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Anonymous

Person Name: Unknown Composer of "[Blessed are the poor in spirit]" in Children's Praise No. 1 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.

Richard Proulx

1937 - 2010 Person Name: Richard Proulx, b. 1937 Arranger of "BEATITUDES (Proulx)" in The Hymnal 1982 Richard Proulx (b. St. Paul, MN, April 3, 1937; d. Chicago, IL, February 18, 2010). A composer, conductor, and teacher, Proulx was director of music at the Holy Name Cathedral in Chicago, Illinois (1980-1997); before that he was organist and choirmaster at St. Thomas' Episcopal Church in Seattle, Washington. He contributed his expertise to the Roman Catholic Worship III (1986), The Episcopal Hymnal 1982, The United Methodist Hymnal (1989), and the ecumenical A New Hymnal for Colleges and Schools (1992). He was educated at the University of Minnesota, MacPhail College of Music in Minneapolis, Minnesota, St. John's Abbey in Collegeville, Minnesota, and the Royal School of Church Music in England. He composed more than 250 works. Bert Polman

E. J. Hopkins

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

F. E. Belden

1858 - 1945 Composer of "MOUNT OLIVE" in Christ in Song Belden was born in Battle Creek, Michigan in 1858. He began writing music in his late teenage years after moving to California with his family. For health reasons he later moved to Colorado. He returned to Battle Creek with his wife in the early 1880s, and there he became involved in Adventist Church publishing. F. E. Belden wrote many hymn tunes, gospel songs, and related texts in the early years of the Seventh-day Adventist Church. Belden was able to rapidly write both music and poetry together which enabled him to write a song to fit a sermon while it was still being delivered. He also wrote songs for evangelist Billy Sunday. Though Belden’s later years were marred by misunderstandings with the church leadership over his royalties, he did donate his papers and manuscripts to the church’s seminary at his death. He died on December 2, 1945 in Battle Creek, Michigan. N.N., Hymnary. Source: http://www.hymntime.com/tch/bio/b/e/l/belden_fe.htm

Charles F. Gounod

1818 - 1893 Person Name: Gounod Composer of "[Blessed are the poor in spirit]" in Hymnal Amore Dei Charles F. Gounod (b. Paris, France, 1818; d. St. Cloud, France, 1893) was taught initially by his pianist mother. Later he studied at the Paris Conservatory, won the "Grand Prix de Rome" in 1839, and continued his musical training in Vienna, Berlin, and Leipzig. Though probably most famous for his opera Faust (1859) and other instrumental music (including his Meditation sur le Prelude de Bach, to which someone added the Ave Maria text for soprano solo), Gounod also composed church music-four Masses, three Requiems, and a Magnificat. His smaller works for church use were published as Chants Sacres. When he lived in England (1870-1875), Gounod became familiar with British cathedral music and served as conductor of what later became the Royal Choral Society. Bert Polman

James Turle

1802 - 1882 Person Name: James Turle, d. 1882 Composer of "[Blessed are the poor in spirit]" in The Lutheran Hymnal TURLE, JAMES (1802–1882), organist and composer, son of James Turle, an amateur 'cello-player, was born at Taunton, Somerset, on 5 March 1802. From July 1810 to December 1813 he was a chorister at Wells Cathedral under Dodd Perkins, the organist. At the age of eleven he came to London, and was articled to John Jeremiah Goss, but he was largely self-taught. He had an excellent voice and frequently sang in public. John Goss [q. v.], his master's nephew, was his fellow student, and thus the future organists of St. Paul's Cathedral and Westminster Abbey were pupils together. Turle was organist of Christ Church, Surrey (Blackfriars Road), 1819–1829, and of St. James's, Bermondsey, 1829–31. His connection with Westminster Abbey began in 1817, when he was only fifteen. He was at first pupil of and assistant to G. E. Williams, and subsequently deputy to Thomas Greatorex [q. v.], Williams's successor as organist of the abbey. On the death of Greatorex on 18 July 1831, Turle was appointed organist and master of the choristers, an office which he held for a period of fifty-one years. Turle played at several of the great musical festivals, e.g. Birmingham and Norwich, under Mendelssohn and Spohr, but all his interests were centred in Westminster Abbey. His playing at the Handel festival in 1834 attracted special attention. At his own request the dean and chapter relieved him of the active duties of his post on 26 Sept. 1875, when his service in D was sung, and Dr. (now Professor Sir John Frederick) Bridge, the present organist, became permanent deputy-organist. Turle continued to hold the titular appointment till his death, which took place at his house in the Cloisters on 28 June 1882. The dean offered a burial-place within the precincts of the abbey, but he was interred by his own express wish beside his wife in Norwood cemetery. A memorial window, in which are portraits of Turle and his wife, was placed in the north aisle of the abbey by one of his sons, and a memorial tablet has been affixed to the wall of the west cloister. Turle married, in 1823, Mary, daughter of Andrew Honey, of the exchequer office. She died in 1869, leaving nine children. Henry Frederic Turle [q. v.] was his fourth son. His younger brother Robert was for many years organist of Armagh Cathedral. Turle was an able organist of the old school, which treated the organ as essentially a legato instrument. He favoured full ‘rolling’ chords, which had a remarkable effect on the vast reverberating space of the abbey. He had a large hand, and his ‘peculiar grip’ of the instrument was a noticeable feature of his playing. His accompaniments were largely traditional of all that was best in his distinguished predecessors, and he greatly excelled in his extemporaneous introductions to the anthems. Like Goss, he possessed great facility in reading from a ‘figured bass.’ Of the many choristers who passed through his hands, one of the most distinguished is Mr. Edward Lloyd, the eminent tenor singer. His compositions include services, anthems, chants, and hymn-tunes. Several glees remain in manuscript. In conjunction with Professor Edward Taylor [q. v.] he edited ‘The People's Music Book’ (1844), and ‘Psalms and Hymns’ (S. P. C. K. 1862). His hymn-tunes were collected by his daughter, Miss S. A. Turle, and published in one volume (1885). One of these, ‘Westminster,’ formerly named ‘Birmingham,’ has become widely known, and is very characteristic of its composer. --en.wikisource.org/

