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Thomas Tallis

1505 - 1585 Composer of "TALLIS'S ORDINAL" in The Hymnary of the United Church of Canada 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
Thomas Tallis

J. H. Tenney

1840 - 1918 Composer of "THE PERFECT WAY" in Bible Songs John Harrison Tenney, 1840-1918 Born: No­vem­ber 22, 1840, Row­ley, Mass­a­chu­setts. Born just af­ter the pre­si­den­tial cam­paign of "Tip­pe­ca­noe and Ty­ler, too," Ten­ney was named af­ter Amer­i­can pre­si­dent Will­iam Hen­ry Har­ri­son. A dea­con in the Con­gre­ga­tion­al Church in Line­brook, Mass­a­chu­setts, he ed­it­ed or was as­so­ci­ate ed­it­or of over 30 books, and con­trib­ut­ed to hun­dreds more. His works in­clude: Amer­i­can Male Choir Temperance Jew­els, with Eli­sha Hoff­man (Bos­ton, Mass­a­chu­setts: Ol­iv­er Dit­son & Com­pa­ny, 1879) Bells of Vic­to­ry, with Eli­sha Hoff­man (Bos­ton, Mass­a­chu­setts: Oliv­er Dit­son & Com­pa­ny, 1888) Gems of Gos­pel Song Golden Sun­beams Sharon’s Dewy Rose Songs of Faith Shining Light Songs of Joy Sparkling and Bright Spiritual Songs, Nos. 1 and 2 Sweet Fields of Eden The Bea­con Light The Sing­ing School Ban­ner The An­them Of­fer­ing The Amer­i­can An­them Book The Crown of Praise Sources-- Hall, pp. 219-22 Music-- Asilomar Bogotá Beyond the Swell­ing Flood Cancún Come to Je­sus Ever Will I Pray Hallowed Hour of Pray­er Jesus Is Pass­ing This Way Jubilate! My An­chor Is Hold­ing Nothing Be­tween Onward Christ­ian Sol­diers Sabbath Bell San Fran­cis­co We’ll Ne­ver Say Good­bye Where Will You Spend Eter­ni­ty? --www.hymntime.com/tch
J. H. Tenney

Gordon J. Munro

b. 1972 Person Name: Gordon J. Munro (b. 1972) Arranger of "YORK (STILT)" in Church Hymnary (4th ed.)
Gordon J. Munro

Richard Farrant

1525 - 1580 Composer of "FARRANT" in The Presbyterian Book of Praise 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/
Richard Farrant

B. C. Unseld

1843 - 1923 Composer of "[Teach me, O Lord, the perfect way ]" in Bible Songs Benjamin Carl Unseld, 1843-1923 Born: Oc­to­ber 18, 1843, Shep­herd­stown, West Vir­gin­ia. Died: No­vem­ber 19, 1923. Buried: Elm­wood Ceme­te­ry, Shep­herd­stown, West Vir­gin­ia. After leav­ing school at age 14, Un­seld worked as a clerk in a coun­try store. He re­ceived his first mu­sic­al in­struct­ion around age 15, from a com­pan­ion who had at­tend­ed a sing­ing school. He was shown the rep­re­sen­ta­tion of the scale in the old Car­mi­na Sac­ra, and had it sung for him. At the friend’s sug­gest­ion, he got per­mis­sion from his pas­tor to prac­tice on the church or­gan. Since both boys worked, their on­ly chance to prac­tice was af­ter the store closed at 9:00 p.m., and oc­casion­al­ly at noon­time. They went to the church to­ge­ther and took turns, one at the key­board and the other at the bel­lows. Shortly af­ter the Bat­tle of An­tie­tam in Sep­tem­ber 1862, some of which Un­seld wit­nessed, he left home and be­came a book­keep­er in the gen­er­al of­fic­es of a rail­road in Co­lum­bia, Penn­syl­van­ia. He sang in a choir, and gained fur­ther prac­tice read­ing mu­sic. He rent­ed a mel­o­de­on and spent much time in his room im­pro­vis­ing on it. He bought a co­py of Wood­bur­y’s Har­mo­ny and Mu­sic­al Com­po­si­tion, and stu­died it as well as he could with­out a teach­er. He ac­cept­ed an in­vi­ta­tion to play the or­gan in the lo­cal Meth­od­ist church, on the con­di­tion that he re­ceived the tunes ear­ly in the week so he could learn them. This was his first po­si­tion as an or­ga­nist. In the spring of 1866, he en­tered the Mu­sic­al In­sti­tute in Pro­vi­dence, Rhode Is­land, con­duct­ed by Eben Tour­jée (found­er of the New Eng­land Con­serv­a­to­ry in Bos­ton, Mass­a­chu­setts, and fa­ther of Liz­zie Tour­jée). There he stu­died voice, pi­a­no, or­gan, and har­mo­ny. Af­ter learn­ing of Un­seld’s bus­i­ness ex­per­i­ence, Dr. Tour­jée made him sec­re­ta­ry of the school; in 1867, Un­seld be­came the first sec­re­ta­ry of the New Eng­land Con­ser­va­to­ry. Starting in 1870, Un­seld at­tend­ed schools led by The­o­dore F. Sew­ard. There he met George Webb, Low­ell Mason, James Mc­Gran­a­han, Charles Case, and other not­a­bles in the mu­sic com­mun­i­ty. In 1874, Uns­eld taught at Fisk Un­i­ver­si­ty in Nash­ville, Ten­nes­see, and helped train Fisk’s Ju­bi­lee Sing­ers for their Eur­o­pe­an trip. In 1877 and 1878, he was or­gan­ist and choir mas­ter at St. James’ Epis­co­pal Church, Lan­cas­ter, Penn­syl­van­ia. In 1879, Un­seld moved to New York Ci­ty, and for 15 years taught, led choirs, com­posed and pub­lished. In New York, his mu­sic­al head­quar­ters was the pub­lish­ing house of Big­low & Main Com­pa­ny, where he was in al­most dai­ly con­tact with the pop­u­lar com­pos­ers and teach­ers of the day: Ira San­key, Ho­ra­tio Palm­er, Hu­bert Main, Ro­bert Low­ry, et al. In 1894, Un­seld moved to Cin­cin­na­ti, Ohio, and worked as an ed­it­or for the Fill­more Mu­sic House. In 1898, he moved to Day­ton, Ohio, and worked in a sim­i­lar ca­pa­ci­ty for the Lo­renz Pub­lishing Com­pa­ny. He moved back to New York Ci­ty in 1901, then to Ha­gers­town, Ma­ry­land in 1905. He and his wife Sal­lie were ap­par­ent­ly liv­ing in Ten­nes­see as of 1920. Un­seld’s works in­clude: The Chor­al Stan­dard (New York: Fill­more Bro­thers, 1895) Progress in Song, with E. T. Hil­de­brand (Cin­cin­na­ti, Ohio: The Fill­more Bro­thers Com­pa­ny) Unseld was in­duct­ed in­to the South­ern Gos­pel Mu­sic As­so­ci­a­tion Hall of Fame in 2004. Sources-- Hall, pp. 239-44 Music-- Ancyra Euphemia He Is Ris­en Hordville Make Haste! Meschach Twilight Is Fall­ing Unseld Wonderful Mess­age --www.hymntime.com/tch
B. C. Unseld

John Milton

1563 - 1647 Person Name: John Milton, the elder, c. 1563-1647 Arranger of "YORK (STILT)" in Church Hymnary (4th ed.) Father of the poet, b. Stanton St. John, nr. Oxford, ca. 1563; d. London, buried 3-15-1647; English amateur composer
John Milton

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