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Charles Wesley

1707 - 1788 Meter: 7.7.8.7 D Author of "Worship, and Thanks, and Blessing" in The Cyber Hymnal Charles Wesley, M.A. was the great hymn-writer of the Wesley family, perhaps, taking quantity and quality into consideration, the great hymn-writer of all ages. Charles Wesley was the youngest son and 18th child of Samuel and Susanna Wesley, and was born at Epworth Rectory, Dec. 18, 1707. In 1716 he went to Westminster School, being provided with a home and board by his elder brother Samuel, then usher at the school, until 1721, when he was elected King's Scholar, and as such received his board and education free. In 1726 Charles Wesley was elected to a Westminster studentship at Christ Church, Oxford, where he took his degree in 1729, and became a college tutor. In the early part of the same year his religious impressions were much deepened, and he became one of the first band of "Oxford Methodists." In 1735 he went with his brother John to Georgia, as secretary to General Oglethorpe, having before he set out received Deacon's and Priest's Orders on two successive Sundays. His stay in Georgia was very short; he returned to England in 1736, and in 1737 came under the influence of Count Zinzendorf and the Moravians, especially of that remarkable man who had so large a share in moulding John Wesley's career, Peter Bonier, and also of a Mr. Bray, a brazier in Little Britain. On Whitsunday, 1737, [sic. 1738] he "found rest to his soul," and in 1738 he became curate to his friend, Mr. Stonehouse, Vicar of Islington, but the opposition of the churchwardens was so great that the Vicar consented that he "should preach in his church no more." Henceforth his work was identified with that of his brother John, and he became an indefatigable itinerant and field preacher. On April 8, 1749, he married Miss Sarah Gwynne. His marriage, unlike that of his brother John, was a most happy one; his wife was accustomed to accompany him on his evangelistic journeys, which were as frequent as ever until the year 1756," when he ceased to itinerate, and mainly devoted himself to the care of the Societies in London and Bristol. Bristol was his headquarters until 1771, when he removed with his family to London, and, besides attending to the Societies, devoted himself much, as he had done in his youth, to the spiritual care of prisoners in Newgate. He had long been troubled about the relations of Methodism to the Church of England, and strongly disapproved of his brother John's "ordinations." Wesley-like, he expressed his disapproval in the most outspoken fashion, but, as in the case of Samuel at an earlier period, the differences between the brothers never led to a breach of friendship. He died in London, March 29, 1788, and was buried in Marylebone churchyard. His brother John was deeply grieved because he would not consent to be interred in the burial-ground of the City Road Chapel, where he had prepared a grave for himself, but Charles said, "I have lived, and I die, in the Communion of the Church of England, and I will be buried in the yard of my parish church." Eight clergymen of the Church of England bore his pall. He had a large family, four of whom survived him; three sons, who all became distinguished in the musical world, and one daughter, who inherited some of her father's poetical genius. The widow and orphans were treated with the greatest kindness and generosity by John Wesley. As a hymn-writer Charles Wesley was unique. He is said to have written no less than 6500 hymns, and though, of course, in so vast a number some are of unequal merit, it is perfectly marvellous how many there are which rise to the highest degree of excellence. His feelings on every occasion of importance, whether private or public, found their best expression in a hymn. His own conversion, his own marriage, the earthquake panic, the rumours of an invasion from France, the defeat of Prince Charles Edward at Culloden, the Gordon riots, every Festival of the Christian Church, every doctrine of the Christian Faith, striking scenes in Scripture history, striking scenes which came within his own view, the deaths of friends as they passed away, one by one, before him, all furnished occasions for the exercise of his divine gift. Nor must we forget his hymns for little children, a branch of sacred poetry in which the mantle of Dr. Watts seems to have fallen upon him. It would be simply impossible within our space to enumerate even those of the hymns which have become really classical. The saying that a really good hymn is as rare an appearance as that of a comet is falsified by the work of Charles Wesley; for hymns, which are really good in every respect, flowed from his pen in quick succession, and death alone stopped the course of the perennial stream. It has been the common practice, however for a hundred years or more to ascribe all translations from the German to John Wesley, as he only of the two brothers knew that language; and to assign to Charles Wesley all the original hymns except such as are traceable to John Wesley through his Journals and other works. The list of 482 original hymns by John and Charles Wesley listed in this Dictionary of Hymnology have formed an important part of Methodist hymnody and show the enormous influence of the Wesleys on the English hymnody of the nineteenth century. -- Excerpts from John Julian, Dictionary of Hymnology (1907) ================== Charles Wesley, the son of Samuel Wesley, was born at Epworth, Dec. 18, 1707. He was educated at Westminster School and afterwards at Christ Church, Oxford, where he graduated M.A. In 1735, he took Orders and immediately proceeded with his brother John to Georgia, both being employed as missionaries of the S.P.G. He returned to England in 1736. For many years he engaged with his brother in preaching the Gospel. He died March 29, 1788. To Charles Wesley has been justly assigned the appellation of the "Bard of Methodism." His prominence in hymn writing may be judged from the fact that in the "Wesleyan Hymn Book," 623 of the 770 hymns were written by him; and he published more than thirty poetical works, written either by himself alone, or in conjunction with his brother. The number of his separate hymns is at least five thousand. --Annotations of the Hymnal, Charles Hutchins, M.A., 1872.

