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Christopher Smart

1722 - 1771 Meter: 8.8.6 D Author of "We sing of God, the mighty source" in The Hymnal of the Protestant Episcopal Church in the United States of America 1940 Smart, Christophe, M.A., was born at Shipburn, Kent, in 1722, and educated at Pembroke Hall, Cambridge, where he gained the Seatonian prize for five years, four of which were in succession, (B.A. 1747.) He removed to London in 1753, and gave some attention to literature: but neglecting both his property and his constitution, he became poor and insane. He died in the King's Bench, 1771. His Poems were published in 2 vols. in 1771. From that work "Father of light conduct my feet" (Divine Guidance), and "I sing of God the mighty Source" [God the Author of All), have been taken. --John Julian, Dictionary of Hymnology (1907)

Johann Gottfried Schicht

1753 - 1823 Person Name: Johann Gottfried Schicht, 1753-1823 Meter: 8.8.6 D Composer of "MANNA" in Singing the Faith Johann Gottfried Schicht Born: September 29, 1753 - Reichenau, Zittau, Germany Died: February 16, 1823 - Leipzig, Germany

Ernest R. Kroeger

1862 - 1934 Person Name: Ernest Richard Kroeger Meter: 8.8.6 D Composer of "JOSEPHINE" in The Cyber Hymnal Born: August 10, 1862, St. Louis, Missouri. Died: April 7, 1934, St. Louis, Missouri. Buried: Bellefontaine Cemetery, St. Louis, Missouri. Kroeger was a charter member of the American Guild of Organists; member the National Institute of Arts of Letters; conductor of the Amphion Male Chorus in St. Louis (1883-84); organist at the Unitarian Church of the Messiah, St. Louis (1886); director of the College of Music at Forest Park University (1887); president of the Music Teachers’ National Association (1896-97); president of the Missouri State Music Teachers’ Association (1897-99); instrumental adjudicator at the annual Kansas Jubilee (1900-03); master of programs in the Bureau of Music at the St. Louis World’s Fair, 1904; adjudicator at the Welsh Eisteddfod in Canton, Ohio (1906); and director of the music department at Washington University, St. Louis (1925-34). He also ran the Kroeger School of Music in St. Louis (1904-34). ============ Successful American composer and teacher; born at St. Louis, Mo. He began studying violin and piano when he was five years old, and received his entire musical education in this country, principally in St. Louis, where he is located at present, and holds a prominent position as a teacher, pianist and composer. He is director of the College of Music at the Forest Park University for Women and is concert pianist of the Kroeger School of Music. Was president of the Music Teachers' National Association from 1895 to 1896, and of the Missouri State Music Teachers' Association from 1897 to 1899. Is a fellow of the American Guild of Organists and was master of programs of the Bureau of Music at the St. Louis Exposition in 1904. He has written a great many different kinds of music, and is one of a very few Americans who have published fugues. Mr. Kroeger says that some of his ideas are entirely musical, while others are attempts to illustrate poems in tones, such as his symphony, a suite, and overtures on Endymion, Thanatopis, Sardanapalus and Hiawatha. He has also published a very clever group of sonnets, on various themes; Twelve Concert Studies, which Hughes says "show the influence of Chopin upon a composer who writes with a strong German accent;" an etude, Castor and Pollux; a Romanze; and other studies. A Danse Negre and Caprice Negre resemble similar works of Gottschalk; and his Dance of the Elves is dedicated to Mme. Rive-King.

L. P. Brink

1876 - 1936 Person Name: Rev. L. P. Brink Meter: 8.8.6 D Author of "The Tribes of the Southwest" in The New Christian Hymnal Leonard P. Brink (b. East Saugatuck, MI, 1876; d. Pomeroy, IA 1936), a graduate of Calvin Seminary, Grand Rapids, Michigan (1900), spent much of his life as a missionary among the Navajo people. He translated Bible books and hymns into the Navajo language and wrote a catechism for the Navajo people. He also translated Dutch poetry and hymns into English. Bert Polman

Friedrich Schneider

1786 - 1853 Person Name: Fred. Schneider Meter: 8.8.6 D Composer of "HIGHTON" in The Cyber Hymnal

