16th Sunday after Trinity. The Gospel. (Late editions.) iv. From Lyra Innocentium, 1846. 49. Christ before thy door is waiting. Presence of Christ in His poor; or, Offertory. 50. How [When] the new-born saints, assembling. Offertory. 51. Once in His Name Who made thee. Holy Baptism. 52. Who for the like of me will care? Naamans' Servant-maid v. From Lays of the Sanctuary, 1859. 53. Lord, lift my heart to Thee at morn. Emigrant's Midnight Hymn. 54. O Love unseen, we know Thee nigh. Cento from No. 53. 55. Slowly the gleaming stars retire. Morning Hymn for Emigrants at Sea. 56. The twilight hour is sweet at home. Evening hymn for Emigrants at Sea. The editor of Keble's Miscellaneous Poems says concerning Nos. 53, 55, and 56:— "The three hymns for Emigrants, for use at Midnight, Morning, and Evening, were written at the request of his friend Sir Frederic Rogers, at that time Emigration Commissioner. They were printed in the first edition of the ‘Prayers for Emigrants, which he had compiled, but were subsequently omitted, perhaps as being thought not sufficiently simple for the class of people for whose use the Book of Prayers was chiefly intended." Preface, p. vi. It is found that nearly 100 hymns (counting centos as such) by Keble are in common use at the present time, and of these some rank with the finest and most popular in the English language. -- John Julian, Dictionary of Hymnology (1907)