Michael Haydn

1737 - 1806 Person Name: Johann M. Haydn, 1737-1806 Meter: 7.7.8.7 D Composer of "WORSHIP (Haydn)" in The Cyber Hymnal Johann Michael Haydn Austria 1737-1806. Born at Rohrau, Austria, the son of a wheelwright and town mayor (a very religious man who also played the harp and was a great influence on his sons' religious thinking), and the younger brother of Franz Joseph Haydn, he became a choirboy in his youth at the Cathedral of St. Stephen in Vienna, as did his brother, Joseph, an exceptional singer. For that reason boys both were taken into the church choir. Michael was a brighter student than Joseph, but was expelled from music school when his voice broke at age 17. The brothers remained close all their lives, and Joseph regarded Michael's religious works superior to his own. Michael played harpsichord, violin, and organ, earning a precarious living as a freelance musician in his early years. In 1757 he became kapellmeister to Archbishop, Sigismund of Grosswardein, in Hungary, and in 1762 concertmaster to Archbishop, Hieronymous of Salzburg, where he remained the rest of his life (over 40 years), also assuming the duties of organist at the Church of St. Peter in Salzburg, presided over by the Benedictines. He also taught violin at the court. He married the court singer, Maria Magdalena Lipp in 1768, daughter of the cathedral choir-master, who was a very pious women, and had such an affect on her husband, trending his inertia and slothfulness into wonderful activity. They had one daughter, Aloysia Josepha, in 1770, but she died within a year. He succeeded Wolfgang Amadeus Mozart, an intimate friend, as cathedral organist in 1781. He also taught music to Carl Maria von Weber. His musical reputation was not recognized fully until after World War II. He was a prolific composer of music, considered better than his well-known brother at composing religious works. He produced some 43 symphonies,12 concertos, 21 serenades, 6 quintets, 19 quartets, 10 trio sonatas, 4 due sonatas, 2 solo sonatas, 19 keyboard compositions, 3 ballets, 15 collections of minuets (English and German dances), 15 marches and miscellaneous secular music. He is best known for his religious works (well over 400 pieces), which include 47 antiphons, 5 cantatas, 65 canticles, 130 graduals, 16 hymns, 47 masses, 7 motets, 65 offertories, 7 oratorios, 19 Psalms settings, 2 requiems, and 42 other compositions. He also composed 253 secular vocals of various types. He did not like seeing his works in print, and kept most in manuscript form. He never compiled or cataloged his works, but others did it later, after his death. Lothar Perger catalogued his orchestral works in 1807 and Nikolaus Lang did a biographical sketch in 1808. In 1815 Anton Maria Klafsky cataloged his sacred music. More complete cataloging has been done in the 1980s and 1990s by Charles H Sherman and T Donley Thomas. Several of Michael Haydn's works influenced Mozart. Haydn died at Salzburg, Austria. John Perry

