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Horatius Bonar

1808 - 1889 Person Name: Horatius Bonar, 1808-1889 Topics: Agua Author of "I Heard the Voice of Jesus Say (Oí la Voz del Salvador)" in Oramos Cantando = We Pray In Song Horatius Bonar was born at Edinburgh, in 1808. His education was obtained at the High School, and the University of his native city. He was ordained to the ministry, in 1837, and since then has been pastor at Kelso. In 1843, he joined the Free Church of Scotland. His reputation as a religious writer was first gained on the publication of the "Kelso Tracts," of which he was the author. He has also written many other prose works, some of which have had a very large circulation. Nor is he less favorably known as a religious poet and hymn-writer. The three series of "Hymns of Faith and Hope," have passed through several editions. --Annotations of the Hymnal, Charles Hutchins, M.A. 1872 ================================ Bonar, Horatius, D.D. Dr. Bonar's family has had representatives among the clergy of the Church of Scotland during two centuries and more. His father, James Bonar, second Solicitor of Excise in Edinburgh, was a man of intellectual power, varied learning, and deop piety. Horatius Bonar was born in Edinburgh, Dec. 19th, 1808; and educated at the High School and the University of Edinburgh. After completing his studies, he was "licensed" to preach, and became assistant to the Rev. John Lewis, minister of St. James's, Leith. He was ordained minister of the North Parish, Kelso, on the 30th November, 1837, but left the Established Church at the "Disruption," in May, 1848, remaining in Kelso as a minister of the Free Church of Scotland. The University of Aberdeen conferred on him the doctorate of divinity in 1853. In 1866 he was translated to the Chalmers Memorial Church, the Grange, Edinburgh; and in 1883 he was chosen Moderator of the General Assembly of of the Free Church of Scotland. Dr. Bonar's hymns and poems were, he tells us, composed amid a great variety of circumstances; in many cases he cannot himself recall these circumstances; they also appeared in several publications, but nearly all have boen published or republished in the following:— (i) Songs for the Wilderness, 1843-4. (2) The Bible Hymn Book, 1845. (3) Hymns, Original and Selected, 1846. (4) Hymns of Faith and Hope, First Series, 1857; Second Series, 1861; Third Series, 1866. (5) The Song of the New Creation, 1872. (6) My Old Letters, a long poem, 1877. (7) Hymns of the Nativity, 1879. (8) Communion Hymns, 1881. In addition to numerous prose works, he has also edited The New Jerusalem; a Hymn of the Olden Time, 1852, &c. Dr. Bonar's poems—-including many beautiful lyrics, several psalm versions, and translations from the Greek and Latin, a large number of hymns, and a long meditative poem—-are very numerous, too numerous, perhaps, for their permanent fame as a whole. Dr. Bonar's scholarship is thorough and extensive; and his poems display the grace of style and wealth of allusion which are the fruit of ripe culture. Affected very slightly by current literary moods, still less by the influence of other religious poetry, they reveal extreme susceptibility to the emotional power which the phases of natural and of spiritual life exercise; the phases of natural life being recognised chiefly as conveying and fashioning spiritual life, used chiefly for depicting spiritual life, and handled for this purpose with greater delicacy of touch than in the Olney Hymns, and with less conscious purpose than in the Christian Year. As a result of this susceptibility, and from habitual contemplation of the Second Advent as the era of this world's true bliss, his hymns and poems are distinguished by a tone of pensive reflection, which some might call pessimism. But they are more than the record of emotion; another element is supplied by his intellectual and personal grasp of Divine truth, these truths particularly:—The gift of a Substitute, our Blessed Saviour; Divine grace, righteous, yet free and universal in offer; the duty of immediate reliance upon the privilege of immediate assurance through that grace; communion with God, especially in the Lord's Supper, respecting which he insists on the privilege of cherishing the highest conceptions which Scripture warrants; and finally, the Second Advent of our Lord: by his vigorous celebration of these and other truths as the source and strength of spiritual life, his hymns are protected from the blight of unhealthy, sentimental introspection. To sum up: Dr. Bonar's hymns satisfy the fastidious by their instinctive good taste; they mirror the life of Christ in the soul, partially, perhaps, but with vivid accuracy; they win the heart by their tone of tender sympathy; they sing the truth of God in ringing notes; and although, when taken as a whole, they are not perfect ; although, in reading them, we meet with