Christopher Wordsworth

1807 - 1885 Person Name: Christopher Wordsworth (1807-1885) Topics: Church Year Easter; Easter; The Fourth Sunday of Easter Year C; The Second Sunday of Easter Year A; The Third Sunday of Easter Year B Author of "Alleluia! Alleluia! Hearts to heaven and voices raise" in Ancient and Modern Christopher Wordsworth--nephew of the great lake-poet, William Wordsworth--was born in 1807. He was educated at Winchester, and at Trinity College, Cambridge, where he graduated B.A., with high honours, in 1830; M.A. in 1833; D.D. in 1839. He was elected Fellow of his College in 1830, and public orator of the University in 1836; received Priest's Orders in 1835; head master of Harrow School in 1836; Canon of Westminster Abbey in 1844; Hulsean Lecturer at Cambridge in 1847-48; Vicar of Stanford-in-the-Vale, Berks, in 1850; Archdeacon of Westminster, in 1865; Bishop of Lincoln, in 1868. His writings are numerous, and some of them very valuable. Most of his works are in prose. His "Holy Year; or, Hymns for Sundays, Holidays, and other occasions throughout the Year," was published in [1862], and contains 127 hymns. --Annotations of the Hymnal, Charles Hutchins, M.A., 1872. =================== Wordsworth, Christopher, D.D., was born at Lambeth (of which parish his father was then the rector), Oct. 30, 1807, and was the youngest son of Christopher Wordsworth, afterwards Master of Trinity College, Cambridge, and Priscilla (née Lloyd) his wife. He was educated at Winchester, where he distinguished himself both as a scholar and as an athlete. In 1826 he matriculated at Trinity College, Cambridge, where his career was an extraordinarily brilliant one. He swept off an unprecedented number of College and University prizes, and in 1830 graduated as Senior Classic in the Classical Tripos, and 14th Senior Optime in the Mathematical, won the First Chancellor's Medal for classical studies, and was elected Fellow of Trinity. He was engaged as classical lecturer in college for some time, and in 1836 was chosen Public Orator for the University. In the same year he was elected Head Master of Harrow School, and in 1838 he married Susan Hatley Freere. During his head-mastership the numbers at Harrow fell off, but he began a great moral reform in the school, and many of his pupils regarded him with enthusiastic admiration. In 1844 he was appointed by Sir Robert Peel to a Canonry at Westminster; and in 1848-49 he was Hulsean lecturer at Cambridge. In 1850 he took the small chapter living of Stanford-in-the-Vale cum Goosey, in Berkshire, and for the next nineteen years he passed his time as an exemplary parish priest in this retired spot, with the exception of his four months' statutable residence each year at Westminster. In 1869 he was elevated to the bishopric of Lincoln, which he held for more than fifteen years, resigning it a few months before his death, which took place on March 20th, 1885. As bearing upon his poetical character, it may be noted that he was the nephew of the poet-laureate, William Wordsworth, whom he constantly visited at Rydal up to the time of the poet's death in 1850, and with whom he kept up a regular and lengthy correspondence. Christopher Wordsworth was a very voluminous writer, his principal works being:— (1) Athens and Attica, 1836; (2) Pompeian Inscriptions, 1837; (3) Greece Pictorial and Descriptive, 1839; (4) King Edward VIth's Latin Grammar, 1841; (5) Bentley's Correspondence, 1842; (6) Theophilus Anglicanus, 1843; (7) Memoirs of William Wordsworth, 1851; (8) Hippolytus, 1853; (9) Notes at Paris, 1854; (10) A Commentary on the whole Bible, 1856-1870; (11) The Holy Year, 1862; (12) Church History, 1881-1883; many volumes of Sermons, and an enormous amount of Pamphlets, Addresses, Letters, Speeches, on almost every subject in which the interests of the church were concerned, and also on subjects connected with classical literature. Of his many works, however, the only one which claims notice from the hynmologist's point of view is The Holy Year, which contains hymns, not only for every season of the Church's year, but also for every phase of that season, as indicated in the Book of Common Prayer. Dr. Wordsworth, like the Wesleys, looked upon hymns as a valuable means of stamping permanently upon the memory the great doctrines of the Christian Church. He held it to be "the first duty of a hymn-writer to teach sound doctrine, and thus to save souls." He thought that the materials for English Church hymns should be sought (1) in the Holy Scriptures, (2) in the writings of Christian Antiquity, and (3) in the Poetry of the Ancient Church. Hence he imposed upon himself the strictest limitations in his own compositions. He did not select a subject which seemed to him most adapted for poetical treatment, but felt himself bound to treat impartially every subject, and branch of a subject, that is brought before us in the Church's services, whether of a poetical nature or not. The natural result is that his hymns are of very unequal merit; whether his subject inspired him with poetical thoughts or not, he was bound to deal with it; hence while some of his hymns (such as "Hark! the sound of holy voices," &c, “See the Conqueror mounts in triumph," &c, "O, day of rest and gladness") are of a high order of excellence, others are prosaic. He was particularly anxious to avoid obscurity, and thus many of his hymns are simple to the verge of baldness. But this extreme simplicity was always intentional, and to those who can read between the lines there are many traces of the "ars celans artem." It is somewhat remarkable that though in citing examples of early hymnwriters he almost always refers to those of the Western Church, his own hymns more nearly resemble those of the Eastern, as may be seen by comparing The Holy Year with Dr. Mason Neale's Hymns of the Eastern Church translated, with Notes, &c. The reason of this perhaps half-unconscious resemblance is not far to seek. Christopher Wordsworth, like the Greek hymnwriters, drew his inspiration from Holy Scripture, and he loved, as they did, to interpret Holy Scripture mystically. He thought that ”the dangers to which the Faith of England (especially in regard to the Old Testament) was exposed, arose from the abandonment of the ancient Christian, Apostolic and Patristic system of interpretation of the Old Testament for the frigid and servile modern exegesis of the literalists, who see nothing in the Old Testament but a common history, and who read it (as St. Paul says the Jews do) ‘with a veil on their heart, which veil' (he adds) 'is done away in Christ.'" In the same spirit, he sought and found Christ everywhere in the New Testament. The Gospel History was only the history of what "Jesus began to do and to teach" on earth; the Acts of the Apostles and all the Epistles were the history of what he continued to do and to teach from Heaven; and the Apocalypse (perhaps his favourite book) was "the seal and colophon of all." Naturally he presents this theory, a theory most susceptible of poetical treatment, in his hymns even more prominently than in his other writings. The Greek writers took, more or less, the same view; hence the resemblance between his hymns and those of the Eastern Church. [Rev. J. H. Overton, D.D.] During the time that Bishop Wordsworth was Canon of Westminster, and Vicar of Stanford-in-the-Vale cum Goosey, he published his collection of hymns as:— The Holy Year; or Hymns for Sundays and Holy-days, And other Occasions. London, Rivingtons, 1862. This work contained an extended Preface; a Calendar of Hymns; 117 Original Compositions; and a Supplement of 82 hymns from other sources. In the 3rd edition, 1863, the Supplement was omitted, and the Original hymns were increased to 127. Several of these hymns are annotated under their respective first lines, the rest in common use are:— From The Holy Year, first edition, 1862:— 1. Five pebbles from the brook. Temptation. Stanza ix. added in 1863. 2. Giver of law is God's [Thy] dear Son. Circumcision. Doxology added in 1863. 3. Gracious Spirit, Holy Ghost. Quinquagesima. 4. Holy, holy, holy, Lord, God of Hosts, Eternal King. Holy Trinity. 5. Holy of Holies! awful name. Epistle 5th Sunday in Lent. 6. How blest are hearts which Christ the Lord. Holy Matrimony. In 1863 in two parts, Pt. ii. being "Bless these Thy servants, gracious Lord." 7. How blessed is the force of prayer. St. Peter. In 1863, in two parts, Pt. i. being "Behold! at hand is Herod's doom." 8. How wondrous and mysterious are. Holy Baptism. In the 1863 ed. it is divided into four parts:— Pt. ii. "In Jordan Thou didst sanctify"; Pt. iii. "Thee, risen in triumph from the grave"; Pt. iv." Baptized in Christ we put on Christ." The cento, "By Water and the Holy Ghost," is also from this hymn. 9. In sorrow and distress. Ash Wednesday. 10. In Thy glorious Resurrection . Easter. In the 1863 ed. it begins, "Lord, Thy glorious Resurrection," and the doxology was added. 11. Lord, may we never, save to One. Against False Worship. Stanza viii. was added in 1863. 12. Lord not with [by] poor and paltry gifts. Offertory. 13. Lord, Who didst the Prophets teach. 2nd Sunday in Advent, or, Holy Scripture. The doxology was added in 1863. 14. Man fell from grace by carnal appetite. Gospel 1st S. in Lent. 15. Mankind in Adam fell. Good Friday. In the 1863 ed. it is divided into three parts: Pt. ii. being "We fell by Adam's sin;" and Pt. iii. "Thy Cross a Trophy is." 16. Not bound by chains, nor pent in cells. The Gifts of the Holy Ghost. This hymn is preceded by a special note on the Holy Spirit and His gifts. 17. Not gifts of prophecy can save. Self Discipline, or, 8th Sunday after Trinity. 18. 0 Jerusalem beloved, joyful morn has dawned on Thee. Purification of Blessed Virgin Mary, or, The Presentation. In the 1863 edition it is divided into two parts, Pt. ii. Being “Light the Gentile world to lighten, and thy glory Israel." 19. 0 Saviour, Who at Nain's gate. The Raising of the Widow's Son. 20. 0 Son of God, the Eternal Word. The Queen's Accession. 21. Once all the nations were as one. Babel and Sion a Contrast. 22. Sing, 0 sing this blessed morn. Christmas. In the 1863 edition a doxology was added, and the hymn was divided into two parts, Pt. ii. being, "God comes down that man may rise." 23. The banner of the Cross. Missions. In the 1863 ed. it is in three parts, Pt. ii., "Now for the Lord our God"; Pt. iii. "The earth from East to West." 24. The Galilean Fishers toil. Collect 4th Sunday in Advent. From this "0 Lord, when storms around us howl" is taken. 25. Thou bidd'st us visit in distress. The Promise of the Comforter, or, Sunday before Ascension. In the 1863 edition it is in two parts, Pt. ii. being “At Thy first birth, Thou, Lord, didst wait." 26. Thou hast a Temple founded. The Christian Temple; or, Epistle 11th Sunday after Trinity. 27. To-day, 0 Lord, the Holy James. St. James. In the 1863 ed. in two parts, Pt. ii. being "God in His word does not display." 28. Today with bright effulgence shine. Conversion of St. Paul. In the 1863 ed. it begins "Today in Thine Apostle shine," and is in two parts, Pt. ii being "From East to West, from North to South." 29. Upon the sixth day of the week. Easter Eve. Stanzas x., xi. of the 1863 text were added then, and the hymn was given in two parts, Pt. ii. being "By tasting the forbidden fruit." 30. We hear the tolling bell. Burial. The doxology was added in 1863, and the hymn was divided, Pt. ii. being "0 gracious Lord, to Thee." The cento "We see the open grave" is from this hymn. 31. When from the City of our God. The Good Samaritan. From this is taken “What beams of grace and mercy, Lord." 32. When Thou, 0 Lord, didst send the Twelve. SS. Simon and Jude. In the 1863 ed. stanza x. is new, and Pt. ii. begins, "Zeal, swollen with passion's cloudy smoke." ii. From the Holy Year, 3rd ed., 1863. 33. Heavenly Father, send Thy blessing. For Schools. In extensive use. 34. Holy, holy, holy Lord, Maker of this worldly frame. Septuagesima. Based on the Epistle and Gospel of the week. 35. Lo He comes! Whom every nation. Advent. This is headed "The First Advent of Christ, coming to save." 36. 0 fear not though before thee lies. Communion of the Sick. Pt. ii. begins, "The Resurrection and the Life." 37. On every new-born babe of earth. Churching of Women. Pt. ii. begins, "Bright angels of the King of kings." 38. Peace to this house! O Thou Whose way. Visitation of the Sick. Pt. ii. "0 Conqueror by suffering; Pt. iii. "Restore us to Thine house of prayer." 39. The day is gently sinking to a close. Evening. A beautiful hymn. 40. We all, 0 God, unrighteous are. The Lord our Righteousness. Sometimes "We all, O Lord, unrighteous are." Based upon the Epistle of the Sunday next before Advent. Pt. ii. begins "Behold the day, the glorious day." In addition to many of the hymns in the 1863 edition of The Holy Year being divided into parts, the texts of most of them were revised by the author, and are authorized. -- John Julian, Dictionary of Hymnology (1907) ================ Wordsworth, Bp. C. (Lincoln) , p. 1294, i. Of his hymns, noted on p. 1294, i., ii., we find that No. 39 appeared in his Holy Year in 1864; and Nos. 34, 35, and 40 in 1862. The first edition in which the longer hymns were divided into parts was that of 1868. With regard to the date of Bp. Wordsworth's death, we find this reference thereto in his Biography: "He expired soon after midnight on Friday, March 20, or perhaps, it might be said, early on the Saturday morning." This gives the date of his death as March 21, 1885. --John Julian, Dictionary of Hymnology, New Supplement (1907) =========================== See also in: Hymn Writers of the Church