Joan Larie Sutton

1930 - 2016 Person Name: Joan Sutton (1930-2016) Meter: 8.8.6 D Translator of "Quereis o que não pode ser?" in Mil Vozes para Celebrar Joan Larie Sutton (nee Riffey) was born in Louisville, KY but lived most of her life in Brazil with her missionary parents. She began the study of violin at the age of ten, continuing her studies at Baylor University. She earned a Masters Degree in sacred music at Southern Baptist Theological Seminary in Louisville. She married William Boyd Sutton and together they worked in Brazil. She translated many hymns into Portuguese. ================ JOAN SUTTON LARIE (Married to Pastor John Boyd Sutton) Brazilian Baptists owe much to this American musician who, after more than 30 years of fruitful work in Brazil (see: "Nassau", p.l66). was the catalyst for musical talent, natives and aliens in the preparation of "Hymns for Christian Worship," which contributed to the translations, which revealed hymns by contemporary authors.

Arthur H. Dyke Acland

1811 - 1857 Person Name: A. H. Dyke Troyte Meter: 8.8.6 D Composer of "BRIDESHEAD" in The Book of Common Praise Arthur Henry Dyke Acland changed his last name to Troyte in 1852 when he succeeded to the estates of Rev. Edward Berkeley Troyte. A part of the requirement for this succession was that he change his last name to Troyte. Therefore he is also known as A. H. D. Troyte, however, Acland is his authority name.

