Person Results

Switch back to the old search page.Advanced Search

Showing 1 - 10 of 31Results Per Page: 10 20 50

J. M. Neale

1818 - 1866 Person Name: John Mason Neale Translator of "For thee, O dear, dear country" in The Hymnal John M. Neale's life is a study in contrasts: born into an evangelical home, he had sympathies toward Rome; in perpetual ill health, he was incredibly productive; of scholarly temperament, he devoted much time to improving social conditions in his area; often ignored or despised by his contemporaries, he is lauded today for his contributions to the church and hymnody. Neale's gifts came to expression early–he won the Seatonian prize for religious poetry eleven times while a student at Trinity College, Cambridge, England. He was ordained in the Church of England in 1842, but ill health and his strong support of the Oxford Movement kept him from ordinary parish ministry. So Neale spent the years between 1846 and 1866 as a warden of Sackville College in East Grinstead, a retirement home for poor men. There he served the men faithfully and expanded Sackville's ministry to indigent women and orphans. He also founded the Sisterhood of St. Margaret, which became one of the finest English training orders for nurses. Laboring in relative obscurity, Neale turned out a prodigious number of books and artic1es on liturgy and church history, including A History of the So-Called Jansenist Church of Holland (1858); an account of the Roman Catholic Church of Utrecht and its break from Rome in the 1700s; and his scholarly Essays on Liturgiology and Church History (1863). Neale contributed to church music by writing original hymns, including two volumes of Hymns for Children (1842, 1846), but especially by translating Greek and Latin hymns into English. These translations appeared in Medieval Hymns and Sequences (1851, 1863, 1867), The Hymnal Noted (1852, 1854), Hymns of the Eastern Church (1862), and Hymns Chiefly Medieval (1865). Because a number of Neale's translations were judged unsingable, editors usually amended his work, as evident already in the 1861 edition of Hymns Ancient and Modern; Neale claimed no rights to his texts and was pleased that his translations could contribute to hymnody as the "common property of Christendom." Bert Polman ======================== Neale, John Mason, D.D., was born in Conduit Street, London, on Jan. 24, 1818. He inherited intellectual power on both sides: his father, the Rev. Cornelius Neale, having been Senior Wrangler, Second Chancellor's Medallist, and Fellow of St. John's College, Cambridge, and his mother being the daughter of John Mason Good, a man of considerable learning. Both father and mother are said to have been "very pronounced Evangelicals." The father died in 1823, and the boy's early training was entirely under the direction of his mother, his deep attachment for whom is shown by the fact that, not long before his death, he wrote of her as "a mother to whom I owe more than I can express." He was educated at Sherborne Grammar School, and was afterwards a private pupil, first of the Rev. William Russell, Rector of Shepperton, and then of Professor Challis. In 1836 he went up to Cambridge, where he gained a scholarship at Trinity College, and was considered the best man of his year. But he did not inherit his father's mathematical tastes, and had, in fact, the greatest antipathy to the study; and as the strange rule then prevailed that no one might aspire to Classical Honours unless his name had appeared in the Mathematical Tripos, he was forced to be content with an ordinary degree. This he took in 1840; had he been one year later, he might have taken a brilliant degree, for in 1841 the rule mentioned above was rescinded. He gained, however, what distinctions he could, winning the Members' Prize, and being elected Fellow and Tutor of Downing College; while, as a graduate, he won the Seatonian Prize no fewer than eleven times. At Cambridge he identified himself with the Church movement, which was spreading there in a quieter, but no less real, way than in the sister University. He became one of the founders of the Ecclesiological, or, as it was commonly called, the Cambridge Camden Society, in conjunction with Mr. E. J. Boyce, his future brother-in-law, and Mr. Benjamin Webb, afterwards the well-known Vicar of St. Andrew's, Wells Street, and editor of The Church Quarterly Review. In 1842 he married Miss Sarah Norman Webster, the daughter of an evangelical clergyman, and in 1843 he was presented to the small incumbency of Crawley in Sussex. Ill health, however, prevented him from being instituted to the living. His lungs were found to be badly affected; and, as the only chance of saving his life, he was obliged to go to Madeira, where he stayed until the summer of 1844. In 1846 he was presented by Lord Delaware to the Wardenship of Sackville College, East Grinstead. This can hardly be considered as an ecclesiastical preferment, for both his predecessor and his successor were laymen. In fact the only ecclesiastical preferment that ever was offered to him was the Provostship of St. Ninian's, Perth. This was an honourable office, for the Provostship is equivalent to a Deanery in England, but it was not a lucrative one, being worth only £100 a year. He was obliged to decline it, as the climate was thought too cold for his delicate health. In the quiet retreat of East Grinstead, therefore, Dr. Neale spent the remainder of his comparatively short life, dividing his time between literary work, which all tended, directly or indirectly, to the advancement of that great Church revival of which he was so able and courageous a champion, and the unremitting care of that sisterhood of which he was the founder. He commenced a sisterhood at Rotherfield on a very small scale, in conjunction with Miss S. A. Gream, daughter of the rector of the parish; but in 1856 he transferred it to East Grinstead, where, under the name of St. Margaret's, it has attained its present proportions. Various other institutions gradually arose in connection with this Sisterhood of St. Margaret's, viz., an Orphanage, a Middle Class School for girls, and a House at Aldershot for the reformation of fallen women. The blessing which the East Grinstead Sisters have been to thousands of the sick and suffering cannot here be told. But it must be mentioned that Dr. Neale met with many difficulties, and great opposition from the outside, which, on one occasion, if not more, culminated in actual violence. In 1857 he was attending the funeral of one of the Sisters at Lewes, when a report was spread that the deceased had been decoyed into St. Margaret's Home, persuaded to leave all her money to the sisterhood, and then purposely sent to a post in which she might catch the scarlet fever of which she died. To those who knew anything of the scrupulously delicate and honourable character of Dr. Neale, such a charge would seem absurd on the face of it; but mobs are not apt to reflect, and it was very easy to excite a mob against the unpopular