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William H. Parker

1845 - 1929 Person Name: William Henry Parker Hymnal Number: 6824 Author of "Tell Me the Stories of Jesus" in The Cyber Hymnal Parker, William Henry, was born at New Basford, Nottingham, March 4th, 1845. Early in life he began to write verses, and having joined a General Baptist church and become interested in Sunday schools was led to compose hymns for use at anniversaries. Three of these were introduced by his pastor, the Rev. W. R. Stevenson, M.A., into The School Hymnal, 1880, and passed into The Children's Book of Praise, 1881, and other collections. In 1882 Mr. Parker published a small volume entitled, The Princess Alice and Other Poems. His hymns in common use are:—1. "Children know but little.” (God’s condescension to the Little Ones) 2. “Holy Spirit, hear us!” (Hymn to the Holy Ghost). 3. “Jesus, I so often need thee” (A Child’s Prayer to Christ). [Rev. W. R. Stevenson, M.A.] --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) ====================== Parker, W. H., p. 1585, ii, The following additional hymns are in the Sunday School Hymnary, 1905. 1. Gaily come the hours of gladness. Summer. (1905.) 2. How sweet is the message which Jesus has sent. Christ's love to Children. (1892.) 3. I love to hear you tell. Boyhood of Jesus. (1901.) 4. I want to be a hero. Christian Courage. (1895.) 5. Just in the harbour sailing are we. Sailors. (1893.) 6. Tell me the stories of Jesus. Life of Christ. (1885.) 7. The world may beckon from every bide. Of Home. (1905.) 8. There are voices all around us. The Angels. (1881.) 9. Where the rushes bowed and quivered. God's Servants. (1902.) 10. Wilt thou "Show us the Father." God the Father. (1880.) Mr. Parker's hymns were mostly first printed in the sheets used for Sunday School Anniversaries of the Chelsea Street Baptist Church, New Basford, Nottingham. The three hymns noted at p. 1585, ii., were written in March 1880. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology, New Supplement (1907)

Ernest Warburton Shurtleff

1862 - 1917 Person Name: Ernest W. Shurtleff Hymnal Number: 3617 Author of "Lead On, O King Eternal" in The Cyber Hymnal Before studying at Andover, Ernest W. Shurtleff (Boston, MA, 1862; d. Paris, France, 1917) attended Harvard University. He served Congregational churches in Ventura, California; Old Plymouth, Massachusetts; and Minneapolis, Minnesota, before moving to Europe. In 1905 he established the American Church in Frankfurt, and in 1906 he moved to Paris, where he was involved in student ministry at the Academy Vitti. During World War I he and his wife were active in refugee relief work in Paris. Shurtleff wrote a number of books, including Poems (1883), Easter Gleams (1885), Song of Hope (1886), and Song on the Waters (1913). Bert Polman =============== Shurtleff, Ernest Warburton, b. at Boston, Mass., April 4, 1862, and educated at Boston Latin School, Harvard University, and Andover Theo. Seminary (1887). Entering the Congregational Ministry, he was Pastor at Palmer and Plymouth, Mass., and is now (1905) Minister of First Church, Minneapolis, Minn. His works include Poems, 1883, Easter Gleams, 1883, and others. His hymn, "Lead on, O King Eternal" (Christian Warfare), was written as a parting hymn to his class of fellow students at Andover, and was included in Hymns of the Faith, Boston, 1887. It has since appeared in several collections. [M. C. Hazard, Ph.D]. --John Julian, Dictionary of Hymnology, New Supplement (1907)

John Bunyan

1628 - 1688 Hymnal Number: 2345 Author of "He Who Would Valiant Be" in The Cyber Hymnal Bunyan, John. This great allegorist cannot be included amongst hymn writers, except on the ground that the piece, “He that is down needs fear no fall," from pt. ii. of his Pilgrim's Progress, 1684, is given in a limited number of hymnals. The son of a mechanic, he was born at Elstow, 1628; was a Baptist minister at Bedford; and died in London, Aug. 1688. -- John Julian, Dictionary of Hymnology (1907) =================================== Bunyan, John, p. 193, ii. Another piece by him is "Valiant's song" in the Pilgrim's Progress, pt. ii., 1684 (2nd edition 1686, p. 177). There, and in E. P. Hood's Our Hymn Book1873, no. 398, it begins "Who would true valour see" (A Pilgrim's Song). In the English Hymnal, 1906, No. 402, it is partly rewritten, and begins "He who would valiant be." [Rev. James Mearns. M.A.] --John Julian, Dictionary of Hymnology, New Supplement (1907)

