Person Results

Switch back to the old search page.Advanced Search
Topics:affirmation+of+faith✖
In:people✖

Planning worship? Check out our sister site, ZeteoSearch.org, for 20+ additional resources related to your search.
Showing 1 - 50 of 110Results Per Page: 102050

Edward Mote

1797 - 1874 Topics: Affirmation of Faith Author of "The Solid Rock" in Celebrating Grace Hymnal Mote, Edward, was born in Upper Thames Street, London, Jan. 21, 1797. Through the preaching of the Rev. J. Hyatt, of Tottenham Court Road Chapel, he underwent a great spiritual change; and ultimately he became a Baptist minister. For the last 26 years of his life he was pastor at Horsham, Sussex, where he died Nov. 13, 1874. Mr. Mote published several small pamphlets; and also:- Hymns of Praise. A New Selection of Gospel Hymns, combining all the Excellencies of our spiritual Poets, with many Originals. By E. Mote. London. J. Nichols, 1836. The Originals number nearly 100. Concerning the authorship of one of these original hymns much uncertainty has existed. The hymn is:— 1. Nor earth, nor hell my soul can move. [Jesus All in All.] In 6 stanzas of 4 lines, with a refrain. Mr. Mote's explanation, communicated to the Gospel Herald, is:— "One morning it came into my mind as I went to labour, to write an hymn on the ‘Gracious Experience of a Christian.' As I went up Holborn I had the chorus, ‘On Christ the solid Rock I stand, All other ground is sinking sand.’ In the day I had four first verses complete, and wrote them off. On the Sabbath following I met brother King as I came out of Lisle Street Meeting . . . who informed me that his wife was very ill, and asked me to call and see her. I had an early tea, and called afterwards. He said that it was his usual custom to sing a hymn, read a portion, and engage in prayer, before he went to meeting. He looked for his hymnbook but could find it nowhere. I said, ‘I have some verses in my pocket; if he liked, we would sing them.' We did; and his wife enjoyed them so much, that after service he asked me, as a favour, to leave a copy of them for his wife. 1 went home, and by the fireside composed the last two verses, wrote the whole off, and took them to sister King. . . As these verses so met the dying woman's case, my attention to them was the more arrested, and I had a thousand printed for distribution. I sent one to the Spiritual Magazine, without my initials, which appeared some time after this. Brother Rees, of Crown Street, Soho, brought out an edition of hymns [1836], and this hymn was in it. David Denham introduced it [1837] with Rees's name, and others after... . Your inserting this brief outline may in future shield me from the charge of stealth, and be a vindication of truthfulness in my connection with the Church of God." The form in which the hymn is usually found is:— 2. My hope is built on nothing less (st. ii.), sometimes in 4 stanzas, and at others in 5 st., and usually without the refrain. The original in the author's Hymns of Praise, 1836, is No. 465, and entitled, "The immutable Basis of a Sinner's hope." Bishop Bickersteth calls it a "grand hymn of faith." It dates circa 1834, and is in extensive use. [Rev. W. R. Stevenson, M.A.] --John Julian, Dictionary of Hymnology (1907)
Edward Mote

D. W. Whittle

1840 - 1901 Person Name: Daniel W. Whittle Topics: Affirmation of Faith Author of "I Know Whom I Have Believed " in Celebrating Grace Hymnal [Also published under the pseudonym El Nathan.] =============== Whittle, D. W.. Six of his hymns (Nos. 295, 308,363, 385, 386, 417) are given in I. D. Sankey's Sacred Songs and Solos, under the signature of "El Nathan." --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
D. W. Whittle

Frederic Henry Hedge

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

William B. Bradbury

1816 - 1868 Topics: Affirmation of Faith Composer of "SOLID ROCK" in Celebrating Grace Hymnal William Bachelder Bradbury USA 1816-1868. Born at York, ME, he was raised on his father's farm, with rainy days spent in a shoe-shop, the custom in those days. He loved music and spent spare hours practicing any music he could find. In 1830 the family moved to Boston, where he first saw and heard an organ and piano, and other instruments. He became an organist at 15. He attended Dr. Lowell Mason's singing classes, and later sang in the Bowdoin Street church choir. Dr. Mason became a good friend. He made $100/yr playing the organ, and was still in Dr. Mason's choir. Dr. Mason gave him a chance to teach singing in Machias, ME, which he accepted. He returned to Boston the following year to marry Adra Esther Fessenden in 1838, then relocated to Saint John, New Brunswick. Where his efforts were not much appreciated, so he returned to Boston. He was offered charge of music and organ at the First Baptist Church of Brooklyn. That led to similar work at the Baptist Tabernacle, New York City, where he also started a singing class. That started singing schools in various parts of the city, and eventually resulted in music festivals, held at the Broadway Tabernacle, a prominent city event. He conducted a 1000 children choir there, which resulted in music being taught as regular study in public schools of the city. He began writing music and publishing it. In 1847 he went with his wife to Europe to study with some of the music masters in London and also Germany. He attended Mendelssohn funeral while there. He went to Switzerland before returning to the states, and upon returning, commenced teaching, conducting conventions, composing, and editing music books. In 1851, with his brother, Edward, he began manufacturring Bradbury pianos, which became popular. Also, he had a small office in one of his warehouses in New York and often went there to spend time in private devotions. As a professor, he edited 59 books of sacred and secular music, much of which he wrote. He attended the Presbyterian church in Bloomfield, NJ, for many years later in life. He contracted tuberculosis the last two years of his life. John Perry
William B. Bradbury

Lowell Mason

1792 - 1872 Topics: Affirmation of Faith Harmonizer of "HENDON" in Celebrating Grace Hymnal Dr. Lowell Mason (the degree was conferred by the University of New York) is justly called the father of American church music; and by his labors were founded the germinating principles of national musical intelligence and knowledge, which afforded a soil upon which all higher musical culture has been founded. To him we owe some of our best ideas in religious church music, elementary musical education, music in the schools, the popularization of classical chorus singing, and the art of teaching music upon the Inductive or Pestalozzian plan. More than that, we owe him no small share of the respect which the profession of music enjoys at the present time as contrasted with the contempt in which it was held a century or more ago. In fact, the entire art of music, as now understood and practiced in America, has derived advantage from the work of this great man. Lowell Mason was born in Medfield, Mass., January 8, 1792. From childhood he had manifested an intense love for music, and had devoted all his spare time and effort to improving himself according to such opportunities as were available to him. At the age of twenty he found himself filling a clerkship in a banking house in Savannah, Ga. Here he lost no opportunity of gratifying his passion for musical advancement, and was fortunate to meet for the first time a thoroughly qualified instructor, in the person of F. L. Abel. Applying his spare hours assiduously to the cultivation of the pursuit to which his passion inclined him, he soon acquired a proficiency that enabled him to enter the field of original composition, and his first work of this kind was embodied in the compilation of a collection of church music, which contained many of his own compositions. The manuscript was offered unavailingly to publishers in Philadelphia and in Boston. Fortunately for our musical advancement it finally secured the attention of the Boston Handel and Haydn Society, and by its committee was submitted to Dr. G. K. Jackson, the severest critic in Boston. Dr. Jackson approved most heartily of the work, and added a few of his own compositions to it. Thus enlarged, it was finally published in 1822 as The Handel and Haydn Society Collection of Church Music. Mason's name was omitted from the publication at his own request, which he thus explains, "I was then a bank officer in Savannah, and did not wish to be known as a musical man, as I had not the least thought of ever making music a profession." President Winchester, of the Handel and Haydn Society, sold the copyright for the young man. Mr. Mason went back to Savannah with probably $500 in his pocket as the preliminary result of his Boston visit. The book soon sprang into universal popularity, being at once adopted by the singing schools of New England, and through this means entering into the church choirs, to whom it opened up a higher field of harmonic beauty. Its career of success ran through some seventeen editions. On realizing this success, Mason determined to accept an invitation to come to Boston and enter upon a musical career. This was in 1826. He was made an honorary member of the Handel and Haydn Society, but declined to accept this, and entered the ranks as an active member. He had been invited to come to Boston by President Winchester and other musical friends and was guaranteed an income of $2,000 a year. He was also appointed, by the influence of these friends, director of music at the Hanover, Green, and Park Street churches, to alternate six months with each congregation. Finally he made a permanent arrangement with the Bowdoin Street Church, and gave up the guarantee, but again friendly influence stepped in and procured for him the position of teller at the American Bank. In 1827 Lowell Mason became president and conductor of the Handel and Haydn Society. It was the beginning of a career that was to win for him as has been already stated the title of "The Father of American Church Music." Although this may seem rather a bold claim it is not too much under the circumstances. Mr. Mason might have been in the average ranks of musicianship had he lived in Europe; in America he was well in advance of his surroundings. It was not too high praise (in spite of Mason's very simple style) when Dr. Jackson wrote of his song collection: "It is much the best book I have seen published in this country, and I do not hesitate to give it my most decided approbation," or that the great contrapuntist, Hauptmann, should say the harmonies of the tunes were dignified and churchlike and that the counterpoint was good, plain, singable and melodious. Charles C. Perkins gives a few of the reasons why Lowell Mason was the very man to lead American music as it then existed. He says, "First and foremost, he was not so very much superior to the members as to be unreasonably impatient at their shortcomings. Second, he was a born teacher, who, by hard work, had fitted himself to give instruction in singing. Third, he was one of themselves, a plain, self-made man, who could understand them and be understood of them." The personality of Dr. Mason was of great use to the art and appreciation of music in this country. He was of strong mind, dignified manners, sensitive, yet sweet and engaging. Prof. Horace Mann, one of the great educators of that day, said he would walk fifty miles to see and hear Mr. Mason teach if he could not otherwise have that advantage. Dr. Mason visited a number of the music schools in Europe, studied their methods, and incorporated the best things in his own work. He founded the Boston Academy of Music. The aim of this institution was to reach the masses and introduce music into the public schools. Dr. Mason resided in Boston from 1826 to 1851, when he removed to New York. Not only Boston benefited directly by this enthusiastic teacher's instruction, but he was constantly traveling to other societies in distant cities and helping their work. He had a notable class at North Reading, Mass., and he went in his later years as far as Rochester, where he trained a chorus of five hundred voices, many of them teachers, and some of them coming long distances to study under him. Before 1810 he had developed his idea of "Teachers' Conventions," and, as in these he had representatives from different states, he made musical missionaries for almost the entire country. He left behind him no less than fifty volumes of musical collections, instruction books, and manuals. As a composer of solid, enduring church music. Dr. Mason was one of the most successful this country has introduced. He was a deeply pious man, and was a communicant of the Presbyterian Church. Dr. Mason in 1817 married Miss Abigail Gregory, of Leesborough, Mass. The family consisted of four sons, Daniel Gregory, Lowell, William and Henry. The two former founded the publishing house of Mason Bros., dissolved by the death of the former in 1869. Lowell and Henry were the founders of the great organ manufacturer of Mason & Hamlin. Dr. William Mason was one of the most eminent musicians that America has yet produced. Dr. Lowell Mason died at "Silverspring," a beautiful residence on the side of Orange Mountain, New Jersey, August 11, 1872, bequeathing his great musical library, much of which had been collected abroad, to Yale College. --Hall, J. H. (c1914). Biography of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company.
Lowell Mason