practices and sentiments rife at East Grinstead; and Dr. Neale and some Sisters who were attending the funeral were attacked and roughly handled. He also found opponents in higher quarters; he was inhibited by the Bishop of the Diocese for fourteen years, and the Aldershot House was obliged to be abandoned, after having done useful work for some years, in consequence of the prejudice of officials against the religious system pursued. Dr. Neale's character, however, was a happy mixture of gentleness and firmness; he had in the highest degree the courage of his convictions, which were remarkably definite and strong; while at the same time he maintained the greatest charity towards, and forbearance with, others who did not agree with him. It is not surprising, therefore, that he lived all opposition down; and that, while from first to last his relations with the community at East Grinstead were of the happiest description, he was also, after a time, spared any molestation from without. The institution grew upon his hands, and he became anxious to provide it with a permanent and fitting home. His last public act was to lay the foundation of a new convent for the Sisters on St. Margaret's Day (July 20), 1865. He lived long enough to see the building progress, but not to see it completed. In the following spring his health, which had always been delicate, completely broke down, and after five months of acute suffering he passed away on the Feast of the Transfiguration (Aug. 6), 1866, to the bitter regret of the little community at East Grinstead and of numberless friends outside that circle. One trait of his singularly lovable character must not pass unnoticed. His charity, both in the popular and in the truer Christian sense of the word, was unbounded; he was liberal and almost lavish with his money, and his liberality extended to men of all creeds and opinions; while it is pleasing to record that his relations with his ecclesiastical superiors so much improved that he dedicated his volume of Seatonian Poems to the bishop of the diocese. If however success in life depended upon worldly advantages, Dr. Neale's life would have to be pronounced a failure; for, as his old friend, Dr. Littledale, justly complains, "he spent nearly half his life where he died, in the position of warden of an obscure Almshouse on a salary of £27 a year." But, measured by a different standard, his short life assumes very different proportions. Not only did he win the love and gratitude of those with whom he was immediately connected, but he acquired a world-wide reputation as a writer, and he lived to see that Church revival, to promote which was the great object of his whole career, already advancing to the position which it now occupies in the land of his birth. Dr. Neale was an industrious and voluminous writer both in prose and verse; it is of course with the latter class of his writings that this sketch is chiefly concerned; but a few words must first be said about the former. I.— Prose Writings.— His first compositions were in the form of contributions to The Ecclesiologist, and were written during his graduate career at Cambridge. Whilst he was in Madeira he began to write his Commentary on the Psalms, part of which was published in 1860. It was afterwards given to the world, partly written by him and partly by his friend, Dr. Littledale, in 4 vols., in 1874, under the title of A Commentary on the Psalms, from Primitive and Mediaeval Writers. This work has been criticised as pushing the mystical interpretation to an extravagant extent. But Dr. Neale has anticipated and disarmed such criticism by distinctly stating at the commencement that "not one single mystical interpretation throughout the present Commentary is original;" and surely such a collection has a special value as a wholesome correction of the materialistic and rationalistic tendencies of the age. His next great work, written at Sackville College, was The History of the Holy Eastern Church. The General Introduction was published in 1847; then followed part of the History itself, The Patriarchate of Alexandria, in 2 vols.; and after his death another fragment was published, The History of the Patriarchate of Antioch, to which was added, Constantius's Memoirs of the Patriarchs of Antioch, translated from the Greek, edited by the Rev. G. Williams, 1 vol. The whole fragment was published in 5 vols. (1847-1873). The work is spoken very highly of, and constantly referred to, by Dean Stanley in his Lectures on the History of the Eastern Church. Dr. Neale was naturally in strong sympathy with the struggling Episcopal Church of Scotland, and to show that sympathy he published, in 1856, The Life and Times of Patrick Torry, D.D., Bishop of St. Andrews, &c, with an Appendix on the Scottish Liturgy. In the same direction was his History of the so-called Jansenist Church in Holland, 1858. Next followed Essays on Liturgiology and Church History, with an Appendix on Liturgical Quotations from the Isapostolical Fathers by the Rev. G. Moultrie, 1863, a 2nd edition of which, with an interesting Preface by Dr. Littledale, was published in 1867. It would be foreign to the purpose of this article to dwell on his other prose works, such as his published sermons, preached in Sackville College Chapel, his admirable little devotional work, Readings for the Aged, which was a selection from these sermons; the various works he edited, such as the Tetralogia Liturgica, the Sequentiae ex Missalibus Germanicis, Anglicis, Gallicis, aliisque Medii Aevi Collectae; his edition of The Primitive Liturgies of S. Mark, S. Clement, S. James, S. Chrysostom and S. Basil, with a Preface by Dr. Littledale; his Translation of the same; his many stories from Church History, his Voices from the East, translated from the Russ, and his various articles contributed to the Ecclesiologist, The Christian Remembrance, The Morning Chronicle, and The Churchman's Companion. It is time to pass on to that with which we are directly concerned. II. —Poetical Writings.— As a sacred poet, Dr. Neale may be regarded under two aspects, as an original writer and as a translator. i. Original Writer.