Person Results

Switch back to the old search page.Advanced Search

Showing 11 - 20 of 22Results Per Page: 10 20 50

Christian Friedrich Witt

1660 - 1717 Person Name: C. F. Witt, d. 1716 Composer of "STUTTGART" in Hymnal and Liturgies of the Moravian Church Christian F. Witt (b. Altenburg, Germany, d. 1660; d. Altenburg, 1716) was an editor and compiler of Psalmodia Sacra (1715); about 100 (of the 774) tunes in that collection are considered to be composed by him, including STUTTGART, which was set to the text "Sollt' es gleich." Witt was chamber organist and later Kapellmeister at the Gotha court. He composed vocal and instrumental music, including some sixty-five cantatas. Bert Polman

George M. Garrett

1834 - 1897 Person Name: G. M. Garrett, Mus. Doc. Composer of "[Hear our prayer, O Heavenly Father]" 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 Born: June 8, 1834, Winchester, Hampshire, England. Died: April 9, 1897, Cambridge, England. Buried: Cambridge Mill Road Cemetery, Cambridge, England

Charles John Dickinson

1822 - 1883 Person Name: Rev. C. J. Dickinson Composer of "AGAPÉ" in The Book of Common Praise Dickinson issued a collection of his own tunes in 1861, and contributed five tunes to The Irish Hymnal. The 1881 census lists him as Vicar of Bodmin, Cornwall. --www.hymntime.com/tch/

E. Aubrey Young

Composer of "GENTLE SHEPHERD" in Hymns of the Ages

Darius E. Jones

1815 - 1881 Person Name: Rev. Darius Eliot Jones (1815-1861) Composer of "STOCKWELL" in Carmina Sanctorum

W. S. Rockstro

1823 - 1895 Arranger of "OMNI DIE" in The Book of Common Praise William Rockstro (Composer, Arranger) Born: January 5, 1823 - North Cheam, Surrey (baptisized at Modern Church), England Died: July 2, 1895 - London, England The English composer and writer on music, William Smith [Smyth] Rockstro (originally: Rackstraw), was distinguished as a student of modal music and an important contributor to the Grove’s Dictionary of Music and Musicians. The form of his surname by which he was known was an older style resumed after 1846. He was successively pupil of John Purkis, the blind organist, of Sterndale Bennett, and at the Leipzig Conservatorium, where he studied from I845 to 1846. He enjoyed the special friendship and tuition of Felix Mendelssohn, and was with Moritz Hauptmann for theory and with Plaidy for pianoforte. For some years after his return to England, William Rockstro was active as a teacher and performer in London, being regular accompanist at the 'Wednesday concerts,' where Braham and other eminent singers were to be heard. At this period he wrote his most popular and beautiful song, Queen and huntress; and his pianoforte editions of classical and other operas led the way in popularising that class of music in an available form for the use of those who could not read full scores; and in his indications of the orchestral instruments above the music-staves he did much to point the way towards a general appreciation of orchestral colour. In the early 1860's he left London for Torquay on account of his mother's health and his own, and on her death in 1876 he became a Roman Catholic. William Rockstro had been organist and honorary precentor at All Saints' Church, Babbacombe, from 1867, and won a high position as a teacher. Re published, with T. F. Ravenshaw, a Festival Psalter, adapted to the Gregorian Tones, in 1863, and Accompanying Harmonies to the Ferial Psalter in 1869. These were the first fruits of his assiduous study of ancient music, on which he became the first authority of his time in England. A couple of textbooks on harmony (1881) and counterpoint (1882) had a great success, and in the latter part of the first edition of the Grove’s Dictionary of Music and Musicians he wrote a large number of articles on musical archaeology generally. Later research has superseded his, but at the time he wrote, his contributions to such subjects as the music of the period which closed in 1600 were important. He was too ardent a partisan to be an ideal historian, but his History of Music for Young Students (1879) and his larger work, A General History of Music (1886), contain much that is of permanent value. His Life of Handel (1883) and Mendelssohn (1884) are fine examples of eulogistic biography, though they are hardly to be recommended as embodying a calmly critical estimate of either composer. In his larger History he showed that he was, nevertheless, not above owning himself in the wrong, and his recantation of certain excessive opinions expressed by him in the Dictionary against Wagner's later works was due to true moral courage. He conducted a concert of sacred music of the 16th and 17th centuries at the Inventions Exhibition of 1885, and in 1891 gave up Torquay for London, giving lectures at the Royal Academy of Music and Royal College of Music, and holding a class to counterpoint and plain-song at the latter institution. As a singing-master and teacher of the pianoforte his method of imparting instruction was remarkably successful. As a composer, William Rockstro never quite freed himself from the powerful influences engendered by his studies: the lovely madrigal, "O too cruel fair," was judged unworthy of a prize by the Madrigal Society on the ground that it was modelled too closely on Giovanni Pierluigi da Palestrina; and his oratorio, The Good Shepherd, produced at the Gloucester Festival of 1886 under his own direction, was found to bear too many traces of Mendelssohnian influence to deserve success. In 1891 he collaborated with Canon Scott Holland in writing the life of his old friend, Jenny Lind-Goldschmidt; an abbreviated edition came out in 1863, and with Otto Goldschmidt he wrote still a shorter book, Jenny Lind, her Vocal Art and Culture (partly reprinted from the biography). For many years his health had been bad, and he had many adverse circumstances to contend with. He fought bravely for all that he held best in art, and boundless enthusiasm carried him through. Source: Grove’s Dictionary of Music and Musicians (1952 Edition; Author: J.A. Fuller Maitland; revised: H.C. Colles) Contributed by Aryeh Oron (July 2007) --www.bach-cantatas.com/Lib/