Fanny Crosby

1820 - 1915 Person Name: Fanny J. Crosby Topics: Service Music Affirmation of Faith; Service Music Affirmation of Faith Author of "To God Be the Glory" in The United Methodist Hymnal Pseudonymns: A.V., Mrs. A. E. Andrews, Mrs. E. A. Andrews, Mrs. E. L. Andrews, James L. Black, Henrietta E. Blair, Charles Bruce, Robert Bruce, Leah Carlton, Eleanor Craddock, Lyman G. Cuyler, D.H.W., Ella Dare, Ellen Dare, Mrs. Ellen Douglass, Lizzie Edwards. Miss Grace Elliot, Grace J. Frances, Victoria Frances, Jennie Garnett, Frank Gould, H. D. K., Frances Hope, Annie L. James, Martha J. Lankton [Langton], Grace Lindsey, Maud Marion, Sallie Martin, Wilson Meade, Alice Monteith, Martha C. Oliver, Mrs. N. D. Plume, Kate Smiley, Sallie Smith, J. L. Sterling, John Sterling, Julia Sterling, Anna C. Storey, Victoria Stuart, Ida Scott Taylor, Mary R. Tilden, Mrs. J. B. Thresher, Hope Tryaway, Grace Tureman, Carrie M. Wilson, W.H.D. Frances Jane Crosby, the daughter of John and Mercy Crosby, was born in Southeast, Putnam County, N. Y., March 24, 1820. She became blind at the age of six weeks from maltreatment of her eyes during a spell of sickness. When she was eight years old she moved with her parents to Ridgefield, Conn., the family remaining there four years. At the age of fifteen she entered the New York Institution for the Blind, where she received a good education. She became a teacher in the institution in 1847, and continued her work until March 1, 1858. She taught English grammar, rhetoric and American history. This was the great developing period in her life. During the vacations of 1852 and 1853, spent at North Reading, Mass., she wrote the words to many songs for Dr. Geo. F. Root, then the teacher of music at the blind institution. Among them were, "Hazel Dell,", "The Honeysuckle Glen," "Rosalie, the Prairie Flower," "Music in the Air," "Proud World, Good-bye, I'm Going Home," "All Together", "Never Forget the Dear Ones," and others. Subsequently she wrote the words for the cantatas of The Flower Queen and The Pilgrim Fathers, all of which were very popular in their day, though it was not generally known at the time that she was the author. While teaching at the institution she met Presidents Van Buren and Tyler, Hon. Henry Clay, Governor Wm. H. Seward, General Winfield Scott, and other distinguished characters of American history. Concerning Mr. Clay, she gives the following: "When Mr. Clay came to the institution during his last visit to New York, I was selected to welcome him with a poem. Six months before he had lost a son at the battle of Monterey, and I had sent him some verses. In my address I carefully avoided any allusion to them, in order not to wound him. When I had finished he drew my arm in his, and, addressing the audience, said through his tears: 'This is not the first poem for which I am indebted to this lady. Six months ago she sent me some lines on the death of my dear son.' Both of us were overcome for a few moments. Soon, by a splendid effort, Mr. Clay recovered himself, but I could not control my tears." In connection with her meeting these notable men, we might add that Miss Fanny Crosby had the honor of being the first woman whose voice was heard publicly in the Senate Chamber at Washington. She read a poem there on one occasion. In addition to the thousands of hymns that she has written (about eight thousand poems in all), many of which have not been set to music, she has published four volumes of verses. The first was issued in 1844 and was entitled The Blind Girl, and Other Poems, a second volume, Monterey, and Other Poems, followed in 1849, and the third, A Wreath of Columbia's Flowers, in 1858. The fourth, Bells at Evening and Other Verses, with a biographical sketch by Rev. Robert Lowry, and a fine half-tone portrait, in 1897, the sales of which have reached a fourth edition. The book is published by The Biglow & Main Co., New York. Though these show the poetical bent of her mind, they have little to do with her world-wide fame. It is as a writer of Sunday-school songs and gospel hymns that she is known wherever the English language is spoken, and, in fact, wherever any other language is heard. Fanny was married March 5, 1858, to Alex. Van Alstyne, who was also a scholar in the same institution in which she was educated. She began to write Sunday-school hymns for Wm. B. Bradbury in 1864. Her first hymn, "We are going, we are going To a home beyond the skies", was written at the Ponton Hotel on Franklin Street, New York City, on February 5th of that year. This hymn was sung at Mr. Bradbury's funeral in January, 1868. Since 1864 she supported herself by writing hymns. She resided in New York City nearly all her life, where, she says, she is "a member of the Old John Street M. E. Church in good standing." She spent regular hours on certain days at the office of The Biglow & Main Co., the firm for which she did most of her writing, and for whom she has composed over four thousand hymns. Her hymns have been in great demand and have been used by many of our most popular composers, among whom may be mentioned Wm. B. Bradbury, Geo. F. Root, W. H. Doane, Rev. Robert Lowry, Ira D. Sankey, J. R. Sweney, W. J. Kirkpatrick, H. P. Main, H. P. Danks, Philip Phillips, B. G. Unseld, and others. She could compose at any time and did not need to wait for any special inspiration, and her best hymns have come on the spur of the moment. She always composed with an open book in her hand, generally a copy of Golden Hymns, held closely over her eyes, bottom side up. She learned to play on the guitar and piano while at the institution, and has a clear soprano voice. She also received a technical training in music, and for this reason she could, and did, compose airs for some of her hymns. One of these is, "Jesus, dear, I come to Thee, Thou hast said I may," both words and music of which are wonderfully sweet. "Safe in the arms of Jesus", probably one of her best known hymns, was her own favorite. Fanny loved her work, and was happy in it. She was always ready either to sympathize or join in a mirthful conversation, as the case may be. The secret of this contentment dates from her first composition at the age of eight years. "It has been the motto of my life," she says. It is: "O what a happy soul am I! Although I cannot see, I am resolved that in this world Contented I will be;" This has continued to be her philosophy. She says that had it not been for her affliction she might not have so good an education, nor so great an influence, and certainly not so fine a memory. She knows a great many portions of the Bible by heart, and had committed to memory the first four books of the Old Testament, and also the four Gospels before she was ten years of age. Her scope of subjects is wide, embracing everything from a contemplation of heaven, as in "The Bright Forever" and "The Blessed Homeland", to an appeal to the work of this world, as in "To the Work" and "Rescue the Perishing." The most of Fanny's published hymns have appeared under the name of Fanny J. Crosby or Mrs. Yan Alstyne, but quite a large number have appeared under the nom de plumes of Grace J. Frances, Mrs. C. M. Wilson, Lizzie Edwards, Ella Dale, Henrietta E. Blair, Rose Atherton, Maud Marion, Leah Carlton, nearly two hundred different names. -Biographies of Gospel Song and Hymn Writers (excerpts) ======================= Van Alstyne, Frances Jane, née Crosby, a member of the Methodist Episcopal Church, was born at South East, Putnam County, New York, March 24, 1823. When six weeks old she lost her sight. About 1835 she entered the New York City Institution for the Blind. On completing her training she became a teacher therein from 1847 to 1858. In 1858 she was married to Alexander Van Alstyne, a musician, who was also blind. Her first poem was published in 1831; and her first volumes of verse as A Blind Girl, and Other Poems, 1844; Monteresy, and Other Poems, 1849; and A Wreath of Columbia's Flowers, 1858. Her first hymn was "We are going, we are going" (Death and Burial), which was written for Mr. Bradbury and published in the Golden Censer, 1864. From 1853 to 1858 she wrote 20 songs, which were set to music by G. F. Root. Her songs and hymns number some 2,000 or more, and have been published mainly in several of the popular American Sunday school collections, and often under a nom de plume. About 60 have come into common use in Great Britain. The majority of these are taken from the following American collections:— i. From The Shining Star, 1864. 1. Softly on the breath of evening. Evening. ii. From Fresh Laurels, 1867. 2. Beautiful Mansions, home of the blest. Heaven. 3. Jesus the Water of Life has given. The Water of Life. 4. Light and Comfort of my soul. In Affliction. 5. There's a cry from Macedonia. Missions. 6. We are marching on with shield and banner bright. Sunday School Anniversary. iii. From Musical Leaves, 1868. 7. 0 what are you going to do, brother? Youth for God. iv. From Sabbath Carols, 1868. 8. Dark is the night, and cold the wind is blowing. Affliction anticipated. 9. Lord, at Thy mercy seat, Humbly I fall. Lent. v. From Silver Spray, 1868. 10. If I come to Jesus, He will make me glad. Peace in Jesus. 11. 'Twill not be long—our journey here. Heaven anticipated. vi. From Notes of Joy, 1869. 12. Little beams of rosy light. The Divine Father. 13. Press on! press on! a glorious throng. Pressing towards the Prize. vii. From Bright Jewels, 1869. 14. Christ the Lord is risen today, He is risen indeed. Easter. 15. Holy, holy, holy is the Lord! Sing 0 ye people, &c. Holiness of God. 16. Jesus, keep me near the Cross. Near the Cross of Christ. 17. Saviour, bless a little child. A Child's Prayer. Written Feb. 6, 1869. viii. From Songs of Devotion, 1870. 18. Pass me not, 0 gentle Saviour. Lent. Written in 1868. 19. Rescue the perishing, care for the dying. Home Missions. ix. From Pure Gold, 1871. 20. Great is Jehovah. King of kings. Greatness of God. 21. I would be Thy little lamb. The Good Shepherd. 22. Lead me to Jesus, lead me to Jesus. Desiring Jesus. 23. To the work, to the work, we are servants of God. Home Missions. 24. Why labour for treasures that rust and decay? The Fadeless Crown. x. From the Royal Diadem, 1873. 25. I am Jesus' little friend. For Infant Schools. 26. Jesus I love Thee. Loving Jesus. 27. Mourner, wheresoe'er thou art. To the Sorrowing and Penitent. Written Oct. 3, 1871. 28. Never be faint or weary. Joy in Jesus. 29. Only a step to Jesus. Invitation. xi. From Winnowed Hymns, 1873-4. 30. Loving Saviour, hear my cry. Lent. xii. From Echoes of Zion, 1874. 31. Say, where is thy refuge, my brother? Home Missions. xiii. From Songs of Grace and Glory, 1874. 32. Thou my everlasting Portion. Christ the Portion of His People. xiv. From Brightest and Best, 1875. 33. All the way my Saviour leads me. Jesus the Guide. 34. I am Thine, O Lord: I have heard Thy voice. Holiness desired. 35. O come to the Saviour, believe in His name. Invitation. Written, Sep. 7, 1874. 36. O how sweet when we mingle. Communion of Saints. Written in 1866. 37. O my Saviour, hear me. Prayer to Jesus for blessing and love. 38. Only Jesus feels and knows. Jesus the Divine Friend. 39. Revive Thy work, O Lord. Home Missions. 40. Saviour, more than life to me. Jesus All and in All. 41. To God be the glory, great things He hath done. Praise for Redemption. xv. From Calvary Songs, 1875. 42. Come, O come with thy broken heart. Invitation. xvi. From Gospel Music, 1876. 43. Here from the world we turn. Divine Worship. 44. When Jesus comes to reward His servants. Watching, xvii. From Welcome Tidings, 1877. 45. O hear my cry, be gracious now to me. For Pardon and Peace. xviii. From The Fountain of Song, 1877. 46. Lord, my trust I repose on Thee. Trusting in Jesus. xix. From Good as Gold, 1880. 47. In Thy cleft, O Rock of Ages. Safety in Jesus. 48. Sound the alarm ! let the watchman cry. Home Missions. 49. Tenderly He leads us. Christ the Leader. 50. 'Tis the blessed hour of prayer. The Hour of Prayer. In addition to these hymns, all of which are in common use in Great Britain (mainly through I. D. Sankey's Sacred Songs and Solos, the Methodist Sunday School Hymn Book, the Silver Street Sunday Scholars Companion, and other collections for Sunday schools), there are also "A blessing for you, will you take it?" (Pardon through Jesus); "My song shall be of Jesus" (Praise of Jesus); “Now, just a word for Jesus"(Home Missions); "Onward, upward, Christian soldier" (Pressing Heavenward); 44 Sinner, how thy heart is troubled" (Invitation); "'Tis a goodly, pleasant land" (Heaven anticipated); and "When the dewy light was fading" (Death anticipated). All of these are in I. D. Sankey's Sacred Songs & Solos. Mrs. Van Alstyne's most popular composition is "Safe in the arms of Jesus" (Safety in Jesus). This was written in 1868, at the request of Mr. W. H. Doane, to his well-known melody with which it is inseparably associated, and published in Bright Jewels, 1869. Mrs. Van Alstyne's hymns have sometimes been published anonymously; but the greater part are signed by a bewildering number of initials. The combined sales of the volumes of songs and hymns named above have amounted in English-speaking countries to millions of copies. Notwithstanding the immense circulation thus given to Mrs. Van Alstyne's hymns, they are, with few exceptions, very weak and poor, their simplicity and earnestness being their redeeming features. Their popularity is largely due to the melodies to which they are wedded. Since the above was in type we have found that the following are also in common use in Great Britain:— 51. Suppose the little cowslip. Value of Little Things. 52. Sweet hour of prayer. The Hour of Prayer. These are in Bradbury's Golden Chain, 1861. 53. Never lose the golden rule. Love to our Neighbours. In Bradbury's Golden Censer, 1864. 54. I will not be afraid at night. Trust in God. In Bradbury's Fresh Laurels, 1867. 55. Praise Him, praise Him, Jesus our, &c. Praise of Jesus. In Biglow & Main's Bright Jewels, 1869. 56. More like Jesus would I be. More like Jesus. In Perkins & Taylor's Songs of Salvation, 1870. 57. Behold me standing at the door. Christ at the Door. In Biglow & Main's Christian Songs, 1872. 58. If I come to Jesus. Jesus the Children's Guide. 59. Jesus, Lord, I come to Thee. Trust in Jesus. 60. Let me learn of Jesus. Jesus the Children's Friend. 61. Singing for Jesus, O singing for Jesus. Singing for Jesus. 62. There is a Name divinely sweet Holy Name of Jesus. Of these hymns Nos. 58-62 we have not been able to trace. --Excerpts from John Julian, Dictionary of Hymnology (1907 ================ Van Alstyne, Frances J., p. 1203, ii. From the American collections of recent date we find that Mrs. Van Alstyne is still actively engaged in hymn-writing. In the Funk and Wagnalls Company Gloria Deo, 1903, there are about 30 of her hymns, most of which are new. They are all signed, and some are dated, but we have not space to quote the first lines and subjects, as this hymnal is not an official collection of any denomination. Another name, "Mrs. S. K. Bourne" is credited in the same hymnal with about 40 new hymns. If this signature is not another pen-name of Mrs. Van Alstyne's (and these pen-names and initials of hers are very numerous), we can only say that she has a very successful understudy in "Mrs. S. K. Bourne." --John Julian, Dictionary of Hymnology, New Supplement (1907)
Fanny Crosby