Juan Bautista Cabrera Ivars

1837 - 1916 Person Name: Juan Bautista Cabrera Topics: Christian Year Easter Vigil; Christian Year Resurrection/Easter; Christian Year Easter Translator (Spanish) of "Jesus Christ Is Risen Today" in Glory to God Juan Bautista Cabrera Ivars was born in Benisa, Spain, April 23, 1837. He attended seminary in Valencia, studying Hebrew and Greek, and was ordained as a priest. He fled to Gibraltar in 1863 due to religious persecution where he abandoned Catholicism. He worked as a teacher and as a translator. One of the works he translated was E.H. Brown's work on the thirty-nine articles of the Anglican Church, which was his introduction to Protestantism. He was a leader of a Spanish Reformed Church in Gibraltar. He continued as a leader in this church when he returned to Spain after the government of Isabel II fell, but continued to face legal difficulties. He then organized the Spanish Reformed Episcopal Church and was consecrated as bishop in 1894. He recognized the influence of music and literature on evangelism which led him to write and translate hymns. Dianne Shapiro, from Real Academia de la Historia (https://dbe.rah.es/biografias/39825/juan-bautista-cabrera-ivars) and Himnos Cristanos (https://www.himnos-cristianos.com/biografia-juan-bautista-cabrera/) (accessed 7/30/2021)

Samuel Longfellow

1819 - 1892 Person Name: Samuel Longfellow, 1819-1892 Topics: Easter Author of "Lo, the Earth Awakes Again" in Singing the Living Tradition Longfellow, Samuel, B. A., brother of the Poet, was born at Portland, Maine, June 18, 1819, and educated at Harvard, where he graduated in Arts in 1839, and in Theology in 1846. On receiving ordination as an Unitarian Minister, he became Pastor at Fall River, Massachusetts, 1848; at Brooklyn, 1853; and at Germantown, Pennsylvania, 1860. In 1846 he edited, with the Rev. S. Johnson (q. v.), A Book of Hymns for Public and Private Devotion. This collection was enlarged and revised in 1848. In 1859 his Vespers was published, and in 1864 the Unitarian Hymns of the Spirit , under the joint editorship of the Rev. S. Johnson and himself. His Life of his brother, the Poet Longfellow, was published in 1886. To the works named he contributed the following hymns:— i. To A Book of Hymns , revised ed., 1848. 1. Beneath the shadow of the Cross. Love. 2. 0 God, thy children gathered here. Ordination. ii. To the Vespers 1859. 3. Again as evening's shadow falls. Evening. 4. Now on land and sea descending. Evening. iii. To the Hymns of the Spirit, 1864. 5. A voice by Jordan's shore. Advent. 6. Father, give Thy benediction. Ordination. 7. Go forth to life, 0 child of earth. Life's Mission. 8. God of ages and of nations. Holy Scriptures. 9. Holy Spirit, Truth divine. The Holy Spirit desired. 10. I look to Thee in every need. Trust in God. 11. In the beginning was the Word. The Word. 12. Love for all, and can it be? Lent. The Prodigal Son. 13. 0 God, in Whom we live and move. God's Law and Love. 14. 0 God, Thou Giver of all good. Prayer for Food. 15. O still in accents sweet and strong. Missions. 16. 0 Thou, Whose liberal sun and rain. Anniversary of Church dedication. 17. One holy Church of God appears. The Church Universal. 18. Out of the dark, the circling sphere. The Outlook. 19. Peace, peace on earth! the heart of man for ever. Peace on Earth. 20. The loving Friend to all who bowed. Jesus of Nazareth. 21. ’Tis winter now, the fallen snow. Winter. Of these, hymn No. 2 was written for the Ordination of E. E. Hale (q. v.), at Worcester, 1846. Several are included in Martineau's Hymns, 1873. Died Oct. 3, 1892. [Rev. F. M. Bird, M.A.] --John Julian, Dictionary of Hymnology (1907), p. 685 =============== Longfellow, S., p. 685, i. Since Mr. Longfellow's death on Oct. 3, 1892, his hymns have been collected by his niece, Miss Alice Longfellow, as Hymns and Verses(Houghton, Mifflin & Co., 1904.) From this work we find many of the hymns signed Anon, in the Index to Longfellow and Johnson's Hymns of the Spirit, 1864, were his; several of these, including E. Osier's "O God unseen, yet ever near," were popular English hymns which he rewrote from his own theological standpoint. These re¬written hymns are very widely used by Unitarians and others. During the last ten years the following additional hymns by S. Long¬fellow have come into common use:— 1. Eternal One, Thou living God. Faith in God. 2. God of the earth, the sky, the sea. God in Nature. 3. God's trumpet wakes the slumbering world. Call to duty. 4. Light of ages and of nations. God in and through all time. 5. Lo, the earth is risen again. Spring. (1876.) 6. Now while we sing our closing psalm. Close of Worship. 7. O Life that maketh all things new. Unity. (1874.) 8. O Thou in Whom we live and move. The Divine Law. 9. The summer days are come again. Summer. From his hymn,"The sweet[bright] June days are come again." 10. Thou Lord of lite, our saving health. In Sickness. (1886.) Of these hymns Nos. 2, 3 appeared in the Hymns of the Spirit, 1864, and all with the dates appended in Hymns and Verses, 1904. --John Julian, Dictionary of Hymnology, New Supplement (1907) ================== http://en.wikipedia.org/wiki/Samuel_Longfellow