A. Herbert Brewer

1865 - 1928 Person Name: A. H. Brewer, b. 1865 Composer of "ODDE" in Church Hymns

C. B.

Harmonizer of "[Hear my prayer, O heavenly Father]" in The Praise Book

Frank L. Armstrong

Person Name: F. L. Armstrong Composer of "[Hear my prayer, O Heavenly Father]" in Exalted Praise

L. O. Emerson

1820 - 1915 Composer of "GOODWELL" in Book of Worship Luther Orlando Emerson was born at Parsonsfield, Maine, August 3, 1820. He descended from distinguished English ancestry. His parents were quite musical, and while the family circle were together, they had a choir and orchestra of their own. The father played the violoncello, the mother was an excellent singer, the flute and violin added their sweet tones, till the quiet homestead rang with melody. Mr. Emerson's education was obtained at the district school, Parsonsfield Seminary and Effingham Academy. He was full of energy, quick and versatile, an apt scholar, and with a view to entering the profession of medicine he entered Dracut Academy, Mass. But his great love for music swerved him from that course, and now, having far better opportunities for cultivating and enjoying this taste and ability, he soon determined upon music as the profession of his choice. He accordingly commenced a course of musical instruction under the late I. B. Woodbury, then a popular teacher of music. After several years of study on the voice, piano, organ and in harmony, Mr. Emerson went to Salem, Mass., began teaching, and took charge of his first choir at a salary of one hundred dollars per year. Here he commenced the composition of music for his own choir, whiich was so popular with its members and the congregation, that Mr. Emerson was encouraged to seek a larger hearing by publishing a collection of church music. Among the tunes was that of Sessions, named after his pastor, which was destined to have a perennial popularity, and is often used in worship in the place of Old Hundred, for the Doxology. At the great Peace Jubilee it was received with applause when sung by a chorus of ten thousand voices, accompanied by an orchestra of two hundred instruments and a great pipe organ. The effect was sublime beyond expression. In 1847 occurred the marriage of Mr. Emerson to Miss Mary Gore, daughter of a prominent Boston merchant. She was a lady of much musical taste and ability. In 1853 he decided to make an effort to put his music before the public, and accordingly went to Boston in search of a publisher. Like most young and unknown authors, he met with but little encouragement, but finally found a publisher in the person of Mr. B. B. Muzzy. Thus was the Romberg Collection published. The book was not pushed — hence it found no market. After a residence of eight years in Salem, Mr. Emerson removed to Boston, accepting the position of organist and musical director at the Bulfinch Street Church, then under the pastoral care of Rev. Wm. R. Alger, which he filled for four years. He eagerly improved the rare means of culture which were once more enjoyed, meanwhile teaching and composing music. In 1857 he formed the connection with Oliver Ditson Company, of Boston, of author and publisher, which has continued to the present time with but one interruption (a single volume brought out by another firm), the Golden Wreath, which at once became popular, and sold forty thousand during the first year, this being the initial volume in the long series since brought out by these publishers. In 1858 came the Golden Harp, which was also a success. These successes gave him not only encouragement, but