feeble stanzas, halting rhythm, defective rhyme, meaningless Iteration; yet a singularly large number have been stamped with approval, both in literary circles and by the Church. In Great Britain and America nearly 100 of Dr. Bonar's hymns are in common use. They are found in almost all modern hymnals from four in Hymns Ancient & Modern to more than twenty in the American Songs for the Sanctuary, N. Y., 1865-72. The most widely known are, "A few more years shall roll;" "Come, Lord, and tarry not;" "Here, O my Lord, I see Thee face to face;" "I heard the Voice of Jesus say;" "The Church has waited long;" and "Thy way, not mine, O Lord." In addition to these and others which are annotated under their respective first lines, the following are also in common use:— From Songs for the Wilderness, No. 1, 1843. 1. For Thee we long and pray. Sunday Morning. 2. Holy Father, hear my cry. A Child's Prayer. 3. I thought upon my sins and I was sad. Christ our Peace. 4. Peace to the world, our Lord is come. A Millennial Song. 5. Spirit of everlasting grace. The Vision of Dry Bones. ii. From Songs for the Wilderness, No. 2,1844. 6. Ho, ye thirsty, parched and fainting. Invitation. 7. 0 'tis not what we fancied it. The world renounced. 8. Sing them, my children, sing them still. Children exhorted to Praise. 9. Time's sun is fast setting. Advent. 10. Weep, pilgrim, weep, yet 'tis not for the sorrow. Faith. 11. Yes, for me, for me He careth. Christ the Elder Brother . iii. From The Bible Hymn Book, 1845. 12. Jesus, my sorrow lies too deep. Jesus, the Great High Priest. 13. There is a Morning Star, my soul. The Morning Star. 14. This is not my place of resting. Pressing towards heaven. iv. From Hymns, Original and Selected, 1845. 15. Let there be light, Jehovah said. Creation. v. From Hymns of Faith and Hope, 1st series, 1857. 16. Be brave, my brother. The Fight of Faith. 17. Blessed be God, our God. Good Friday. 18. Everlasting praises. Doxology. 19. Go up, go up, my heart. Heavenly aspirations desired. 20. I close my heavy eye. Evening. Sometimes given as "We close our heavy eyes." 21. I see the crowd in Pilate's hall. Good Friday. 22. Jesus, while this rongh desert soil. Strength by the Way. 23. Jesus, Whom angel-hosts adore. The Word made Flesh. From "The Son of God, in mighty love." 24. Make haste, 0 man, to live. Exhortation to lay hold of Life. 25. No seas again shall sever. Heaven. 26. Oppressed with noonday's scorching heat. Shadow of the Cross. 27. Rest for the toiling hand. Burial. From "Lie down, frail body, here." 28. Shall this life of mine be wasted? Exhortation to Duty. 29. These are the crowns that we shall wear. Heaven. 30. Thy works, not mine, O Christ [Lord]. The Sin-bearer. 31. Where the faded flower shall freshen. Heaven. vi. From Hymns of Faith and Hope. 2nd series, 1861. 32. Be still, my soul, Jehovah loveth Thee. Rest in the Love of God. 33. Christ has done the mighty work. Good Friday. 34. Come, mighty Spirit, penetrate. Whitsuntide. 35. Deep down beneath the unresting surge. Burial at Sea. 36. Fear not the foe, thou flock of God [thou little flock]. Battle-Song of the Church. 37. For lack of love I languish. Lent. 38. From this bleak hill of storms. Eternal Rest desired. 39. He liveth long who liveth well. The True Life. 40. Here shall death's triumph end: the rock-barred door. Easter. From "The tomb is empty: wouldst thou have it full." 41. Jesus, Sun and Shield art Thou. Jesus the First and Last. 42. Jesus, the Christ of God. Praise to Christ. 43. Light of the world, for ever, ever shining. Christ the Light of the World. From "Why walk in darkness? Has the dear light vanished?" 44. Make use of me, my God. Duty desired. 45. Not what I am, 0 Lord, but what Thou art. The Love of God. 46. 0 Light of Light, shine in. Cry of the Weary. 47. 0 love of God, how strong and true. Love of God. 48. 0 love that casts out fear. Love of God. 49. 0 strong to save and bless. Lent. 50. 0 this soul, how dark and blind. Lent. 51. Safe across the waters. Thanksgiving at end of a journey. 52. Silent, like men in solemn haste. Pressing onwards. 53. Speak, lips of mine. Exhortation to Praise. 54. The Bridegroom comes. Advent. vii. From Hymns of Faith and Hope. 3rd series, 1866. 55. Bear Thou my burden, Thou Who bar'st my sin. Lent or Passiontide. 56. Done is the work that saves. Easter. 57. Father, our children keep. Prayer on behalf of Children. 58. Fill Thou my life, 0 Lord my God. Life's Praise. 59. Finish Thy work, the time is short. Earnest labour to the end. 60. From the Cross the blood is falling. Good Friday. 61. He called them, and they left. Obedience. 62. Help me, my [0] God to speak. Truth desired. 63. Holy Father, Mighty God. Holy Trinity. 64. How are my troubles multiplied. Ps. iii. 65. How sweetly doth He show His face Flower Service. 66. Light hath arisen, we walk in its brightness. Sustaining power of Faith. 67. Lo, God, our God has come. Christmas. 