Johann Crüger

1598 - 1662 Topics: Church Year Easter; Easter Composer of "LOB SEI DEM ALLMÄCHTIGEN GOTT" in The Hymnal and Order of Service Johann Crüger (b. Grossbriesen, near Guben, Prussia, Germany, 1598; d. Berlin, Germany, 1662) Crüger attended the Jesuit College at Olmutz and the Poets' School in Regensburg, and later studied theology at the University of Wittenberg. He moved to Berlin in 1615, where he published music for the rest of his life. In 1622 he became the Lutheran cantor at the St. Nicholas Church and a teacher for the Gray Cloister. He wrote music instruction manuals, the best known of which is Synopsis musica (1630), and tirelessly promoted congregational singing. With his tunes he often included elaborate accompaniment for various instruments. Crüger's hymn collection, Neues vollkomliches Gesangbuch (1640), was one of the first hymnals to include figured bass accompaniment (musical shorthand) with the chorale melody rather than full harmonization written out. It included eighteen of Crüger's tunes. His next publication, Praxis Pietatis Melica (1644), is considered one of the most important collections of German hymnody in the seventeenth century. It was reprinted forty-four times in the following hundred years. Another of his publications, Geistliche Kirchen Melodien (1649), is a collection arranged for four voices, two descanting instruments, and keyboard and bass accompaniment. Crüger also published a complete psalter, Psalmodia sacra (1657), which included the Lobwasser translation set to all the Genevan tunes. Bert Polman =============================== Crüger, Johann, was born April 9, 1598, at Gross-Breese, near Guben, Brandenburg. After passing through the schools at Guben, Sorau and Breslau, the Jesuit College at Olmütz, and the Poets' school at Regensburg, he made a tour in Austria, and, in 1615, settled at Berlin. There, save for a short residence at the University of Wittenberg, in 1620, he employed himself as a private tutor till 1622. In 1622 he was appointed Cantor of St. Nicholas's Church at Berlin, and also one of the masters of the Greyfriars Gymnasium. He died at Berlin Feb. 23, 1662. Crüger wrote no hymns, although in some American hymnals he appears as "Johann Krüger, 1610,” as the author of the supposed original of C. Wesley's "Hearts of stone relent, relent" (q.v.). He was one of the most distinguished musicians of his time. Of his hymn tunes, which are generally noble and simple in style, some 20 are still in use, the best known probably being that to "Nun danket alle Gott" (q.v.), which is set to No. 379 in Hymns Ancient & Modern, ed. 1875. His claim to notice in this work is as editor and contributor to several of the most important German hymnological works of the 16th century, and these are most conveniently treated of under his name. (The principal authorities on his works are Dr. J. F. Bachmann's Zur Geschichte der Berliner Gesangbücher 1857; his Vortrag on P. Gerhard, 1863; and his edition of Gerhardt's Geistliche Lieder, 1866. Besides these there are the notices in Bode, and in R. Eitner's Monatshefte für Musik-Geschichte, 1873 and 1880). These works are:— 1. Newes vollkömmliches Gesangbuch, Augspur-gischer Confession, &c, Berlin, 1640 [Library of St. Nicholas's Church, Berlin], with 248 hymns, very few being published for the first time. 2. Praxis pietatis melica. Das ist: Ubung der Gottseligkeit in Christlichen und trostreichen Gesängen. The history of this, the most important work of the century, is still obscure. The 1st edition has been variously dated 1640 and 1644, while Crüger, in the preface to No. 3, says that the 3rd edition appeared in 1648. A considerable correspondence with German collectors and librarians has failed to bring to light any of the editions which Koch, iv. 102, 103, quotes as 1644, 1647, 1649, 1650, 1651, 1652, 1653. The imperfect edition noted below as probably that of 1648 is the earliest Berlin edition we have been able to find. The imperfect edition, probably ix. of 1659, formerly in the hands of Dr. Schneider of Schleswig [see Mützell, 1858, No. 264] was inaccessible. The earliest perfect Berlin edition we have found is 1653. The edition printed at Frankfurt in 1656 by Caspar Röteln was probably a reprint of a Berlin edition, c. 1656. The editions printed at Frankfurt-am-Main by B. C. Wust (of which the 1666 is in the preface described as the 3rd) are in considerable measure independent works. In the forty-five Berlin and over a dozen Frankfurt editions of this work many of the hymns of P. Gerhardt, J. Franck, P. J. Spener, and others, appear for the first time, and therein also appear many of the best melodies of the period. 3. Geistliche Kirchen-Melodien, &c, Leipzig, 1649 [Library of St. Katherine's Church, Brandenburg]. This contains the first stanzas only of 161 hymns, with music in four vocal and two instrumental parts. It is the earliest source of the first stanzas of various hymns by Gerhardt, Franck, &c. 4. D. M. Luther's und anderer vornehmen geisU reichen und gelehrten Manner Geistliche Lieder und Psalmen, &c, Berlin, 1653 [Hamburg Town Library], with 375 hymns. This was edited by C. Runge, the publisher, and to it Crüger contributed some 37 melodies. It was prepared at the request of Luise Henriette (q.v.), as a book for the joint use of the Lutherans and the Re¬formed, and is the earliest source of the hymns ascribed to her, and of the complete versions of many hymns by Gerhardt and Franck. 5. Psalmodia Sacra, &c, Berlin, 1658 [Royal Library, Berlin]. The first section of this work is in an ed. of A. Lobwasser's German Psalter; the second, with a similar title to No. 4, and the date 1657, is practically a recast of No. 4,146 of those in 1653 being omitted, and the rest of the 319 hymns principally taken from the Praxis of 1656 and the hymn-books of the Bohemian Brethren. New eds. appeared in 1676, 1700, 1704, 1711, and 1736. [Rev. James Mearns, M.A.] -- Excerpt from John Julian, Dictionary of Hymnology (1907) ======================= Crüger, Johann, p. 271, ii. Dr. J. Zahn, now of Neuendettelsau, in Bavaria, has recently acquired a copy of the 5th ed., Berlin, 1653, of the Praxis. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

John Barnard

b. 1948 Person Name: John Barnard (born 1948) Topics: Easter The Resurrection of Christ; Easter 3 The Resurrection and the Life Composer (descant) of "EASTER HYMN" in Hymns for Today's Church (2nd ed.)

Julia H. Johnston

1849 - 1919 Person Name: Miss Julia H. Johnson Topics: Easter Author of "All hail glad day, all hail glad day" in The Sunday School Hymnal Julia Harriet Johnston, who was born on Jan. 21, 1849, at Salineville, OH, in Columbiana County. Her father was a minister and he mother was a poet. She began writing when she was nine years old but really started writing verse in high school. She lived in Peoria, Ill. Dianne Shapiro, from "The Singers and Their Songs: sketches of living gospel hymn writers" by Charles Hutchinson Gabriel (Chicago: The Rodeheaver Company, 1916)

Melchior Vulpius

1570 - 1615 Person Name: Melchior Vulpius, 1570-1615 Topics: Easter; Easter Day; Easter Composer of "GELOBT SEI GOTT" in Lutheran Book of Worship Born into a poor family named Fuchs, Melchior Vulpius (b. Wasungen, Henneberg, Germany, c. 1570; d. Weimar, Germany, 1615) had only limited educational opportunities and did not attend the university. He taught Latin in the school in Schleusingen, where he Latinized his surname, and from 1596 until his death served as a Lutheran cantor and teacher in Weimar. A distinguished composer, Vulpius wrote a St. Matthew Passion (1613), nearly two hundred motets in German and Latin, and over four hundred hymn tunes, many of which became popular in Lutheran churches, and some of which introduced the lively Italian balletto rhythms into the German hymn tunes. His music was published in Cantiones Sacrae (1602, 1604), Kirchengesangund Geistliche Lieder (1604, enlarged as Ein schon geistlich Gesanglmch, 1609), and posthumously in Cantionale Sacrum (1646). Bert Polman

Roland Tabell

b. 1934 Person Name: Roland Tabell, 1934- Topics: Second Sunday of Easter; Easter Resurrection Arranger of "PUER NOBIS NASCITUR" in The Covenant Hymnal

Frederic Chopin

1810 - 1849 Person Name: Chopin Topics: The Child with His Neighbors At Easter Composer of "[Within a garden fair]" in A First Book in Hymns and Worship

H. L. Gilmour

1836 - 1920 Topics: Easter-Resurrection Composer of "[All nature is sleeping, the world’s wrapped in death]" in The Finest of the Wheat No. 3 Henry Lake Gilmour United Kingdom 1836-1920. Born at Londonderry, Ireland, he emigrated to America as a teenager, thinking he wanted to learn navigation. When he reached the U.S., he arrived in Philadelphia and decided to seek his fortune in America. He started working as a painter, then served in the American Civil War, where he was captured and spent several months in Libby Prison, Richmond, VA. He married Letitia Pauline Howard in 1858. After the war he trained as a dentist and did that for many years. In 1869 he moved to Wenonah, NJ, and helped found the Methodist church there in 1885. He served as Sunday school superintendent and, for four decades, directed the choir at the Pittman Grove Camp Meeting, also working as song leader at camp meetings in Mountain Lake Park, MD, and Ridgeview Park, PA. He was an editor, author, and composer. He edited and/or published 25 gospel song books, along with John Sweney, J Lincoln Hall, John J Hood, Howard Entwistle, Joshua Gill, E L Hyde, Milton S Rees and William J Kirkpatrick. He died in Delair, NJ, after a buggy accident. John Perry