William Y. Fullerton

1857 - 1932 Hymnal Number: 2749 Author of "I Cannot Tell" in The Cyber Hymnal Rv William Young Fullerton United Kingdom 1857-1932. Born at Belfast, Northern Ireland, he was raised Presbyterian, but became a Baptist preacher, administrator, and writer. When a young man he was influenced by the preaching of evangelist, Charles Spurgeon, who became his friend and mentor. He became pastor of the Melbourne Hall Baptiest Church. Thousands of people came to Christ under his ministry. He was tall, but very a[pproachable and kind. Fullerton served as President of the Baptist Union and Home Secretary of the Baptist Missionary Society. He spoke frequently at Keswick Conventions. He published works, including biographies of John Bunyan, Charles Spurgeon, James William Condell Fegan, and Frederick Brotherton Meyer. He also wrote missionary histories and devotionals. He compiled several hymnals as well. He died at Bedford Park, Middlesex. John Perry

Franz Schubert

1797 - 1828 Hymnal Number: 4883 Composer of "SCHUBERT" in The Cyber Hymnal Franz Peter Schubert, 31 January 1797 – 19 November 1828) was an Austrian composer. In a short lifespan of just 31 years, Schubert was a prolific composer, writing some 600 Lieder, nine symphonies (including the famous "Unfinished Symphony"), liturgical music, operas, some incidental music, and a large body of chamber and solo piano music. Appreciation of Schubert's music during his lifetime was limited, but interest in his work increased significantly in the decades following his death. Franz Liszt, Robert Schumann, Johannes Brahms and Felix Mendelssohn, among others, discovered and championed his works in the 19th century. Today, Schubert is seen as one of the leading exponents of the early Romantic era in music and he remains one of the most frequently performed composers. Early life and education Schubert was born in Himmelpfortgrund (now a part of Alsergrund), Vienna, on 31 January 1797. His father, Franz Theodor Schubert, the son of a Moravian peasant, was a parish schoolmaster; his mother, Elisabeth Vietz, was the daughter of a Silesian master locksmith, and had also been a housemaid for a Viennese family prior to her marriage. Of Franz Theodor's fourteen children (one illegitimate child was born in 1783), nine died in infancy; five survived. Their father was a well-known teacher, and his school in Lichtental, a part of Vienna's 9th district, was well attended. He was not a musician of fame or with formal training, but he taught his son some elements of music. At the age of five, Schubert began receiving regular instruction from his father and a year later was enrolled at his father's school. His formal musical education also started around the same time. His father continued to teach him the basics of the violin, and his brother Ignaz gave him piano lessons. At the age of seven, Schubert began receiving lessons from Michael Holzer, the local church organist and choirmaster. Holzer's lessons seem to have mainly consisted of conversations and expressions of admiration and the boy gained more from his acquaintance with a friendly joiner's apprentice who used to take him to a neighboring pianoforte warehouse where he had the opportunity to practice on better instruments. He also played the viola in the family string quartet, with brothers Ferdinand and Ignaz on violin and his father on the cello. Schubert wrote many of his early string quartets for this ensemble. Schubert first came to the attention of Antonio Salieri, then Vienna's leading musical authority, in 1804, when his vocal talent was recognized. In October 1808, he became a pupil at the Stadtkonvikt (Imperial seminary) through a choir scholarship. At the Stadtkonvikt, Schubert was introduced to the overtures and symphonies of Mozart. His exposure to these pieces and various lighter compositions, combined with his occasional visits to the opera set the foundation for his greater musical knowledge. One important musical influence came from the songs of Johann Rudolf Zumsteeg, who was an important Lied composer of the time, which, his friend Joseph von Spaun reported, he "wanted to modernize". Schubert's friendship with Spaun began at the Stadtkonvikt and endured through his lifetime. In those early days, the more well-to-do Spaun furnished the impoverished Schubert with manuscript paper. Meanwhile, his genius began to show in his compositions. Schubert was occasionally permitted to lead the Stadtkonvikt's orchestra, and Salieri decided to begin training him privately in musical composition and theory in these years. It was the first germ of that amateur orchestra for which, in later years, many of his compositions were written. During the remainder of his stay at the Stadtkonvikt he wrote a good deal of chamber music, several songs, some miscellaneous pieces for the pianoforte and, among his more ambitious efforts, a Kyrie (D. 31) and Salve Regina (D. 27), an octet for wind instruments (D. 72/72a, said to commemorate the 1812 death of his mother), a cantata for guitar and male voices (D. 110, in honor of his father's birthday in 1813), and his first symphony (D. 82). At the end of 1813, he left the Stadtkonvikt, and returned home for studies at the Normalhauptschule to train as a teacher. In 1814, he entered his father's school as teacher of the youngest students. For over two years, the young man endured the drudgery of the work, which he performed with very indifferent success. There were, however, other interests to compensate. He continued to receive private lessons in composition from Salieri, who did more for Schubert’s