68. Lord, give me light to do Thy work. Divine guidance desired. 69. No, not despairingly. Lent. 70. Not to ourselves again. Life in Christ, or, Living unto God. 71. Now in parting, Father, bless us. Post Communion. 72. Sounds the trumpet from afar. Battle-Song of the Church. 73. Thee in the loving bloom of morn. God in all. 74. Through good report and evil, Lord. Faithfulness. 75. To Jehovah, God of might. Praise to the Father. 76. To the name of God on high. Doxology. 77. Upward, where the stars are burning. Heavenward Aspirations. 78. We take the peace which He hath won. The Gift of Peace. 79. When the weary, seeking rest. Intercession for all Conditions of Men. viii. From The Song of the New Creation,1872. 80. For the Bread and for the Wine. Holy Communion. 81. Light of life so softly shining. Light of Life. 82. Yet there is room. The Lamb's bright hall of song. Home Missions. ix. From Hymns of the Nativity, 1879. 83. Great Ruler of the land and sea. Sailors' Liturgy. From Communion Hymns, 1881. 84. Beloved, let us love. Brotherly Love. In several instances these hymns are given in an abbreviated form, and sometimes alterations are also introduced. In this latter respect however Dr. Bonar has suffered less than most modern hymn-writers. [Rev. James Mearns, M.A.] -- John Julian, Dictionary of Hymnology (1907) ==================== Bonar, Horatius, p. 161, i. He died at Edinburgh, July 31, 1889. In 1890 his son published a posthumous volume of his poetical pieces as Until the Day Break and other Hymns and Poems left behind. The following additional hymns are in common use:— 1. Almighty Comforter and Friend. (1866.) Whitsuntide. 2. Father, make use of me. An altered form of No. 44, p. 162, ii. 3. I ask a perfect creed. (1861.) Creed not Opinions. From this is also taken "O True One, give me truth." 4. Long, long deferred, now come at last. Marriage of the Lamb. Part of "Ascend, Beloved, to the joy." (1861.) 5. Nay 'tis not what we fancied it. (1857.) Vanity of the World. 6. No blood, no altar now. (1861.) The Finished Sacrifice. 7. No shadows yonder. (1857.) Heaven Anticipated. 8. Not with the light and vain. (1857.) Godly Companionship. 9. O Love invisible, yet infinite. (1866.) Divine Love. 10. On the great love of God I lean. (1866.) Love of God our Resting-place. 11. On Thee, O Jesus, strongly leaning. (1866.) Fellowship with Christ. 12. Peace upon peace, like wave on wave. (1866.) Divine Peace. 13. Sower divine, sow the good seed in me. (1857.) Heavenly Sowing. 14. Speaketh the sinner's sin within my heart. (1866.) Ps. xxxvi. 15. Still one in life and one in death. (1857.) Communion of Saints. Part of "'Tis thus they press the hand and part." 16. Surely, yon heaven, where angels see God's face. (1857.) Heaven Anticipated. 17. That city with the jewelled crest. (1857.) Heaven. Part of "These are the crowns that we shall wear." Another cento from the same is "Yon city, with the jewelled crest." 18. That clime is not like this dull clime of ours. (1843.) Heaven. 19. The Free One makes you free: He breaks the rod. (1857.) Freedom in Christ. From "Of old they sang the song of liberty." 20. There is a Morning-star, my soul. (1357.) Christ the Morning Star. 21. This is the day of toil. (1866.) Pressing Onwards. 22. Thy thoughts are here, my God. (1866.) Holy Scripture. 23. Till the day dawn. (1857.) Life's Journey. 24. To Him Who spread the skies. (1866.) Creation's Song. 25. Trustingly, trustingly. (1866.) Trust. 26. Unto th' eternal hills. (1866.) Ps. cxxi. The above dates are: 1843, Songs in the Wilderness; 1857, Hymns of Faith and Hope, 1st Series; 1861, same, 2nd Ser. (not 1864); 1866, same, 3rd Ser. (not 1867), The dates 1857, 1864,1867, were given by Dr. Bonar, but the British Museum copies are 1857, 1861, 1866 respectively. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) ============== Bonar, H., pp. 161, i.; 1554, i. The Rev. H. N. Bonar, Dr. Bonar's son, published in 1904, Hymns by Horatius Bonar, Selected and Arranged by his Son H. N. Bonar, With a brief History of some of the Hymns, &c. (London: H. Frowde). From this work we must correct the date of his Song of the New Creation to 1872. We have also enriched our pages by additional and expanded notes on several of Dr. Bonar's most widely used hymns. In his biographical notes, Mr. Bonar refers to Dr. Bonar's work as editor of the Quarterly Journal of Prophecy, begun in 1848, to which he contributed a hymn for each number. We find that the number of hymns contributed thereto is 101. With Dr. Bonar's poetical productions great difficulty has been encountered by the historian and annotator because of his absolute indifference to dates and details. It was enough for him that he had written, and that the Church of Christ approved and gladly used what, out of the fulness of his heart, he had given her. --Excerpt from John Julian, Dictionary of Hymnology, New Supplement (1907)