Felix Mendelssohn-Bartholdy

1809 - 1847 Person Name: Mendelssohn Topics: Easter Composer of "[On this blessed Easter day]" in Songs for Little People Felix Mendelssohn-Bartholdy (b. Hamburg, Germany, 1809; d. Leipzig, Germany, 1847) was the son of banker Abraham Mendelssohn and the grandson of philosopher Moses Mendelssohn. His Jewish family became Christian and took the Bartholdy name (name of the estate of Mendelssohn's uncle) when baptized into the Lutheran church. The children all received an excellent musical education. Mendelssohn had his first public performance at the age of nine and by the age of sixteen had written several symphonies. Profoundly influenced by J. S. Bach's music, he conducted a performance of the St. Matthew Passion in 1829 (at age 20!) – the first performance since Bach's death, thus reintroducing Bach to the world. Mendelssohn organized the Domchor in Berlin and founded the Leipzig Conservatory of Music in 1843. Traveling widely, he not only became familiar with various styles of music but also became well known himself in countries other than Germany, especially in England. He left a rich treasury of music: organ and piano works, overtures and incidental music, oratorios (including St. Paul or Elijah and choral works, and symphonies. He harmonized a number of hymn tunes himself, but hymnbook editors also arranged some of his other tunes into hymn tunes. Bert Polman

Jaroslav J. Vajda

1919 - 2008 Topics: Easter; Christian year--Easter Translator of "This Glorious Easter Festival" in Moravian Book of Worship Jaroslav J. Vajda (b. Lorain, Ohio, 1919; d. 2008) Born of Czechoslovakian parents, Vajda was educated at Concordia College in Fort Wayne, Indiana, and Concordia Theological Seminary in St. Louis, Missouri. Ordained as a Lutheran pastor in 1944, he served congregations in Pennsylvania and Indiana until 1963. He was editor of the periodicals The Lutheran Beacon (1959-1963) and This Day (1963-1971) and book editor and developer for Concordia Publishing House in St. Louis from 1971 until his retirement in 1986. Working mainly with hymn texts, Vajda served on several Lutheran commissions of worship. A writer of original poetry since his teens, he was the author of They Followed the King (1965) and Follow the King (1977). His translations from Slovak include Bloody Sonnets (1950), Slovak Christmas (1960), An Anthology of Slovak Literature (1977), and contributions to the Lutheran Worship Supplement (1969) and the Lutheran Book of Worship (1978). A collection of his hymn texts, carols, and hymn translations was issued as Now the Joyful Celebration (1987); its sequel is So Much to Sing About (1991). Vajda's hymns are included in many modern hymnals, and he was honored as a Fellow of the Hymn Society in the United States and Canada in 1988. Bert Polman

Herbert Brokering

1926 - 2009 Person Name: Herbert F. Brokering, 1926-2009 Topics: Church Year Easter; Year A, B, C, Easter, Resurrection of the Lord; Year C, Easter, 2nd Sunday Author of "Psalm 118:14-24 (A Paraphrase for Easter)" in Psalms for All Seasons Herbert F. Brokering (b. Beatrice, Nebraska, May 21, 1926; d. Bloomington, Minnesota, November 7, 2009) was a Lutheran pastor with German roots, an author of more than forty books, and a poet and hymn writer known especially for two hymn texts, “Earth and All Stars” and “Alleluia! Christ Is Risen,” both set to the same tune. He was born in Nebraska, the son of a German Lutheran pastor; earned degrees from Wartburg College in Iowa, University of Iowa, and Trinity Lutheran Seminary in Columbus, OH, and pursued graduate study in Germany at the University of Kiel and the University of Erlangen. He served as a pastor of three Lutheran congregations, in Pennsylvania, New York, and Texas; taught at the Navy Chaplain’s Career School in Newport, Rhode Island, Luther Seminary and Trinity Seminary, and was also active in the Lutheran World Federation services and the World Council of Churches. Emily Brink