Martin Luther

1483 - 1546 Topics: Affirmation of Faith Author of "A Mighty Fortress Is Our God" in Celebrating Grace Hymnal Luther, Martin, born at Eisleben, Nov. 10, 1483; entered the University of Erfurt, 1501 (B.A. 1502, M.A.. 1503); became an Augustinian monk, 1505; ordained priest, 1507; appointed Professor at the University of Wittenberg, 1508, and in 1512 D.D.; published his 95 Theses, 1517; and burnt the Papal Bull which had condemned them, 1520; attended the Diet of Worms, 1521; translated the Bible into German, 1521-34; and died at Eisleben, Feb. 18, 1546. The details of his life and of his work as a reformer are accessible to English readers in a great variety of forms. Luther had a huge influence on German hymnody. i. Hymn Books. 1. Ellich cristlich lider Lobgesang un Psalm. Wittenberg, 1524. [Hamburg Library.] This contains 8 German hymns, of which 4 are by Luther. 2. Eyn Enchiridion oder Handbuchlein. Erfurt, 1524 [Goslar Library], with 25 German hymns, of which 18 are by Luther. 3. Geystliche Gesangk Buchleyn. Wittenberg, 1524 [Munich Library], with 32 German hymns, of which 24 are by Luther. 4. Geistliche Lieder auffs new gebessert. Wittenberg. J. Klug, 1529. No copy of this book is now known, but there was one in 1788 in the possession of G. E. Waldau, pastor at Nürnberg, and from his description it is evident that the first part of the Rostock Gesang-Buch, 1531, is a reprint of it. The Rostock Gesang-Buch, 1531, was reprinted by C. M. Wiechmann-Kadow at Schwerin in 1858. The 1529 evidently contained 50 German hymns, of which 29 (including the Litany) were by Luther. 5. Geistliche Lieder auffs new gebessert. Erfurt. A. Rauscher, 1531 [Helmstädt, now Wolfenbüttel Library], a reprint of No. 4. 6. Geistliche Lieder. Wittenberg. J. Klug, 1535 [Munich Library. Titlepage lost], with 52 German hymns, of which 29 are by Luther. 7. Geistliche Lieder auffs new gebessert. Leipzig. V. Schumann, 1539 [Wernigerode Library], with 68 German hymns, of which 29 are by Luther. 8. Geistliche Lieder. Wittenberg. J. Klug, 1543 [Hamburg Library], with 61 German hymns, of which 35 are by Luther. 9. Geystliche Lieder. Leipzig. V. Babst, 1545 [Gottingen Library]. This contains Luther's finally revised text, but adds no new hymns by himself. In pt. i. are 61 German hymns, in pt. ii. 40, of which 35 in all are by Luther. For these books Luther wrote three prefaces, first published respectively in Nos. 3, 4, 9. A fourth is found in his Christliche Geseng, Lateinisch und Deudsch, zum Begrebnis, Wittenberg, J. Klug, 1542. These four prefaces are reprinted in Wackernagel’s Bibliographie, 1855, pp. 543-583, and in the various editions of Luther's Hymns. Among modern editions of Luther's Geistliche Lieder may be mentioned the following:— Carl von Winterfeld, 1840; Dr. C. E. P. Wackernagel, 1848; Q. C. H. Stip, 1854; Wilhelm Schircks, 1854; Dr. Danneil, 1883; Dr. Karl Gerok, 1883; Dr. A. F. W. Fischer, 1883; A. Frommel, 1883; Karl Goedeke, 1883, &c. In The Hymns of Martin Luther. Set to their original melodies. With an English version. New York, 1883, ed. by Dr. Leonard Woolsey Bacon and Nathan H. Allen, there are the four prefaces, and English versions of all Luther's hymns, principally taken more or less altered, from the versions by A. T. Russell, R. Massie and Miss Winkworth [repub. in London, 1884]. Complete translations of Luther's hymns have been published by Dr. John Anderson, 1846 (2nd ed. 1847), Dr. John Hunt, 1853, Richard Massie, 1854, and Dr. G. Macdonald in the Sunday Magazine, 1867, and his Exotics, 1876. The other versions are given in detail in the notes on the individual hymns. ii. Classified List of Luther's Hymns. Of Luther's hymns no classification can be quite perfect, e.g. No. 3 (see below) takes hardly anything from the Latin, and No. 18 hardly anything from the Psalm. No. 29 is partly based on earlier hymns (see p. 225, i.). No. 30 is partly based on St. Mark i. 9-11, and xvi., 15, 16 (see p. 226, ii.). No. 35 is partly based on St. Luke ii. 10-16. The following arrangement, however, will answer all practical purposes. A. Translations from the Latin. i. From Latin Hymns: 1. Christum wir sollen loben schon. A solis ortus cardine 2. Der du bist drei in Einigkeit. O Lux beata Trinitas. 3. Jesus Christus unser Heiland, Der von. Jesus Christus nostra salus 4. Komm Gott Schopfer, heiliger Geist. Veni Creator Spiritus, Mentes. 5. Nun komm der Beidenheiland. Veni Redemptor gentium 6. Was flirchst du Feind Herodes sehr. A solis ortus cardine ii. From Latin Antiphons, &c.: 7. Herr Gott dich loben wir. Te Deum laudamus. 8. Verleih uns Frieden gnädiglich. Dapacem, Domine 9. Wir glauben all an einen Gott. iii. Partly from the Latin, the translated stanzas being adopted from Pre-Reformation Versions: 10. Komm, heiliger Geist, Herre Gott. 11. Mitten wir im Leben sind. Media vita in morte sumus. B. Hymns revised and enlarged from Pre-Reformation popular hymns. 12. Gelobet seist du Jesus Christ. 13. Gott der Vater wohn uns bei. 14. Gott sei gelobet und gebenedeiet. 15. Nun bitten wir den heiligen Geist. C. Psalm versions. 16. Ach Gott vom Himmel, sieh darein. 17. Aus tiefer Noth schrei ich zu dir. 18. Ein' feste Burg ist unser Gott. 19. Es spricht der Unweisen Mund wohl. 20. Es wollt uns Gott genädig sein. 21. War Gott nicht mit uns diese Zeit. 22. Wohl dem, der in Gotten Furcht steht. D. Paraphrases of other portions of Holy Scripture. 23. Diess sind die heilgen zehn Gebot. 24. Jesaia dem Propheten das geschah. 25. Mensch willt du leben seliglich. 26. Mit Fried und Freud ich fahr dahin. 27. Sie ist mir lieb die werthe Magd. 28. Vater unser im Himmelreich. E. Hymns mainly Original. 29. Christ lag in Todesbanden. 30. Christ unser Herr zum Jordan kam. 31. Ein neues Lied wir heben an. 32. Erhalt uns Herr bei deinem Wort. 33. Jesus Christus unser Heiland, Der den, 34. Nun freut euch lieben Christengemein. 35. Vom Himmel hoch da komm ich her. 36. Vom Himmel kam der Engel Schaar. In addition to these — 37. Fur alien Freuden auf Erden. 38. Kyrie eleison. In the Blätter fur Hymnologie, 1883, Dr. Daniel arranges Luther's hymns according to what he thinks their adaptation to modern German common use as follows:— i. Hymns which ought to be included in every good Evangelical hymn-book: Nos. 7-18, 20, 22, 28, 29, 30, 32, 34, 35, 36, 38. ii. Hymns the reception of which into a hymn-book might be contested: Nos. 2, 3, 4, 19, 21, 22, 23, 24, 25, 33. iii. Hymns not suited for a hymn-book: Nos. 1, 5, 6, 27, 31, 37. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology (1907)
Martin Luther

Joëlle Gouel

Person Name: Joëlle Gouël Topics: Affirmation of Faith Translator (French) of "Reamo leboga" in Agape
Joëlle Gouel

W. Howard Doane

1832 - 1915 Person Name: William H. Doane Topics: Service Music Affirmation of Faith; Service Music Affirmation of Faith Composer of "TO GOD BE THE GLORY" in The United Methodist Hymnal An industrialist and philanthropist, William H. Doane (b. Preston, CT, 1832; d. South Orange, NJ, 1915), was also a staunch supporter of evangelistic campaigns and a prolific writer of hymn tunes. He was head of a large woodworking machinery plant in Cincinnati and a civic leader in that city. He showed his devotion to the church by supporting the work of the evangelistic team of Dwight L. Moody and Ira D. Sankey and by endowing Moody Bible Institute in Chicago and Denison University in Granville, Ohio. An amateur composer, Doane wrote over twenty-two hundred hymn and gospel song tunes, and he edited over forty songbooks. Bert Polman ============ Doane, William Howard, p. 304, he was born Feb. 3, 1832. His first Sunday School hymn-book was Sabbath Gems published in 1861. He has composed about 1000 tunes, songs, anthems, &c. He has written but few hymns. Of these "No one knows but Jesus," "Precious Saviour, dearest Friend," and "Saviour, like a bird to Thee," are noted in Burrage's Baptist Hymn Writers. 1888, p. 557. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) =================== Doane, W. H. (William Howard), born in Preston, Connecticut, 1831, and educated for the musical profession by eminent American and German masters. He has had for years the superintendence of a large Baptist Sunday School in Cincinnati, Ohio, where he resides. Although not a hymnwriter, the wonderful success which has attended his musical setting of numerous American hymns, and the number of his musical editions of hymnbooks for Sunday Schools and evangelistic purposes, bring him within the sphere of hymnological literature. Amongst his collections we have:— (1) Silver Spray, 1868; (2) Pure Gold, 1877; (3) Royal Diadem, 1873; (4) Welcome Tidings, 1877; (5) Brightest and Best, 1875; (6) Fountain of Song; (7) Songs of Devotion, 1870; (8) Temple Anthems, &c. His most popular melodies include "Near the Cross," "Safe in the Arms of Jesus," "Pass me Not," "More Love to Thee," "Rescue the Perishing," "Tell me the Old, Old Story," &c. - John Julian, Dictionary of Hymnology (1907)
W. Howard Doane