Anonymous

Topics: Agua Translator of "I Heard the Voice of Jesus Say (Oí la Voz del Salvador)" in Oramos Cantando = We Pray In Song 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.

Ralph Vaughan Williams

1872 - 1958 Person Name: Ralph Vaughan Williams, 1872-1958 Topics: Agua Harmonizer of "KINGSFOLD" in Oramos Cantando = We Pray In Song Through his composing, conducting, collecting, editing, and teaching, Ralph Vaughan Williams (b. Down Ampney, Gloucestershire, England, October 12, 1872; d. Westminster, London, England, August 26, 1958) became the chief figure in the realm of English music and church music in the first half of the twentieth century. His education included instruction at the Royal College of Music in London and Trinity College, Cambridge, as well as additional studies in Berlin and Paris. During World War I he served in the army medical corps in France. Vaughan Williams taught music at the Royal College of Music (1920-1940), conducted the Bach Choir in London (1920-1927), and directed the Leith Hill Music Festival in Dorking (1905-1953). A major influence in his life was the English folk song. A knowledgeable collector of folk songs, he was also a member of the Folksong Society and a supporter of the English Folk Dance Society. Vaughan Williams wrote various articles and books, including National Music (1935), and composed numerous arrangements of folk songs; many of his compositions show the impact of folk rhythms and melodic modes. His original compositions cover nearly all musical genres, from orchestral symphonies and concertos to choral works, from songs to operas, and from chamber music to music for films. Vaughan Williams's church music includes anthems; choral-orchestral works, such as Magnificat (1932), Dona Nobis Pacem (1936), and Hodie (1953); and hymn tune settings for organ. But most important to the history of hymnody, he was music editor of the most influential British hymnal at the beginning of the twentieth century, The English Hymnal (1906), and coeditor (with Martin Shaw) of Songs of Praise (1925, 1931) and the Oxford Book of Carols (1928). Bert Polman