reputation. Mr. Emerson now entered upon a career of usefulness and popularity for which he had been preparing during the years of self-denying struggle and discipline. He was called to take charge of the music in the Second Congregational Church, Greenfield, Mass., and also of the musical department of Power's Institute, at Bernardston. Amid nature's most beautiful surroundings, he had a quiet retreat for the pursuit of his true vocation, the composition of church music. The first fruit of his genius here was the Sabbath Harmony, in 1860. This book was also a success. In 1863 followed the Harp of Judah, which had the remarkable sale of nearly fifty thousand copies in the first three months. This book probably gave Mr. Emerson his preeminence as a composer of church music, containing as it did his anthem, Guide Me, O Thou Great Jehovah, and many of his finest compositions. Having declined the solicitations of Dr. Lowell Mason to become his associate in music, Mr. Emerson started forth on his own plans, and attained the highest rank among those who loved the pure and beautiful in song. Mr. W. S. B. Mathews, a musical critic, pronounces him the best melodist of all the psalmodic writers. In 1866 the equally successful Jubilate appeared, followed by the Choral Tribute, the Standard and the Leader. In the last two Dr. I. R. Pahner was associated with him. Later on came the Salutation, Voice of Worship, Herald of Praise, etc. The diligence with which Mr. Emerson plied his pen can be estimated when one recalls the fact that he has made seventy-two collections of music, embracing music for churches, singing schools, public schools, choral societies and conventions, instruction books for voice, organ, etc. He has also composed and published scores of songs, quartets and instrumental pieces. The great amount of work this represents can only be appreciated by those who have undertaken similar labors. Some years ago the degree of Doctor of Music was conferred upon Professor Emerson by the Faculty of Findlay College, Findlay, Ohio. For many years past. Dr. Emerson has devoted his energies to the grand purpose of elevating the general character of music in our churches, and thus largely advancing the interests of true worship. He places great stress upon the mission of church music. He regards sacred music as the best expression of devotional feeling that exists. He looks upon sacred song as prayer, and believes that it inspires and intensifies prayer. With this view he has taken an active and prominent part in musical festivals and conventions, of which he has conducted over three hundred throughout the United States and Canada. As a conductor, he stands in the front rank. As a teacher. Dr. Emerson has an exceedingly happy faculty of imparting in a concise manner to his classes. His very pleasing address enables him to command the undivided attention of his pupils. As a singer, he has always held high rank, and has sung much in public. His voice is a baritone of great compass, and quite powerful. As a lecturer upon music, Dr. Emerson has attracted much attention. His most popular lecture is entitled The World of Music, in which he traces its origin and progress, and gives some excellent traits of the lives of the great composers. In this lecture he also shows the design of music, and how it has been prized in every age of the world, among all nations — its power in the Church and State, and the need of its influence in the family — in joy and sorrow — for this life and the life to come. -Biography of Gospel Song and Hymn Writers