—Of his original poetry, the first specimen is Hymns for Children, published in 1842, which reached its 10th edition the year after his death. It consists of 33 short hymns, the first 19 for the different days of the week and different parts of the day, the last 14 for the different Church Seasons. This little volume was followed in 1844 by Hymns for the Young, which was intended to be a sequel to the former, its alternative title being A Second Series of Hymns for Children; but it is designed for an older class than the former, for young people rather than for children. The first 7 hymns are "for special occasions," as "on goiug to work," “leaving home” &c.; the next 8 on "Church Duties and Privileges," "Confirmation," "First Holy Communion," &c, the last 13 on "Church Festivals,” which, oddly enough, include the Four Ember Seasons, Rogation Days, and the Sundays in Advent. In both these works the severe and rigid style, copied, no doubt, from the old Latin hymns, is very observable. Perhaps this has prevented them from being such popular favourites as they otherwise might have been; but they are quite free from faults into which a writer of hymns for children is apt to fall. They never degenerate into mere prose in rhyme; and in every case the purity as well as the simplicity of their diction is very remarkable. In the same year (1844) he also published Songs and Ballads for Manufacturers, which were written during his sojourn in Madeira, and the aim of which (he tells us) was "to set forth good and sound principles in metaphors which might, from their familiarity, come home to the hearts of those to whom they were addressed." They are wonderfully spirited both in matter and manner, and their freedom of style is as remarkable as the rigidity of the former works. They were followed eleven years later (1855) by a similar little work entitled Songs and Ballads for the People. This is of a more aggressive and controversial character than the previous ones, dealing boldly with such burning questions as "The Teetotallers," "Why don't you go to Meeting?" &c. Passing over the Seatonian Poems, most of which were of course written before those noticed above, we next come to the Hymns for the Side, which is a fitting companion to the Readings for the Aged, and then to Sequences, Hymns, and other Ecclesiastical Verses, which was published just after the author's death (1866), and may be regarded as a sort of dying legacy to the world. In fact, the writer almost intimates as much in the preface, where he speaks of himself as "one who might soon be called to have done with earthly composition for ever." Many of the verses, indeed, were written earlier, "forty years ago," he says, which is evidently intended for twenty. The preface is dated "In the Octave of S. James, 1866," and within a fortnight, on the Feast of the Transfiguration, “the veil” (to use the touching words of his old friend, Dr. Littledale) "was withdrawn from before his eyes, and the song hushed on earth is now swelling the chorus of Paradise." Was it an accident that these verses dwell so much on death and the life beyond the grave? or did the coming event cast its shadow before? Not that there is any sadness of tone about them; quite the reverse. He contemplates death, but it is with the eye of a Christian from whom the sting of death has been removed. Most of the verses are on subjects connected with the Church Seasons, especially with what are called the "Minor Festivals:" but the first and last poems are on different subjects. The first, the "Prologue," is "in dear memory of John Keble, who departed on Maundy Thursday, 1866, "and is a most touching tribute from one sacred poet to another whom he was about to follow within a few months to the "land that is very far off." The last is a poetical version of the legend of "the Seven Sleepers of Ephesus," and is, the writer thinks, "the first attempt to apply to primitive Christianity that which is, to his mind, the noblest of our measures." That measure is the hexameter, and undoubtedly Dr. Neale employed it, as he did all his measures, with great skill and effect; but it may be doubted whether the English language, in which the quantities of syllables are not so clearly defined as in Latin and Greek, is quite adapted for that measure. Throughout this volume, Dr. Neale rises to a far higher strain than he had ever reached before. ii. Translations.— It is in this species of composition that Dr. Neale's success was pre-eminent, one might almost say unique. He had all the qualifications of a good translator. He was not only an excellent classical scholar in the ordinary sense of the term, but he was also positively steeped in mediaeval Latin. An anecdote given in an appreciative notice by "G. M." [Moultrie] happily illustrates this:— Dr. Neale "was invited by Mr. Keble and the Bishop of Salisbury to assist them with their new hymnal, and for this purpose he paid a visit to Hursley Parsonage." On one occasion Mr. Keble "having to go to another room to find some papers was detained a short time. On his return Dr. Neale said, ‘Why, Keble, I thought you told me that the "Christian Year" was entirely original.' ‘Yes,' he answered, 'it certainly is.' ‘Then how comes this?' and Dr. Neale placed before him the Latin of one of Keble's hymns. Keble professed himself utterly confounded. He protested that he had never seen this 'original,' no, not in all his life. After a few minutes Neale relieved him by owning that he had just turned it into Latin in his absence." Again, Dr. Neale's exquisite ear for melody prevented him from spoiling the rhythm by too servile an imitation of the original; while the spiritedness which is a marked feature of all his poetry preserved that spring and dash which is so often wanting in a translation. (i.) Latin.— Dr. Neale's translations from the Latin include (1.) Mediaeval Hymns and Sequences (1851). He was the, first to introduce to the English reader Sequences, that is, as he himself describes them, " hymns sung between the Epistle and Gospel in the Mass," or, as he explains more definitely, "hymns whose origin is to be looked for in the Alleluia of the Gradual sung between the Epistle and the Gospel." He was quite an enthusiast about this subject:— "It is a magnificent thing,” he says, "to pass along the far-stretching vista of hymns, from the sublime self-containedness of S. Ambrose to the more fervid inspiration of S. Gregory, the exquisite typology of Venantius Fortunatus, the lovely painting of St. Peter Damiani, the crystal-like simplicity of S. Notker, the scriptural calm of Godescalcus, the subjective loveliness of St. Bernard, till all culminate in the full blaze of glory which surrounds Adam of S. Victor, the greatest of them all." Feeling thus what a noble task he had before him, it is no wonder that he spared no pains over it, or that he felt it his duty to adopt "the exact measure and rhyme of the original, at whatever inconvenience and cramping." That he succeeded in his difficult work, the verdict of the public has sufficiently proved. Of all the translations in the English language no one has ever been so popular as that of the Hora Novissima, in this volume, afterwards (1858) published separately, under the title of the Rhythm of Bernard de Morlaix, Monk of Cluny. Some original hymns may be as well known as "Jerusalem the Golden," "For thee, O dear, dear country," or "Brief life is here our portion,” but it would be hard to find any translations which come near them for extensive use. A second edition of the Mediaeval Hymns, much improved, came out in 1863, and a third, "with very numerous additions and corrections," in 1867. (2.) We next come to the Hymnal Noted, in which 94 out of the 105 hymns are the work of Dr. Neale. These are all translations from the Latin. The first part appeared in 1852, the second in 1854. Dr. Neale has himself given us an interesting account of his connection with