Michael Joncas

b. 1951 Person Name: Michael Joncas, b. 1951 Topics: Agua Arranger of "[O healing river, send down your waters]" in Oramos Cantando = We Pray In Song

Rory Cooney

b. 1952 Person Name: Rory Cooney, b. 1952 Topics: Agua Author of "Jerusalem, My Destiny (Mi Destino, Jerusalén)" in Oramos Cantando = We Pray In Song

Martin Junge

Topics: Agua Translator of "Healing River (Fuente de Vida)" in Oramos Cantando = We Pray In Song

Michael Saward

1932 - 2015 Person Name: Michael Saward, b. 1932 Topics: Agua Author of "Baptized in Water (Ya Bautizados)" in Oramos Cantando = We Pray In Song Michael John Saward (b. Blackheath, Kent, England, 1932) was residentiary Canon of St. Paul's Cathedral, London, and a church commissioner and member of the general synod of the Church of England. Educated at Eltham College, Bristol University, and Tyndale Hall, he was ordained in the Church of England in 1956. Saward served in several congregations and was radio and television officer for the Church Information Office (1967-1972). His publications include Leisure (1963), Couldn’t Care Less (1966), Don't Miss the Party (1974), and All Change (1983). Associated with the Jubilate Group for a number of years, he has written some sixty hymns and served as text editor for Hymns for Today's Church (1982). Bert Polman

Alejandro Mejia

b. 1937 Person Name: Alejandro Mejía, n. 1937 Topics: Agua Author of "Como el Ciervo al Agua Va" in Flor Y Canto (2nd ed.)

Marty Haugen

b. 1950 Person Name: Marty Haugen, b. 1950 Topics: Agua Author of "Tree of Life (En el Árbol de la Vida)" in Oramos Cantando = We Pray In Song Marty Haugen (b. 1950), is a prolific liturgical composer with many songs included in hymnals across the liturgical spectrum of North American hymnals and beyond, with many songs translated into different languages. He was raised in the American Lutheran Church, received a BA in psychology from Luther College, yet found his first position as a church musician in a Roman Catholic parish at a time when the Roman Catholic Church was undergoing profound liturgical and musical changes after Vatican II. Finding a vocation in that parish to provide accessible songs for worship, he continued to compose and to study, receiving an MA in pastoral studies at the University of St. Thomas in St. Paul Minnesota. A number of liturgical settings were prepared for the Evangelical Lutheran Church in America and more than 400 of his compositions are available from several publishers, especially GIA Publications, who also produced some 30 recordings of his songs. He is composer-in-residence at Mayflower Community Congregational Church in Minneapolis and continues to compose and travel to speak and teach at worship events around the world. Emily Brink

Daniel L. Schutte

b. 1947 Person Name: Dan Schutte, b. 1947 Topics: Agua Author of "Glory and Praise to Our God (Glorifiquemos a Dios)" in Oramos Cantando = We Pray In Song

Robert J. Batastini

b. 1942 Person Name: Robert J. Batastini, b. 1942 Topics: Agua Arranger of "BUNESSAN" in Oramos Cantando = We Pray In Song Robert J. Batastini is the retired vice president and senior editor of GIA Publications, Inc., Chicago. Bob has over fifty-five years of service in pastoral music ministry, having served several parishes in the Archdiocese of Chicago and one in the Diocese of Joliet. He served as executive editor and project director for the Worship hymnals (three editions), Gather hymnals (three editions), Catholic Community Hymnal, and as executive editor of RitualSong. In 1993 he became the first recipient of the Father Lawrence Heimann Citation for lifetime contribution to church music and liturgy in the U.S., awarded by St. Joseph's College, Rensselaer, Indiana, and was named "Pastoral Musician of the Year-2000" by the National Association of Pastoral Musicians (NPM). At its 2006 conference, he was named a Fellow of the Hymn society in the United States and Canada. In his retirement he is active in the music ministry of St. Francis de Sales Parish, Holland, MI. Nancy Naber, from www.giamusic.com/bios/

