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Hans Leo Hassler

1564 - 1612 Meter: 8.8.8.8 Harmonizer of "VOM HIMMEL HOCH" in The Presbyterian Hymnal Hans Leo Hassler Germany 1564-1612. Born at Nuremberg, Germany, he came from a family of famous musicians and received early education from his father. He then studied in Venice, Italy, with Andrea Gabrieli, uncle of Giovanni Gabrieli, his friend, with whom he composed a wedding motet. The uncle taught him to play the organ. He learned the polychoral style and took it back to Germany after Andrea Gabrieli's death. He served as organist and composer for Octavian Fugger, the princely art patron of Augsburg (1585-1601). He was a prolific composer but found his influence limited, as he was Protestant in a still heavily Catholic region. In 1602 he became director of town music and organist in the Frauenkirche in Nuremberg until 1608. He married Cordula Claus in 1604. He was finally court musician for the Elector of Saxony in Dresden, Germany, evenually becoming Kapellmeister (1608-1612). A Lutheran, he composed both for Roman Catholic liturgy and for Lutheran churches. He produced two volumns of motets, a famous collection of court songs, and a volume of simpler hymn settings. He published both secular and religious music, managing to compose much for the Catholic church that was also usable in Lutheran settings. He was also a consultant to organ builders. In 1596 he, with 53 other organists, had the opportunity to examine a new instrument with 59 stops at the Schlosskirche, Groningen. He was recognized for his expertise in organ design and often was called on to examine new instruments. He entered the world of mechanical instrument construction, developing a clockwork organ that was later sold to Emperor Rudolf II. He died of tuberculosis in Frankfurt, Germany. John Perry

Edward Mote

1797 - 1874 Meter: 8.8.8.8 Author of "My Hope Is Built on Nothing Less" in Rejoice in the Lord Mote, Edward, was born in Upper Thames Street, London, Jan. 21, 1797. Through the preaching of the Rev. J. Hyatt, of Tottenham Court Road Chapel, he underwent a great spiritual change; and ultimately he became a Baptist minister. For the last 26 years of his life he was pastor at Horsham, Sussex, where he died Nov. 13, 1874. Mr. Mote published several small pamphlets; and also:- Hymns of Praise. A New Selection of Gospel Hymns, combining all the Excellencies of our spiritual Poets, with many Originals. By E. Mote. London. J. Nichols, 1836. The Originals number nearly 100. Concerning the authorship of one of these original hymns much uncertainty has existed. The hymn is:— 1. Nor earth, nor hell my soul can move. [Jesus All in All.] In 6 stanzas of 4 lines, with a refrain. Mr. Mote's explanation, communicated to the Gospel Herald, is:— "One morning it came into my mind as I went to labour, to write an hymn on the ‘Gracious Experience of a Christian.' As I went up Holborn I had the chorus, ‘On Christ the solid Rock I stand, All other ground is sinking sand.’ In the day I had four first verses complete, and wrote them off. On the Sabbath following I met brother King as I came out of Lisle Street Meeting . . . who informed me that his wife was very ill, and asked me to call and see her. I had an early tea, and called afterwards. He said that it was his usual custom to sing a hymn, read a portion, and engage in prayer, before he went to meeting. He looked for his hymnbook but could find it nowhere. I said, ‘I have some verses in my pocket; if he liked, we would sing them.' We did; and his wife enjoyed them so much, that after service he asked me, as a favour, to leave a copy of them for his wife. 1 went home, and by the fireside composed the last two verses, wrote the whole off, and took them to sister King. . . As these verses so met the dying woman's case, my attention to them was the more arrested, and I had a thousand printed for distribution. I sent one to the Spiritual Magazine, without my initials, which appeared some time after this. Brother Rees, of Crown Street, Soho, brought out an edition of hymns [1836], and this hymn was in it. David Denham introduced it [1837] with Rees's name, and others after... . Your inserting this brief outline may in future shield me from the charge of stealth, and be a vindication of truthfulness in my connection with the Church of God." The form in which the hymn is usually found is:— 2. My hope is built on nothing less (st. ii.), sometimes in 4 stanzas, and at others in 5 st., and usually without the refrain. The original in the author's Hymns of Praise, 1836, is No. 465, and entitled, "The immutable Basis of a Sinner's hope." Bishop Bickersteth calls it a "grand hymn of faith." It dates circa 1834, and is in extensive use. [Rev. W. R. Stevenson, M.A.] --John Julian, Dictionary of Hymnology (1907)