this work:— "Some," he writes, "of the happiest and most instructive hours of my life were spent in the Sub-Committee of the Ecclesiological Society, appointed for the purpose of bringing out the Second Part of the Hymnal Noted It was my business to lay before them the translations I had prepared, and theirs to correct. The study which this required drew out the beauties of the original in a way which nothing else could have done, and the friendly collisions of various minds elicited ideas which a single translator would in all probability have missed." Preface, Mediaeval Hymns & Sequences (3.) The last volume of translations from the Latin published by Dr. Neale appeared in 1865, under the title of Hymns, chiefly Mediaeval, on the Joys and Glories of Paradise. It was intended to be a companion volume to the Rhythm of Bernard of Cluny. In this work the writer gives the general reader an opportunity of comparing the translation with the original by printing the two together in parallel pages. Before quitting the subject of Dr. Neale's translations from the Latin, it is only fair to notice that while they have been almost universally accepted by the English Church, and some of them adopted by dissenting congregations, they called down upon the translator a storm of indignation from an opposite quarter. The Roman Catholics accused him of deliberate deception because he took no pains to point out that he had either softened down or entirely ignored the Roman doctrines in those hymns. So far, they said, as the originals were concerned, these translations were deliberate misrepresentations. As however the translations were intended for the use of the Anglican Church, it was only to be expected that Neale should omit such hymns or portions of hymns as would be at variance with her doctrines and discipline. (ii.) Greek.— Dr. Neale conferred even a greater boon upon the lovers of hymnology than by his translations from the Latin, when he published, in 1862, his Hymns of the Eastern Church. In his translations from the Latin he did what others had done before; but in his translations from the Greek he was opening entirely new ground. "It is," he says in his preface to the first edition, "a most remarkable fact, and one which shows how very little interest has been hitherto felt in the Eastern Church, that these are literally, I believe, the only English versions of any part of the treasures of Oriental Hymnology." As early as 1853 he had printed a few of his versions in The Ecclesiastic, but it was not till the appearance of the complete volume that the interest of the general public was awakened in them. Then they became wonderfully popular. His translations "Christian, dost thou see them?" "The day is past and over," "'Tis the day of Resurrection," and his Greek-inspired "Art thou weary," and "O happy band of pilgrims," are almost as great favourites as "Jerusalem the golden," and the first in his Hymns of the Eastern Church, "Fierce was the wild billow," deserves to be. Dr. Neale had a far more difficult task before him when he undertook these Greek hymns than he had with the Latin, and he appeals to the reader "not to forget the immense difficulty of an attempt so perfectly new as the present, when I have had no predecessors and therefore could have no master." That difficulty in comparison with the Latin cannot be better stated than in his own words:— "Though the superior terseness and brevity of the Latin hymns renders a translation which shall represent those qualities a work of great labour, yet still the versifier has the help of the same metre; his version may be line for line; and there is a great analogy between the collects and the hymns, most helpful to the translator. Above all, we have examples enough of former translation by which we may take pattern. But in attempting a Greek canon, from the fact of its being in prose (metrical hymns are unknown) one is all at sea. What measure shall we employ? Why this more than that? Might we attempt the rhythmical prose of the original, and design it to be chanted? Again, the great length of the canons renders them un suitable for our churches as wholes. Is it better simply to form centos of the more beautiful passages? or can separate odes, each necessarily imperfect, be employed as separate hymns? . . . My own belief is that the best way to employ Greek hymnology for the uses of the English Church would be by centos." That, in spite of these difficulties, Dr. Neale succeeded, is obvious. His Greek hymns are, indeed, adaptations rather than translations; but, besides their intrinsic beauty, they at any rate give some idea of what the Greek hymn-writers were. In this case, as in his translations from the Latin, he omitted what he held was not good from his Anglican point of view, e.g., the Doxologies to the Blessed Virgin Mary. One point strikes us as very remarkable in these hymns, and indeed in all Dr. Neale's poetry, viz., its thorough manliness of tone. Considering what his surroundings were, one might have expected a feminine tone in his writings. Dr. Littledale, in his most vivid and interesting sketch of Dr. Neale's life, to which the present writer is largely indebted, has remarked the same with regard to his teaching: "Instead of committing the grave error of feminising his sermons and counsels [at St. Margaret's] because he had only women to deal with, he aimed at showing them the masculine side of Christianity also, to teach them its strength as well as its beauty." In conclusion, it may be observed that no one had a higher opinion of the value of Dr. Neale's labours in the field of ancient and mediaeval hymnology than the one man whose competency to speak with authority on such a point Dr. Neale himself would assuredly have rated above that of all others. Over and over again Dr. Neale pays a tribute to the services rendered by Archbishop Trench in this domain; and the present sketch cannot more fitly close than with the testimony which Archbishop Trench has given of his sense of the services rendered by Dr. Neale. The last words of his preface to his Sacred Latin Poetry (ed. 1864) are:—" I will only, therefore, mention that by patient researches in almost all European lands, he [Dr. Neale] has brought to light a multitude of hymns unknown before: in a treatise on sequences, properly so-called, has for the first time explained their essential character; while to him the English reader owes versions of some of the best hymns, such as often successfully overcome the almost insuperable difficulties which many among them present to the translator." [Rev. J. H. Overton, D.D.] Dr. Neale's original hymns and translations appeared in the following works, most of which are referred to in the preceding article, and all of which are grouped together here to facilitate reference:— (1) Hymns for Children. Intended chiefly for Village Schools. London, Masters, 1842. (2) Hymns for the Sick. London, Masters, 1843, improved ed. 1849. (3) Hymns for the Young. A Second Series of Hymns for Children. London, Masters, 1844. (4) Songs and Ballads for Manufacturers. London, Masters, 1844. (5) Hymns for Children. A Third Series. London, Masters, 1846. (6) Mediaeval Hymns and Sequences. London, Masters. 