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Joseph Barnby

1838 - 1896 Composer of "ST. ANSELM" in Hymns of the Church Joseph Barnby (b. York, England, 1838; d. London, England, 1896) An accomplished and popular choral director in England, Barnby showed his musical genius early: he was an organist and choirmaster at the age of twelve. He became organist at St. Andrews, Wells Street, London, where he developed an outstanding choral program (at times nicknamed "the Sunday Opera"). Barnby introduced annual performances of J. S. Bach's St. John Passion in St. Anne's, Soho, and directed the first performance in an English church of the St. Matthew Passion. He was also active in regional music festivals, conducted the Royal Choral Society, and composed and edited music (mainly for Novello and Company). In 1892 he was knighted by Queen Victoria. His compositions include many anthems and service music for the Anglican liturgy, as well as 246 hymn tunes (published posthumously in 1897). He edited four hymnals, including The Hymnary (1872) and The Congregational Sunday School Hymnal (1891), and coedited The Cathedral Psalter (1873). Bert Polman

Johann Hermann Schein

1586 - 1630 Person Name: J. Hermann Composer (Attributed to) of "MUNICH" in Hymns and Chorales Schein, Johann Hermann, son of Hieronymus Schein, pastor at Griinhain, near Annaberg, in Saxony, was born at Grünhain, Jan. 20,1586. He matriculated at the University of Leipzig in 1607, and studied there for four years. Thereafter he acted for some time as a private tutor, including two years with a family at Weissenfels. On May 21, 1615, he was appointed Capellmeister, at the court of Duke Johann Ernst, of Sachse-Weimar; and in 1616 he became cantor of I3t. Thomas's Church, and music director at Leipzig, in succession to Seth Calvisius (d. Nov. 24, 1615). This post he held till his death, at Leipzig, Nov. 19, 1630. Schein was one of the most distinguished musicians of his time, both as an original composer, and as a harmoniser of the works of others. As a hymnwriter he was not so prolific, or so noteworthy. Most of his hymns were written on the deaths of his children or friends, e.g. on seven of his children, and on his first wife. They appeared mostly in broadsheet form, and were included, along with his original melodies, in his Cantional oder Gesang-Buch Augspurgischer Confession, Leipzig, 1627; 2nd ed., 1645. [Both in Wernigerode Library.] Those of Schein's hymns which have passed into English are:— i. Machs mit mir, Gott, nach deiner Güt. For the Dying. First published, as a broadsheet, at Leipzig, 1628, as a Trost-Liedlein á 5 (i.e. for 5 voices), &c. [Berlin Library.] The words, the melody, and the five-part setting, are all by Schein. It was written for, and first used at, the funeral, on Dec. 15, 1628, of Margarita, wife of Caspar Werner, a builder and town councillor at Leipzig, and a churchwarden of St. Thomas's. It is in 6 stanzas of 6 lines; the initial letters of 11. 1, 3, in st. i.-iv., forming the name Margarita; and the W of st. v. 1. 1 standing for Werner. In Schein's Cantional, 1645, No. 303 (marked as Trost-Liedlein, Joh. Herm. Scheins, á 5), and later hymn-books, as e.g. the Unverfäschter Liedersegen, 1851, No. 830, st. vi. was omitted. It is Schein's finest production, and one of the best German hymns for the sick and dying. Translated as:— Deal with me, God, in mercy now. This is a good and full translation by Miss Winkworth, in her Chorale Book for England, 1863, No. 191, set to Schein's melody of 1628. ii. Mein Gott und Herr, ach sei nicht fern. For the Dying. First published, with his name, in his Cantional, 1627, No. 262, in 9 stanzas of 6 lines. The initial letters of the stanzas give the name Margarita, probably one of the daughters who predeceased him. It is included, in 5 st., in the 164-8, and later eds., of Crüger's Praxis. The translation in common use is:— My Lord and God, go not away. A good tr. of st. i., ii., iv., v., vii., by A. T. Russell, as No. 254, in his Psalms & Hymns, 1851. [Rev. James Mearns, M.A.] --Excerpts from John Julian, Dictionary of Hymnology (1907)