Brian A. Wren

b. 1936 Person Name: Brian Wren (b. 1936) Topics: Canticles and Affirmations of Faith Author of "Arise, shine out, your light has come" in Ancient and Modern Brian Wren (b. Romford, Essex, England, 1936) is a major British figure in the revival of contemporary hymn writing. He studied French literature at New College and theology at Mansfield College in Oxford, England. Ordained in 1965, he was pastor of the Congregational Church (now United Reformed) in Hockley and Hawkwell, Essex, from 1965 to 1970. He worked for the British Council of Churches and several other organizations involved in fighting poverty and promoting peace and justice. This work resulted in his writing of Education for Justice (1977) and Patriotism and Peace (1983). With a ministry throughout the English-speaking world, Wren now resides in the United States where he is active as a freelance lecturer, preacher, and full-time hymn writer. His hymn texts are published in Faith Looking Forward (1983), Praising a Mystery (1986), Bring Many Names (1989), New Beginnings (1993), and Faith Renewed: 33 Hymns Reissued and Revised (1995), as well as in many modern hymnals. He has also produced What Language Shall I Borrow? (1989), a discussion guide to inclusive language in Christian worship. Bert Polman
Brian A. Wren

Walter Greatorex

1877 - 1949 Person Name: Walter Greatorex (1877-1949) Topics: Canticles and Affirmations of Faith Composer of "WOODLANDS" in Ancient and Modern Walter Greatorex (b. Mansfield, Nottinghamshire, England, 1877; d. Bournemouth, Hampshire, England, 1949) was director of music at Gresham's School, Holt, Norfolk, where from 1911-1936. Before that he served as assistant music master at Uppingham School in Rutland (1900-1910). Greatorex's musical education began as a chorister at King's College, Cambridge, England, and he received his university music training at St. John's College, Cambridge. Bert Polman
Walter Greatorex

Anonymous

Topics: Affirmation of Faith Author of "We, your people, God, confessing" in TTT-Himnaro Cigneta In some hymnals, the editors noted that a hymn's author is unknown to them, and so this artificial "person" entry is used to reflect that fact. Obviously, the hymns attributed to "Author Unknown" "Unknown" or "Anonymous" could have been written by many people over a span of many centuries.
Anonymous

Jacques Berthier

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

William Kethe

? - 1594 Person Name: William Kethe (d. 1594) Topics: Canticles and Affirmations of Faith Author of "All people that on earth do dwell" in Ancient and Modern William Kethe (b. Scotland [?], d. Dorset England, c. 1594). Although both the time and place of Kethe's birth and death are unknown, scholars think he was a Scotsman. A Protestant, he fled to the continent during Queen Mary's persecution in the late 1550s. He lived in Geneva for some time but traveled to Basel and Strasbourg to maintain contact with other English refugees. Kethe is thought to be one of the scholars who translated and published the English-language Geneva Bible (1560), a version favored over the King James Bible by the Pilgrim fathers. The twenty-five psalm versifications Kethe prepared for the Anglo-Genevan Psalter of 1561 were also adopted into the Scottish Psalter of 1565. His versification of Psalm 100 (All People that on Earth do Dwell) is the only one that found its way into modern psalmody. Bert Polman ======================== Kethe, William, is said by Thomas Warton in his History of English Poetry, and by John Strype in his Annals of the Reformation, to have been a Scotsman. Where he was born, or whether he held any preferment in England in the time of Edward VI., we have been unable to discover. In the Brieff discours off the troubles begonne at Franckford, 1575, he is mentioned as in exile at Frankfurt in 1555, at Geneva in 1557; as being sent on a mission to the exiles in Basel, Strassburg, &c, in 1558; and as returning with their answers to Geneva in 1559. Whether he was one of those left behind in 1559 to "finishe the bible, and the psalmes bothe in meeter and prose," does not appear. The Discours further mentions him as being with the Earl of Warwick and the Queen's forces at Newhaven [Havre] in 1563, and in the north in 1569. John Hutchins in his County history of Dorset, 1774, vol. ii. p. 316, says that he was instituted in 1561 as Rector of Childe Okeford, near Blandford. But as there were two Rectors and only one church, leave of absence might easily be extended. His connection with Okeford seems to have ceased by death or otherwise about 1593. The Rev. Sir Talbot H. B. Baker, Bart., of Ranston, Blandford, who very kindly made researches on the spot, has informed me that the Registers at Childe Okeford begin with 1652-53, that the copies kept in Blandford date only from 1732 (the earlier having probably perished in the great fire there in 1731), that no will can be found in the district Probate Court, and that no monument or tablet is now to be found at Childe Okeford. By a communication to me from the Diocesan Registrar of Bristol, it appears that in a book professing to contain a list of Presentations deposited in the Consistory Court, Kethe is said to have been presented in 1565 by Henry Capel, the Patron of Childe Okeford Inferior. In the 1813 edition of Hutchins, vol. iii. pp. 355-6, William Watkinson is said to have been presented to this moiety by Arthur Capel in 1593. Twenty-five Psalm versions by Kethe are included in the Anglo-Genevan Psalter of 1561, viz. Ps. 27, 36, 47, 54, 58, 62, 70, 85, 88, 90, 91, 94, 100, 101, 104, 107, 111, 112, 113, 122, 125, 126, 134, 138, 142,—the whole of which were adopted in the Scottish Psalter of 1564-65. Only nine, viz. Ps. 104, 107, 111, 112, 113, 122, 125, 126, 134, were included in the English Psalter of 1562; Ps. 100 being however added in 1565. Being mostly in peculiar metres, only one, Ps. 100, was transferred to the Scottish Psalter of 1650. The version of Ps. 104, "My soul, praise the Lord," is found, in a greatly altered form, in some modern hymnals. Warton calls him ”a Scotch divine, no unready rhymer," says he had seen a moralisation of some of Ovid by him, and also mentions verses by him prefixed to a pamphlet by Christopher Goodman, printed at Geneva in 1558; a version of Ps. 93 added to Knox's Appellation to the Scottish Bishops, also printed at Geneva in 1558; and an anti-papal ballad, "Tye the mare Tom-boy." A sermon he preached before the Sessions at Blandford on Jan. 17, 1571, was printed by John Daye in 1571 (preface dated Childe Okeford, Jan. 29,157?), and dedicated to Ambrose Earl of Warwick. [Rev James Mearns, M.A]. -- John Julian, Dictionary of Hymnology (1907) ==================== Kethe, William, p. 624, i., line 30. The version which Warton describes as of Psalm 93 is really of Psalm 94, and is that noted under Scottish Hymnody, p. 1022, ii., as the version of Psalms 94 by W. Kethe. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
William Kethe

Ian Pitt-Watson

1921 - 1995 Person Name: Ian Robertson Pitt-Watson (1923-1995) Topics: Canticles and Affirmations of Faith Author of "O God, be gracious to me in your love" in Ancient and Modern Ian Pitt-Watson (b. Glasgow, Scotland, 1923; d. London, England, January 11, 1995) was educated at the University of Edinburgh and graduated from the Royal Academy of Music in London. Ordained to the Presbyterian ministry in 1950, he served the Cathedral Church of St. Giles in Edinburgh, Scotland (the church where John Knox had been preacher). From 1952 to 1958 he was chaplain of the University of Aberdeen and later served congregations in Dundee and Glasgow. He returned to teach at Aberdeen in 1974 before moving in 1980 to become professor of preaching and practical theology at Fuller Theological Seminary in Pasadena, California, where he remained until retirement. Pitt-Watson was a highly regarded scholar, expositor, and preacher in both Europe and North America. Among his published works are Preaching: a Kind of Folly (1976) and A Primer for Preachers (1986). Some of his psalm paraphrases were published in The Church Hymnary of 1973. Bert Polman
Ian Pitt-Watson

Friedrich Silcher

1789 - 1860 Person Name: Philipp Friedrich Silcher (1789-1860) Topics: Canticles and Affirmations of Faith Composer of "PASTOR PASTORUM (GOTT EIN VATER)" in Ancient and Modern
Friedrich Silcher

Winfred Douglas

1867 - 1944 Person Name: C. Winfred Douglas, 1867-1944 Topics: Affirmation of Faith Harmonizer of "DIVINUM MYSTERIUM" in Worship and Rejoice Charles Winfred Douglas (b. Oswego, NY, 1867; d. Santa Rosa, CA, 1944), an influential leader in Episcopalian liturgical and musical life. Educated at Syracuse University and St. Andrews Divinity School, Syracuse, New York, he moved to Colorado for his health. There he studied at St. Matthew's Hall, Denver, and founded the Mission of the Transfiguration in Evergreen (1897). Ordained a priest in the Episcopal Church in 1899, he also studied in France, Germany and England, where he spent time with the Benedictines of Solesmes on the Island of Wight from 1903 to 1906. For much of his life, Douglas served as director of music at the Community of St. Mary in Peekskill, New York, and had associations with cathedrals in Denver, Colorado, and Fond du Lac, Wisconsin. He promoted chanting and plainsong in the Episcopal Church through workshops and publications such as The American Psalter (1929), the Plainsong Psalter (1932), and the Monastic Diurnal (1932). His writings include program notes for the Denver Symphony Orchestra, various hymn preludes; organ, as well as the book, Church Music in History and Practice (1937). He was editor of both the Hymnal 1916 and its significant successor, Hymnal 1940, of the Episcopal Church. Douglas's other achievements include a thorough knowledge of the life and culture of Hopi and Navajo natives, among whom he lived for a number of years. Bert Polman
Winfred Douglas

Francisco F. Feliciano

1941 - 2014 Topics: Affirmation of Faith Composer of "[We believe, Maranatha]" in Agape
Francisco F. Feliciano

John Stainer

1840 - 1901 Person Name: John Stainer (1840-1901) Topics: Canticles and Affirmations of Faith Composer of "ST PAUL'S" in Ancient and Modern
John Stainer

Fred Pratt Green

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

James McGranahan

1840 - 1907 Topics: Affirmation of Faith Composer of "EL NATHAN" in Celebrating Grace Hymnal James McGranahan USA 1840-1907. Born at West Fallowfield, PA, uncle of Hugh McGranahan, and son of a farmer, he farmed during boyhood. Due to his love of music his father let him attend singing school, where he learned to play the bass viol. At age 19 he organized his first singing class and soon became a popular teacher in his area of the state. He became a noted musician and hymns composer. His father was reluctant to let him pursue this career, but he soon made enough money doing it that he was able to hire a replacement farmhand to help his father while he studied music. His father, a wise man, soon realized how his son was being used by God to win souls through his music. He entered the Normal Music School at Genesco, NY, under William B Bradbury in 1861-62. He met Miss Addie Vickery there. They married in 1863, and were very close to each other their whole marriage, but had no children. She was also a musician and hymnwriter in her own right. For a time he held a postmaster’s job in Rome, PA. In 1875 he worked for three years as a teacher and director at Dr. Root’s Normal Music Institute. He because well-known and successful as a result, and his work attracted much attention. He had a rare tenor voice, and was told he should train for the operatic stage. It was a dazzling prospect, but his friend, Philip Bliss, who had given his wondrous voice to the service of song for Christ for more than a decade, urged him to do the same. Preparing to go on a Christmas vacation with his wife, Bliss wrote McGranahan a letter about it, which McGranahan discussed with his friend Major Whittle. Those two met in person for the first time at Ashtubula, OH, both trying to retrieve the bodies of the Bliss’s, who died in a bridge-failed train wreck. Whittle thought upon meeting McGranahan, that here is the man Bliss has chosen to replace him in evangelism. The men returned to Chicago together and prayed about the matter. McGranahan gave up his post office job and the world gained a sweet gospel singer/composer as a result. McGranahan and his wife, and Major Whittle worked together for 11 years evangelizing in the U.S., Great Britain, and Ireland. They made two visits to the United Kingdom, in 1880 and 1883, the latter associated with Dwight Moody and Ira Sankey evangelistic work. McGranahan pioneered use of the male choir in gospel song. While holding meetings in Worcester, MA, he found himself with a choir of only male voices. Resourcefully, he quickly adapted the music to those voices and continued with the meetings. The music was powerful and started what is known as male choir and quartet music. Music he published included: “The choice”, “Harvest of song”, “Gospel Choir”,, “Gospel hymns #3,#4, #5, #6” (with Sankey and Stebbins), “Songs of the gospel”, and “Male chorus book”. The latter three were issued in England. In 1887 McGranahan’s health compelled him to give up active work in evangelism. He then built a beautiful home, Maplehurst, among friends at Kinsman, OH, and settled down to the composition of music, which would become an extension of his evangelistic work. Though his health limited his hours, of productivity, some of his best hymns were written during these days. McGranahan was a most lovable, gentle, modest, unassuming, gentleman, and a refined and cultured Christian. He loved good fellowship, and often treated guests to the most delightful social feast. He died of diabetes at Kinsman, OH, and went home to be with his Savior. John Perry
James McGranahan