Thomas Clark

1775 - 1859 Meter: 7.7.8.7 D Composer of "TRIUMPH (Clark)" Baptized: February 5, 1775, Canterbury, Kent, England. Died: May 30, 1859, at his home in St. George’s Street, Canterbury, Kent, England. A cobbler and choir trainer, Clark led the singing of the Psalms at the Wesleyan Chapel, Canterbury, and later at the Unitarian Church in Canterbury. It has been claimed he never actually joined the Unitarians, though he sympathized with them, and he resigned from the Methodists. Clark wrote a number of anthems, including "Awake Up, My Glory", "Daughter of Zion" and "Since I Have Placed My Trust." His other works include: First Sett of Psalm and Hymn Tunes, 1805 Second Sett of Psalm and Hymn Tunes, circa 1810 Congregational Harmonist, 4 volumes (1828 to circa 1835) The Sacred Gleaner, 1830 The Union Tune-Book, 1837 (co-editor) Union Harmonist, 1841 Harmonized the second edition of the Union Tune Book for the Sunday School Union, 1842 The Juvenile Harmonist, 1842 David’s Harp—A Series of Original Tunes Composed Expressly to the Psalter, 1843 The Seraphim or Sacred Harmonist, 1843 British Psalmody, with Alexander Hume (Edinburgh, Scotland: 1844) --www.hymntime.com/tch/

Sydney H. Nicholson

1875 - 1947 Person Name: Sydney Hugo Nicholson Meter: 7.7.8.7 D Composer of "HOSANNA IN EXCELSIS" in The Cyber Hymnal Sydney H. Nicholson, (b. St. Marylebone, London, England, 1875; d. Ashford, Kent, England, 1947) was an organist and church music educator who greatly influenced English hymnody. Educated at Oxford's New College, the Royal College of Music in London, and in Frankfurt, Germany, he became organist at several famous cathedrals, including Westminster Abbey (1919-1928). Nicholson founded and administered the School of English Church Music at Chislehurst in 1927; this important institution, with branches throughout the English-speaking world, was renamed the Royal School of Church Music in 1945. Located in Canterbury after World War II, its headquarters were moved to Addington Palace, Croydon, in 1954. Nicholson was music adviser for the 1916 Supplement of Hymns Ancient and Modern and prepared the way for its 1950 edition. He wrote Church Music: a Practical Handbook (1920) and Quires and Places Where They Sing (1932) and composed operettas, anthems, and hymn tunes. In 1938 he was knighted for his contributions to church music. Bert Polman

James Turle

1802 - 1882 Meter: 7.7.8.7 D Composer of "LOSTWITHIEL" TURLE, JAMES (1802–1882), organist and composer, son of James Turle, an amateur 'cello-player, was born at Taunton, Somerset, on 5 March 1802. From July 1810 to December 1813 he was a chorister at Wells Cathedral under Dodd Perkins, the organist. At the age of eleven he came to London, and was articled to John Jeremiah Goss, but he was largely self-taught. He had an excellent voice and frequently sang in public. John Goss [q. v.], his master's nephew, was his fellow student, and thus the future organists of St. Paul's Cathedral and Westminster Abbey were pupils together. Turle was organist of Christ Church, Surrey (Blackfriars Road), 1819–1829, and of St. James's, Bermondsey, 1829–31. His connection with Westminster Abbey began in 1817, when he was only fifteen. He was at first pupil of and assistant to G. E. Williams, and subsequently deputy to Thomas Greatorex [q. v.], Williams's successor as organist of the abbey. On the death of Greatorex on 18 July 1831, Turle was appointed organist and master of the choristers, an office which he held for a period of fifty-one years. Turle played at several of the great musical festivals, e.g. Birmingham and Norwich, under Mendelssohn and Spohr, but all his interests were centred in Westminster Abbey. His playing at the Handel festival in 1834 attracted special attention. At his own request the dean and chapter relieved him of the active duties of his post on 26 Sept. 1875, when his service in D was sung, and Dr. (now Professor Sir John Frederick) Bridge, the present organist, became permanent deputy-organist. Turle continued to hold the titular appointment till his death, which took place at his house in the Cloisters on 28 June 1882. The dean offered a burial-place within the precincts of the abbey, but he was interred by his own express wish beside his wife in Norwood cemetery. A memorial window, in which are portraits of Turle and his wife, was placed in the north aisle of the abbey by one of his sons, and a memorial tablet has been affixed to the wall of the west cloister. Turle married, in 1823, Mary, daughter of Andrew Honey, of the exchequer office. She died in 1869, leaving nine children. Henry Frederic Turle [q. v.] was his fourth son. His younger brother Robert was for many years organist of Armagh Cathedral. Turle was an able organist of the old school, which treated the organ as essentially a legato instrument. He favoured full ‘rolling’ chords, which had a remarkable effect on the vast reverberating space of the abbey. He had a large hand, and his ‘peculiar grip’ of the instrument was a noticeable feature of his playing. His accompaniments were largely traditional of all that was best in his distinguished predecessors, and he greatly excelled in his extemporaneous introductions to the anthems. Like Goss, he possessed great facility in reading from a ‘figured bass.’ Of the many choristers who passed through his hands, one of the most distinguished is Mr. Edward Lloyd, the eminent tenor singer. His compositions include services, anthems, chants, and hymn-tunes. Several glees remain in manuscript. In conjunction with Professor Edward Taylor [q. v.] he edited ‘The People's Music Book’ (1844), and ‘Psalms and Hymns’ (S. P. C. K. 1862). His hymn-tunes were collected by his daughter, Miss S. A. Turle, and published in one volume (1885). One of these, ‘Westminster,’ formerly named ‘Birmingham,’ has become widely known, and is very characteristic of its composer. --en.wikisource.org/