Johann Gottfried Hermann

1707 - 1791 Person Name: Johann Hermann Composer of "MUNICH" in The Scottish Hymnal Herrmann, Johann Gottfried, D.D., son of Gottfried Herrmann, pastor at Altjessnitz, near Bitterfeld, Saxony, was born at Altjessnitz, Oct. 12, 1707. After studying at the University of Leipzig (M.A. in 1731), he was appointed in 1731 diaconus at Ranis, near Neustadt on the Orla; in 1734 diaconus at Pegau, near Leipzig; in 1738 superintendent at Plauen; and in 1746 chief Court preacher at Dresden, and oberconsistorialrath. He died at Dresden, July 30, 1791 (Koch, v. 503-505). The only hymn by him translated into English appeared in the Privilegirte neue und vollständige Voigtländische Gesang Buch, Plauen, 1742, which he edited while Superintendent at Plauen. It is: Gent hin, ihr glaubigen Gedanken. The Love of God. A fine hymn, founded on Eph. i. 3-12, on Faith produced and nourished by the everlasting love of God. 1st pub. 1742 as above (ed. 1751, No. 843), in 14 stanzas of 6 lines, entitled "On the Everlasting Love of God." Included as No. 413 in the Unverfälschter Liedersegen 1851. The only translation in common use is:— On wings of faith, ye thoughts, fly hence. A good tr., omitting stanza viii., by Miss Winkworth, in the 1st Ser. of her Lyra Germanica, 1855, p. 121. Her translation of lines 1-4 of stanzas v., xii., x., xi. beginning "Ah! happy hours! whene'er upsprings," with a 5th stanza not from Herrmann, added to complete the hymn, were included as No. 646 in the American Sabbath Hymn Book 1858. Another arrangement, consisting of lines 1-4 of stanzas ii.-iv., vii., xiii., appeared as No. 233 in the Sabbath Hymn Book, 1858, and is repeated in several American collections. It begins:—"Ere earth's foundations yet were laid." [Rev. James Mearns, M.A.] -- John Julian, Dictionary of Hymnology

J. W. Elliott

1833 - 1915 Composer of "DAY OF REST" in The Presbyterian Book of Praise J.W. Elliott was a popular composer of the Victorian period, and is best known for his nursery rhyme music and for his work on hymnals in the 1870s. He was born James William Elliott, in Warwick, England, on February 13, 1833. As a child, he sang as a chorister in the Leamington Parish Church. In those days, choristers were given lessons in all facets of church music, including organ lessons, counterpoint studies, and more in exchange for providing an extraordinary level of service to their parish church (services throughout the week, all holidays, extra services, etc.). The result is that most choristers who completed their studies received an excellent music education, and James was no exception. After starting his career as an organist and choirmaster for a countryside church, his talent became obvious. He moved to London, where he assisted Sir Arthur Sullivan (of Gilbert and Sullivan fame) in editing Church Hymns. In addition, James worked for a music publisher. His compositions include two operettas, numerous anthems, service music, works for instruments including the very popular harmonium, and most particularly for Nursery Rhymes and Nursery Songs, his children’s music score that sets many of the Nursery Rhymes to delightful music. Several of his hymn tunes are still in use today in many hymnals, most notably his hymn tune “Day of Rest.” He was heavily involved in the preparation of the musical edition of Church Hymns in 1874, the Choral Service Book of 1892, and transcriptions of hymn tunes using harmonies different than the traditional ones found in hymnals. He died in St. Marylebone, London, on February 5, 1915. --www.nursery-songs.com/