musical training than any of his other teachers. Salieri and Schubert would part ways in 1817. In 1814, Schubert met a young soprano named Therese Grob, the daughter of a local silk manufacturer. Several of his songs (Salve Regina and Tantum Ergo) were composed for her voice, and she also performed in the premiere of his first Mass (D. 105) in September 1814. Schubert intended to marry Grob, but was hindered by the harsh marriage consent law of 1815, which required the ability to show the means to support a family. In November 1816, after failing to gain a position at Laibach, Schubert sent Grob's brother Heinrich a collection of songs, which were retained by her family into the 20th century. One of Schubert's most prolific years was 1815. He composed over 20,000 bars of music, more than half of which was for orchestra, including nine church works, a symphony, and about 140 Lieder. In that year, he was also introduced to Anselm Hüttenbrenner and Franz von Schober, who would become his lifelong friends. Another friend, Johann Mayrhofer, was introduced to him by Spaun in 1814. Maynard Solomon suggested that Schubert was erotically attracted to men, a thesis that has, at times, been heatedly debated. Musicologist and Schubert expert Rita Steblin claimed that he was "chasing women". Supported by friends Significant changes happened in 1816. Schober, a student of good family and some means, invited Schubert to room with him at his mother's house. The proposal was particularly opportune, for Schubert had just made the unsuccessful application for the post of Kapellmeister at Laibach, and he had also decided not to resume teaching duties at his father's school. By the end of the year, he became a guest in Schober's lodgings. For a time, he attempted to increase the household resources by giving music lessons, but they were soon abandoned, and he devoted himself to composition. "I compose every morning, and when one piece is done, I begin another." During this year, he focused on orchestral and choral works, although he also continued to write Lieder. Much of this work was unpublished, but manuscripts and copies circulated among friends and admirers. In early 1817, Schober introduced Schubert to Johann Michael Vogl, a prominent baritone twenty years Schubert's senior. Vogl, for whom Schubert went on to write a great many songs, became one of Schubert's main proponents in Viennese musical circles. He also met Joseph Hüttenbrenner (brother to Anselm), who also played a role in promoting Schubert's music. These, and an increasing circle of friends and musicians, became responsible for promoting, collecting, and, after his death, preserving his work. In late 1817, Schubert's father gained a new position at a school in Rossau (not far from Lichtental). Schubert rejoined his father and reluctantly took up teaching duties there. In early 1818, he was rejected for membership in the prestigious Gesellschaft der Musikfreunde, something that might have furthered his musical career. However, he began to gain more notice in the press, and the first public performance of a secular work, an overture performed in February 1818, received praise from the press in Vienna and abroad. Schubert spent the summer of 1818 as music teacher to the family of Count Johann Karl Esterházy at their château in Zseliz (then in Hungary, now in Slovakia). His duties were relatively light (teaching piano and singing to the two daughters, Marie and Karoline), and the pay was relatively good. As a result, he happily continued to compose during this time. It may have been at this time that he wrote one of his now world-famous compositions, the Marche militaire No. 1 in D major. Marie and Karoline both being his piano students, and the original score of "Marche Militaire" being a piano duet, lend credence to this view. On his return from Zseliz, he took up residence with his friend Mayrhofer. The respite at Zseliz led to a succession of compositions for piano duet. During the early 1820s, Schubert was part of a close-knit circle of artists and students who had social gatherings together that became known as "Schubertiaden". The tight circle of friends with which Schubert surrounded himself was dealt a blow in early 1820. Schubert and four of his friends were arrested by the Austrian police, who (in the aftermath of the French Revolution and Napoleonic Wars) were on their guard against revolutionary activities and suspicious of any gathering of youth or students. One of Schubert's friends, Johann Senn, was put on trial, imprisoned for over a year, and then permanently forbidden to enter Vienna. The other four, including Schubert, were "severely reprimanded", in part for "inveighing against [officials] with insulting and opprobrious language". While Schubert never saw Senn again, he did set some of his poems, "Selige Welt" and "Schwanengesang", to music. The incident may have played a role in a falling-out with Mayrhofer, with whom he was living at the time. He was nicknamed "Schwämmerl" by his friends, which Gibbs describes as translating to "Tubby" or "Little Mushroom". "Schwammerl" is Austrian (and other) dialect for mushroom; the umlaut makes it a diminutive. Musical maturity The compositions of 1819 and 1820 show a marked advance in development and maturity of style. The unfinished oratorio "Lazarus" (D. 689) was begun in February; later followed, amid a number of smaller works, by the 23rd Psalm (D. 706), the Gesang der Geister (D. 705/714), the Quartettsatz in C minor (D. 703), and the "Wanderer Fantasy" for piano (D. 760). Of most notable interest is the staging in 1820 of