Severus Gastorius

1646 - 1682 Meter: 8.8.8.8 Composer of "WAS GOTT THUT" in Singing the Living Tradition Severus Gastorius (1647-1682 ) was a cantor in Jena, central Germany. The son of a Weimar school teacher, Severus was born with the family name Bauchspiess (later Latinised to Gastorius) in Oettern, near Weimar. In 1667, he started studying at the University of Jena. From 1670, he deputized for cantor Andreas Zöll in Jena and married his daughter the following year. Gastorius assumed Zöll's position after his death in 1677. One of his friends, Samuel Rodigast, wrote the hymn "Was Gott tut, das ist wohlgetan" for Gastorius when he was sick (to cheer him up as Rodigast writes in his dedication). Even before he recovered, Gastorius set it to music based on a melody by Werner Fabricius. The tune became widely known in Germany as the cantor students of Jena cantor sang it every week at Gastorius' door as well as when they returned home. Gastorius was buried on 8 May 1682 in Jena's Johanniskirche cemetery. Gastorius had requested that the hymn "Was Gott tut, das ist wohlgetan" be sung at his funeral. Gastorius is also credited with composing music for the funeral motet Du aber gehe hin bis das Ende komme. It was sung at the funeral of the Jena professor of medicine Johann Arnold Friderici on 2 June 1672. --en.wikipedia.org/wiki/

Richard Proulx

1937 - 2010 Meter: 8.8.8.8 Arranger of "DEO GRACIAS" in The Presbyterian Hymnal 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

S. B. Saxton

Meter: 8.8.8.8 Composer of "[Asleep in Jesus! blessed sleep]" 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