Michael Altenburg

1584 - 1640 Person Name: Johann M. Altenburg Meter: 8.8.6 D Author (attr.) of "Fear Not, O Little Flock" in Trinity Hymnal (Rev. ed.) Altenburg, Johann Michael, b. at Alach, near Erfurt, on Trinity Sunday, 1584. After completing his studies he was for some time teacher and precentor in Erfurt. In 1608 he was appointed pastor of Ilversgehofen and Marbach near Erfurt; in 1611, of Troch-telborn; and in 1621 of Gross-Sommern or Som-merda near Erfurt. In the troublous war times he was forced, in 1631, to flee to Erfurt, and there, on the news of the victory of Leipzig, Sept. 17, 1631, he composed his best known hymn. He remained in Erfurt without a charge till, in 1637, he was appointed diaconus of the Augustino Church, and, in 1638, pastor of St. Andrew's Church. He d. at Erfurt February 12, 1640 (Koch, iii. 115-117 ; Allg. Deutsche Biog., i. p. 363, and x. p. 766—the latter saying he did not go to Erfurt till 1637). He was a good musician, and seems to have been the composer of the melodies rather than of the words of some of the hymns ascribed to him. Two of his hymns have been tr. into English, viz. :—1.    Aus  Jakob's   Staxnm  ein  Stern  sehr  klar. [Christmas.]   Included as No. 3 of his Christ-liche liebliche und anddchtige newe Kirchen- und Hauss-Gestinge, pt. i., Erfurt, 1G20, in 3 st. of 5 1.    According to Wetzel's A. H., vol. i., pt. v. p. 41, it was first pub. in J. Forster's Jlohen Festtags-Schreinlein, 1611.    In the Unv. L. S., 1851, No. 24.    It has been tr. as " From Jacob's root, a star so clear," by Miss Manington, 1864, p. 13.2. Verzage nicht du Hauflein klein.  [In Trouble.] Concerning the authorship of this hymn there are three main theories—i. that it is by Gustavus Adolphus; ii. that the ideas are his and the diction that of his chaplain, Dr. Jacob Fabricius; and iii. that it is by Altenburg.   In tracing out the hymn we find that:—The oldest accessible form is in two pamphlets published shortly after the death of Gustavus Adolphus, viz., the Epicedion, Leipzig, n.d. but probably in the end of 1632 [Royal Library, Berlin]: and Arnold Mengering's Blutige Siegs-Crone, Leipzig, 1633 [Town Library, Hamburg]. In the Epicedion the hymn is entitled, " Konig-licher Schwanengesang So ihre Majest. vor dem Ltltzen-schen Treffen inniglichen zu Gott gesungen "; and in the Siegs-Crone, p. 13, "Der S. Kon. Mayt. zu Schweden Lied, welches Sie vor der Schlacht gesungen." In both cases there are 3 sts. :—i. Verzage nicht, du Hiiuffiein klein. ii. Triistedich dess, dass deine Sach. iii. So wahr Gott Gott ist, und sein Wort.The next form is that in J. Clauder's Psalmodiae Novae Pars Tertia, Leipzig, 1636, No. 17, in 5 st. of 6 lines, st. i.-iii. as above, and—iv. Ach Gott gieb in des deine Gnad v. Hilff dass wir auch nach deinem Wort. No author's name is given.   In the Bayreuth G. B., 1668, p. 266, st. iv., v., are marked as an addition by Dr. Samuel  Zehner; and  by J. C.  Olearius in his Lieder-Schatz, 1705, p. 141, as written in 1638 (1633 ?), when the  Croats  had partially burnt  Schleusiugen, where Zehner was then superintendent.The third  form  of importance is that  given in Jcremias Weber's Leipzig G. B., 1638, p. 651, where it is entitled  " A soul-rejoicing hymn of Consolation upon the watchword—God with us—used by the Evangelical army in the battle of Leipzig, 7th Sept., 1631, composed by M. Johann Altenburg, pastor at Gross Soinmern in Dtiringen," [i.e. Sommerda in Thuringia].  It is in 5 sts., of which sts. i.-iii. are the same as the 1633, and are marked as by Altenburg.   St. iv., v., beginning— iv. Drilmb sey getrost du kleines Heer v. Amen, das hilff Ilerr Jesu Christ, are marked as " Additamentum Ignoti."   