Henry Ware

1794 - 1843 Person Name: Henry Ware, Jr. Meter: 7.7.8.7 D Author of "Father Of Earth And Heaven" in The Cyber Hymnal Henry Ware was born in Hingham, Massachusetts, in 1793. His father was a Unitarian minister; afterwards a Professor in Harvard College. Young Ware graduated at Harvard, studied theology, and became minister of the Second Unitarian Society, in Boston, in 1817. After a ministry of twelve years, he made a foreign tour, and on his return was elected "Parkman Professor of Pulpit Eloquence and Pastoral Theology" in Harvard College. In this position he obtained eminence. He died in September, 1843. His collected works in four volumes, were edited after his death, by the Rev. Chandler Robbins. --Annotations of the Hymnal, Charles Hutchins, M.A., 1872 =================== Ware, Henry, D.D., son of Dr. H. Ware, pastor of the Unitarian congregation at Hingham, Massachusetts, and afterward Hollis Professor of Divinity at Cambridge, U.S.A., was born at Hingham, April 21, 1794. Before going to Harvard College, in 1808, he was under the care of Dr. Allyn, at Duxbury, and then of Judge Ware, at Cambridge. He graduated at Harvard in high honours, in 1812; and was then for two years an assistant teacher in Exeter Academy. He was licensed to preach by the Boston Unitarian Association, July 31, 1815; and ordained pastor of the Second Church of that city, Jan. 1, 1817. In 1829, in consequence of his ill health, he received the assistance of a co-pastor in the person of Ralph Waldo Emerson. In the same year Ware was appointed Professor of Pulpit Eloquence and Pastoral Care in the Cambridge Theological School. He entered upon his duties in 1830, and resigned in 1842. He removed to Framingham, and died there, Sept. 25, 1843. His D.D. degree was conferred upon Memoir, published by his brother John Ware, M.D., were numerous and on a variety of topics. He edited the Christian Disciple, which was established in 1813, and altered in title to the Christian Examiner in 1824, for some years before the change of title, and gave it his assistance subsequently. The Rev. Chandler Robbins collected his works and published them in four volumes, in 1847. His hymns, many of which are of more than usual excellence, are given in vol. i. Of these the following are in common use: 1. All nature's works His praise declare. Opening of an Organ. Dated Nov. 9, 1822. It is in Horder's English Congregational Hymns, 1884. 2. Around the throne of God The host angelic throngs. Universal Praise. Dated 1823, and printed in the Christian Disciple, vol. v., and in Putnam, 1874. A fine hymn of praise. 3. Father of earth and heaven, Whose arm upholds creation. Thanksgiving for Divine Mercies. Appeared in Cheever's American Common Place Book, 1831; and in Lyra Sacra Americana, 1868. 4. Father, Thy gentle chastisement. In Sickness. Dated March, 1836; and in Lyra Sacra Americana, 1868. 5. Great God, the followers of Thy Son. Ordination. Written for the Ordination of Jared Sparks, the historian, as pastor of the Unitarian Church, Baltimore, 1819. Given in Lyra Sacra Americana, 1868, and Putnam, 1874. 6. In this glad hour when children meet. Family Gatherings. Dated Aug. 20, 1835. In Lyra Sac. Americana, 1868, and Putnam, 1874. 7. Lift your glad voices in triumph on high. Easter. Dated 1817, and was published in the Christian Disciple of that year, in 2 stanzas of 8 lines. It is in Lyra Sac. Americana, 1868; Putnam, 1874, and numerous hymnbooks. Sometimes stanza ii. is given separately as, "Glory to God, in full anthems of joy." 8. Like Israel's hosts to exile driven. American National Hymn. Written for the Centennial Celebration of the Boston Thursday Lecture, Oct. 17,1833, and given in Lyra Sac. Americana, 1868, and Putnam, 1874. It is a quasi American National Hymn in praise of the Pilgrim Fathers. 9. 0 Thou in Whom alone is found. Laying Foundation Stone of a Place of Worship. In Lyra Sacra Americana, 1868, and Thring's English Collection, 1882. 10. 0 Thou Who on Thy chosen Son. Ordination. Written for an Ordination, March, 1829. In Putnam, 1874, and Dale's English Hymn Book, 1874. 11. Oppression shall not always reign. Against Slavery. "This was Mr. Ware's last composition in verse. It bears date March 15, 1843. In its original form it is longer than as presented here [in 3 stanzas of 8 lines], and is unsuited to a church-book. The following stanzas, taken from one of the Collections [stanzas i., ii. are in Longfellow and Johnson's Book of Hymns, 1848] are a part of the original, altered and transposed, and thus adapted to sacred worship." 12. To prayer, to prayer; for the morning breaks. Prayer. This poem of 10 stanzas of 6 lines is dated 1826, and is given in Lyra Sac. Americana, 1868, and Putnam, 1874. Two centos therefrom are in common use The first begins with stanza i., adapting it for Morning, and the second with stanza ii., "To prayer, for the glorious sun is gone," for Evening. 13. We rear not a temple, like Judah of old. Dedication of a Place of Worship. This is dated 1839, and is given in Putnam, 1874. 14. With praise and prayer our gifts we bring. Opening of a Place of Worship. In Dale's English Hymn Book. 1874. With American Unitarians Dr. Ware ranks very high, and by them his hymns are widely used. [Rev. F. M. Bird, M.A.] -- John Julian, Dictionary of Hymnology (1907) ================== Ware, H., p. 1233, i. Another of his hymns in common use is "Great King of all, our nation's God" (National Humiliation). His hymn "To prayer, to prayer," is in Cheever's American Common-Place Book of Poetry, 1831. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