Johann Joseph Winckler

1670 - 1722 Person Name: Johann J. Winckler Meter: 8.8.8.8 Author of "Shall I, for Fear of Feeble Man" in The Cyber Hymnal Winckler, John Joseph, a German Pietist, was born at Luckau, in Saxony, December 23, 1670. He was at first a pastor at Magdeburg, then a chaplain in the Protestant army, accompanying the troops to Holland and Italy, and at length returned to Magdeburg and became chief minister of the cathedral. He was no less eminent for his mental culture than for his piety. He was a preacher and writer who had the courage of his convictions, and this quality is notably manifest in the hymn by him found in this collection. He died August 11, 1722. Shall I, for fear of feeble man 225 Hymn Writers of the Church Nutter ================================================================== Winckler, Johann Joseph, son of Gottfried Winckler, town clerk of Lucka, Sachse-Altenburg, was born at Lucka, Dec. 23, 1670. He became a student of Theology at the University of Leipzig, during the time when A. H. Francke and J. C. Schade were holding their Bible readings, and his sympathies henceforth were with the Pietistic movement. In 1692 he was appointed preacher to the St. George's Hospital at Magdeburg, and afternoon preacher at St. Peter's Church there. He became chaplain to the Prince Christian Ludwig regiment in 1695, and went with it to Holland and Italy. After the Peace of Ryswijk (Oct. 30, 1697) he made a tour in Holland and England. Returning to Magdeburg, he was appointed, in 1698, diaconus of the Cathedral, and in 1703 also inspector of the so-called Holzkreis. Finally, in 1714, he became chief preacher at the Cathedral, and in 1716, also Consistorialrath. He died at Magdeburg, Aug. 11, 1722 (Wetzel, iii. 437; Grischow-Kirchner Nachricht to Freylinghausen, p. 53; Koch, iv. 383; Blätter fur Hymnologie, 1888, p. 170, &c). Winckler was a man who had the courage of his opinions, and his hymn No. iv. below is a picture of the stand he was willing to make when conscience bade him. Not that he was fond of controversy, but rather the reverse. Twice however he raised considerable feeling against himself in Magdeburg, first by the position he took up against theatre going, and afterwards by his well-meant attempts to bring about a closer union between the Lutheran and Reformed churches in Prussia. But the opposition he encountered he bore patiently, and in the spirit of his hymn No. i. below. His hymns, some 27 in all appeared mostly in the Appendix to the 2nd edition. 1703 of H. G. Neuss’s Heb-Opfer, in Porst’s Gesang-Buch, Berlin, 1708,and in Freylinghausens Neues geistreiches Gesang-Buch, 1714. They rank among the better productions of the earlier Pietistic writers, and are distinguished by firm faith, earnestness, and picturesqueness; but are somewhat lengthy and frequently in unusual metres. Those of Winckler's hymns which have passed into English are:— i. Meine Seele senket sich. Resignation. First published in the 1703 edition of Neuss's Heb-Opfer, p. 248, in 6 stanzas of 6 lines, entitled "Ps. 62 v. 1. My soul is still towards God." Repeated in Freylinghause, 1714, No. 511, and in the Unverfälschter Liedersegen, 1851, No. 714. It is a fine hymn on patient waiting upon God's will. Translated as:— Yea, my spirit fain would sink. In full, by Miss Winkworth in her Lyra Germanica, 1st Ser., 1855, p. i98. In her Chorale Book for England, 1863, No. 138, it is greatly altered, beginning "In Thy heart and hands, my God"; and this form is No. 419 in the Ohio Lutheran Hymnal, 1880. Another translation is: "Wearily my spirit sinketh," by Mrs. Sevan, 1858, p. 65. ii. 0 süsser Stand, o selig Leben . Christian Simplicity. In Porst's Gesang-Buch, 1708, p. 519 (1711, No. 642), in 8 stanzas of 8 lines, repeated inFreylinghausen, 1714, No. 322, and in the Unverfälschter Liedersegen, 1851, No. 331. The translations are:— 1. 0 sweet condition, happy Living. This, omitting st. iii., is No. 658 in pt. i. of the Moravian Hymn Book, 1754. 2. 0 blest condition, happy living. This is a translation of st. i., ii., vi., viii., based on the 1754 version, as No. 441 in theMoravian Hymn Book, 1789 (1886, No. 584). iii. Ringe recht, wenn Gottes Gnade. Christian Warfare. A thoughtful and powerful hymn, included as No. 359 in Unverfälschter Liedersegen , 1851, No. 336. Wetzel, iii. 437, says it was written as a hymn on the three favourite Scripture passages of Ursula Maria Zorn, of Berlin, and was first published at the end of her funeral sermon by Johann Lysius, pastor of St. George's Church, Berlin. Thus stanzas i.-v. are founded on St. Luke xiii. 24; vi.-xv. on Philipp. ii. 12; and xvi.-xxiii. on Gen. xix. 15-22. The translations in common use are: 1. Strive, when thou art call'd of God. This is a good translation of st. i., iii.-vii., xii., xiii., xv., xvi. by Miss Winkworth, in her Lyra Germanica, 1st Ser., 1855, p. 46. Repeated, abridged, in Kennedy, 1863; the Harrow School Hymn Book, 1866, and Rugby School Hymn Book, 1876. 2. Strive aright when God doth call thee. This is a translation of st. i., iii., iv., xii., xiii., xv., xvi. by Miss Winkworth, founded on her Lyra Germanica version, as No. 128 in her Chorale Book for England, 1863. Repeated in the Marlborough College Hymn Book, 1869. 3. Thou must wrestle, when God's mercy. This is a tr. of st. i., ii., x., xxii., signed E. T. L., as No. 230, in Dr. Pagenstecher's Collection, 1864. Another translation is: “Wrestle on! for God is pleading," by Miss Burlingham in the British Herald, Sept., 1865, p. 137. iv. Sollt ich aus Furcht vor Menschenkindern. Adherence to Christ. A hymn on Constancy, and against cowardice and time-serving. In Porst's Gesang-Buch, 1708, p. 1133 (1711, No. 701), in 17 stanzas of 4 lines. Repeated in Freylinghausen, 1714, No. 541 (entitled "For a Preacher"), in the Unverfälschter Liedersegen 1851, No. 658, &c. The translation in common use is:— Shall I for fear of feeble man. This is a vigorous translation in 10 stanzas (representing st. i.-iii., xii.-xv., xvii.; st. iv. being freely from vi., vii., and st. v. from viii., xi.), by J. Wesley in the Hymns & Sacred Poems, 1739 (Poetical Works, 1868-72, vol. i. p. 177). Included in full in the Moravian Hymn Book, 1754 (1849, No. 875 abridged). In the Wesleyan Hymn Book, 1780, stanzas i.—vii. were included as No. 270; stanzas viii.-x. being added in the edition of 1800 (1875, No. 279). The full form is in the Methodist New Congrational Hymn Book., 1863, and in Mercer's Church Psalter & Hymn Book 91857, and abridged in Mercer's Oxford edition, 1864; Spurgeon's Our Own Hymn Book,1866, and others. It is also found in the following forms:— (1) Awed by a mortal's frown, shall I (Wesley's st. ii.). In W. Carus Wilson's Gen. Psalter 1842. (2) Saviour of men, Thy searching eye (Wesley's at. vi.). In J. A. Latrobe's Psalms & Hymns, 1841, and various American collections. (3) Our Lives, our Blood, we here present (Wesley's st. ix. alt.). In M. Madan's Psalms & Hymns, 1760. [Rev. James Mearns, M.A.] -- John Julian, Dictionary of Hymnology (1907) =========================== See also in: Hymn Writers of the Church