two of Schubert's operas: Die Zwillingsbrüder (D. 647) appeared at the Theater am Kärntnertor on 14 June, and Die Zauberharfe (D. 644) appeared at the Theater an der Wien on 21 August. Hitherto, his larger compositions (apart from his masses) had been restricted to the amateur orchestra at the Gundelhof, a society which grew out of the quartet-parties at his home. Now he began to assume a more prominent position, addressing a wider public. Publishers, however, remained distant, with Anton Diabelli hesitantly agreeing to print some of his works on commission. The first seven opus numbers (all songs) appeared on these terms; then the commission ceased, and he began to receive the meager pittances which were all that the great publishing houses ever paid him. The situation improved somewhat in March 1821 when Vogl sang "Der Erlkönig" at a concert that was extremely well received. That month, Schubert composed a variation on a waltz by Anton Diabelli (D. 718), being one of the fifty composers who contributed to Vaterländischer Künstlerverein. The production of the two operas turned Schubert's attention more firmly than ever in the direction of the stage, where, for a variety of reasons, he was almost completely unsuccessful. All in all, he produced seventeen stage works, each of them failures which were quickly forgotten. In 1822, Alfonso und Estrella was refused, partly owing to its libretto. Fierrabras (D. 796) was rejected in the fall of 1823, but this was largely due to the popularity of Rossini and the Italian operatic style, and the failure of Carl Maria von Weber's Euryanthe. Die Verschworenen (The Conspirators, D. 787) was prohibited by the censor (apparently on the grounds of its title), and Rosamunde (D. 797) was withdrawn after two nights, owing to the poor quality of the play for which Schubert had written incidental music. Of these works, the two former are written on a scale which would make their performances exceedingly difficult (Fierrabras, for instance, contains over 1,000 pages of manuscript score), but Die Verschworenen is a bright attractive comedy, and Rosamunde contains some of the most charming music that Schubert ever composed. In 1822, he made the acquaintance of both Weber and Beethoven, but little came of it in either case. Beethoven is said to have acknowledged the younger man's gifts on a few occasions, but some of this is likely legend and in any case he could not have known the real scope of Schubert's music – especially not the instrumental works – as so little of it was printed or performed in the composer's lifetime. On his deathbed, Beethoven is said to have looked into some of the younger man's works and exclaimed, "Truly, the spark of divine genius resides in this Schubert!" but what would have come of it if he had recovered we can never know. Last years and masterworks Despite his preoccupation with the stage, and later with his official duties, Schubert found time during these years for a significant amount of composition. He completed the Mass in A flat (fr) (D. 678) and, in 1822, embarked suddenly on a work which more decisively than almost any other in those years showed his maturing personal vision, the "Unfinished Symphony" in B minor. The reason he left it unfinished after two movements and sketches some way into a third remains an enigma, and it is also remarkable that he did not mention it to any of his friends even though, as Brian Newbould notes, he must have felt thrilled by what he was achieving. The event has been debated endlessly without resolution. In 1823 Schubert, in addition to Fierrabras, also wrote his first song cycle, Die schöne Müllerin (D. 795), setting poems by Wilhelm Müller. This series, together with the later cycle "Winterreise" (D. 911, also setting texts of Müller in 1827) is widely considered one of the pinnacles of Lieder. He also composed the song Du bist die Ruh ("You are stillness/peace") D. 776 during this year. Also in that year, symptoms of syphilis first appeared. In 1824, he wrote the variations for flute and piano on "Trockne Blumen", from the cycle Die schöne Müllerin, and several string quartets. He also wrote the Arpeggione Sonata (D. 821), at a time when there was a minor craze over that instrument. In the spring of that year he wrote the Octet in F (D. 803), "A Sketch for a Grand Symphony"; and in the summer went back to Zseliz. There he became attracted to Hungarian musical idiom, and wrote the Divertissement à la hongroise (D. 818) for piano duet and the String Quartet in A minor (D. 804). It has been said that he held a hopeless passion for his pupil, the Countess Karoline Eszterházy, but the only work he dedicated to her was his Fantasie in F minor (D. 940) for piano duet. The setbacks of previous years were compensated for by the prosperity and happiness of 1825. Publication had been moving more rapidly; the stress of poverty was for a time lightened; and in the summer he had a pleasant holiday in Upper Austria, where he was welcomed with enthusiasm. It was during this tour that he produced his "Songs from Sir Walter Scott". This cycle contains Ellens dritter Gesang (D. 839), a setting of Adam Storck's German translation of Scott's hymn from The Lady of the Lake, which is widely, though mistakenly, referred to as "Schubert's Ave Maria". It opens with the greeting Ave Maria, which recurs in the refrain; the entire Scott/Storck text in Schubert's song is frequently substituted with the complete Latin text of the traditional Ave Maria prayer. In 1825, Schubert also wrote the Piano Sonata in A minor (Op. 42, D. 845), and began the "Great" C major