James Walch

1837 - 1901 Composer of "ST. GEORGE'S BOLTON" in The Pilgrim Hymnal James Walch was a musician and composer, born near Bolton, Lancashire, England in 1837. He spent his early life in the town and was organist in several churches there, including the parish church of St George’s. From 1870-1877, he was conductor for the Bolton Philharmonic Society. He also composed at least four published hymn tunes, the best known of which is called “Tidings”. Written in 1875, it’s usually used as the tune to a hymn called “O Zion Haste”. James Walch was a musical instrument dealer by trade, and moved to Barrow-in-Furness in 1877. He later moved to Llandudno Junction in North Wales, where he died in August 1901 and was buried locally. His wife later donated money to pay for the organs in two local churches, St Paul's Llandudno and All Saints Deganwy, in his memory. Three decades later, an article in the London Gazette reported on a dispute arising from his will, and mentioned that he had a son, Harry West Walch, who was a pianist and lived in Hereford. St Paul's Church, Llandudno newsletter; used by permission of Christ Dearden (Walch's wife paid for the organ at St. Paul's Church)

Samuel Smith

1821 - 1917 Composer of "[For thee, O dear, dear country]" in The Hymnal, Revised and Enlarged, as adopted by the General Convention of the Protestant Episcopal Church in the United States of America in the year of our Lord 1892

William Lloyd

1786 - 1852 Composer of "MEIRIONYDD" in The Hymnal of the Protestant Episcopal Church in the United States of America 1940 William Lloyd, a Welsh musician and music teacher, born at Rhos-goch , Llaniestyn , Llŷn , in 1786; died, according to his tombstone in Llaniestyn churchyard, on 7 June 1852 , aged 66. He is most known for his tune MEIRIONYDD. It was published under the name "BERTH" in Caniadaeth Seion ( 1840 ) published by Richard Mills. Dianne Shapiro, from Dictionary of Welsh Biography, accessed 11-8-2018 from http://wbo.llgc.org.uk

