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John Bacchus Dykes

1823 - 1876 Person Name: John Bacchus Dykes, 1823 - 1876 Composer of "ST. AGNES, DURHAM" in The Hymnary for use in Baptist churches As a young child John Bacchus Dykes (b. Kingston-upon-Hull' England, 1823; d. Ticehurst, Sussex, England, 1876) took violin and piano lessons. At the age of ten he became the organist of St. John's in Hull, where his grandfather was vicar. After receiving a classics degree from St. Catherine College, Cambridge, England, he was ordained in the Church of England in 1847. In 1849 he became the precentor and choir director at Durham Cathedral, where he introduced reforms in the choir by insisting on consistent attendance, increasing rehearsals, and initiating music festivals. He served the parish of St. Oswald in Durham from 1862 until the year of his death. To the chagrin of his bishop, Dykes favored the high church practices associated with the Oxford Movement (choir robes, incense, and the like). A number of his three hundred hymn tunes are still respected as durable examples of Victorian hymnody. Most of his tunes were first published in Chope's Congregational Hymn and Tune Book (1857) and in early editions of the famous British hymnal, Hymns Ancient and Modern. Bert Polman

Thomas Tallis

1505 - 1585 Person Name: T. Tallis Composer of "TALLIS'S ORDINAL" in Worship Song Thomas Tallis (b. Leicestershire [?], England, c. 1505; d. Greenwich, Kent, England 1585) was one of the few Tudor musicians who served during the reigns of Henry VIII: Edward VI, Mary, and Elizabeth I and managed to remain in the good favor of both Catholic and Protestant monarchs. He was court organist and composer from 1543 until his death, composing music for Roman Catholic masses and Anglican liturgies (depending on the monarch). With William Byrd, Tallis also enjoyed a long-term monopoly on music printing. Prior to his court connections Tallis had served at Waltham Abbey and Canterbury Cathedral. He composed mostly church music, including Latin motets, English anthems, settings of the liturgy, magnificats, and two sets of lamentations. His most extensive contrapuntal work was the choral composition, "Spem in alium," a work in forty parts for eight five-voice choirs. He also provided nine modal psalm tunes for Matthew Parker's Psalter (c. 1561). Bert Polman

Samuel Webbe

1740 - 1816 Person Name: S. Webbe Composer of "BELMONT" in The Coronation Hymnal Samuel Webbe (the elder; b. London, England, 1740; d. London, 1816) Webbe's father died soon after Samuel was born without providing financial security for the family. Thus Webbe received little education and was apprenticed to a cabinetmaker at the age of eleven. However, he was determined to study and taught himself Latin, Greek, Hebrew, French, German, and Italian while working on his apprenticeship. He also worked as a music copyist and received musical training from Carl Barbant, organist at the Bavarian Embassy. Restricted at this time in England, Roman Catholic worship was freely permitted in the foreign embassies. Because Webbe was Roman Catholic, he became organist at the Portuguese Chapel and later at the Sardinian and Spanish chapels in their respective embassies. He wrote much music for Roman Catholic services and composed hymn tunes, motets, and madrigals. Webbe is considered an outstanding composer of glees and catches, as is evident in his nine published collections of these smaller choral works. He also published A Collection of Sacred Music (c. 1790), A Collection of Masses for Small Choirs (1792), and, with his son Samuel (the younger), Antiphons in Six Books of Anthems (1818). Bert Polman