Henry J. Gauntlett

1805 - 1876 Person Name: Henry John Gauntlett (1805-1876) Topics: Canticles and Affirmations of Faith 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
Henry J. Gauntlett

Bob Hurd

b. 1950 Person Name: Bob Hurd (b. 1950) Topics: Canticles and Affirmations of Faith Author of "As the deer longs for running streams" in Ancient and Modern
Bob Hurd

James Russell Lowell

1819 - 1891 Topics: The Christian Life Justice and Human Rights; Responses to God Commitment; Jesus Christ Passion and Crucifixion; The Christian Life Affirmation and Truth; The Christian Life Discipleship, Service, and Mission; The Christian Life Liberation and Justice; The Christian Life Life, Death, and Parting; Light and Darkness; People of Faith The Saints Author of "Once to Every Man and Nation" in Hymns from the Four Winds Lowell, James Russell, LL.D., was born at Cambridge, Massachusetts, February 22, 1819; graduated at Harvard College, 1838, and was called to the Bar in 1840. Professor of Modern Languages and Literature (succeeding the Poet Longfellow) in Harvard, 1855; American Minister to Spain, also to England in 1881. He was editor of the Atlantic Monthly, from 1857 to 1862; and of the North American Review from 1863 to 1872. Professor Lowell is the most intellectual of American poets, and first of her art critics and humorists. He has written much admirable moral and sacred poetry, but no hymns. One piece, “Men, whose boast it is that ye" (Against Slavery), is part of an Anti-Slavery poem, and in its present form is found in Hymns of the Spirit, 1864. Part of this is given in Songs for the Sanctuary, N.Y., 1865, as "They are slaves who will not choose.” [Rev. F. M. Bird, M.A.] --John Julian, Dictionary of Hymnology (1907)
James Russell Lowell

Joseph Gelineau

1920 - 2008 Person Name: Joseph Gelineau, b. 1920 Topics: Affirmation of Baptism; Assurance; Burial; Christian Life; Comfort; Epiphany; Eternal Life; Evening; Faith; Holy Baptism; Justification; Psalms; Trust Composer (Verses) of "[I will sing and make music for the Lord]" in Hymnal Supplement 1991 Joseph Gelineau (1920-2008) Gelineau's translation and musical settings of the psalms have achieved nearly universal usage in the Christian church of the Western world. These psalms faithfully recapture the Hebrew poetic structure and images. To accommodate this structure his psalm tones were designed to express the asymmetrical three-line/four-line design of the psalm texts. He collaborated with R. Tournay and R. Schwab and reworked the Jerusalem Bible Psalter. Their joint effort produced the Psautier de la Bible de Jerusalem and recording Psaumes, which won the Gran Prix de L' Academie Charles Cros in 1953. The musical settings followed four years later. Shortly after, the Gregorian Institute of America published Twenty-four Psalms and Canticles, which was the premier issue of his psalms in the United States. Certainly, his text and his settings have provided a feasible and beautiful solution to the singing of the psalms that the 1963 reforms envisioned. Parishes, their cantors, and choirs were well-equipped to sing the psalms when they embarked on the Gelineau psalmody. Gelineau was active in liturgical development from the very time of his ordination in 1951. He taught at the Institut Catholique de Paris and was active in several movements leading toward Vatican II. His influence in the United States as well in Europe (he was one of the founding organizers of Universa Laus, the international church music association) is as far reaching as it is broad. Proof of that is the number of times "My shepherd is the Lord" has been reprinted and reprinted in numerous funeral worship leaflets, collections, and hymnals. His prolific career includes hundreds of compositions ranging from litanies to responsories. His setting of Psalm 106/107, "The Love of the Lord," for assembly, organ, and orchestra premiéred at the 1989 National Association of Pastoral Musicians convention in Long Beach, California. --www.giamusic.com
Joseph Gelineau

I-to Loh

b. 1936 Topics: Affirmation of Faith Translator (English) of "Reamo leboga" in Agape
I-to Loh

Fintan O'Carroll

1922 - 1981 Person Name: Fintan O'Carroll (1922-1981) Topics: Canticles and Affirmations of Faith Author of "Alleluia, alleluia" in Ancient and Modern Fintan O’Carroll was born on 31st July 1922 in Wexford, and spent most of his life in Waterford. On completion of his secondary school studies Fintan took up a position as a Clerk in C.I.E., the national railway. He won first prize in a traditional music competition, aged 12, playing violin, and went on to study violin at home, taking lessons as and when the opportunity arose. While working at C.I.E. Fintan undertook a correspondence course in Music from Trinity College, Dublin. His heart was in music, and he left C.I.E. in 1967 after 27 years service, whereupon he completed his degree at Trinity to gain his B.Mus. along with the Prout Prize for the most outstanding student of the year. All the time Fintan had taken a keen interest in composition, particularly sacred music. Fintan became a fulltime teacher at the Presentation Convent Secondary School in Waterford, a job which payed about half the salary in C.I.E. at the time. He supplemented his income by taking 52 private pupils, conducting 2 brass bands, and led the orchestra in every musical show that offered. Some of the many musical organizations that owe a debt of musical gratitude to Fintan, whether it be as leader, violinist, conductor, organist, composer, or founder include Waterford Orchestral Players; Waterford Festival of Light Opera Orchestra; St Saviours Church, Bridge Street; the Franciscan Friary; the Church of SS Josephs and Benildus; St Patrick’s; Waterford Cathedral; St Patrick’s Brass Band; HFC Brass Band, New Ross; Mount Sion Silver Band. It is particularly with the brass bands that we are interested and it is fair to say that Fintan brought a sense of musicality and musicianship to these bands which helped greatly in the development of their players and the achievement of competition successes at all levels. Many musicians have commented later in their life that it was the love of music instilled in them by Fintan that carried them through their own musical lives. One of the proudest moments of Fintan’s musical career must have been when his Mass of the Immaculate Conception was chosen for the occasion of the visit of Pope John Paul II to Limerick in 1979. He took part in the Offertory Procession on this momentous occasion. Fintan died in July 1981 and was survived by his wife Josephine, a fine contralto voice, and whom he credits with much of his own success. They had six children: Fiona, Deirdre, Fergus, Declan, Kevin, Aoileann, and Cian, many of which play a very active role in the musical life of Waterford and beyond. --www.mountsionsilverband.org/history/
Fintan O'Carroll

Julius Röntgen

1855 - 1932 Person Name: Julius Roentgen Topics: The Church at Worship Affirmation of Faith; God's Church The Church at Worship: Affirmation of Faith; Affirmation of Faith Arranger of "IN BABILONE" in Chalice Hymnal An important Dutch pianist, composer, conductor, scholar, and editor, Julius Rontgen (b. Leipzig, Germany, 1855; d. Utrecht, the Netherlands, 1932) studied music in Leipzig with well-known German teachers. In 1877 he moved to Amsterdam, where he first taught at the Amsterdam Conservatory. In 1886 he became conductor of the Society for the Advancement of Musical Art. He returned to the Conservatory as director in 1918, and then retired in 1924 to devote himself to composition. He was a friend of leading composers of his day, including Liszt, Brahms, and Grieg, and wrote a biography of Grieg. Rontgen's compositions include symphonies, chamber works, operas, and film scores. Bert Polman
Julius Röntgen

Jack Schrader

b. 1942 Person Name: Jack Schrader, 1942- Topics: Affirmation of Faith Composer of "ACCLAMATIONS" in Worship and Rejoice JACK SCHRADER (b. 1942), arranger, composer, conductor, vocalist, and organist/pianist, is past editor with Hope Publishing Company, retiring in January of 2009. His association with Hope began in 1978. A 1964 graduate of Moody Bible Institute of Chicago, where he majored in Voice and Organ, he also received the Bachelor of Music Education degree from the University of Nebraska (1966). Further studies in theology culminated in Jack's ordination by the Evangelical Free Church of America (1975). Born in St. Louis, Missouri, he now resides in Wheaton, Illinois, with his wife, Karen. They have three children, Beth, Jonathan and Joel, and currently three grandchildren. Jack is the best selling choral composer in the Hope catalog. In addition to choral music Jack has published collections for keyboardists, instrumentalists and vocal soloists. He was a member of the editorial committee for Hope's most recent hymnal, WORSHIP & REJOICE (2001), in which he has 24 hymn credits. His music is heard in hundreds of churches across the country each Sunday, and he can be seen throughout the year as a guest clinician at choral reading sessions and workshops. --www.hopepublishing.com
Jack Schrader

Marty Haugen

b. 1950 Person Name: Marty Haugen, b. 1950 Topics: Affirmation of Baptism; Burial; Christian Life; Comfort; Easter Season; Eternal Life; Faith; Healing; Holy Baptism; Prayer; Psalms; Trust Paraphraser of "Psalm 23: Shepherd Me, O God" in Hymnal Supplement 1991 Marty Haugen (b. 1950), is a prolific liturgical composer with many songs included in hymnals across the liturgical spectrum of North American hymnals and beyond, with many songs translated into different languages. He was raised in the American Lutheran Church, received a BA in psychology from Luther College, yet found his first position as a church musician in a Roman Catholic parish at a time when the Roman Catholic Church was undergoing profound liturgical and musical changes after Vatican II. Finding a vocation in that parish to provide accessible songs for worship, he continued to compose and to study, receiving an MA in pastoral studies at the University of St. Thomas in St. Paul Minnesota. A number of liturgical settings were prepared for the Evangelical Lutheran Church in America and more than 400 of his compositions are available from several publishers, especially GIA Publications, who also produced some 30 recordings of his songs. He is composer-in-residence at Mayflower Community Congregational Church in Minneapolis and continues to compose and travel to speak and teach at worship events around the world. Emily Brink
Marty Haugen

Tom Fettke

b. 1941 Topics: Service Music Affirmation of Faith; Service Music Affirmation of Faith Arranger of "HE IS LORD" in The United Methodist Hymnal Thomas E. Fettke (b. Bronx, New York City, 1941) Educated at Oakland City College and California State University, in Hayward, CA, Fettke has taught in several public and Christian high schools and served as minister of music in various churches, all in California. He has published over eight hundred composi­tions and arrangements (some under the pseudonyms Robert F. Douglas and David J. Allen) and produced a number of recordings. Fettke was the senior editor of The Hymnal for Worship and Celebration (1986). Bert Polman
Tom Fettke