1851; 2nd ed. 1861; 3rd. ed. 1863. (7) Hymnal Noted. London, Masters & Novello, 1852: enlarged 1854. Several of the translations were by other hands. Musical editions edited by the Rev. T. Helmore. It is from this work that a large number of Dr. Neale's translations from the Latin are taken. (8) Carols for Christmas and Eastertide. 1853. (9) Songs and Ballads for the People. 1855. (10) The Rhythm of Bernard de Morlaix, Monk of Cluny, on the Celestial Country. London, Hayes, 1st ed. 1858: 3rd ed., with revision of text, 1861. It contains both the Latin and the English translation. (11) Hymns of The Eastern Church, Translated with Notes and an Introduction. London, Hayes, 1862: 2nd ed. 1862: 3rd ed. 1866 : 4th ed., with Music and additional notes, edited by The Very Rev. S. G. Hatherly, Mus. B., Archpriest of the Patriarchal (Ecumenical Throne. London, Hayes, 1882. Several of these translations and notes appeared in The Ecclesiastic and Theologian, in 1853. (12) Hymns, Chiefly Mediaeval, on the Joys and Glories of Paradise. London, Hayes, 1865. This work contains notes on the hymns, and the Latin texts of the older amongst them. (13) Original Sequences, Hymns, and other Ecclesiastical Verses. London, Hayes, 1866. This collection of Original verse was published posthumously by Dr. Littledale. In addition to these works Dr. Neale published collections of Latin verse as:— 1.) Hymni Ecclesiae e Breviariis quibusdam et Missalibus Gallicanis, Germanis, Hispanis, Lusitanis, desumpti. Oxford & Lond. J. H. Parker, 1851: and (2) Sequentiae e Missalibus Germanicis, Anglicis, Gallicis, aliisque Medii Aevi collectae. Oxford & Lond. J. H. Parker, 1852. A few of his translations appeared from time to time in The Ecclesiastic; and a few of his original hymns in The Christian Remembrancer. In the collection compiled for use at St. Margaret's, East Grinstead, St. Margaret's Hymnal, Printed Privately for the use of the Community only, 1875, there are several of his hymns not traceable elsewhere. [Many of his translations and original compositions are not listed here]. Some of the original hymns in common use which remain to be noted are:— i. From Hymns for Children, 1842. 1. No more sadness now, nor fasting. Christmas. 2. 0 Thou, Who through this holy week. Passiontide. 3. The day, 0 Lord, is spent. Evening. 4. The grass so green, the trees so tall. Morning of the Third Day. 5. Thou art gone up, 0 Lord, on high. Evening. 6. Thou, Who earnest from above. Whitsuntide. 7. With Thee, 0 Lord, begins the year. Circumcision, or, the New Year. ii. From Hymns for the Sick, 1843. 8. By no new path untried before. Support in Sickness. 9. Count not, the Lord's Apostle saith. Communion of the Sick. 10. Lord, if he sleepeth, he shall sure do well. Watching. 11. 0 Thou, Who rising long before the day. In a sleepless Night. 12. The Lord hath given, the Lord hath taken away. Death and Burial. 13. There is a stream, whose waters rise. In dangerous Sickness or Fever. 14. They slumber not nor sleep. Guardian Angels. 15. Thy servants militant below. In Affliction. iii. From Hymns for the Young, 2nd series, 1844. 16. Lord Jesus, Who shalt come with power. Ember Week in Advent. 17. 0 God, in danger and distress. In time of Trouble. 18. 0 God, we raise our hearts to Thee. Ember-Week in Advent. From this, "0 Lord, we come before Thee now” is taken. 19. 0 God, Who lovest to abide. Dedication of a Church. 20. 0 our Father, hear us now. Rogation. The first of three hymns on The Lord's Prayer. 21. 0 Saviour, Who hast call'd away. Death of a Minister. 22. 0 Thou, Who lov'st to send relief. In Sickness. 23. 0 Thou, Who once didst bless the ground. Ember-Week in September. 24. 0 Thou, Who, when Thou hadst begun. On going to Work. 25. Still, 0 Lord of hosts, we share. Rogation. The Second of his hymns on The Lord's Prayer. 26. Strangers and pilgrims here below. On entering a new Dwelling to reside there. 27. They whose course on earth is o'er. Communion of Saints. From this, "Those whom many a land divides," is taken. 2S. Till its holy hours are past. Rogation. The third of his hymns on The Lord's Prayer. iv. Songs and Ballads for Manufacturers, 1844. 29. Work is over; God must speed it. Evening. v. Hymns for Children, 3rd series, 1846. 30. Before Thy Face, 0 God of old. St. John the Baptist. 31. By pain, and weariness, and doubt. St. Stephen. 32. First of the twelvefold band that trod. St. James. 33. Four streams through happy Eden flow'd. St. Mark. 34. Is there one who sets his face. St. Bartholomew. From this "He, for man who suffered woe," is taken. 35. Not a single sight we view. St. Matthias. 36. 0 Great Physician of the soul. St. Luke. 37. 0 Heavenly Wisdom, hear our cry. Christmas. “0 Sapientia." 38. 0 Key of David, hailed by those. Christmas. "0 Clavis David." 39. 0 Root of Jesse, Thou on Whom. Christmas. “O Radix Jesse." 40. 0 Thou, on Whom the nations [Gentiles] wait. Christmas. "0 Rex Gentium." 41. 0 Thou, Who earnest down of old [to call] . Christmas. "0 Adonai." 42. 0 Thou, Whose Name is God with us. Christmas. "0 Emmanuel." 43. 0 Very God of Very God. Christmas. "0 Oriens." 44. Saints of God, whom faith united. SS. Simon and Jude. 45. Since the time that first we came. St. Andrew. From this, "Every bird that upward springs," is taken. 46. That love is mighty love indeed. St. Barnabas. 47. We cannot plead, as others may. St. Matthew. 48. We have not seen, we cannot see. St. Thomas. 49. Would we go when life is o'er? St. Peter. v. Carols for Christmas and Eastertide. 1853. 50. Gabriel's message does away. Christmas. 51. Joy and gladness be to king and peasant. Christmas. 52. Joy to thee, joy to thee, Day of our victory. Easter. 53. Sing Alleluia, all ye lands. Easter. 54. The world itself keeps Easter Day. Easter. From this "There stood three Marys by the tomb," is taken. 55. With Christ we share a mystic grave. Easter or Holy Baptism. vi. From Sequences, Hymns, &c, 1866. 56. Can it, Master, can it be? Maundy Thursday. 57. Need it is we raise our eyes. All Saints. 58. Prostrate fell the Lord of all things. Maundy Thursday. 59. Rear the column, high and stately. All Saints. 60. The Paschal moonlight almost past. Easter. 61. Though the Octave-rainbow sometimes. Low Sunday. 62. When the earth was full of darkness. St. Margaret. 63. Young and old must raise the lay. Christmas Carol. vi. From the St. Margaret's Hymnal, 1875. 64. O gracious God, Who bid'st me now. On Leaving Some. 65. Thou Who came to save Thy people. For a School. 66. Thy praise the holy Infants shewed. Holy Innocents. These 66 hymns now in common use by no means represent Dr. Neale's position in modern hymnody. Many others must be added thereto. Even then, although the total is very large, it but feebly represents and emphasises the enormous influence which Di. Neale has exercised over modern hymnody. --John Julian, Dictionary of Hymnology (1907)