Twila Paris

b. 1958 Meter: 8.8.8.8 Composer of "LAMB OF GOD" in The Celebration Hymnal

S. Trevor Francis

1834 - 1925 Person Name: S. Trevor Francis, 1834-1925 Meter: 8.8.8.8 Author of "The Pearly Gates" in The Cyber Hymnal Francis, Samuel Trevor, son of an artist, was born at Cheshunt, Herts, in 1835, and is a merchant in London. He has written numerous hymns, which have been printed in various religious newspapers and periodicals during the past 30 years. Of these hymns the following are in the Enlarged London Hymn Book, 1873:— 1. Blessed, blessed Jesus. Pressing Onward. 2. Gracious Saviour, grant Thy word. Lent. 3. Home, home of light and glory. Heaven Desired. 4. I am waiting for the dawning. Heaven Anticipated. 5. Jesus, we remember Thee. Passiontide. 6. O child of sorrow, weary, distressed. Salvation in Jesus only. 7. O Jesus, how great is Thy mercy. Salvation in Jesus. 8. Safe to land, no shadows darken. Death and Burial. Printed in Word and Work. 9. The pearly gates are open. Heaven. In W. Carter's Gospel Hymn Book, 1863. 10. We are pilgrims far from our fatherland. Heaven Desired. Of these hymns Nos. 1, 2, 4-7 first appeared in the Enlarged London Hymn Book, 1873. Mr. Francis also published in 1891 Gems from the Revised Version with Poems. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