Jean Janzen

b. 1933 Person Name: Jean Janzen, b. 1933 Topics: Affirmation of Baptism; Expanded Images for God; Grace, Faith; Creation; Affirmation of Baptism; Creation; Expanded Images for God; Grace, Faith; Holy Communion; Holy Trinity Paraphaser of "Mothering God, You Gave Me Birth" in Evangelical Lutheran Worship Jean Janzen was born on December 5, 1933, the seventh of Henry Peter Wiebe and Anna Schultz Wiebe's eventual eight children (Three Mennonite Poets 5). For the first five years of her life, Janzen lived in Dalmeny, Saskatchewan (A Cappella 25). In 1938, she moved to Mountain Lake, Minnesota when her schoolteacher father began his second ministry as a pastor (“Coming into Voice”). A year later, the family moved to Kansas (“Coming into Voice”). Janzen says she cannot remember when she wrote her first poem, but the first evidence of her work is a handwritten book of five poems that she made in third or fourth grade, which was saved by her mother through the family’s many moves (E-mail Interview). She had very little exposure to poetry and literature as a child, except for hymns and Bible stories. She values these elements of her childhood and “treasure[s] the artful rhythms of the King James [Bible]” (E-mail Interview). Janzen attended Meade Bible Academy, Tabor College, and Grace College (A Cappella 25). It was in college that she had her first real exposure to literature. She was “thrilled, and became a literature major.” She remembers being “enamored” with Emily Dickinson and writing papers about her whenever given the chance. However, she never considered writing poetry as a possible career (E-mail Interview). Janzen--then Jean Wiebe--married Louis Janzen, a medical student, and the couple moved to Chicago where she worked as a medical secretary while taking courses at Northwestern University (Hostetler, A Cappella 25). Janzen cites this period of her life as the beginning of her love for visual art, calling the Chicago Art Institute the “open gate” for her and her husband where they “became hooked” (Mennonite Life Interview). In 1961, they moved to Fresno, Cal., where Louis worked as a pediatrician in a private practice. Here they raised their two daughters and two sons. When her youngest child was in school, Janzen “joined a writer’s group at the encouragement of [her] husband and nephew after they read some poems [she] had written as a gift to [her] husband” (E-mail Interview). As her children became older, Janzen went back to college, earning a BA in English from Fresno Pacific College and an MA in Creative Writing and English from California State University at Fresno in 1982. There she studied with poets Peter Everwine, Philip Levine, and C.G. Hanzlicek. Janzen says that after one semester of writing poetry in college, she took the work “seriously” and “imagined the possibility of growing into a poet,” but it took her several years “to be willing to say that out loud” (E-mail Interview). Rudy Wiebe, a Mennonite novelist, served as a mentor who influenced Janzen's writing career. She received a grant from the National Endowment for the Arts in 1995 (“Coming into Voice”). Janzen grew up in the Evangelical Mennonite Brethren Church and many of her relatives, including her father, were pastors (“Coming into Voice”). This strong connection with the church has had a significant influence on her poetry. Music has also played an important role in Janzen’s life. Her mother loved music and music was an important part of worship in her church. She learned to play the piano when she was young, later studying music in college and teaching piano for many years (“Coming into Voice”). Janzen finds harmony between the religious and artistic elements of her life, integrating them in a way that enriches both. She also uses her gifts in the church, serving as a minister of worship at the College Community Mennonite Brethren Church in Clovis, Cal., as well as writing hymn texts, which have been set to music and are included in several hymn books. Other prominent themes in her work include art, history, family, the earth, and her Russian Mennonite ancestors (“Coming into Voice”). Janzen says that “the sensual and spiritual are inevitably intertwined” (Mennonite Life Interview) and it is this element of her work that has attracted the most attention from critics and readers. She emphasizes “the presence of spirit in the flesh,” using rich description of physical objects to reveal deeper emotions and truths. Janzen has taught poetry writing at Fresno Pacific University and Eastern Mennonite University in Virginia. --www.goshen.edu/mennonitepoetry/
Jean Janzen

Melody Green

b. 1946 Topics: Affirmation of Faith Author of "There Is a Redeemer" in Celebrating Grace Hymnal Born: August 25, 1946, Hollywood, California. Melody Green is probably most loved for the songs she’s written. “There Is A Redeemer” is found in church hymn books around the world, and reports of it being sung in villages in Africa and Asia are plentiful. She has also composed many other standards including, "Make My Life A Prayer To You," “You Are The One,” Rushing Wind,” and "The Lord Is My Shepherd." Looking back, although Melody was born in Hollywood, she came into this world quietly and without fanfare. She grew up in Venice in a funky little apartment facing an alley, called Speedway. With no safe place to play, and the beach just a few hundred feet away, the sand became her only playground. As a young girl who always watched the shifting tides, the star patterns, and the sunsets, Melody realized there must be a Creator for such perpetual beauty, universal order and symmetry to exist. Her father was a WWII Navy Seals Veteran, a hunter and fisherman, and a factory worker by trade. Her mom worked at a CPA firm, and was raised in an Orthodox Jewish family, the child of Russian refugees. Melody’s grandfather was a Rabbi, her grandmother, the child of a Grand Rabbi. Escaping Czarist persecution, her grandparents bundled up their five children and took a train to the shipyard in Odessa. Melody says, “It’s a miracle I’m even alive! My family barely escaped death in Odessa, then on the train ride to the port they were ducking bullets shot at them through the windows. My precious grandparents put the kids on the floor and laid on top of them, covered with pillows for protection. They made it to the port and actually escaped on the every last ship that would allow fleeing refugees on board! My mom was their sixth child, but the very first child to be born in America.” Today Melody says, "My family history has played a large part in shaping my heart to absolutely disdain all types of persecution, prejudice, and injustice. Some things are just wrong. My spirit told me this long before I even met the Lord.” After college, Melody designed clothing in the famed Garment District of Los Angeles. Later she took a job at a Production Company. It was there that she met Keith Green, an aspiring musician who was on a very similar spiritual journey. Within a year they were married and continued their spiritual search together. Now Melody designed and made unique clothing for herself and Keith for his nightclub gigs in Hollywood and his record label auditions. In 1975 they were invited to a small bible study in upscale Bel Air and their lives were forever changed. Melody finally found the truth she’d been looking for, but in an unexpected package. However, both Melody and Keith understood that in Jesus they had found their one and only true Messiah. Calling herself a Jewish Christian, Melody decided to just do what the bible said. So she and Keith opened the doors of their small home and took in kids with drug problems and surprise pregnancies, usually leading them to the Lord. They also had Pot Luck dinners and bible studies for their whole neighborhood... going door to door to invite people. Before long more space was needed, so they bought or rented a total of six more homes, built triple high bunks, ate donated mystery food (cans without labels) and just kept on growing. In 1979, feeling a need to leave "the city'" because of the rehab work they were doing, they moved their flourishing ministry to a 120-acre ranch in East Texas. Melody still traveled on Keith's concert tours where she ran the soundboard, sold albums, and as always, she and Keith wrote music wherever they could. Back at the ranch she oversaw the “women’s ministries,” wrote hundreds of counseling letters, and took care of her young and growing family. By 1982 the ministry had a worldwide impact, with nearly 100 people on staff. Melody was busy editing The Last Days Magazine, as well as writing many of its articles. Keith’s music was at the top of the charts and new facilities were built and more were in the planning stages. Then one day in July a tragic accident changed Melody’s life forever. Keith and two of their young children, with some visiting friends, went for a short ride in a small plane. It was the LDM weekly fast day, and the ministry pilot had just returned. Keith met the pilot on the runway and everyone jumped into the plane. But the plane did not get the needed lift, and just 20 seconds later it crashed in a neighboring field and burst into flames. There were no survivors. When Keith died he was just 28 years old. Melody's first born, Josiah, was almost four and Bethany was two years old. At the time, Melody was at home with their one year old daughter Rebekah Joy and six weeks pregnant with their fourth child. Melody says, “The rug was yanked out from under my whole world that day. Without the Lord and the support of my friends and the LDM community I never would have made it.” But she did make it, pressing in to lead LDM through the crisis, while caring for her surviving daughter. In the fall of 1982 Melody traveled across America with the Keith Green Memorial Concert, reaching over 300,000 people face to face. Since the mission field was the last burden she and Keith shared, she was the one left to carry that challenge. Loren Cunningham, the founder of Youth With A Mission said, "This was the largest missions challenge in history that I know of." In March of 1983 Melody took some time off to give birth to her new daughter, Rachel Hope. Now Melody was a single mom with two little girls... and leading a large international ministry. It was at a time when women leaders were few and not readily accepted, but the Lord gave Melody great favor and continued to use both her and LDM in incredible ways. In 1985 Melody became a forerunner in the tiny but budding Pro Life Movement. She says. "The Lord told me to move abortion up to the front burner," and of course she took all of LDM with her. She launched Americans Against Abortion at a time when pastors rarely mentioned abortion or felt believers should even address it. But Melody put a fresh face and a non-stoppable energy into being Pro-Life... and she drove the message home, squarely into millions of evangelical hearts. In this season Melody crossed the nation teaching the biblical perspective on caring for Life, and urging all believers to take a determined stand. Supporting only non-violent means, and wearing a bullet proof vest because of death threats, Melody spoke in churches, held rallies on Capital steps, called secular press conferences, led city wide marches, and picketed abortion clinics. She was even arrested once during a peaceful protest, spending the night in an inner city jail and going home with a head injury. In the following years God opened many unforeseen doors for Melody. She went to India and met Mother Theresa visiting her “Home For The Destitute and Dying.” She was also invited to the White House to meet with Presidents, Senators, and others in political office. None of it really phased her. She likes to say, "I sat in dirt in India and wore silk to the White House. How weird is that?" Today Melody still oversees LDM where her voice can be heard on numerous relevant topics from a biblical perspective. Loving to expose people to what she believes is important, she continues to bring LDM readers the teachings of others who she believes have something vital to say. Believing that caring for others is not an option, Melody established the Good Neighbor Mercy Fund, enabling LDM to raise donations for disaster victims, the sick, and the needy. LDM has already given to victims of the Asian Tsunami and Hurricane Katrina as well as others with pressing needs. Melody lives in Kansas City, Missouri. Her daughters are happily married and following the Lord with their husbands. --www.lastdaysministries.org (excerpts)
Melody Green

Paul Inwood

b. 1947 Person Name: Paul Inwood (b. 1947) Topics: Canticles and Affirmations of Faith Author of "We shall draw water joyfully" in Ancient and Modern
Paul Inwood

James Quinn

1919 - 2010 Person Name: James Quinn, SJ (1919-2010) Topics: Canticles and Affirmations of Faith Author of "Praise the Almighty!" in Ancient and Modern James Quinn (b. Glasgow, Scotland, April 21, 1919; d. Edinburgh, Scotland, April 8, 2010) was a Roman Catholic Jesuit priest who was ordained in 1950. As a consultant for the International Commission on English in the Liturgy, sparked by Vatican II, he has exerted influence far beyond his native Scotland. A collection of his hymn texts is available from Selah Publishing company. Sing a New Creation
James Quinn

Christopher M. Idle

b. 1938 Person Name: Christopher Idle (b. 1938) Topics: Canticles and Affirmations of Faith Author of "God, we praise you, God, we bless you!" 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
Christopher M. Idle

Jordon Cho-tung Tang

b. 1948 Person Name: Jordan Cho-tung Tang Topics: Praise and Adoration The Goodness and Providence of God; God Creation of God; God Gifts of God; Responses to God Prayer; The Christian Life Affirmation and Truth; The Christian Life Comfort and Healing; The Christian Life Faith and Trust; The Christian Life Love and Grace Composer of "JORDAN" in Hymns from the Four Winds
Jordon Cho-tung Tang