Cesáreo Gabarain

1936 - 1991 Person Name: Cesáreo Gabaráin, 1936-1991 Topics: Agua Author of "Yo Soy el Agua Viva" in Flor Y Canto (2nd ed.) Cesáreo Gabaráin, a Spanish priest involved in liturgical renewal following Vatican II. Bert Polman

Mary Louise Bringle

b. 1953 Person Name: Mary Louise Bringle, n. 1953 Topics: Agua Translator of "De Tu Cántaro Dame (The Samaritan Woman)" in Oramos Cantando = We Pray In Song

Fernando San Romualdo

1900 - 2000 Person Name: Fernando San Romauldo, CMF, sigl XX Topics: Agua Author of "Como el Agua" in Flor Y Canto (2nd ed.)

George Lockwood

b. 1946 Person Name: George Lockwood, b. 1946 Topics: Agua Translator of "Baptized in Water (Ya Bautizados)" in Oramos Cantando = We Pray In Song Rev. George Lockwood was born in 1946 and has been a missionary to Costa Rica. He has pastored Spanish-speaking congregations in both Arizona and California and served on the editorial committee for the Methodist hymnal supplement Celebremos II. In addition, Lockwood has traveled throughout Central and South America interviewing church musicians and gathering new hymns from both Spanish and Portuguese cultures which he then presents at conferences and workshops. The Presbyterian Hymnal Companion, 1993

Mary Frances Reza

Person Name: Mary Frances Reza, siglo XX Topics: Agua; Música para la Misa Rito para la Bendición y Aspersión del Agua Composer of "[Vi brotar agua del lado derecho del templo ]" in Flor Y Canto (2nd ed.)

Peter Quint

Person Name: Peter Quint, n. 1952 Topics: Agua Arranger of "[Vengan hambrientos, vengan sedientos]" in Oramos Cantando = We Pray In Song

Jaime Cortez

b. 1963 Person Name: Jaime Cortez, n. 1963 Topics: Agua; Música para la Misa Rito para la Bendición y Aspersión del Agua Author of "Agua de Vida (Water of Life)" in Flor Y Canto (2nd ed.)

O. Catena

1920 - 1986 Person Name: Osvaldo Catena, siglo XX Topics: Agua; Música para la Misa Rito para la Bendición y Aspersión del Agua Author of "Ésta Es el Agua" in Flor Y Canto (2nd ed.) Osvaldo Catena (b. 1920; d. 1986) was an Argentinian priest and composer. Showing an early interest in music, he entered the Metropolitan Seminary in Santa Fe, Argentina, where he learned multiple instruments and studied for ordination. He was ordained as a priest in 1943. He started the first School of Sacred Music in Santa Fe, and in 1950 organized the first University Choir. He was soon appointed chaplain at the College of Our Lady of Calvary, but moved his ministry to the poor, harsh areas of Santa Fe, in what he named Villa Prak, “the triangle” outlined by railroad tracks, garbage dumps, and caves near the Rio Saldo. He termed this area Villa Park. He spent much of his life in this area, working to develop the area and provide fellowship and guidance for those living there in a time of turmoil and violence, during the military dictatorship in Argentina (1976-1983). Laura de Jong

Rufino Zaragoza

b. 1957 Person Name: Rufino Zaragoza, OFM, n. 1957 Topics: Agua Author of "Tomen Agua Viva/Drink Living Water" in Flor Y Canto (2nd ed.)

Colleen Fulmer

b. 1951 Person Name: Colleen Fulmer, b. 1951 Topics: Agua Author of "Tomen Agua Viva/Drink Living Water" in Flor Y Canto (2nd ed.)