Arthur Sullivan

1842 - 1900 Person Name: Arthur S. Sullivan Composer of "HOMELAND" in The Hymnal Arthur Seymour Sullivan (b Lambeth, London. England. 1842; d. Westminster, London, 1900) was born of an Italian mother and an Irish father who was an army bandmaster and a professor of music. Sullivan entered the Chapel Royal as a chorister in 1854. He was elected as the first Mendelssohn scholar in 1856, when he began his studies at the Royal Academy of Music in London. He also studied at the Leipzig Conservatory (1858-1861) and in 1866 was appointed professor of composition at the Royal Academy of Music. Early in his career Sullivan composed oratorios and music for some Shakespeare plays. However, he is best known for writing the music for lyrics by William S. Gilbert, which produced popular operettas such as H.M.S. Pinafore (1878), The Pirates of Penzance (1879), The Mikado (1884), and Yeomen of the Guard (1888). These operettas satirized the court and everyday life in Victorian times. Although he composed some anthems, in the area of church music Sullivan is best remembered for his hymn tunes, written between 1867 and 1874 and published in The Hymnary (1872) and Church Hymns (1874), both of which he edited. He contributed hymns to A Hymnal Chiefly from The Book of Praise (1867) and to the Presbyterian collection Psalms and Hymns for Divine Worship (1867). A complete collection of his hymns and arrangements was published posthumously as Hymn Tunes by Arthur Sullivan (1902). Sullivan steadfastly refused to grant permission to those who wished to make hymn tunes from the popular melodies in his operettas. Bert Polman

Felix Mendelssohn-Bartholdy

1809 - 1847 Person Name: Mendelssohn Composer of "MUNICH" in School and College Hymnal Felix Mendelssohn-Bartholdy (b. Hamburg, Germany, 1809; d. Leipzig, Germany, 1847) was the son of banker Abraham Mendelssohn and the grandson of philosopher Moses Mendelssohn. His Jewish family became Christian and took the Bartholdy name (name of the estate of Mendelssohn's uncle) when baptized into the Lutheran church. The children all received an excellent musical education. Mendelssohn had his first public performance at the age of nine and by the age of sixteen had written several symphonies. Profoundly influenced by J. S. Bach's music, he conducted a performance of the St. Matthew Passion in 1829 (at age 20!) – the first performance since Bach's death, thus reintroducing Bach to the world. Mendelssohn organized the Domchor in Berlin and founded the Leipzig Conservatory of Music in 1843. Traveling widely, he not only became familiar with various styles of music but also became well known himself in countries other than Germany, especially in England. He left a rich treasury of music: organ and piano works, overtures and incidental music, oratorios (including St. Paul or Elijah and choral works, and symphonies. He harmonized a number of hymn tunes himself, but hymnbook editors also arranged some of his other tunes into hymn tunes. Bert Polman

Bernard, of Cluny

1100 - 1199 Person Name: St. Bernard of Cluny Author of "For thee, O dear, dear country" in The Hymnal Bernard of Morlaix, or of Cluny, for he is equally well known by both titles, was an Englishman by extraction, both his parents being natives of this country. He was b., however, in France very early in the 12th cent, at Morlaix, Bretagne. Little or nothing is known of his life, beyond the fact that he entered the Abbey of Cluny, of which at that time Peter the Venerable, who filled the post from 1122 to 1156, was the head. There, so far as we know, he spent his whole after-life, and there he probably died, though the exact date of his death, as well as of his birth is unrecorded. The Abbey of Cluny was at that period at the zenith of its wealth and fame. Its buildings, especially its church (which was unequalled by any in France); the services therein, renowned for the elaborate order of their ritual; and its community, the most numerous of any like institution, gave it a position and an influence, such as no other monastery, perhaps, ever reached. Everything about it was splendid, almost luxurious. It was amid such surroundings that Bernard of Cluny spent his leisure hours in composing that wondrous satire against the vices and follies of his age, which has supplied—and it is the only satire that ever did so—some of the most widely known and admired hymns to the Church of today. His poem De Contemptu Mundi remains as an imperishable monument of an author of whom we know little besides except his name, and that a name overshadowed in his own day and in ours by his more illustrious contemporary and namesake, the saintly Abbot of Clairvaux. The poem itself consists of about 3000 lines in a meter which is technically known as Leonini Cristati Trilices Dactylici, or more familiarly—to use Dr. Neale's description in his Mediaeval Hymns, p. 69—" it is a dactylic hexameter, divided into three parts, between which a caesura is inadmissible. The hexameter has a tailed rhyme, and feminine leonine rhyme between the two first clauses, thus :— " Tune nova gloria, pectora sobria, clarificabit: Solvit enigmata, veraque sabbata, continuabit, Patria luminis, inscia turbinis, inscia litis, Cive replebitur, amplificabitur Israelitis." The difficulty of writing at all, much more of writing a poem of such length in a metre of this description, will be as apparent to all readers of it, as it was to the writer himself, who attributes his successful accomplishment of his task entirely to the direct inspiration of the Spirit of God. "Non ego arroganter," he says in his preface, "sed omnino humiliter, et ob id audenter affirmaverim, quia nisi spiritus sapicntiae et intellectus mihi affuisset et afftuxisset, tarn difficili metro tarn longum opus con-texere non sustinuissem." As to the character of the metre, on the other hand, opinions have widely differed, for while Dr. Neale, in his Mediaeval Hymns, speaks of its "majestic sweetness," and in his preface to the Rhythm of Bernard de Morlaix on the Celestial Country, says that it seems to him "one of the loveliest of mediaeval measures;" Archbishop Trench in his Sac. Lat. Poetry, 1873. p. 311, says "it must be confessed that" these dactylic hexameters "present as unattractive a garb for poetry to wear as can well be imagined;" and, a few lines further on, notes "the awkwardness and repulsiveness of the metre." The truth perhaps lies between these two very opposite criticisms. Without seeking to claim for the metre all that Dr. Neale is willing to attribute to it, it may be fairly said to be admirably adapted for the purpose to which it has been applied by Bernard, whose awe-stricken self-abasement as he contemplates in the spirit of the publican, “who would not so much as lift up his eyes unto heaven," the joys and the glory of the celestial country, or sorrowfully reviews the vices of his age, or solemnly denounces God's judgments on the reprobate, it eloquently pourtrays. So much is this the case, that the prevailing sentiment of the poem, that, viz., of an awful apprehension of the joys of heaven, the enormity of sin, and the terrors of hell, seems almost wholly lost in such translations as that of Dr. Neale. Beautiful as they are as hymns, "Brief life is here our portion," "Jerusalem the Golden," and their companion extracts from this great work, are far too jubilant to give any idea of the prevailing tone of the original. (See Hora Novissima.) In the original poem of Bernard it should be noted that the same fault has been remarked by Archbishop Trench, Dean Stanley, and Dr. Neale, which may be given in the Archbishop's words as excusing at the same time both the want, which still exists, of a very close translation of any part, and of a complete and continuous rendering of the whole poem. "The poet," observes Archbishop Trench, "instead of advancing, eddies round and round his object, recurring again and again to that which he seemed thoroughly to have discussed and dismissed." Sac. Lat. Poetry, 1873, p. 311. On other grounds also, more especially the character of the vices which the author lashes, it is alike impossible to expect, and undesirable to obtain, a literal translation of the whole. We may well be content with what we already owe to it as additions to our stores of church-hymns. -John Julian, Dictionary of Hymnology (1907) ================== Bernard of Cluny, p. 137, i., is best described thus: his place of origin is quite uncertain. See the Catalogue of the Additional MSS. of the B. M. under No. 35091, where it is said that he was perhaps of Morlas in the Basses-Pyrenees, or of Morval in the Jura, but that there is nothing to connect him with Morlaix in Brittany. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology, New Supplement (1907)