Robert Lowry

1826 - 1899 Person Name: Robert Lowry, 1826-1899 Topics: Affirmation; Assurance; Calm; Chaos; Continuing Revelation; Darkness; Faith; God's Love; God's Presence; Music; Peace of Jesus Christ; Inner Peace; Renewal; Trust; Truth Author of "My Life Flows On in Endless Song" in Community of Christ Sings Robert Lowry was born in Philadelphia, March 12, 1826. His fondness for music was exhibited in his earliest years. As a child he amused himself with the various musical instruments that came into his hands. At the age of seventeen he joined the First Baptist Church of Philadelphia, and soon became an active worker in the Sunday-school as teacher and chorister. At the age of twenty-two he gave himself to the work of the ministry, and entered upon a course of study at the University of Lewisburg, Pa. At the age of twenty-eight he was graduated with the highest honors of his class. In the same year of his graduation, he entered upon the work of the ministry. He served as pastor at West Chester, Pa., 1851-1858; in New York City, 1859-1861; in Brooklyn, 1861-1869; in Lewisburg, Pa., 1869-1875. While pastor at Lewisburg, he was also professor of belles lettres in the University, and received the honorary degree of D. D. in 1875. He then went to Plainfield, N. J., where he became pastor of Park Avenue Church. In each of these fields his work was crowned with marked success. Dr. Lowry was a man of rare administrative ability, a most excellent preacher, a thorough Bible student, and whether in the pulpit or upon the platform, always a brilliant and interesting speaker. He was of a genial and pleasing disposition, and a high sense of humor was one of his most striking characteristics. Very few men had greater ability in painting pictures from the imagination. He could thrill an audience with his vivid descriptions, inspiring others with the same thoughts that inspired him. His melodies are sung in every civilized land, and many of his hymns have been translated into foreign tongues. While preaching the Gospel, in which he found great joy, was his life-work, music and hymnology were favorite studies, but were always a side issue, a recreation. In the year 1880, he took a rest of four years, visiting Europe. In 1885 he felt that he needed more rest, and resigned his pastorate at Plainfield, and visited in the South and West, also spending some time in Mexico. He returned, much improved in health, and again took up his work in Plainfield. On the death of Wm. B. Bradbury, Messrs. Biglow & Main, successors to Mr. Bradbury in the publishing business, selected Dr. Lowry for editor of their Sunday-school book, Bright Jewels, which was a great success. Subsequently Dr. W. Doane was associated with him in the issue of the Sunday-school song book, Pure Gold, the sales of which exceeded a million copies. Then came Royal Diadem, Welcome Tidings, Brightest and Best, Glad Refrain, Good as Gold, Joyful Lays, Fountain of Song, Bright Array, Temple Anthems, and numerous other volumes. The good quality of their books did much to stimulate the cause of sacred song in this country. When he saw that the obligations of musical editorship were laid upon him, he began the study of music in earnest, and sought the best musical text-books and works on the highest forms of musical composition. He possessed one of the finest musical libraries in the country. It abounded in works on the philosophy and science of musical sounds. He also had some musical works in his possession that were over one hundred and fifty years old. One of his labors of love some years ago was an attempt to reduce music to a mathematical basis. On the established fact that Middle C has two hundred and fifty-six vibrations per second, he prepared a scale and went to work on the rule of three. After infinite calculation and repeated experiments, he carried it far enough to discover that it would not work. A reporter once asked him what was his method of composition — "Do you write the words to fit the music, or the music to fit the words?" His reply was, "I have no method. Sometimes the music comes and the words follow, fitted insensibly to the melody. I watch my moods, and when anything good strikes me, whether words or music, and no matter where I am, at home or on the street, I jot it down. Often the margin of a newspaper or the back of an envelope serves as a notebook. My brain is a sort of spinning machine, I think, for there is music running through it all the time. I do not pick out my music on the keys of an instrument. The tunes of nearly all the hymns I have written have been completed on paper before I tried them on the organ. Frequently the words of the hymn and the music have been written at the same time." The Doctor frequently said that he regarded "Weeping Will Not Save Me" as the best and most evangelistic hymn he ever wrote. The following are some of his most popular and sweetest gospel melodies: "Shall We Gather at the River?," "One More Day's Work for Jesus," "Where is My Wandering Boy To-night?," "I Need Thee Every Hour," "The Mistakes of My Life," "How Can I Keep from Singing?," "All the Way My Saviour Leads Me," "Saviour, Thy Dying Love," "We're Marching to Zion," etc. "Shall We Gather at the River?" is perhaps, without question, the most widely popular of all his songs. Of this Mr. Lowry said: "It is brass band music, has a march movement, and for that reason has become popular, though for myself I do not think much of it." Yet he tells us how, on several occasions, he had been deeply moved by the singing of that hymn, "Going from Harrisburg to Lewisburg once I got into a car filled with half-drunken lumbermen. Suddenly one of them struck up, "Shall We Gather at the River?" and they sang it over and over again, repeating the chorus in a wild, boisterous way. I did not think so much of the music then as I listened to those singers, but I did think that perhaps the spirit of the hymn, the words so flippantly uttered, might somehow survive and be carried forward into the lives of those careless men, and ultimately lift them upward to the realization of the hope expressed in my hymn." "A different appreciation of it was evinced during the Robert Raikes' Centennial. I was in London, and had gone to meeting in the Old Bailey to see some of the most famous Sunday-school workers in the world. They were present from Europe, Asia, and America. I sat in a rear seat alone. After there had been a number of addresses delivered in various languages, I was preparing to leave, when the chairman of the meeting announced that the author of "Shall We Gather at the River?" was present, and I was requested by name to come forward. Men applauded and women waved their handkerchiefs as I went to the platform. It was a tribute to the hymn; but I felt, when it was over, that, after all, I had perhaps done some little good in the world, and I felt more than ever content to die when God called." On Children's Day in Brooklyn, in 1865, this song was sung by over forty thousand voices. While Dr. Lowry said, "I would rather preach a gospel sermon to an appreciative, receptive congregation than write a hymn," yet in spite of his preferences, his hymns have gone on and on, translated into many languages, preaching and comforting thousands upon thousands of souls, furnishing them expression for their deepest feelings of praise and gratitude to God for His goodness to the children of men. What he had thought in his inmost soul has become a part of the emotions of the whole Christian world. We are all his debtors. Rev. Robert Lowry, D. D., died at his residence in Plainfield, K J., November 25, 1899. Dead, yet he lives and his sermons in gospel song are still heard and are doing good. Dr. Lowry was a great and good man, and his life, well spent, is highly worthy of a place among the world's greatest gospel song and hymn writers. -- Biography of Gospel Song and Hymn Writers ------- Lowry, Robert, D.D., son of Crozier Lowry, was born at Philadelphia, Pennsylvania, March 12, 1826, and educated at Lewisburg University. Having received ordination as a Baptist Minister, his first charge was at West Chester, Pennsylvania. From thence he passed to New York City, and then to Brooklyn, N. Y. In 1876 he was appointed Professor of Rhetoric in his University. On resigning his Professorship he undertook the charge of the 2nd Baptist Church, New Jersey. Dr. Lowry has been associated with some of the most popular Sunday School hymn-books published in the States, including Happy Voices, 1865; Chapel Melodies, 1868; Bright Jewels, 1869; Pure Gold, 1871; Royal Diadem, 1873; Tidal Wave, 1874; Fountain of Song1877; Welcome Tidings, 1877, &c. Of Dr. Lowry's hymns those which have attained the widest circulation are:— 1. Jerusalem, for ever bright. Heaven. Appeared in the American Tract Society's Happy Voices, 1865, with music by the author. 2. Low in the grave He lay. Resurrection of Christ. Written in 1874 and published in Brightest and Best, 1875. 3. Marching on, marching on. Sunday School Battle Song. Appeared, with music by the author, in Happy Voices, 1865. 4. My home is in heaven, my rest is not here. In Happy Voices, 1865, with music by the author. 5. My life flows on in endless song. Joy in God. In Bright Jewels, 1869; the Royal Diadem, 1873, and others in America and Great Britain, with music by the author. 6. One more day's work for Jesus. Work for Christ. Published, with music by the author, in Bright Jewels, 1869. 7. Shall we gather at the river? Mutual recognition in the Hereafter. The origin of this hymn is thus set forth in E. W. Long's Illustrated History of Hymns and their Authors, Philadelphia, 1876, p. 64:— ”On a very hot summer day, in 1864, a pastor was seated in his parlour in Brooklyn, N. Y. It was a time when an epidemic was sweeping through the city, and draping many persons and dwellings in mourning. All around friends and acquaintances were passing away to the spirit land in large numbers. The question began to arise in the heart, with unusual emphasis, ‘Shall we meet again? We are parting at the river of death, shall we meet at the river of life?' ‘Seating myself at the organ,’ says he, ‘simply to give vent to the pent up emotions of the heart, the words and music of the hymn began to flow out, as if by inspiration:— ‘Shall we gather at the river, Where bright angel feet have trod?’" In 1865 the hymn and music were given in Happy Voices, No. 220, in 5 stanzas of 4 lines and a chorus. The hymn has since passed into a great number of hymnals in Great Britain and America. 8. Take the wings of the morning; speed quickly thy flight. Exhortation to Repentance. Written for, and published with music by the author in, the Royal Diadem, 1873. 9. Weeping will not save me. Salvation through Faith. Published in the Chapel Melodies, 1868. 10. What can wash away my stain? Precious Blood of Jesus. Given in the Welcome Tidings, 1877, with music by the author. 11. Where is my wandering boy tonight! The absent Child. In the Fountain of Song, 1877, together with music by the author. Most of these hymns are given in Mr. I. D. Sankey's Sacred Songs & Solos, Pts. i., ii. --John Julian, Dictionary of Hymnology (1907)
Robert Lowry

William Henry Monk

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

Michael Perry

1942 - 1996 Person Name: Michael Perry (1942-1996) Topics: Canticles and Affirmations of Faith Author of "Fling wide the gates, unbar the ancient doors" in Ancient and Modern Initially studying mathematics and physics at Dulwich College, Michael A. Perry (b. Beckenham, Kent, England, 1942; d. England, 1996) was headed for a career in the sciences. However, after one year of study in physics at the University of London, he transferred to Oak Hill College to study theology. He also studied at Ridley Hall, Cambridge, and received a M.Phil. from the University of Southhampton in 1973. Ordained a priest in the Church of England in 1966, Perry served the parish of St. Helen's in Liverpool as a youth worker and evangelist. From 1972 to 1981 he was the vicar of Bitterne in Southhampton and from 1981 to 1989, rector of Eversley in Hampshire and chaplain at the Police Staff College. He then became vicar of Tonbridge in Kent, where he remained until his death from a brain tumor in 1996. Perry published widely in the areas of Bible study and worship. He edited Jubilate publications such as Hymns far Today's Church (1982), Carols for Today (1986), Come Rejoice! (1989), and Psalms for Today (1990). Composer of the musical drama Coming Home (1987), he also wrote more than two hundred hymns and Bible versifications. Bert Polman
Michael Perry

Fred Kaan

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

J. E. Seddon

1915 - 1983 Person Name: James Seddon (1915-1983) Topics: Canticles and Affirmations of Faith Author of "Lord, now let your servant" in Ancient and Modern James E. Seddon (b. Ormskirk, Lancashire, England, 1915; d. London, England, 1983) received his musical training at the London College of Music and Trinity College in London and his theological training at the Bible Churchmen's Theological College (now Trinity College) in Bristol. He served various Anglican parishes in England from 1939 to 1945 as well as from 1967 to 1980. Seddon was a missionary in Morocco from 1945 to 1955 and the home secretary for the Bible Churchmen's Missionary Society from 1955 to 1967. Many of his thirty hymns are based on mission­ary themes; he wrote some in Arabic while he lived in Morocco. Seddon joined other Jubilate Group participants to produce Psalm Praise (1973) and Hymns for Today's Church (1982). Bert Polman
J. E. Seddon