Nikolaus Herman

1500 - 1561 Person Name: Nikolaus Herman, c. 1480-1561 Topics: Easter; Easter 2; Easter Composer of "ERSCHIENEN ISTS DER HERRLICH TAG" in Lutheran Book of Worship Herman, Nicolaus, is always associated with Joachimsthal in Bohemia, just over the mountains from Saxony. The town was not of importance till the mines began to be extensively worked about 1516. Whether Herman was a native of this place is not known, but he was apparently there in 1518, and was certainly in office there in 1524. For many years he held the post of Master in the Latin School, and Cantor or Organist and Choirmaster in the church. Towards the end of his life he suffered greatly from gout, and had to resign even his post as Cantor a number of years before his death. He died at Joachimsthal, May 3, 1561. (Koch, i. 390-398; Allgemeine Deutsche Biographie, xii. 186-188, &c.) He was a great friend and helper of J. Mathesius (q.v.) (who in 1532 became rector of the school, but in 1541 diaconus and in 1545 pastor of the church), and it was said that whenever Mathesius preached a specially good sermon Herman straightway embodied its leading ideas in a hymn. His hymns, however, were not primarily written for use in church, but were intended for the boys and girls in the schools, to supplant profane songs in the mouths of the young men and women, or for the daily life of the “housefathers and housemothers" in Joachimsthal, at home, and in their work in the mines. He is a poet of the people, homely, earnest, and picturesque in style; by his naiveté reminding us of Hans Sachs. He was an ardent lover of music and a very good organist. The chorales which he published with his hymns are apparently all of his own composition, and are among the best of the Reformation period. Many of Herman's hymns soon passed into Church use in Germany, and a number are found in almost all books in present use. About 190 in all, they appeared principally in:— (1) Die Sontags Evangelia uber des gantze Jar, in Gesenge verfasset, für die Kinder und christlichen Haussvetter, &c, Wittenberg, 1560 (dedication by Herman dated Trinity Sunday, 1559), with 101 hymns and 17 melodies. The best are those interspersed specially meant for children and not directly founded on the Gospel for the day. (2) Die Historien von der Sindfludt, Joseph, Mose, Helia, Elisa und der Susanna, sampt etlichen Historien aus den Evangelisten, &c., Wittenberg, 1562 (preface by Herman dated St. Bartholomew's Day, 1560), with 73 hymns and 20 melodies. In this case also the general hymns are the best. A selection of 60 (really 61) of his hymns, with a memoir by K. F. Ledderhose, was published at Halle, 1855. One of Herman's hymns is noted under “Wenn mein Stündlein vorhanden ist." The others which have passed into English are:— i. Bescher uns, Herr, das täglioh Brod. Grace before Meat. 1562, as above, and thence in Wackernagel, iii. p. 1228, in 6 stanzas of 4 lines; in Ledderhose, p. 70; and in the Berlin Geistliche Lieder, ed. 1863, No. 1133. Translated as:— 1. Thou art our Father and our God. This, by P. H. Molther, a translation of stanza vi., as No. 180 in the Moravian Hymn Book, 1789 (1849, No. 220, st. v.). 2. As children we are owned by Thee, a translation of stanza vi., as st. iii. of No. 191 in the Moravian Hymn Book, 1801 (1849, No. 220, stanza iii.). ii. Die helle Sonn leucht jetzt herfür. Morning. 1560, as above, and thence in Wackernagel, iii. p. 1184, in 4 stanzas of 4 lines, in Ledderhose, p. 87; and in the Unverfälschter Liedersegen, 1851, No. 450. Translated as:— The morning beam revives our eyes, a good and full translation by. A. T. Russell, as No. 71 in the Dalston Hospital Hymn Book 1848. iii. Erschienen ist der herrliche Tag. Easter. 1560, as above, in 14 stanzas of 4 lines, entitled, "A new Spiritual Song of the Joyful Resurrection of our Saviour Jesus Christ; for the maidens of the girls' school in Joachimsthal”; and thence in Wackernagel, iii. p. 1175; in Ledderhose p. 23, and Unverfälschter Liedersegen, 1851, No. 134. It has reminiscences of the "Erstanden ist der heil'ge Christ". Translated as:— The day hath dawn'd—-the day of days, a good translation by A. T. Russell of stanzas i., ii., xiii., xiv., as No. 113 in his Psalms & Hymns, 1851. Another tr. is, "At length appears the glorious day," by Dr. G. Walker, 1860, p. 28. iv. Hinunter ist der Sonnen Schein. Evening. 1560, as above, and thence in Wackernagel, iii. p. 1184, in 4 stanzas of 4 lines; in Ledderhose, p. 88; and in the Unverfälschter Liedersegen1851, No. 523. Some of the phrases may have been suggested by the "Christe qui lux es et dies" (q. v.). Translated as:— 1. Sunk is the sun's last beam of light, a full and good translation by Miss Cox in her Sacred Hymns from the German, 1841, p. 57. Included in Alford's Psalms & Hymns, 1844, and Tear of Praise, 1867; in Dale's English Hymn Book, 1875; in the Pennsylvania Lutheran Church Book, 1868, and others. It is also given considerably altered and beginning, "Sunk is the Sun! the daylight gone," in W. J. Blew's Church Hymn and Tune Book, 1851-55. 2. The happy sunshine all is gone, in full, by Miss Winkworth in her Lyra Germanica, 1st Ser., 1855, p. 225; repeated in her Chorale Book for England, 1863, and the Ohio Lutheran Hymnal, 1880. Other translations are: (1) "Did I perhaps Thee somewhat grieve," a translation of stanza iii. in the Moravian Hymn Book, 1789, No. 756. In the 1801 and later eds. (1886, No. 1181, st. iii.), it begins, "Where'er I Thee this day did grieve." (2) "The sun’s fair sheen is past and gone," by H. J. Buckoll, 1842, p. 68. (3) "The sun hath run his daily race," by Lady E. Fortescue, 1843, p. 14. v. Lobt Gott, ihr Christen alle gleich. Christmas. Written c. 1554, but first published 1560 as above, as the first of "Three Spiritual Christmas Songs of the new-born child Jesus, for the children in Joachimsthal." Thence in Wackernagel iii. p. 1169, in 8 stanzas of 4 lines; in Ledderhose, p. 1; and in the Unverfälschter Liedersegen, 1851, No. 47. It is one of the most popular German Christmas hymns. The melody set to it in 1560 is also by Herman; in 1554 to his "Kommt her ihr liebsten Schwesterlein" [in the Hymnal Companioncalled "St. George's (old)"]. Translated as :— 1. Let all together praise our God, a good translation of stanzas i., iii., vi., viii., by A. T. Russell, as No. 52 in his Psalms & Hymns, 1851. Repeated in Kennedy, 1863, adding a translation of st. ii., and beginning, "Let all creation praise our God." 2. Praise ye the Lord, ye Christians I yea, in full, by E. Cronenwett, as No. 31 in the Ohio Lutheran Hymnal 1880. Other translations are: (1) "A wondrous change He with us makes," a tr. of stanza viii., ix. as No. 438 in pt. i. of the Moravian Hymn Book, 1754, repeated 1789-1826. (2) "Come, brethren, lets the song arise," by Dr. G. Walker, 1860, p. 26. (3) "Praise God, now Christians, all alike," by Miss Manington, 1864, p. 9. (4) "Praise God, upon His throne on high," in the Sunday Magazine, 1874, p. 384, signed "P. J." The hymn “Shepherds rejoice, lift up your eyes," given by J. C. Jacobi in his Psalmodia Germanica, 1722, p. 8, to Herman's melody (which was first published 1554) is, as stated in his Preface, taken from Bk. i. of Isaac Watts's Horse Lyricae vi. So wahr ich leb, spricht Gott der Herr. Absolution. 1560, as above, in 11 stanzas of 4 lines, entitled "A hymn on the power of the keys and the virtue of holy absolution; for the children in Joachimsthal." Thence in Wackernagel, iii. p. 1183; in Ledderhose, p. 47; and the Unverfälschter Liedersegen, 1851, No. 429. It probably suggested the better known hymn, "So wahr ich lebe," q. v., by Johann Heermann. Translated as:— Yea, as I live, Jehovah saith, I do not wish the sinner's death, in full, by Dr. M. Loy, as No. 245, in the Ohio Lutheran Hymnal, 1880. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology (1907)

Charles V. Stanford

1852 - 1924 Person Name: Charles V. Stanford, 1852-1924 Topics: Easter Composer of "ENGELBERG" in One in Faith 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

Daniel Otis Teasley

1876 - 1942 Person Name: D. O .T. Topics: Easter Author of "This is Easter Morn" in Songs of Grace and Glory Daniel Otis Teasley, 1876-1942 Died: November 15, 1942, Santa Ana, California. Teasley entered the ministry of the Church of God denomination in 1896, and pastored in New York. Sometime after 1910, he became General Manager of the Gospel Trumpet Company, where he worked until 1917. He then worked as general manager of Warner Press (1917-18). His works include: Historical Geography of the Bible, 1898, 1917 The Holy Spirit and Other Spirits, 1904 How to Conduct a Sunday School, 1911 The Gospel Guide-book, 1918 The Bible and How to Interpret It, 1918 Lyrics-- At the Cross of Jesus Bowing Back to the Blessèd Old Bible Be Ready When He Comes I Am the Lord’s I Know in My Heart What It Means I Will Praise Him, Hallelujah! In Holy Reverence, Lord Song of Joy, A We’ll Crown Him Lord of All We’ll Praise the Lord Music-- No Friend Like Jesus Reverena --hymntime.com/tch/

J. Lincoln Hall

1866 - 1930 Topics: Easter Composer of "[Easter gladness now proclaim]" in Magnificat Used pseudonyms Maurice A. Clifton and Arthur Wilton. =============== Joseph Lincoln Hall DMus USA 1866-1930. Born in Philadelphia, PA, to musical parents, he also was musical, having a good tenor voice. He was an organist and music teacher. At age 19 he led a 100 member choir for 10 years. He studied music and graduated with honors from the University of PA, later receiving a Doctor of Music degree from Harriman University, from which he was an alumnus. In 1896 he married Eva Victoria Withington, and they had four children. Three lived to adulthood, Lincoln, Ralph, and Philip. A musician, he was a great song leader and choral conductor, conducting campmeeting choirs in PA, OH, and FL, at the Gainesville Bible Conference as well. He became a gospel song composer, arranger, editor, and publisher. He wrote cantatas, oratorios, choir anthems, and hundreds of gospel songs. He also edited several hymnals. Along with Irvin Mack, he founded the Hall-Mack Publishing Company (later Rodeheaver). They published nine songbooks. He was a member of the 7th Street Methodist Episcopal Church in Philadelphia. He died in Philadelphia. John Perry