Lowell Mason

1792 - 1872 Composer of "MENDEBRAS" in Book of Hymns and Tunes, comprising the psalms and hymns for the worship of God, approved by the general assembly of 1866, arranged with appropriate tunes... by authority of the assembly of 1873 Dr. Lowell Mason (the degree was conferred by the University of New York) is justly called the father of American church music; and by his labors were founded the germinating principles of national musical intelligence and knowledge, which afforded a soil upon which all higher musical culture has been founded. To him we owe some of our best ideas in religious church music, elementary musical education, music in the schools, the popularization of classical chorus singing, and the art of teaching music upon the Inductive or Pestalozzian plan. More than that, we owe him no small share of the respect which the profession of music enjoys at the present time as contrasted with the contempt in which it was held a century or more ago. In fact, the entire art of music, as now understood and practiced in America, has derived advantage from the work of this great man. Lowell Mason was born in Medfield, Mass., January 8, 1792. From childhood he had manifested an intense love for music, and had devoted all his spare time and effort to improving himself according to such opportunities as were available to him. At the age of twenty he found himself filling a clerkship in a banking house in Savannah, Ga. Here he lost no opportunity of gratifying his passion for musical advancement, and was fortunate to meet for the first time a thoroughly qualified instructor, in the person of F. L. Abel. Applying his spare hours assiduously to the cultivation of the pursuit to which his passion inclined him, he soon acquired a proficiency that enabled him to enter the field of original composition, and his first work of this kind was embodied in the compilation of a collection of church music, which contained many of his own compositions. The manuscript was offered unavailingly to publishers in Philadelphia and in Boston. Fortunately for our musical advancement it finally secured the attention of the Boston Handel and Haydn Society, and by its committee was submitted to Dr. G. K. Jackson, the severest critic in Boston. Dr. Jackson approved most heartily of the work, and added a few of his own compositions to it. Thus enlarged, it was finally published in 1822 as The Handel and Haydn Society Collection of Church Music. Mason's name was omitted from the publication at his own request, which he thus explains, "I was then a bank officer in Savannah, and did not wish to be known as a musical man, as I had not the least thought of ever making music a profession." President Winchester, of the Handel and Haydn Society, sold the copyright for the young man. Mr. Mason went back to Savannah with probably $500 in his pocket as the preliminary result of his Boston visit. The book soon sprang into universal popularity, being at once adopted by the singing schools of New England, and through this means entering into the church choirs, to whom it opened up a higher field of harmonic beauty. Its career of success ran through some seventeen editions. On realizing this success, Mason determined to accept an invitation to come to Boston and enter upon a musical career. This was in 1826. He was made an honorary member of the Handel and Haydn Society, but declined to accept this, and entered the ranks as an active member. He had been invited to come to Boston by President Winchester and other musical friends and was guaranteed an income of $2,000 a year. He was also appointed, by the influence of these friends, director of music at the Hanover, Green, and Park Street churches, to alternate six months with each congregation. Finally he made a permanent arrangement with the Bowdoin Street Church, and gave up the guarantee, but again friendly influence stepped in and procured for him the position of teller at the American Bank. In 1827 Lowell Mason became president and conductor of the Handel and Haydn Society. It was the beginning of a career that was to win for him as has been already stated the title of "The Father of American Church Music." Although this may seem rather a bold claim it is not too much under the circumstances. Mr. Mason might have been in the average ranks of musicianship had he lived in Europe; in America he was well in advance of his surroundings. It was not too high praise (in spite of Mason's very simple style) when Dr. Jackson wrote of his song collection: "It is much the best book I have seen published in this country, and I do not hesitate to give it my most decided approbation," or that the great contrapuntist, Hauptmann, should say the harmonies of the tunes were dignified and churchlike and that the counterpoint was good, plain, singable and melodious. Charles C. Perkins gives a few of the reasons why Lowell Mason was the very man to lead American music as it then existed. He says, "First and foremost, he was not so very much superior to the members as to be unreasonably impatient at their shortcomings. Second, he was a born teacher, who, by hard work, had fitted himself to give instruction in singing. Third, he was one of themselves, a plain, self-made man, who could understand them and be understood of them." The personality of Dr. Mason was of great use to the art and appreciation of music in this country. He was of strong mind, dignified manners, sensitive, yet sweet and engaging. Prof. Horace Mann, one of the great educators of that day, said he would walk fifty miles to see and hear Mr. Mason teach if he could not otherwise have that advantage. Dr. Mason visited a number of the music schools in Europe, studied their methods, and incorporated the best things in his own work. He founded the Boston Academy of Music. The aim of this institution was to reach the masses and introduce music into the public schools. Dr. Mason resided in Boston from 1826 to 1851, when he removed to New York. Not only Boston benefited directly by this enthusiastic teacher's instruction, but he was constantly traveling to other societies in distant cities and helping their work. He had a notable class at North Reading, Mass., and he went in his later years as far as Rochester, where he trained a chorus of five hundred voices, many of them teachers, and some of them coming long distances to study under him. Before 1810 he had developed his idea of "Teachers' Conventions," and, as in these he had representatives from different states, he made musical missionaries for almost the entire country. He left behind him no less than fifty volumes of musical collections, instruction books, and manuals. As a composer of solid, enduring church music. Dr. Mason was one of the most successful this country has introduced. He was a deeply pious man, and was a communicant of the Presbyterian Church. Dr. Mason in 1817 married Miss Abigail Gregory, of Leesborough, Mass. The family consisted of four sons, Daniel Gregory, Lowell, William and Henry. The two former founded the publishing house of Mason Bros., dissolved by the death of the former in 19G9. Lowell and Henry were the founders of the great organ manufacturer of Mason & Hamlin. Dr. William Mason was one of the most eminent musicians that America has yet produced. Dr. Lowell Mason died at "Silverspring," a beautiful residence on the side of Orange Mountain, New Jersey, August 11, 1872, bequeathing his great musical library, much of which had been collected abroad, to Yale College. --Hall, J. H. (c1914). Biographies of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company.