Thomas Olivers

1725 - 1799 Hymnal Number: 1898 Paraphraser of "The God of Abraham Praise" in The Cyber Hymnal Thomas Olivers was born in Tregonan, Montgomeryshire, in 1725. His youth was one of profligacy, but under the ministry of Whitefield, he was led to a change of life. He was for a time apprenticed to a shoemaker, and followed his trade in several places. In 1763, John Wesley engaged him as an assistant; and for twenty-five years he performed the duties of an itinerant ministry. During the latter portion of his life he was dependent on a pension granted him by the Wesleyan Conference. He died in 1799. --Annotations of the Hymnal, Charles Hutchins, M.A., 1872. ================== Olivers, Thomas, was born at Tregynon, near Newtown, Montgomeryshire, in 1725. His father's death, when the son was only four years of age, followed by that of the mother shortly afterwards, caused him to be passed on to the care of one relative after another, by whom he was brought up in a somewhat careless manner, and with little education. He was apprenticed to a shoemaker. His youth was one of great ungodliness, through which at the age of 18 he was compelled to leave his native place. He journeyed to Shrewsbury, Wrexham, and Bristol, miserably poor and very wretched. At Bristol he heard G. Whitefield preach from the text "Is not this a brand plucked out of the fire?" That sermon turned the whole current of his life, and he became a decided Christian. His intention at the first was to join the followers of Whitefield, but being discouraged from doing so by one of Whitefield's preachers, he subsequently joined the Methodist Society at Bradford-on-Avon. At that town, where he purposed carrying on his business of shoemaking, he met John Wesley, who, recognising in him both ability and zeal, engaged him as one of his preachers. Olivers joined Wesley at once, and proceeded as an evangelist to Cornwall. This was on Oct. 1, 1753. He continued his work till his death, which took place suddenly in London, in March 1799. He was buried in Wesley's tomb in the City Road Chapel burying ground, London. Olivers was for some time co-editor with J. Wesley of the Arminian Magazine, but his lack of education unfitted him for the work. As the author of the tune Helmsley, and of the hymn “The God of Abraham praise," he is widely known. He also wrote “Come Immortal King of glory;" and "O Thou God of my salvation," whilst residing at Chester; and an Elegy on the death of John Wesley. His hymns and the Elegy were reprinted (with a Memoir by the Rev. J. Kirk) by D. Sedgwick, in 1868. --John Julian, Dictionary of Hymnology (1907)