James Edmeston

1791 - 1867 Meter: 8.8.8.8 Author of "Fountain of Grace, Rich, Full and Free" in The New Christian Hymnal Edmeston, James, born Sept. 10, 1791. His maternal grandfather was the Rev. Samuel Brewer, who for 50 years was the pastor of an Independent congregation at Stepney. Educated as an architect and surveyor, in 1816 he entered upon his profession on his own account, and continued to practice it until his death on Jan. 7, 1867. The late Sir G. Gilbert Scott was his pupil. Although an Independent by descent he joined the Established Church at a comparatively early age, and subsequently held various offices, including that of churchwarden, in the Church of St. Barnabas, Homerton. His hymns number nearly 2000. The best known are “Lead us, Heavenly Father, lead us” and "Saviour, breathe an evening blessing." Many of his hymns were written for children, and from their simplicity are admirably adapted to the purpose. For many years he contributed hymns of various degrees of merit to the Evangelical Magazine, His published works are:— (1) The Search, and other Poems, 1817. (2) Sacred Lyrics, 1820, a volume of 31 hymns and one poem. This was followed by a second Series, 1821, with 35; and a third Series, 1822, with 27 pieces respectively. (3) The Cottage Minstrel; or, Hymns for the Assistance of Cottagers in their Domestic Worship, 1821. This was published at the suggestion of a member of the Home Missionary Society, and contains fifty hymns. (4) One Hundred Hymns for Sunday Schools, and for Particular Occasions, 1821. (5) Missionary Hymns, 1822. (6) Patmos, a Fragment, and Other Poems, 1824. (7) The Woman of Shunam, and Other Poems, 1829. (8) Fifty Original Hymns, 1833. (9) Hymns for the Chamber of Sickness, 1844. (10) Closet Hymns and Poems, 1844. (11) Infant Breathings, being Hymns for the Young, 1846. (12) Sacred Poetry, 1847. In addition to those of his hymns which have attained to an extensive circulation, as those named above, and are annotated in this work under their respective first lines, there are also the following in common use in Great Britain and America:— 1. Along my earthly way. Anxiety. In his Sacred Lyrics, third set, 1822, in 8 stanzas of 4 lines. It is given in several collections, but usually in an abbreviated form, and generally somewhat altered. 2. Dark river of death that is [art] flowing. Death Anticipated. Given in his Sacred Lyrics, 3rd set, 1822, p. 39, in 9 stanzas of 4 lines. It is usually given in an abbreviated form, and sometimes as, "Dark river of death that art flowing." 3. Come, sacred peace, delightful guest. Peace. Appeared in his Closet Hymns, &c, 1844, in 4 stanzas of 4 lines. 4. Eternal God, before thy throne, Three nations. National Fast. 5. For Thee we pray and wait. Second Advent. 6. God intrusts to all. Parable of the Talents. This is No. 13 of his Infant Breathings, 1846, in 5 stanzas of 4 lines. It is a simple application of the parable to the life of a child. It is widely used. 7. God is here; how sweet the sound. Omnipresence. Given as No. 9 in his Sacred Lyrics, 1st set, 1820, in 6 stanzas of 4 lines. In the Baptist Hymnal, 1879, No. 45. St. i.-iii. are from this text, and iv. and v. are from another source. 8. How sweet the light of Sabbath eve. Sunday Evening. No. 10 in theCottage Minstrel, 1821, slightly altered. 9. Is there a time when moments flow. Sunday Evening. No. 5 of his Sacred Lyrics, 1st set, 1820, in 7 stanzas of 4 lines. 10. Little travellers Zionward. Burial of Children. No. 25 of his Infant Breathings, &c, 1846, in 3 stanzas of 8 lines. In the Leeds Hymn Book, 1853, it begins with stanza ii., "Who are they whose little feet?" 11. May we, Lord, rejoicing say. National Thanksgiving. Dated 1849 by the author in Spurgeon's Our Own Hymnbook, No. 1008. 12. Music, bring thy sweetest treasures. Holy Trinity. Dated 1837 by the author in Spurgeon's Our Own Hymnbook, No. 167. It is in his Sacred Poetry, 1847. 13. Roll on, thou mighty ocean. Departure of Missionaries. In his Missionary Hymns, 1822, in 4 stanzas of 4 lines. It is in common use in America. 14. Sweet is the light of Sabbath eve. Sunday Evening. In 5 stanzas of 41., from the Cottage Minstrel, 1821, where it is given as No. 10, and entitled "The Cottager's Reflections upon the Sabbath Evening." 15. The light of Sabbath eve. Sunday Evening. In 5 stanzas of 4 lines, as No. 11 in the Cottage Minstrel, 1821, p. 14, and headed, "Solemn Questions for the Sabbath Evening." 16. Wake, harp of Zion, wake again. Missions to the Jews. Dated 1846 by the author in Spurgeon's Our Own Hymnbook. It is in his Sacred Poetry, 1847. 17. When shall the voice of singing? In his Missionary Hymns, 1822. It is in a few American collections. 18. When the worn spirit wants repose. Sunday. No. 18, of his Sacred Lyrics, 1st set, 1820, in 4 stanzas of 4 lines. It is somewhat popular, and is given in several collections in Great Britain and America, as the Baptist Psalms & Hymns, 1858-80; the Church Praise Book, N. Y., 1881, &c. 19. Why should I, in vain repining? Consolation. No. 14 in the 1st set of his Sacred Lyrics, 1820, in 4 stanzas of 4 lines. -- John Julian, Dictionary of Hymnology (1907) ========================= Edmeston, James, p. 321, ii. Other hymns are:— 1. O Thou Whose mercy guides my way. Resignation. In his Sacred Lyrics, 1st set, 1820, p. 24, in 3 stanzas of 4 lines, and again in his Hymns for the Chamber of Sickness, 1844. 2. Parting soul, the flood awaits thee. Death anticipated. In his Sacred Lyrics, 1st set, 1820, p. 18, in 3 stanza of 8 lines, and based upon the passage in the Pilgrim's Progress:—"Now I further saw that betwixt them and the gate was a river, but there was no bridge to go over, and the river was very deep." 3. 'Tis sweet upon our pilgrimage. Praise. In hi3 Closet Hymns and Poems, 1846, in 3 stanzas of 4 lines, and headed "An Ebenezer Raided." 4. Welcome, brethren, enter in. Reception of Church Officers. Miller says, in his Singers and Songs, 1869, p. 420:—"This is No. 1 of five hymns supplied by Mr. Edmeston, at the request of a friend, for insertion in a provincial hymn-book, on the subject of admitting members," but he does not give the name of the book, neither have we identified It. The hymn, as given in the New Congregational Hymn Book, 1859, No. 840, is in 5 stanzas of 4 lines, of which Millet says stanza iii. is by another hand. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

Nahum Tate

1652 - 1715 Person Name: N. Tate Meter: 8.8.8.8 Author of "O come, loud anthems let us sing" 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 Nahum Tate was born in Dublin and graduated from Trinity College, Dublin, B.A. 1672. He lacked great talent but wrote much for the stage, adapting other men's work, really successful only in a version of King Lear. Although he collaborated with Dryden on several occasions, he was never fully in step with the intellectual life of his times, and spent most of his life in a futile pursuit of popular favor. Nonetheless, he was appointed poet laureate in 1692 and royal historiographer in 1702. He is now known only for the New Version of the Psalms of David, 1696, which he produced in collaboration with Nicholas Brady. Poverty stricken throughout much of his life, he died in the Mint at Southwark, where he had taken refuge from his creditors, on August 12, 1715. --The Hymnal 1940 Companion See also in: Hymn Writers of the Church