María Dolores Martínez

b. 1954 Person Name: María Dolores Martínez, n. 1954 Topics: Agua Author of "Agua de Vida" in Flor Y Canto (2nd ed.)

Lambert Joseph Luna

b. 1952 Person Name: Lambert Joseph Luna, siglo XX Topics: Agua; Música para la Misa Rito para la Bendición y Aspersión del Agua Composer of "[Vi brotar agua del lado derecho del templo ]" in Flor Y Canto (2nd ed.)

Tony Rubi

b. 1949 Person Name: Tony Rubi, n. 1949 Topics: Agua; Música para la Misa Rito para la Bendición y Aspersión del Agua Composer of "[Vean cómo es Él, el Dios que me salva]" in Flor Y Canto (2nd ed.)

Oscar López Marroquín

b. 1937 Person Name: Oscar López Marroquín, n. 1937 Topics: Agua Translator (Española) of "Hay un Río Que Fluye (There's a River)" in Oramos Cantando = We Pray In Song

Eleazar Cortés

b. 1947 Person Name: Eleazar Cortés, n. 1947 Topics: Agua Author of "Yo Quiero Agua Viva" in Flor Y Canto (2nd ed.)

Xavier Gonzales Tescuano

b. 1935 Person Name: Xavier Gonzales Tescuano, n. 1935 Topics: Agua Author of "Como Busca la Cierva" in Flor Y Canto (2nd ed.)

Ronald F. Krisman

Person Name: Ronald F. Krisman, b. 1946 Topics: Agua Translator of "Come to the Water (Ven Acá a las Aguas)" in Oramos Cantando = We Pray In Song

John B. Foley

b. 1939 Person Name: John Foley, SJ, b. 1939 Topics: Agua Author of "Come to the Water (Ven Acá a las Aguas)" in Oramos Cantando = We Pray In Song

Alfredo Colom

1904 - 1971 Person Name: Alfredo Colom-Maldonado, 1904-1971 Topics: Agua Author of "De Tu Cántaro Dame (The Samaritan Woman)" in Oramos Cantando = We Pray In Song Alfredo Colom was a prolific songwriter from Guatemala. He held public office, but ruined his life with alcohol and was considering suicide when an indigenous Guatemalan Christian gave him a New Testament. Eventually he surrendered his life to Christ serving in music and evangelism on the radio and in travels throughout Central and South America. Footnote from Singing the New Testament, hymn #36

Bob Hurd

b. 1950 Person Name: Bob Hurd, n. 1950 Topics: Agua Author of "Amor de Dios/O Love of God" in Flor Y Canto (2nd ed.)

Carlos Rosas

1939 - 2020 Person Name: Carlos Rosas, n. 1939 Topics: Agua Author of "Donde Nace la Flor" in Flor Y Canto (2nd ed.)

Alan J. Hommerding

Person Name: Alan J. Hommerding, b. 1956 Topics: Agua Author of "From Ashes to the Living Font (Por el Sendero Cuaresmal)" in Oramos Cantando = We Pray In Song

Alberto Taulé

1932 - 2007 Person Name: Alberto Taulé, n. 1932 Topics: Agua; Música para la Misa Rito para la Bendición y Aspersión del Agua Author of "Agua Pura" in Flor Y Canto (2nd ed.) Alberto Taulé (b. Barcelona, Spain, 1932; d. March 24, 2007), a Roman Catholic priest and musician from the culturally distinctive and semi-autonomous Catalunya region of northeastern Spain. Sing! A New Creation

Georgina Pando-Connolly

b. 1946 Person Name: Georgina Pando-Connolly, b. 1946 Topics: Agua Translator of "From Ashes to the Living Font (Por el Sendero Cuaresmal)" in Oramos Cantando = We Pray In Song

Alfredo Morales

b. 1927 Person Name: Alfredo A. Morales, F.S.C., n. 1927 Topics: Agua Composer of "[Vete a lavar tu ceguera]" in Flor Y Canto (2nd ed.)