George M. Garrett

1834 - 1897 Person Name: George W. Garrett (1834-1897) Composer of "BEATITUDES" in Hymns for the Living Age Born: June 8, 1834, Winchester, Hampshire, England. Died: April 9, 1897, Cambridge, England. Buried: Cambridge Mill Road Cemetery, Cambridge, England

William Hayes

1706 - 1777 Person Name: Hayes Composer of "[Blessed are the poor in spirit]" in Songs for the Lord's House William Hayes (26 January 1708 (baptised) – 27 July 1777) was an English composer, organist, singer and conductor. Hayes was born in Gloucester. He trained at Gloucester Cathedral and spent the early part of his working life as organist of St Mary’s, Shrewsbury (1729) and Worcester Cathedral (1731). The majority of his career was spent at Oxford where he was appointed organist of Magdalen College in 1734, and established his credentials with the degrees of B.Mus in 1735 and D.Mus in 1749. (He was painted by John Cornish in his doctoral robes around 1749.) In 1741 he was unanimously elected Professor of Music and organist of the University Church. He presided over the city’s concert life for the next 30 years, and was instrumental in the building of the Holywell Music Room in Oxford in 1748, the oldest purpose-built music room in Europe. He was one of the earliest members of the Royal Society of Musicians, and in 1765 was elected a ‘privileged member’ of the Noblemen’s and Gentlemen’s Catch Club. He died in Oxford, aged 69. William Hayes was an enthusiastic Handelian, and one of the most active conductors of his oratorios and other large-scale works outside London. His wide knowledge of Handel left a strong impression on his own music, but by no means dominated it. As a composer he tended towards genres largely ignored by Handel—English chamber cantatas, organ-accompanied anthems and convivial vocal music—and his vocal works show an English preference for non-da capo aria forms. Hayes also cultivated a self-consciously ‘learned’ polyphonic style (perhaps inspired by his antiquarian interests) which can be seen in his many canons, full-anthems, and the strict fugal movements of his instrumental works. Nevertheless, several of his late trio sonatas show that he was not deaf to newly emerging Classical styles. Although he published virtually none of his instrumental music, his vocal works were extremely popular, and the printed editions were subscribed to by large numbers of amateur and professional musicians. Substantial works like his ode The Passions, the one-act oratorio The Fall of Jericho, and his Six Cantatas demonstrate that Hayes was one of the finest English composers of the eighteenth century. As a writer, his Art of Composing Music includes the first published description of aleatoric composition—music composed by chance—albeit deliberately satirical in intent. In his Remarks he reveals much about his aesthetic outlook: in particular that he valued the music of Handel and Corelli over that of Rameau, Benedetto Marcello and Geminiani. Finally, the Anecdotes offer insights into the organization of provincial music festivals in the mid-eighteenth century. Hayes bequeathed his important and wide-ranging music library to his son Philip Hayes; the manuscripts of both father and son eventually passed to the Bodleian Library, Oxford, in 1801. Sacred works The Fall of Jericho, oratorio, c. 1740–50 Sixteen Psalms (London, 1773) David, oratorio, completed by Philip Hayes around 20 anthems and service music, in Cathedral Music in Score, edited by Philip Hayes (Oxford, 1795) --en.wikipedia.org/wiki