Johann Joseph Winckler

1670 - 1722 Person Name: Johann J. Winckler Hymnal Number: 6063 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

James G. Deck

1802 - 1884 Hymnal Number: 3894 Author of "Lord Jesus, Are We One with Thee?" in The Cyber Hymnal Deck, James George, eldest son of John Deck, of Bury St. Edmunds, was born in 1802 and educated for the army, and became an officer in the Indian service. Retiring from the army, and having joined the Plymouth Brethren, he undertook, in 1843, the charge of a congregation of that body, at Wellington, Somerset. In 1852 be went abroad and settled in New Zealand. His hymns were published in Hymns for the Poor of the Flock, 1837-1838; Psalms and Hymns, &c, London, Walther (containing those in the former collection), 1842; the Wellington Hymn Book, 1857; Hymns and Spiritual Songs, 1860. Of his hymns now in use outside his own denomination, the greater part appeared in the 1837-1838 book, and are found in his brother-in-law's (Dr. Walker's) Cheltenham Psalms & Hymns, 1855. His compositions are marked by directness of aim, simplicity of language, and great earnestness. The rhythm is good, and an expressive tenderness pervades many of them. Although dealing mainly with the "Second Advent," there are several on other subjects which are of more than average merit. In a collected form they were published in his Hymns and Sacred Poems, Melbourne, H. Seelenmeyer, 1876. The more important of his hymns are annotated under their respective first lines. Of the rest we have:— i. From Hymns for the Poor of the Flock, 1838. 1. Behold yon bright and countless throng. All Saints. Repeated in Maurice's Choral Hymnbook, 1861. 2. How long, O Lord our Saviour. Second Advent desired. In the Parish Hymnbook., 1803 and 1875, this is altered to "How long, O Lord, Beloved." 3. Jesus, spotless Lamb of God. Good Friday. 4. Lord Jesus, are we [we are] one with Thee? One with Christ. In Walker's Psalms and Hymns, 1855-1880, and several American hymn-books. 5. Lord, we are Thine, our God Thou art. One with Christ. Originally in 4 st. of 8 1., it appeared, in a re-written form in 3 st. in Walker's Psalms and Hymns, 1855, as " Lord, we are Thine, in Thee we live." 6. 0 happy day when first we felt. The Day of Peace. 7. 0 Jesus Christ, the Saviour. Jesus All in All. In Walker's Psalms and Hymns, it begins: "0 Jesus Christ, our Saviour." 8. 0 Jesus, gracious Saviour." The Advocate. 9. 0 Lord, when we the path retrace. Christ our Example. 10. 0 Lord, who now art seated. Christ in glory. 11. Saviour, haste; our souls are waiting. Second Advent desired. This is given in Walker's Psalms and Hymns, in a rewritten form as "Saviour, hasten Thine appearing." 12. Soon shall our Master come. Waiting for Christ. 13. There is a place of endless joy. Heaven. 14. We're not of the world that fadeth away. Christ's Sheep. 15. When along life's thorny road. Passiontide. ii. From Appendix, to the 1841 edition of the Hymns for the Poor of the Flock. 16. Lamb of God, our souls adore Thee. Praise to Christ. Sometimes it begins with st. ii.," Lamb of God, Thy Father's bosom." 17. Lamb of God, Thou now art seated. 2nd Part. of No. 10. iii. From Psalms and Hymns, in Two Parts, Lond., D. Waither, 1842. 18. Again we meet in Jesus' name. Divine Worship. 19. Great Captain of Salvation. Burial. In the Irish Church Hymnal, and other collections. 20. Jesus, Thy name indeed is sweet. Hope of the Resurrection. 21. O blessed Jesus, Lamb of God. Praise to Jesus. 22. 0 Lamb of God, still keep me [us]. Christ's Presence desired. This hymn is somewhat popular in America. 23. 0 Lord, in nothing would I boast. Christ All in All. 24. Oft we, alas! forget the love. Holy Communion. 25. The veil is rent! lo, Jesus stands [our souls draw near]. The Intercessor. 26. We bless our Saviour's name. Thanksgiving for Forgiveness. iv. From Psalms and Hymns for Public and Social Worship (Dr. Walker's Collection), 1855. 27. Father, to seek Thy face. Public Worship. 28. Jesus, [I] we rest in [on] Thee. Joy in Forgiveness. 29. 0 Lord, 'tis joy to look above. Joy in the service of Christ. 30. Thou hast stood here, Lord Jesus. Burial. 31. 'Twas Thy love, 0 God, that knew us. Praise to God. 32. When first o'erwhelm ed with sin and shame. Peace with God. All these hymns, except No. 1, are given in Dr. Walker's Collection, 1855-1880, and most of them are also found in other collections. -- John Julian, Dictionary of Hymnology (1907) ====================== Deck, James George, p. 285, ii. He died circa 1884. His hymn, noted on p. 286, No. 28, "Jesus [I] we rest in [on] Thee," should be dated 1842. Additional hymns in common use are:—(1) "Lord Jesus, when I think of Thee," 1856 (Jesus, All and in All); (2) "The day of glory, bearing," 1838 (Passiontide). --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) ==================== Deck, J. G., pp. 285, ii.; 1559, ii. Miss M. O. Deck, of Motueka, Nelson, New Zealand, informs us that her father, Mr. J. G. Deck, died at the village of Motueka, near Nelson, N.Z., on the 14th of August, 1884. --John Julian, Dictionary of Hymnology, New Supplement (1907) ==================== James Deck wrote of his youth, "I hoped there were no God," yet his mother's training pursued after him. "She read to me of Jesus, Of all his grace and love." After his conversion, the study of scripture revealed the doctrinal error of his Anglican upbringing. Forsaking all, he set his heart to follow God "at any cost." Later, his son testified this determination was "a trust never disappointed." - Psalms and Hymns and Spiritual Songs (2018)