Tobias Clausnitzer

1619 - 1684 Topics: Service Music Affirmation of Faith; Service Music Affirmation of Faith Author of "We Believe in One True God" in The United Methodist Hymnal Clausnitzer, Tobias, born at Thum, near Annaberg, in Saxony, probably on Feb. 5,1619. After studying at various Universities, and finally at Leipzig (where he graduated M.A. in 1643), he was appointed, in 1644, chaplain to a Swedish regiment. In that capacity he preached the thanksgiving sermon in St. Thomas's Church, Leipzig, on "Reminiscere" Sunday, 1645 (ii. Sunday in Lent) on the accession of Christina as Queen of Sweden; as also the thanksgiving sermon at the field service held by command of General Wrangel, at Weiden, in the Upper Palatine, on January 1, 1649, after the conclusion of the Peace of Westphalia. In 1649 he was appointed first pastor at Weiden, and remained there (being also appointed later a member of the Consistory, and inspector of the district,) till his death, on May 7, 1684 (Koch, iii. 354, 355; Allg. Deutsche Biographie, iv. 297; Bode, p. 53; manuscript from Pastor Klinkhardt, Thum). Three hymns by him are known as follows:— i. Jesu dein betrübtes Leiden. [Passiontide.] First published in his Passions-Blume, Nürnberg, 1662, a volume containing 12 sermons on the Passion of our Lord. The hymn appears at p. 17, in 7 stanzas of 6 lines entitled, "Clausnitzer's Passion-Hymn which may be sung with each Meditation." This form is No. 496 in Burg's Gesang-Buch, Breslau, 1746. This hymn has passed into English through a recast, probably by Gensch von Breitenau, beginning, “Herr Jesu, deine Angst und Pein," in 6 stanzas of 7 lines. First published in the Vollständiges Gesang-Buch, Plöen, 1675, No. 41, repeated as No. 101 in the Unverfälschter Liedersegen 1851. The only translation in common use is:— Lord Jesu! may Thy grief and pain, a good translation of stanzas i., iii., vi., by A. T. Russell, as No. 84 in his Psalms and Hymns, 1851. ii. Liebster Jesu wir sind bier, Dion und Dein Wort anzuhören. [Public Worship .] First published in the Altdorffisches Gesang-Buchlein, 1663, No. 20, in 3 stanzas of 6 lines, as a Sunday Hymn for use before Sermon. It appeared with Clausnitzer's name in the Nürnberg Gesang-Buch, 1676, No. 891, and has since come into universal use. In the Berlin Geistliche Lieder, ed. 1863, No. 1062. Translated as:— 1. Gracious Jesu! in Thy name, a good and full translated by A. T. Russell, as No. 82 in the Dalston Hospital Hymn Book, 1848. Included as No. 454 in the ed.,1857, of Mercer's Church Psalm & Hymn Book. (Ox. ed. 1864, No. 56, considerably altered with stanza i. line 4, iii. lines 1-4, from Miss Winkworth, and a doxology added). 2. Gracious Jesu! we are here, a recast of his 1848 translation, made by A. T. Russell for his Psalms & Hymns, 1851, No. 19. 8. Saviour, in Thy house of prayer, a good and full translation as No. 13 in J. F. Thrupp's Psalms & Hymns, 1853, repeated in Maurice's Collection, 1861, No. 634. In Kennedy , 1863, No. 1251, altered and beginning, "Saviour, to Thy house of prayer." 4. Blessed Jesus, at Thy word, a full and good translation by Miss Wink worth in her Lyra Germanica, 2nd Series, 1858, p. 68, repeated in her Chorale Book for England, 1863, No. 12. Included in the English Presbyterian Psalms & Hymns,1867, and others; and in America in the Pennsylvania Lutheran Church Book, 1868; Evangelical Hymnal, N. Y., 1880, and others. 5. Dear Lord, to hear Thee and Thy word, a good translation by Mrs.L. C. Smith; included as No. 50 in Dr. Stevenson's Hymns for Church & Home, 1873. Translations not in common use:— (1) “Dearest Jesu! we are here, Thee to hear," by J. C. Jacobi (1720, p. 32; 1722, p. 43; 1732, p. 72, alt.). In the Moravian Hymn Book, 1789, No. 12 (1849, No. 3), recast by C. J. Latrobe. (2) "Dearest Jesu, we are here, for to hear," as No. 432 in pt. i. of the Moravian Hymn Book, 1754. (3) "Here in Thy presence we appear," by J. Swertner, as No. 10 in the Moravian Hymn Book, 1789 (1886, No. 9). (4) "Blessed Jesus, we are here," by Miss Manington, 1863, p, 145. (5) "Precious Jesus! here are we," in the British Herald, Nov. 1866, p. 360, repeated in Reid's Praise Book, 1872, No. 419. (6) "Dear Redeemer, we are here," by N. L. Frothingham, 1870, p. 204. iii. Wir glauben all an einen Gott, Yater, Sohn und heilgen Geist. [Trinity Sunday.] First appeared in the Culmbach-Bayreuth Gesang-Buch, 1668, p. 132, with the initials "C.A.D." With (Clausnitzer's name it was included as No. 572 in the Nürnberg Gesang-Buch, 1676, in 3 st. of 6 1. In the Bavarian Gesang-Buch, 1854. Translated as:— 1. We all believe in One true God, Father, Son and Holy Ghost, in full by Miss Winkworth in her Chorale Book for England, 1863, No. 75, and thence as No. 118 in the American Methodist Episcopal Hymnal, 1878, and the Evangelical Association Hymn Book, 1882, No. 64. 2. One true God we all confess, by E. Cronenwett, as No. 209 in the Ohio Lutheran Hymnal, 1880. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology (1907)
Tobias Clausnitzer

David N. Johnson

1922 - 1987 Person Name: David N. Johnson, 1922-1987 Topics: Affirmation; Assurance; Calm; Chaos; Continuing Revelation; Darkness; Faith; God's Love; God's Presence; Music; Peace of Jesus Christ; Inner Peace; Renewal; Trust; Truth Harmonizer of "HOW CAN I KEEP FROM SINGING" in Community of Christ Sings David Johnson (b. San Antonio, TX, 1922; d. Phoenix, AZ, 1987), former music department chairman at St. Olaf College, composed EARTH AND ALL STARS and published it in his Twelve Folksongs and Spirituals (1968). Johnson studied at Trinity, University, San Antonio, Texas, and received his master's and doctoral degrees in music from Syracuse University, New York. In addition to St. Olaf, he taught at Syracuse University; Alfred University, Alfred, New York; and Arizona State University. Johnson was organist at Syracuse University and organist and choir director at Trinity Episcopal Cathedral in Phoenix. His publications include Instruction Book for Beginning Organists and Organ Teacher's Guide; his compositions number over three hundred and include hymn tunes, varied harmonizations, and hymn preludes. Bert Polman
David N. Johnson

George J. Elvey

1816 - 1893 Person Name: George J. Elvey, 1816-1893 Topics: Affirmation; Creation; Dependability; God Creator; God Eternal; God Mystery of; God's Faithfulness; God's Glory, Majesty and Power; God's Presence; Praise Composer of "DIADEMATA" in Community of Christ Sings George Job Elvey (b. Canterbury, England, 1816; d. Windlesham, Surrey, England, 1893) As a young boy, Elvey was a chorister in Canterbury Cathedral. Living and studying with his brother Stephen, he was educated at Oxford and at the Royal Academy of Music. At age nineteen Elvey became organist and master of the boys' choir at St. George Chapel, Windsor, where he remained until his retirement in 1882. He was frequently called upon to provide music for royal ceremonies such as Princess Louise's wedding in 1871 (after which he was knighted). Elvey also composed hymn tunes, anthems, oratorios, and service music. Bert Polman
George J. Elvey

Sydney H. Nicholson

1875 - 1947 Person Name: Sydney Hugo Nicholson (1875-1947) Topics: Canticles and Affirmations of Faith Composer of "CRUCIFER" in Ancient and Modern Sydney H. Nicholson, (b. St. Marylebone, London, England, 1875; d. Ashford, Kent, England, 1947) was an organist and church music educator who greatly influenced English hymnody. Educated at Oxford's New College, the Royal College of Music in London, and in Frankfurt, Germany, he became organist at several famous cathedrals, including Westminster Abbey (1919-1928). Nicholson founded and administered the School of English Church Music at Chislehurst in 1927; this important institution, with branches throughout the English-speaking world, was renamed the Royal School of Church Music in 1945. Located in Canterbury after World War II, its headquarters were moved to Addington Palace, Croydon, in 1954. Nicholson was music adviser for the 1916 Supplement of Hymns Ancient and Modern and prepared the way for its 1950 edition. He wrote Church Music: a Practical Handbook (1920) and Quires and Places Where They Sing (1932) and composed operettas, anthems, and hymn tunes. In 1938 he was knighted for his contributions to church music. Bert Polman
Sydney H. Nicholson

Lidie H. Edmunds

Person Name: Lidie Edmunds Topics: Affirmation of Faith Author of "My Faith Has Found a Resting Place" in Celebrating Grace Hymnal Pseudonym. See also Hewitt, E. E. (Eliza E.), 1851-1920
Lidie H. Edmunds

David Haas

b. 1957 Person Name: David Haas, b. 1957 Topics: Affirmation of Baptism; Confession, Forgiveness; Grace, Faith; Vocation, Ministry; Affirmation of Baptism; Confession, Forgiveness; Epiphany, Time After Epiphany; Grace, Faith; Healing; Love; Trust, Guidance; Unity; Vocation, Ministry Author of "You Are Mine" in Evangelical Lutheran Worship
David Haas

Orlando Gibbons

1583 - 1625 Person Name: Orlando Gibbons (1583-1625) Topics: Canticles and Affirmations of Faith Composer of "SONG 24" in Ancient and Modern Orlando Gibbons (baptised 25 December 1583 – 5 June 1625) was an English composer, virginalist and organist of the late Tudor and early Jacobean periods. He was a leading composer in the England of his day. Gibbons was born in Cambridge and christened at Oxford the same year – thus appearing in Oxford church records. Between 1596 and 1598 he sang in the Choir of King's College, Cambridge, where his brother Edward Gibbons (1568–1650), eldest of the four sons of William Gibbons, was master of the choristers. The second brother Ellis Gibbons (1573–1603) was also a promising composer, but died young. Orlando entered the university in 1598 and achieved the degree of Bachelor of Music in 1606. James I appointed him a Gentleman of the Chapel Royal, where he served as an organist from at least 1615 until his death. In 1623 he became senior organist at the Chapel Royal, with Thomas Tomkins as junior organist. He also held positions as keyboard player in the privy chamber of the court of Prince Charles (later King Charles I), and organist at Westminster Abbey. He died at age 41 in Canterbury of apoplexy, and a monument to him was built in Canterbury Cathedral. A suspicion immediately arose that Gibbons had died of the plague, which was rife in England that year. Two physicians who had been present at his death were ordered to make a report, and performed an autopsy, the account of which survives in The National Archives: We whose names are here underwritten: having been called to give our counsels to Mr. Orlando Gibbons; in the time of his late and sudden sickness, which we found in the beginning lethargical, or a profound sleep; out of which, we could never recover him, neither by inward nor outward medicines, & then instantly he fell in most strong, & sharp convulsions; which did wring his mouth up to his ears, & his eyes were distorted, as though they would have been thrust out of his head & then suddenly he lost both speech, sight and hearing, & so grew apoplectical & lost the whole motion of every part of his body, & so died. Then here upon (his death being so sudden) rumours were cast out that he did die of the plague, whereupon we . . . caused his body to be searched by certain women that were sworn to deliver the truth, who did affirm that they never saw a fairer corpse. Yet notwithstanding we to give full satisfaction to all did cause the skull to be opened in our presence & we carefully viewed the body, which we found also to be very clean without any show or spot of any contagious matter. In the brain we found the whole & sole cause of his sickness namely a great admirable blackness & syderation in the outside of the brain. Within the brain (being opened) there did issue out abundance of water intermixed with blood & this we affirm to be the only cause of his sudden death. His death was a shock to peers and the suddenness of his passing drew comment more for the haste of his burial – and of its location at Canterbury rather than the body being returned to London. His wife, Elizabeth, died a little over a year later, aged in her mid-30s, leaving Orlando's eldest brother, Edward, to care for the children left orphans by this event. Of these children only the eldest son, Christopher Gibbons, went on to become a musician. One of the most versatile English composers of his time, Gibbons wrote a quantity of keyboard works, around thirty fantasias for viols, a number of madrigals (the best-known being "The Silver Swan"), and many popular verse anthems. His choral music is distinguished by his complete mastery of counterpoint, combined with his wonderful gift for melody. Perhaps his most well known verse anthem is This is the record of John, which sets an Advent text for solo countertenor or tenor, alternating with full chorus. The soloist is required to demonstrate considerable technical facility at points, and the work at once expresses the rhetorical force of the text, whilst never being demonstrative or bombastic. He also produced two major settings of Evensong, the Short Service and the Second Service. The former includes a beautifully expressive Nunc dimittis, while the latter is an extended composition, combining verse and full sections. Gibbons's full anthems include the expressive O Lord, in thy wrath, and the Ascension Day anthem O clap your hands together for eight voices. He contributed six pieces to the first printed collection of keyboard music in England, Parthenia (to which he was by far the youngest of the three contributors), published in about 1611. Gibbons's surviving keyboard output comprises some 45 pieces. The polyphonic fantasia and dance forms are the best represented genres. Gibbons's writing exhibits full mastery of three- and four-part counterpoint. Most of the fantasias are complex, multisectional pieces, treating multiple subjects imitatively. Gibbons's approach to melody in both fantasias and dances features a capability for almost limitless development of simple musical ideas, on display in works such as Pavane in D minor and Lord Salisbury's Pavan and Galliard. In the 20th century, the Canadian pianist Glenn Gould championed Gibbons's music, and named him as his favorite composer. Gould wrote of Gibbons's hymns and anthems: "ever since my teen-age years this music ... has moved me more deeply than any other sound experience I can think of." In one interview, Gould compared Gibbons to Beethoven and Webern: ...despite the requisite quota of scales and shakes in such half-hearted virtuoso vehicles as the Salisbury Galliard, one is never quite able to counter the impression of music of supreme beauty that lacks its ideal means of reproduction. Like Beethoven in his last quartets, or Webern at almost any time, Gibbons is an artist of such intractable commitment that, in the keyboard field, at least, his works work better in one's memory, or on paper, than they ever can through the intercession of a sounding-board. To this day, Gibbons's obit service is commemorated every year in King's College Chapel, Cambridge. --wikipedia.org
Orlando Gibbons

Henry Thomas Smart

1813 - 1879 Person Name: Henry Thomas Smart (1813-1879) Topics: Canticles and Affirmations of Faith Composer of "HEATHLANDS" in Ancient and Modern 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
Henry Thomas Smart

Pages


Export as CSV