Johann Caspar Lavater

1741 - 1801 Person Name: Johann Caspar Lavater, 1741 - 1801 Author of "O Jesus Christ, grow Thou in me" in The Hymnary for use in Baptist churches Lavater, Johann Caspar, son of Johann Heinrich Lavater, physician in Zürich, was born at Zürich, Nov. 15, 1741. He entered the Academic Gymnasium at Zürich in 1758, and in the end of 1759 began his studies in its theological department. After completing his course he was ordained in the spring of 1762, but did not undertake any regular clerical work till April 1769, when he was appointed diaconus of the Orphanage church at Zürich, where he became pastor in 1775. In July 1778 he was appointed diaconus of St. Peter's church, and in Dec. 1786 pastor there. When, during the Revolutionary period, the French laid the Swiss Cantons under contribution, and then in April 1799 deported ten of the principal citizens of Zürich, Lavater felt compelled to protest in the pulpit and in print. Consequently while on a visit to Baden, near Zürich, he was seized by French dragoons, May 14, 1799, and taken to Basel, but was allowed to return to Zürich, Aug. 16, 1799. When on Sept. 25, 1799, the French under Massena entered Zürich, Lavater was treacherously shot through the body by a French grenadier, who had just before thanked him for his charity, and from this wound he never entirely recovered. He resigned his charge in January 1800, and died at Zürich, Jan. 2, 1801. (Koch, vi. 499; Allgemeine Deutsche Biographie, xvii. 783, &c.) Lavater was one of the most celebrated and influential literary characters of his time; a most popular and striking preacher; and a lovable, genuine, frank-hearted man, who was the object of an almost incredible veneration. His devotional writings (Aussichten in die Ewigkeit, 4 vols., Zürich,1768-78, &c), and his works on Physiognomy (Von der Physiognomik, Leipzig, 1772; Physiognomische Fragmente, 4 vols., Leipzig and Winterthur, 1775-78), were eagerly read and admired all over Europe, but were very soon forgotten. He was no theologian, and his warm heart and fertile imagination led him into many untenable positions. His works on Physiognomy are without order or philosophical principles of connection, and their permanent interest is mainly in the very numerous and often well-executed engravings. Of his poems the Schweizerlieder (Bern, 1767, 4th enlarged ed., 1775), are the utterances of a true patriot, and are the most natural and popular of his productions. His Epic poems ((1) Jesus Messias, oder die Zukunft des Herrn, N.D., Zürich, 1780, a poetical version of the Apocalypse; (2) Jesus Messias, oder die Evangelien und Apostelgeschichte in Gesängen, 4 vols., Winterthur, 1733-86. (3) Joseph von Arimathea, Hamburg, 1794) have little abiding value. As a hymn-writer Lavater was in his day most popular. His hymns are well adapted for private or family use. Many of them are simple, fresh, and popular in style, and evangelical, earnest and devout in substance. But for church use he is too verbose, prolix, and rhetorical. Of his hymns (some 700) a considerable number survive in German collections compiled before 1850, e.g. the Berlin Geistliche Lieder, ed. 1840, has 13; the Württemberg Gesang-Buch, 1843 has 15; the Hamburg Gesang-Buch,1842, has 23,&c. But in the more recent collections almost all have disappeared, e.g., the new hymn-book for the Kingdom of Saxony, 1883, has not a single one. The most important appeared principally in the following works:—(1) Funfzig Christlicher Lieder, Zürich, 1771. (2) Lieder zum Gebrauche des Waysenhauses zu Zürich, Zürich, 1772. (3) Christliche Lieder der Vaterländischen Jugend, besonders auf der Landschaft, gewiedmet, Zürich, 1774. (4) Zweytes Funfzig Christlicher Lieder, Zürich, 1776. (5) Christliche Lieder . . . Zweytes Hundert, Zürich, 1780. (6) Sechszig Lieder nach dem Zürcherischen Catechismus, Zürich, 1780. [Nos.1-6 in the Royal Library, Berlin, and 3-6 in the British Museum] Those of his hymns which have passed into English include:— i. 0 du, der einst im Grabe lag. Sunday. In his Lieder, &c, 1772, No. 7, in 9 stanzas of 4 1., entitled "Sunday Hymn." Included in the Zürich Gesang-Buch, 1787 and 1853; Bunsen's Versuch, 1833, No. 6, &c. The translation in common use is :— 0 Thou, once laid within the grave. A good translation, omitting st. iii., vii., viii., by