Chrétien Urhan

1790 - 1845 Person Name: Cretien D'Urhan Composer of "RUTHERFORD" in The Methodist Hymnal Chrétien Urhan (Baptised as Christian Urhan; 16 February 1790, Montjoie - 2 November 1845, Belleville) was a French violinist, organist, composer and player of the viola and the viola d'amore. His father first introduced him to the violin. He was first mentioned in 1804 by Joséphine de Beauharnais that he had replaced a violinist for a performance of Haydn's The Creation, at the young age of 14. From there he was sent to work in Paris, where he took instruction from Jean-François Lesueur, master of the chapel of the Tuileries. He also learned from prominent teachers such as François-Antoine Habeneck, Rodolphe Kreutzer and Pierre Rode. He was invited to join the imperial chapel as a violinist in 1810. In this period the young Urhan shared lodgings with his friends the harpist Franz Anton Stockhausen (father of Julius Stockhausen) and the painter Carl Begas the elder (who was studying with Antoine Jean Gros, 1813-15). In 1815, through a Quartermaster in the Prussian army of occupation, Urhan and Stockhausen (who corresponded with Beethoven) obtained a score of Beethoven's Eroica Symphony and set it before Habeneck, with the result that the work was introduced to Paris. The two were among Amis de Beethoven, or Beethoven-Bruder in Paris, together with Wilhelm Mangold and others. In the early 1820s the violinist Sina, a member of the string quartet led by Schuppanzigh for Andreas Razumovsky, with Urhan gave new encouragement to Habeneck to continue with the master's works. Until Stockhausen's marriage to the singer Margarethe Schmuck, a member of their circle, in 1825, he lived with Urhan, who remained a lifelong friend. In 1816, Urhan was appointed solo viola at the Opéra de Paris, and became solo violinist in 1825. Strongly Catholic, he was also appointed the organist at the Church of Saint-Vincent-de-Paul in Paris in 1827, a position that he held until his death. In this position he met the young Franz Liszt, with whom he played chamber music, and also the Beethoven Kreutzer Sonata in a mass. A number of composers wrote prominent parts for Urhan. Meyerbeer composed for him solo viola and solo viola d'amore parts in his opera Les Huguenots, and Rudolph Kreutzer, the solo viola d'amore part in his opera Le Paradis de Mahomet. In 1834, Berlioz wrote his Harold en Italie for orchestra with viola obbligato at the request of Niccolò Paganini, who refused to play the work. Berlioz offered the solo viola part to Urhan and the premiere was given on 23 November 1834 at the Paris Conservatory. According to Ernest Legouvé, he was both entirely religious and entirely devoted to music. He lived like a medieval ascetic, abstaining from almost everything except his daily visit to the Café des Anglais. His love for theatre music created a severe inner conflict, which he overcame by asking the permission of the Archbishop to play in the orchestra of the Opéra (of which he was Leader), being told it was a matter for his own conscience. He accepted this by always being seated with his back to the stage, so that he never saw the singers or dancers for whom he played, even when providing solo accompaniment for a dancer. Legouvé thought there were several greater violin virtuousi in Paris than Urhan, but that he outshone them through his profound knowledge of the masters and respect for their music, and through the indefinable quality of style which he brought to them. He often differed with Habeneck, when the conductor wanted to make cuts, and actually published and signed an article against Habeneck when he withdrew some double-basses from Beethoven's Choral Symphony. He did not merely guard the reputation of the old masters, but he was also a fierce advocate and defender of the new, and of those of the future. He was the first to introduce a song of Schubert's into France ('L'Adieu'). For Legouvé, to see him play was like watching Fra Angelico painting in his cell, a medieval mystic at work. The Stockhausens visited Urhan in his fifth-floor Paris apartment in 1839, and found him living in great simplicity in two rooms, with a piano and five stools in his bedroom, where they sat and were made very welcome. In 1843 Urhan encouraged their son Julius while he was in Paris. In November 1845 Julius wrote to inform his parents of Urhan's death. He had been living in pitiable conditions in Belleville, and began to refuse his food: thoughts of suicide made him resolve to starve himself to death. He suffered agonies of pain and descended into a frenzy, giving terrible grief to his friends, none of whom could talk him out of it. All interventions failed, and Urhan, whom the Stockhausen and Legentil families considered their dear friend, and who had formerly taken communion every Sunday, lost his faith in God and his desire for life. Thus he died, quietly at last with friends at his bedside, on 2 November 1845. --en.wikipedia.org/wiki/ (excerpts)

Bernard of Morlas

Person Name: Bernard of Morlaix Author of "For thee, O dear, dear country" in The Harvard University Hymn Book See Bernard of Cluny

Timothy R. Matthews

1826 - 1910 Person Name: Rev. T. R. Matthews, B. A. Composer of "CHENIES" in The Scottish Hymnal Timothy Richard Matthews MusB United Kingdom 1826-1910. Born at Colmworth, England, son of the Colmworth rector, he attended the Bedford and Gonville Schools and Caius College, Cambridge. In 1853 he became a private tutor to the family of Rev Lord Wriothesley Russell, a canon of St. George’s Chapel, Windsor Castle, where he studied under organist, George Elvey, subsequently a lifelong friend. He married Margaret Mary Thompson, and they had 11 children: Norton, Mary, George, Cecil, Evelyn, Eleanor, Anne, Arthur, Wilfred, Stephen, and John. Matthews served as Curate and Curate-in-Charge of St Mary’s Church, Nottingham (1853-1869). While there, he founded the Nottingham Working Men’s Institute. He became Rector at North Coates, Lincolnshire (1869-1907). He retired in 1907 to live with his eldest son, Norton, at Tetney vicarage. He edited the “North Coates supplemental tune book” and “Village organist”. An author, arranger, and editor, he composed morning and evening services, chants, and responses, earning a reputation for simple but effective hymn tunes, writing 100+. On a request he wrote six tunes for a children’s hymnal in one day. He composed a Christmas carol and a few songs. His sons, Norton, and Arthur, were also known as hymn tune composers. He died at Tetney, Lincolnshire, England. John Perry