John Frederick Lampe

1703 - 1751 Meter: 7.7.8.7 D Composer of "DYING STEPHEN" in The Cyber Hymnal John Frederick Lampe (born Johann Friedrich Lampe; probably 1703 – 25 July 1751) was a musician. He was born in Saxony, but came to England in 1724 and played the bassoon in opera houses. His wife, Isabella Lampe, was sister-in-law to the composer Thomas Arne with whom Lampe collaborated on a number of concert seasons. John and Isabella's son, Charles John Frederick Lampe, was a successful organist and composer as well. Like Arne, Lampe wrote operatic works in English in defiance of the vogue for Italian opera popularised by George Frideric Handel and Nicola Porpora. Lampe, along with Henry Carey and J. S. Smith, founded the short-lived English Opera Project. He became a friend of Charles Wesley, and wrote several tunes to accompany Wesley's hymns. His works for the stage include the mock operas Pyramus and Thisbe (1745) and The Dragon of Wantley (1734), which ran for 69 nights, a record for the time, surpassing The Beggar's Opera. He was based for a time in Dublin and later in Edinburgh, where he died. --en.wikipedia.org/wiki/ See also in: Wikipedia

R. Francis Lloyd

1871 - 1943 Person Name: Richard Francis Lloyd, 1871- Meter: 7.7.8.7 D Composer of "WINTON" in The Book of Praise Music: CELESTIAL VOICES CLAIRVAUX STARS OF EVENING WINTON http://www.hymntime.com/tch/bio/l/l/o/lloyd_rf.htm