H. J. Buckoll, in his Hymns from the German, 1842, p. 9. Repeated, abridged, in the Dalston Hospital Hymn Book 1848, and the Rugby SchoolHymn Book, 1850 and 1876. Another translation is: "0 Thou who in the grave once lay," by R. Massie, in the British Herald, June, 1865. ii. 0 Jesus Christus, wachs in mir. Sanctification. His finest hymn. Founded on St. John iii. 30. First published in his Christlcehe Lieder, 1780, No. 85, in 10 stanzas of 4 1., marked as "On New Year's Day, 1780," and with the motto "Christ must increase, but I must decrease." In Knapp's Evangelischer Lieder-Schatz, 1837, No. 1644. The translation in common use is:— 0 Jesus Christ, grow Thou in me. A good and full translation in theBritish Messenger for Nov. 1, 1860. In Schaff's Christ in Song, 1870, p. 108, it is marked as translated by Mrs. E. L. Smith, the statement that this was its first appearance being an error. If the translation is really by her, it must have appeared in some American publication prior to Nov. 1860. It has passed, in varying centos, into the Baptist Hymnal, 1879, Snepp's Songs of Grace & Glory, 1872, Supplement of 1874 to the New Congregational Hymn Book, and others: also in Hymns & Songs of Praise, N. Y., 1874, Christian Hymnal Adelaide, 1872, &c. iii. 0 süssesteir der Namen all. Name of Jesus, or, New Year. First published in his Sechszig Lieder, 1780, No. 25, in 4 stanzas of 7 1., as the second hymn on "Jesus Christ, the only begotten Son of God, our Lord. Second article of the Christian Faith." It is appointed for the 16th Sunday, and for the 39th and 40th questions of the Zürich Catechism. In the Berg Mark Gesang-Buch, 1835, No. 319; and included in a number of the German Roman Catholic Hymn Books as those for St. Gall, 1863, Rottenburg, 1865, and others. The translation in common use is:— 0 Name, than every name more dear. A good translation of stanzas i., iii., iv., by A. T. Russell, in his Psalms & Hymns, 1851, No. 68. Repeated in Maurice's Choral Hymn Book, 1861, Methodist New Connexion Hymn Book, 1863, New Zealand Hymnal, 1872, &c. iv. Vereinigt zum Gebete war. Whitsuntide. First published in his Christliche Lieder, 1774, No. 23, in 15 stanzas of 4 lines. The form translation into English is that in Bunsen's Versuch, 1833, No. 225, which begins, "O Geist des Herrn! nur deine Kraft," and consists of stanza x. lines 3, 4; xi. lines 1, 2; xii.-xv. The translation is:— 0 Holy Ghost! Thy heavenly dew. A good translation from Bunsen, by Miss Cox, in her Sacred Hymns from the German, 1841, p. 43, and the Gilman-Schaff Library of Religious Poetry, ed. 1883, p. 814. Slightly altered in Lyra Messianica, 1864, p. 386, and thence in Alford's Year of Praise, 1867. Again slightly altered in Miss Cox's Hymns from the German, 1864, p. 67, and thence in J. L. Porter's Collection, 1876. Another translation is: "Blest Spirit, by whose heavenly dew," by Lady E. Fortescue, 1843, p. 10. The following are not in English common use:— v. Ach! nach deiner Gnade schmachtet. Cross and Consolation. Zweytes Funfzig, 1116, No. 5, in 8 stanzas, entitled "The Conflict of Prayer in hours of darkness." The translations are: (1) "As the hart for water panteth, So my soul," by R. Massie, in the British Herald, March 1865, p. 40. (2) "Lord for Thee my soul is thirsting," by R. Massie, in theDay of Rest, 1877, vol. vii. p. 58. vi. Auf dich, mein Vater, will ich trauen. Cross and Consolation. Christliche Lieder, 1774, No. 4, in 8 stanzas, entitled "Encouragement to trust upon God." The translations are (1) "On Thee will I depend, my Father," by R. Massie, in the British Herald, May, 1865, p. 66. (2) "On Thee I build, 0 heavenly Father," by R. Massie, in the Day of Rest, 1878, vol. viii. p. 378. vii, Von dir, o Vater, nimmt mein Herr. Cross and Consolation. Funfzig Christlicher Lieder, 1771, No. 33, in 15 stanzas, entitled "Encouragement to Patience." Translated as, "Father! from Thee my grateful heart," by Miss Knight, in her Translations from the German in Prose and Verse, 1812, p. 89. Besides the above a considerable number of pieces by Lavater have been translated by Miss Henrietta J. Fry, in herPastor's Legacy, 1842 (which consists entirely of translations from Lavater); in her Hymns of the Reformation, 1845; and in her Echoes of Eternity, 1859. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology (1907)