Theophane Hytrek

1915 - 1992 Person Name: Theophane Hytrek, OSF, 1915-1992 Topics: Agua Arranger of "[We, the daughters and sons of him]" in Oramos Cantando = We Pray In Song b. Feb. 28, 1915, Stuart, NE; composer; organist

Fran Minkoff

Topics: Agua Author of "Healing River (Fuente de Vida)" in Oramos Cantando = We Pray In Song

Pia Moriarty

b. 1948 Person Name: Pia Moriarty, n. 1948 Topics: Agua Author of "Amor de Dios/O Love of God" in Flor Y Canto (2nd ed.)

Lorraine Florindez

1926 - 2011 Topics: Agua Arranger of "VÅRVINDAR FRISKA" in Oramos Cantando = We Pray In Song Lorraine A. Wiggan Florindez was born on March 11, 1926, in Chicago, Illinois, the eldest of three daughters, offspring of Lucenia Rivetta Ulett and Edward Wiggan, Jamaican immigrants. A child prodigy on the piano, Lorraine began formal piano lessons at the age of seven and gave her first formal piano recital at age eleven, an event written up in the newspaper, The Chicago Defender. She served as church organist for St. James Lutheran, Chicago, at the age of fourteen. A student of Corpus Christie Catholic School, Francis Willard Elementary, and DeSable High School, Lorraine played oboe and French horn in her high school concert band, which frequently featured vibraphonist, Lionel Hampton. A voracious learner, Lorraine skipped two grades and graduated from high school at the age of sixteen. The first in her family to attend college, she majored in music at Carthage College, Kenosha, Wisconsin, graduating in 1946 with a Bachelor’s degree cum laude in music. Lorraine had a dedication to God and missionary endeavors and was placed by the Board of American Missions (LCA, 1946) at the Southern Christian Institute in Edwards, Mississippi, where she conducted a children’s choir and taught music. Fluent in Spanish, Lorraine was commissioned to continue her missionary work in Puerto Rico in 1948. There she met and eventually married Rev. Miguel de Sevilla in 1950. They served together in rural parishes in Dorado for five years and had three children: Catalina, Miguel. Jr., and “Sage” Joyce. Over the span of the next fourteen years, Rev. Sevilla was assigned to cultivate the Puerto Rican Lutheran communities in various church parishes: St. Croix, USVI (1955-60), Camden New Jersey (1960-65), Chicago, Illinois (1965-67), and Brooklyn, New York (1967-69). Within these communities Lorraine served as organist, established choirs, and extended musical horizons. Her marriage to Miguel eventually ended in divorce. Lorraine later met Armando Florindez, a mechanical engineer from Peru. The two were married in 1972 and lived in New York until 1992. During this time Lorraine acquired a Masters in Music Education from Columbia University and continued her music education at the Julliard School. She became a full time music teacher in the public school system and was known for her remarkable musical productions with elementary age students: Oliver, Fiddler on the Roof, The King and I, Annie, and West Side Story. Throughout life, Lorraine’s foundation of faith, set by her parents, never waivered. A love of God and people infused her ministry of music. Developing multigenerational church choirs, composing numerous choral works, and facilitating workshops on Latin American hymns and liturgy throughout the United States, Central and South America, Lorraine’s passion for arranging hymns and discovering indigenous religious music culminated in several hymn compendiums: Cantad Al Senor (St. Louis, 1991) and Lutheran Service Book (St. Louis, 2006). She held memberships in various music organizations, including the American Guild of Organists, the Hymn Society of America, and the Association of Lutheran Church Musicians. From 1992 to the present, Lorraine peacefully resided in Orlando Florida, where she continued her ministry of music with Latino congregations of Orlando. She is survived by her loving husband, Armando, her sisters, Ileane Thomas and Joyce Morgan, her three children; eight beautiful grandchildren, Stephanie, Joey, Jason, Giancarlo, Xiomara, Yasmin, Maya, and Alex; six nieces and nephews, numerous cousins, and three great grandchildren. To God be the glory! A Dios sea la Gloria! Family will receive friends from 9:00 to 11:00 a.m., Saturday, March 12, 2011 at Woodlawn Funeral Home. Obituary from Dignity Memorial.

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