Richard R. Chope

1830 - 1928 Person Name: Rev. R. R. Chope Topics: Easter Author of "Merrily the Easter bells" in Carols Old and Carols New Chope, Richard Robert, M.A., born Sept. 21, 1830, educated at Exeter College, Oxford, B.A., 1855, and took Holy Orders as Curate of Stapleton, 1856. During his residence at Stapleton the necessities of the Choir led him to plan his Congregational Hymn and Tune Book, published in 1857. In 1858 he took the Curacy of Sherborne, Dorset; in the following year that of Upton Scudamore, where he undertook the training of the Chorus of the Warminster district for the first Choral Festival in Salisbury Cathedral; and in 1861 that of Brompton. The enlarged edition of The Congregational Hymn Book was published 1862, and The Canticles, Psalter, &c, of the Prayer Book, Noted and Pointed, during the same year. In 1865 he was preferred to the parish of St. Augustine's, Queen's Gate, South Kensington, and subsequently published Carols for Use in Church during Christmas and Epiphany, 1875; Carols for Easier and Other Tides, 1887; and other works. Mr. Chope has been one of the leaders in the revival and reform of Church Music as adapted to the Public Services. He was one of the originators of The Choir and Musical Record, and was for some time the proprietor and assistant editor of the Literary Churchman. --John Julian, Dictionary of Hymnology (1907)

Nahum Tate

1652 - 1715 Person Name: N. Tate (1652-1715) Topics: Easter 1 The Bread of Life Author of "Through all the changing scenes of life" in Hymns for Today's Church (2nd ed.) 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

L. Nielsen

Topics: Passion and Easter Composer of "[Arise, my soul, this Easter morn]" in Hymnal for Church and Home

Henry S. Perkins

1833 - 1914 Person Name: H. S. Perkins Topics: Easter Author of "Christ the Lord is Risen (Easter)" in Fair as the Morning. Hymns and Tunes for Praise in the Sunday-School Henry Southwick Perkins USA 1833-1914. Born at Stockbridge, VT, the son of musical parents (both singers) he was trained musically, primarly by his father. He attended some of the best literary schools in his youth. His formal music education began in 1857, when he entered the Boston Music School, graduating in 1861. For over 20 years he devoted considerable time to conducting music festivals and conventions throughout America, from ME to CA. He also taught music in NY, OH, IN, WI, IA, CO, KS, and TX. He served as Professor of Music at the University of IA (1867-69), principal of the IA Academy of Music, Iowa City, IA, for five years, and principal at the KS Normal Music School for five consecutive summers. He composed vocal music for choirs, Sunday school, public schools, choir societies, conventions and festivals. He helped organize the Music Teachers’ National Association in 1876, serving in most capacities there between (1887-1897). He also organized the IL Music Teachers Association in 1886, serving as its president for 10 years. He settled in Chicago in 1872 and was a noted music critic for the papers there. In 1891 he established the Chicago National College of Music. He published several hymn books, including: “The nightingale” (1860), “The church bell” (1867), “The song echo” (1971), “The sunny side” (1875), “The shining river” (1875), and “Gospel bells” (1883). He died at Chicago, IL. John Perry

Christopher M. Idle

b. 1938 Person Name: Christopher Idle (b. 1938) Topics: Church Year Easter; Easter Vigil Author of "Exult, creation round God's throne!" in Ancient and Modern 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

Arthur Henry Brown

1830 - 1926 Person Name: Arthur H. Brown Topics: Easter Composer of "[Easter flow'rs are blooming bright]" in Carols Old and Carols New Born: July 24, 1830, Brentwood, Essex, England. Died: February 15, 1926, Brentwood, Essex, England. Almost completely self taught, Brown began playing the organ at the age 10. He was organist of the Brentwood Parish Church, Essex (1842-53); St. Edward’s, Romford (1853-58); Brentwood Parish Church (1858-88); St. Peter’s Church, South Weald (from 1889); and Sir Anthony Browne’s School (to 1926). A member of the London Gregorian Association, he helped assemble the Service Book for the annual festival in St. Paul’s Cathedral. He supported the Oxford Movement, and pioneered the restoration of plainchant and Gregorian music in Anglican worship. Brown edited various publications, including the Altar Hymnal. His other works include settings of the Canticles and the Holy Communion Service, a Children’s Festival Service, anthems, songs, part songs, and over 800 hymn tunes and carols. Music: Alleluia! Sing the Triumph Arthur Dale Abbey Fields of Gold Are Glowing Gerran Holy Church Holy Rood If Angels Sang Our Savior’s Birth Lammas O, Sing We a Carol Purleigh Redemptor Mundi Ring On, Ye Joyous Christmas Bells Saffron Walden St. Anatolius St. Austell St. John Damascene St. Mabyn St. Sophronius Story of the Cross Sweet Child Divine --www.hymntime.com/tch

Nolan Williams

Person Name: Nolan Williams, Jr., b. 1969 Topics: Easter Composer (descant) of "EASTER HYMN" in Total Praise

Edmund S. Lorenz

1854 - 1942 Person Name: E. S. Lorenz Topics: Easter Composer of "[On, through the Easter sunlight]" in The King's Message Pseudonymns: John D. Cresswell, L. S. Edwards, E. D. Mund, ==================== Lorenz, Edmund Simon. (North Lawrence, Stark County, Ohio, July 13, 1854--July 10, 1942, Dayton, Ohio). Son of Edward Lorenz, a German-born shoemaker who turned preacher, served German immigrants in northwestern Ohio, and was editor of the church paper, Froehliche Botschafter, 1894-1900. Edmund graduated from Toledo High School in 1870, taught German, and was made a school principal at a salary of $20 per week. At age 19, he moved to Dayton to become the music editor for the United Brethren Publishing House. He graduated from Otterbein College (B.A.) in 1880, studied at Union Biblical Seminary, 1878-1881, then went to Yale Divinity School where he graduated (B.D.) in 1883. He then spent a year studying theology in Leipzig, Germany. He was ordained by the Miami [Ohio] Conference of the United Brethren in Christ in 1877. The following year, he married Florence Kumler, with whom he had five children. Upon his return to the United States, he served as pastor of the High Street United Brethren Church in Dayton, 1884-1886, and then as president of Lebanon Valley College, 1887-1889. Ill health led him to resign his presidency. In 1890 he founded the Lorenz Publishing Company of Dayton, to which he devoted the remainder of his life. For their catalog, he wrote hymns, and composed many gospel songs, anthems, and cantatas, occasionally using pseudonyms such as E.D. Mund, Anna Chichester, and G.M. Dodge. He edited three of the Lorenz choir magazines, The Choir Leader, The Choir Herald, and Kirchenchor. Prominent among the many song-books and hymnals which he compiled and edited were those for his church: Hymns for the Sanctuary and Social Worship (1874), Pilgerlieder (1878), Songs of Grace (1879), The Otterbein Hymnal (1890), and The Church Hymnal (1934). For pastors and church musicians, he wrote several books stressing hymnody: Practical Church Music (1909), Church Music (1923), Music in Work and Worship (1925), and The Singing Church (1938). In 1936, Otterbein College awarded him the honorary D.Mus. degree and Lebanon Valley College the honorary LL.D. degree. --Information from granddaughter Ellen Jane Lorenz Porter, DNAH Archives

George E. Oliver

Person Name: George Edgar Oliver Topics: Easter Composer of "[O joyous Easter morning]" in Carols Old and Carols New