Elizabeth Lee Smith

1817 - 1898 Person Name: Elizabeth Lee Smith, 1817 - 1877 Translator of "O Jesus Christ, grow Thou in me" in The Hymnary for use in Baptist churches Smith, Elizabeth Lee, née Allen, daughter of Dr. W. Allen, President of Dartmouth University, was born in 1817, and married in 1843 to Dr. H. B. Smith, who became Professor in Union Theological Seminary, New York, in 1850, and died in 1877. Mrs. Smith's hymns, including translations of "Je Te salue", “O Jesus Christus", are in Schaff's Christ in Song, 1869 and 1870. [Rev. F. M. Bird, M.A.] --John Julian, Dictionary of Hymnology (1907) According to the Canterbury Dictionary of Hymnology, Elizabeth Lee Smith passed away in 1898. "Elizabeth Lee Smith." The Canterbury Dictionary of Hymnology. Canterbury Press. Web. 19 Apr. 2018. http://www.hymnology.co.uk/e/elizabeth-lee-smith.

Gioacchino A. Rossini

1792 - 1868 Person Name: Gioachino A. Rossini Composer of "MANOAH" in The Cyber Hymnal Gioacchino A. Rossini; b. 1792, Pesaro; d. 1868, Ruelle near Parise Evangelical Lutheran Hymnal, 1908

James Turle

1802 - 1882 Person Name: J. Turle Composer of "WESTMINSTER" in The Fellowship Hymn Book 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/

Richard Farrant

1525 - 1580 Person Name: R. Farrant Composer of "[O Jesus Christ, grow Thou in me]" in Victorious Life Hymns Like many composers of his day, the early years of Richard Farrant’s (c.1525- November 30, 1580) life are not well documented. The first acknowledgment of him is in a list of the Gentleman of the Chapel Royal in 1552. It is assumed from that list that his birth was around 1525. Although, that cannot be accurately determined. During his life he was able to establish himself as a successful composer, develop the English drama considerably, founded the first Blackfriar Theatre, and be the first to write verse-anthems. He married Anne Bower, daughter of Richard Bower who was Master of the Chapel Royal choristers at the time. With Anne he conceived ten children, one of whom was also named, Richard. As a member of the Gentleman of the Chapel Royal, Farrant was active in ceremonies surrounding the royal family. He began his work with the Chapel Royal around 1550 under the reign of Edward VI. Fortunately, for Farrant, this is a time that saw huge developments in Latin Church Music. Composers like William Byrd and Christopher Tye were busy expanding and elaborating on the Church Music of the day. In Farrant's twelve years with the Chapel Royal, he was able to participate in funerals for Edward VI and Mary I, and coronations for Mary I and Elizabeth I. After his work there, he took up a post as organist at St. George’s Chapel at Windsor. For Farrant, the post at at Windsor became a permanent one that he retained for the rest of his life. Along with this, he also acquired the position of Master of the Chapel Royal choristers in November of 1569. Having the choirs of both of these institutions at his disposal gave him an outlet to showcase all of his compositions and plays. In fact, every winter he was able to produce a play for the Queen herself. These positions also allowed him to move back to London in 1576 and begin a public theater of sorts where he rehearsed some of his choir music openly. It was soon after, in 1580, that he passed away, having left his house to his wife. Unlike many composers of his day that stuck to only music composition, Farrant also wrote many plays. One of his most important contributions to drama in England is of course the creation of the first Blackfriars Theatre. This eventually became one of the most important places in London for drama to develop during the Renaissance. Farrant is also one of the earliest and most well known composers that began to mix the two mediums of music and drama. It was this uncommon mixture that allowed him to begin to develop the composition style of 'verse.' This becomes prominent in a lot of his pieces including the anthems "When as we sat in Babylon" and "Call to remembrance" and "Hide not thou thy face." --en.wikipedia.org/wiki/

Arthur Cottman

1842 - 1879 Person Name: Arthur Cottmann, 1842 - 1879 Composer of "DALEHURST" in The Hymnary for use in Baptist churches Born: Circa November 1841, Ringwood, Hampshire, England. Died: Circa May 1879, Brentford, Middlesex, England. Cottman was a solicitor and amateur musician. His works include: Ten Original Tunes, 1874 Music: CATERHAM COTTMAN DALEHURST EVERSLEY MIRFIELD MORN OF GLADNESS --www.hymntime.com/tch