Hans G. Nägeli

1773 - 1836 Person Name: Hans Nägeli, 1773-1836 Hymnal Number: 72 Composer of "NAOMI" in The Cyber Hymnal Johann G. Nageli (b. Wetzikon, near Zurich, Switzerland, 1773; d. Wetzikon, 1836) was an influential music educator who lectured throughout Germany and France. Influenced by Johann Pestalozzi, he published his theories of music education in Gangbildungslehre (1810), a book that made a strong impact on Lowell Mason. Nageli composed mainly" choral works, including settings of Goethe's poetry. He received his early instruction from his father, then in Zurich, where he concentrated on the music of. S. Bach. In Zurich, he also established a lending library and a publishing house, which published first editions of Beethoven’s piano sonatas and music by Bach, Handel, and Frescobaldi. Bert Polman

R. E. Hudson

1843 - 1901 Person Name: Ralph E. Hudson Hymnal Number: 77 Author (refrain) of "Alas! and Did My Savior Bleed?" in The Cyber Hymnal Ralph Hudson (1843-1901) was born in Napoleon, OH. He served in the Union Army in the Civil War. After teaching for five years at Mt. Union College in Alliance he established his own publishing company in that city. He was a strong prohibitionist and published The Temperance Songster in 1886. He compiled several other collections and supplied tunes for gospel songs, among them Clara Tear Williams' "All my life long I had panted" (Satisfied). See 101 More Hymn Stories, K. Osbeck, Grand Rapids, MI: Kregel Publications, 1985). Mary Louise VanDyke