Ludwig van Beethoven

1770 - 1827 Person Name: Ludwig van Beethoven, 1770-1827 Topics: Easter Vigil ; Easter; Easter Season Composer of "HYMN TO JOY" in Worship (3rd ed.) A giant in the history of music, Ludwig van Beethoven (b. Bonn, Germany, 1770; d. Vienna, Austria, 1827) progressed from early musical promise to worldwide, lasting fame. By the age of fourteen he was an accomplished viola and organ player, but he became famous primarily because of his compositions, including nine symphonies, eleven overtures, thirty piano sonatas, sixteen string quartets, the Mass in C, and the Missa Solemnis. He wrote no music for congregational use, but various arrangers adapted some of his musical themes as hymn tunes; the most famous of these is ODE TO JOY from the Ninth Symphony. Although it would appear that the great calamity of Beethoven's life was his loss of hearing, which turned to total deafness during the last decade of his life, he composed his greatest works during this period. Bert Polman

Henry J. Gauntlett

1805 - 1876 Person Name: Henry John Gauntlett (1805-1876) Topics: Church Year Easter; Easter; Easter Day; The Fourth Sunday of Easter Year A; The Second Sunday of Easter Year C Composer of "ST ALBINUS" in Ancient and Modern Henry J. Gauntlett (b. Wellington, Shropshire, July 9, 1805; d. London, England, February 21, 1876) When he was nine years old, Henry John Gauntlett (b. Wellington, Shropshire, England, 1805; d. Kensington, London, England, 1876) became organist at his father's church in Olney, Buckinghamshire. At his father's insistence he studied law, practicing it until 1844, after which he chose to devote the rest of his life to music. He was an organist in various churches in the London area and became an important figure in the history of British pipe organs. A designer of organs for William Hill's company, Gauntlett extended the organ pedal range and in 1851 took out a patent on electric action for organs. Felix Mendelssohn chose him to play the organ part at the first performance of Elijah in Birmingham, England, in 1846. Gauntlett is said to have composed some ten thousand hymn tunes, most of which have been forgotten. Also a supporter of the use of plainchant in the church, Gauntlett published the Gregorian Hymnal of Matins and Evensong (1844). Bert Polman

Jennie Evelyn Hussey

1874 - 1958 Person Name: Jennie E. Hussey, 1874-1958 Topics: Easter Vigil ; Easter Season Resurrection Author of "Lead Me to Calvary" in Lead Me, Guide Me (2nd ed.) 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)

J. H. Fillmore

1849 - 1936 Person Name: James H. Fillmore Topics: Christian Year: Easter Composer of "HANNAH" in Chalice Hymnal James Henry Fillmore USA 1849-1936. Born at Cincinnati, OH, he helped support his family by running his father's singing school. He married Annie Eliza McKrell in 1880, and they had five children. After his father's death he and his brothers, Charles and Frederick, founded the Fillmore Brothers Music House in Cincinnati, specializing in publishing religious music. He was also an author, composer, and editor of music, composing hymn tunes, anthems, and cantatas, as well as publishing 20+ Christian songbooks and hymnals. He issued a monthly periodical “The music messsenger”, typically putting in his own hymns before publishing them in hymnbooks. Jessie Brown Pounds, also a hymnist, contributed song lyrics to the Fillmore Music House for 30 years, and many tunes were composed for her lyrics. He was instrumental in the prohibition and temperance efforts of the day. His wife died in 1913, and he took a world tour trip with single daughter, Fred (a church singer), in the early 1920s. He died in Cincinnati. His son, Henry, became a bandmaster/composer. John Perry

M. P. Ferguson

1850 - 1932 Topics: Comforter; Peace Spiritual; Whitsunday Author of "Blessed Quietness" Manie Payne Ferguson United Kingdom 1850-1932. Born in Carlow, Ireland, in 1883 she married Theodore Pollock Ferguson, a past Presbyterian minister from Ohio, who had become an itinerant evangelical preacher. They moved to Los Angeles, CA, in 1885. He became a pioneer leader in the American Holiness Movement, a Christian evangelist, and social worker, founding, along with her husband, the non-denominational Peniel Mission in 1886. In 1894 they received a significant financial donation from George Studd allowing them to expand the mission. They constructed a 900-seat auditorium and ministry centre there in Los Angeles. They partnered with Studd and Phineas Bresee, each acting as a superintendent of the mission organization. In 1894 Dr. Joseph Widney, President of USC, led the dedication Praise service, and Bresee preached the later service. Widney and Bresee separated from the mission in 1895 to form the Church of the Nazarene, and Manie Fergusion provided primary leadership of the Peniel Mission. The mission provided ministry especially for single women, who lived in rented rooms near the auditorium, where evangelical services were held. The Fergusions managed to live on income from three small houses they owned, and mission rents and donations covered mission expenses. Street-corner meetings were held in the afternoon, evangelical services at night, and a meal was served afterward. Converts were asked to join a local church of their choice. Manie continued the mission work after her husband's death until her own death. In 1947 the mission became part of the World Gospel Mission enterprise. Manie wrote many poems and also authored hymn lyrics. She died in Los Angeles. John Perry

Henry Thomas Smart

1813 - 1879 Person Name: Henry T. Smart Topics: Christian Year Easter Composer of "REGENT SQUARE" in The United Methodist Hymnal Henry Smart (b. Marylebone, London, England, 1813; d. Hampstead, London, 1879), a capable composer of church music who wrote some very fine hymn tunes (REGENT SQUARE, 354, is the best-known). Smart gave up a career in the legal profession for one in music. Although largely self taught, he became proficient in organ playing and composition, and he was a music teacher and critic. Organist in a number of London churches, including St. Luke's, Old Street (1844-1864), and St. Pancras (1864-1869), Smart was famous for his extemporizations and for his accompaniment of congregational singing. He became completely blind at the age of fifty-two, but his remarkable memory enabled him to continue playing the organ. Fascinated by organs as a youth, Smart designed organs for important places such as St. Andrew Hall in Glasgow and the Town Hall in Leeds. He composed an opera, oratorios, part-songs, some instrumental music, and many hymn tunes, as well as a large number of works for organ and choir. He edited the Choralebook (1858), the English Presbyterian Psalms and Hymns for Divine Worship (1867), and the Scottish Presbyterian Hymnal (1875). Some of his hymn tunes were first published in Hymns Ancient and Modern (1861). Bert Polman

Joël Blomqvist

1840 - 1930 Person Name: Joel Blomquist, 1840-1930 Topics: Easter Composer of "SABBATS DAG" in Ambassador Hymnal Blomqvist, Joël. (Stockholm, Sweden, November 15, 1840--October 30, 1930, Kullarstad, Sweden). Swedish Free Church Movement. Upholsterer by trade, lay preacher and singer. Colporteur for Uppsala City Mission, 1874-1878. Wrote about 400 hymn texts in the pietistic tradition and almost as many tunes. Published several hymn collections including Sabbatsklockan, 1877-1878, and Fridstoner, 1879-1882. Edited musical periodical, Fridsrösten, 1884-1886. His works are representative of the Rosenian revival period. Author of "Heavenly Father, Hear My Supplication," (Helige Fader, böj ditt öra neder), "Heavenly Spirit, Gentle Spirit" (Himladuva, Ande ljuva), "Praise the Lord, All Praise and Blessing" (Loven Herren, ty att lova), and "Sabbath Day of Rest and Cheer" (Sabbatsdag, hur skön du är). J. I. Erickson, DNAH Archives

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