This is the form in C. U. as in the Berlin G. L. S., ed. 1863, No. 1242.In favour of Altenburg there is the explicit declaration of the Leipzig G. B., 1638, followed by most subsequent writers. The idea that the hymn was by Gustavus Adolphus seems to have no other foundation than that in many of the old hymn-books it was called Gustavus Adolphus's Battle Hymn. The theory that the ideas were communicated by the King to his chaplain, Dr. Fabricius, after the battle of Leipzig, and by Fabricius versified, is maintained by Mohnike in his Hymnologische Forschungen, 1832, pt. ii. pp. 55-98, but rests on very slender evidence. In Koch, viii. 138-141, there is the following striking word-picture:—If, then, we must deny to the hymn Albert Knapp's characterisation of it as " a little feather from the eagle wing of Gustavus Adolphus," so much the more its original title as his "Swan Song" remains true. It was on the morning of the 6 Nov., 1632, that the Catholic army under Wallenstein and the Evangelical under Gustavus Adolphus stood over against each other at Lutzen ready to strike. As the morning dawned Gustavus Adolphus summoned his Court preacher Fabricius, and commanded him, as also the army chaplains of all the other regiments, to hold a service of prayer. During this service the whole host sung the pious king's battle hymn—" Verzage nicht, du Hauflein klein."He himself was on his knees and prayed fervently. Meantime a thick mist had descended, which hid the fatal field so that nothing could be distinguished. When the host had now been set in battle array he gave them as watchword for the fight the saying,  "God with us," mounted his horse, drew his sword, and rode along the lines of the army to encourage the soldiers for the battle. First, however, he commanded the tunes Ein feste Burg and Es wollt tins Gott genadig sein to be played by the kettledrums and trumpets, and the soldiers joined as with one voice. The mist now began to disappear, and the sun shone through. Then, after a short prayer, he cried out: " Now will we set to, please God," and immediately after, very loud, " Jesu, Jesu, Jesu, help me today to fight for the honour of Thy Holy Name." Then he attacked the enemy at full speed, defended only by a leathern gorget. " God is my harness," he had said to the servant who wished to put on his armour. The conflict was hot and bloody. About 11 o'clock in the forenoon the fatal bullet struck him, and he sank, dying, from his horse, with the words, “My God, my God!" Till twilight came on the fight raged, and was doubtful. But at length the Evangelical host obtained the victory, as it had prophetically sung at dawn."This hymn has ever been a favourite in Germany, was sung in the house of P. J. Spener every Sunday afternoon, and of late years has been greatly used at meetings of the Gustavus Adolphus Union—an association for the help of Protestant Churches in Roman Catholic countries. In translations it has passed into many English and American collections. Translations in C. U.:— Fear not, 0 little flock, the foe.    A good tr. from the text of 1638, omitting st. iv., by Miss Winkworth, in her Lyra Ger., 1855, p. 17.    Included, in England in Kennedy, 1863, Snepp's S. of G. and G., 1871, Free Church H. Bk., 1882, and others; and in America in the Sabbath H. Book., 1858, Pennsylvania Luth. Ch. Bk., 1868, Hys. of the Church, 1869, Bapt. H. Bk., 1871, H. and Songs of Praise, 1874, and many others. Be not dismay'd, thou little flock.   A good tr. of st. i.-iii. of the 1638 text in Mrs. Charles's V. of Christian Life in Song, 1858, p. 248.    She tr. from the Swedish, which, in the Swensha Psalm Boken, Carlstadt, N.D. (1866), is given as No. 378, "Forfaras ej, du lilla hop !" and marked Gustaf II. Adolf.    Her version is No. 204 in Wilson's Service of Praise, 1865. Thou little flock, be not afraid.    A tr. of st. i.-iii. from the 1638  text, by M. Loy, in the Ohio Luth. Hymnal, 1880, No. 197. Other trs. are all from the text of 1638.(1.) " Be not dishearten'd, little flock," by Dr. II. Mills, 1856, p. 121. (2.) " Despond not, little band, although," by Dr. G. Walker, 1860, p. 41. (3.) "Be not dismay'd, thou little flock, Nor," by E. Massie, 1866, p. 143. (4.) " 0 little flock, be not afraid," in J. D. Burns's Memoir and Remains, 1869. p. 226. –John Julian, Dictionary of Hymnology (1907)

Frederick Bridge

1844 - 1924 Meter: 8.8.6 D Composer of "LOTHIAN" in Small Church Music Sir John Frederick Bridge CVO (5 December 1844 – 18 March 1924) was an English organist, composer, teacher and writer. From a musical family, Bridge became a church organist before he was 20, and he achieved his ambition to become a cathedral organist by the age of 24, at Manchester Cathedral. After six years there, he was invited to become organist at Westminster Abbey, where he remained for the rest of his career. He instituted several changes to modernise and improve the music-making at the Abbey and organised the music for several state occasions, including two coronations. As a teacher and lecturer, Bridge held posts at the Royal College of Music, Gresham College and the University of London. His students included the composers Arthur Benjamin and Noel Gay, the organists Edward Bairstow and Herbert Brewer, the conductor Landon Ronald and the early music pioneer Arnold Dolmetsch. His public lectures at Gresham College attracted large audiences, and they covered a wide range of subjects and musical periods. For 25 years, Bridge was conductor of the Royal Choral Society, with whom he performed many new works, including some of his own compositions and works by the British composers Elgar, Vaughan Williams and Parry. Bridge was born in Oldbury, then in Worcestershire, in central England, the eldest son of John Bridge and his wife, Rebecca née Cox. In 1850, his father was appointed a vicar-choral of Rochester Cathedral. Young Bridge was admitted to the cathedral choir as a "practising boy" (that is, a probationer). The choirboys were educated by another of the vicars-choral. The régime was severe in discipline and rudimentary in curriculum, but among the alumni of the choir school of this period were future organists of four English cathedrals and of Westminster Abbey. They included Bridge's younger brother Joseph, who eventually became organist of Chester Cathedral. Bridge's first participated in a great national commemoration in 1852, when, aged eight, he was allowed to help toll the cathedral bell to mark the death of the Duke of Wellington. When Bridge was nine, he and his father were members of the choir assembled by Michael Costa for the opening of the Crystal Palace in June 1854. At the age of 14 Bridge left the cathedral choir and was apprenticed to John Hopkins, organist of Rochester Cathedral. While still studying under Hopkins, Bridge was appointed organist of the village church of Shorne in 1851, and the following year moved to Strood Parish Church.[2] From 1863 to 1867 he studied composition with John Goss, professor of harmony at the Royal Academy of Music. Bridge said in 1897, "Very happy and improving lessons they were and it is impossible for me to over-estimate the value of the instruction given by that dear, simple-minded musician." In 1865 Bridge was appointed organist of Holy Trinity Church, Windsor. There he was encouraged and influenced by George Job Elvey, organist of St. George's Chapel, Windsor, and made many friends including John Stainer and the young Hubert Parry. During his time at Windsor, Bridge passed the examination for the Fellowship of the Royal College of Organists, in 1867, and took his Bachelor of Music degree at the University of Oxford. After four years at Windsor, Bridge achieved his ambition to become a cathedral organist, successfully competing for the post at Manchester Cathedral.[3] He spent six years there from 1869, with his brother Joseph as his assistant. While at Manchester, he took his Doctor of Music degree at Oxford in 1874, and was professor of harmony at Owens College from 1872. Under Bridge's leadership musical standards of the cathedral were improved, and the unsatisfactory old organ was replaced. The state of the existing instrument was described by The Manchester Guardian as "not only discreditable to Churchmen, but especially objectionable when existing in the cathedral church of a wealthy diocese.". The churchwarden, William Houldsworth gave £5,000, and a magnificent new instrument was built by Hill and Sons of London. In 1875 the organist and master of the choristers at Westminster Abbey, James Turle, retired. Bridge was invited to succeed him. As Turle was permitted to retain his former title in retirement, Bridge was formally "Permanent Deputy-Organist of Westminster Abbey" until Turle's death in 1882, but he was effectively in sole charge from the outset. The Musical Times wrote: The appointment of Dr. Bridge to the post of organist at Westminster Abbey … will be welcomed by all interested in the cause of church music. The improvement in the services at Manchester Cathedral since Dr. Bridge has held the position of organist, may be regarded as a proof that in the responsible office which he has now accepted he will do his utmost to advance the character of the music in the Abbey; and we sincerely hope that the Dean and Chapter will allow him that unlimited power over the choir which may enable him to raise it to the high state of efficiency which the public has a right to expect. To the general public, Bridge became known for organising the music, and composing some of it, for great state occasions, notably Queen Victoria's jubilee (1887), Edward VII's coronation (1902), the national memorial service for Edward VII (1910), George V's coronation (1911), and the reinauguration of Henry VII's Chapel as the chapel of the Order of the Bath (1913). In the musical world he was known for his special commemorations of English composers of the past. The first was a celebration of Henry Purcell in 1895, marking the bicentenary of Purcell's death. Bridge presented Purcell's Te Deum "purged of the 18th century accretions which had overlaid it". Later commemorations were of Orlando Gibbons (1907), and Samuel Sebastian Wesley (1910). Having worked successfully to have the organ at Manchester replaced, Bridge found himself obliged to do the same at the Abbey. He described the instrument he inherited as "a very old-fashioned affair". In 1884 the organ was completely rebuilt by Hill and Son to a very high specification. When the National Training School for Music was set up in 1876 under Arthur Sullivan, Bridge was appointed professor of organ. When the school was reconstituted as the Royal College of Music in 1883 he was appointed professor of harmony and counterpoint. In 1890 he was elected Gresham professor of music at Gresham College, London, and in 1903 he was appointed professor of music at the University of London. According to Guy Warrack and Christopher Kent in the Grove Dictionary of Music and Musicians, "accounts of his teaching are not complimentary", but he was generally regarded as a highly successful lecturer, and Alcock's Oxford Dictionary of National Biography article states, "Because of his persuasive style and apt illustrations, his lectures drew large audiences." His pupils at the Royal College and the Abbey included Edward Bairstow, Arthur Benjamin, Herbert Brewer, Arnold Dolmetsch, Noel Gay, Lloyd Powell and Landon Ronald. Bridge's enthusiasms were many and varied. His lectures at Gresham College were well known for the wide range of topics he covered. His articles for the musical press showed a similar variety; some examples are: "Purcell and Nicola Matteis"; "Samuel Pepys – A Lover of Musicke"; "A Seventeenth Century View of Musical Education"; and "The Musical Cries of London in Shakespeare's Time". In 1899 he was a pioneer of authentic performance of Handel's score for Messiah, purging it of 18th and 19th century reorchestrations. Bridge was the conductor of the Royal Choral Society from 1896 to 1921. In an article celebrating his work with the society, Herman Klein listed the new works that it had performed under Bridge's baton. They included six works by Elgar, four apiece by Parry, Stanford, and Samuel Coleridge-Taylor, and works by Alexander Mackenzie, Frederick Cowen, Hamilton Harty, Ethel Smyth and Vaughan Williams. Bridge was married three times, first, in 1872, to Constance Ellen Moore (d. 1879); second, in 1883, to Helen Mary Flora Amphlett (d. 1906), and third, in 1914, to Marjory Wedgwood Wood (d. 1929). There were a son and a daughter of the first marriage, and a daughter of the second. Bridge was knighted in 1897, and created MVO in 1902 and CVO in 1911. He was awarded honorary degrees from the universities of Durham (1905) and Toronto (1908). Bridge retired as organist of the Abbey in 1918, but was granted the title of "Organist Emeritus" and continued to live in the Little Cloisters until his death six years later at the age of 79. His funeral took place at Glass, Aberdeenshire, where he was buried on 21 March 1924. (excerpts)

E. D'Evry

1869 - 1950 Meter: 8.8.6 D Composer of "[Jesus, who from Thy Father's throne]"


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