Joseph Barnby

1838 - 1896 Composer of "ST. ANSELM" in Hymns of the Church Joseph Barnby (b. York, England, 1838; d. London, England, 1896) An accomplished and popular choral director in England, Barby showed his musical genius early: he was an organist and choirmaster at the age of twelve. He became organist at St. Andrews, Wells Street, London, where he developed an outstanding choral program (at times nicknamed "the Sunday Opera"). Barnby introduced annual performances of J. S. Bach's St. John Passion in St. Anne's, Soho, and directed the first performance in an English church of the St. Matthew Passion. He was also active in regional music festivals, conducted the Royal Choral Society, and composed and edited music (mainly for Novello and Company). In 1892 he was knighted by Queen Victoria. His compositions include many anthems and service music for the Anglican liturgy, as well as 246 hymn tunes (published posthumously in 1897). He edited four hymnals, including The Hymnary (1872) and The Congregational Sunday School Hymnal (1891), and coedited The Cathedral Psalter (1873). Bert Polman

Anonymous

Composer of "BONA PATRIA" in The Cyber Hymnal 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.

J. W. Elliott

1833 - 1915 Composer of "DAY OF REST" in The Presbyterian Book of Praise J.W. Elliott was a popular composer of the Victorian period, and is best known for his nursery rhyme music and for his work on hymnals in the 1870s. He was born James William Elliott, in Warwick, England, on February 13, 1833. As a child, he sang as a chorister in the Leamington Parish Church. In those days, choristers were given lessons in all facets of church music, including organ lessons, counterpoint studies, and more in exchange for providing an extraordinary level of service to their parish church (services throughout the week, all holidays, extra services, etc.). The result is that most choristers who completed their studies received an excellent music education, and James was no exception. After starting his career as an organist and choirmaster for a countryside church, his talent became obvious. He moved to London, where he assisted Sir Arthur Sullivan (of Gilbert and Sullivan fame) in editing Church Hymns. In addition, James worked for a music publisher. His compositions include two operettas, numerous anthems, service music, works for instruments including the very popular harmonium, and most particularly for Nursery Rhymes and Nursery Songs, his children’s music score that sets many of the Nursery Rhymes to delightful music. Several of his hymn tunes are still in use today in many hymnals, most notably his hymn tune “Day of Rest.” He was heavily involved in the preparation of the musical edition of Church Hymns in 1874, the Choral Service Book of 1892, and transcriptions of hymn tunes using harmonies different than the traditional ones found in hymnals. He died in St. Marylebone, London, on February 5, 1915. --www.nursery-songs.com/

Basil Harwood

1859 - 1949 Person Name: Basil Harwood, 1859- Harmonizer of "MEIRIONYDD" in The Book of Praise Basil Harwood (11 April 1859 – 3 April 1949) was an English organist and composer. Basil Harwood was born in Woodhouse, Gloucestershire (the second youngest of 12 children) on 11 April 1859. His mother died in 1867 when Basil was eight. His parents were Quakers but his elder sister Ada, on reaching 21 in 1867, converted to the Anglican Church. Basil was allowed to attend the ceremony at the Church of England in Almondsbury and this is where he was first drawn to organ music and choral singing. His father, Edward, remarried two years later in 1869 to a lady from an Anglican family. Basil was now sent to the Montpellier School in Weston-super-Mare for a year. In 1871, at 12 he was enrolled in Clevedon, the preparatory school for Charterhouse where he was first to formally study music. He went up to Charterhouse in 1874 and left in 1876 having won a leaving Exhibition to Trinity College, Oxford where he initially studied Classics (1879) and Modern History (1880). He then studied for a further two years, 1881–1882, at the Leipzig Conservatory under Carl Reinecke and Salomon Jadassohn. It was here in 1882, Basil composed his first anthem for chorus and organ "O Saving Grace." He returned from Leipzig to realise that he had now passed the age limit to study music formally. In 1883, Basil became organist of St. Barnabas Church, Pimlico completing his Sonata in C# Minor here in 1885, selling the copyright to the publisher Schott for one shilling a year or two later. After this success, he then moved to Ely Cathedral in 1887 where he wrote the bulk of Dithyramb, possibly his greatest organ work. His final appointment was as organist at Christ Church, Oxford and as precentor of Keble College, Oxford from 1892 to 1909. Whilst there he co-founded and conducted the Oxford Bach Choir which helped to earn him his degree as Doctor of Music. He conducted the Oxford Orchestral Association (1892–1898). He was musical editor of the 1908 Oxford Hymn Book and Examiner for Musical Degrees (1900–1925). During this time, he met and married Mabel Ada Jennings (the daughter of George Jennings) (who had become a pupil of his in 1896) at All Souls St. Marylebone, London (27 December 1899). Mabel had studied music herself, piano and composition, and was also a writer. She may well have composed lyrics for some of his lesser known tunes. At an advanced age she wrote a small volume of collected poems named Questing Soul. He retired early at 50 (in 1909) after the death of his father, Edward Harwood, from whom he inherited the family estate of Woodhouse having outlived his seven older brothers. Soon after moving in he had a three manual chamber organ built in the library by Bishop & Sons of Ipswich (now in Minehead Parish Church), on which he promptly finished his Sonata in F# Minor. He continued to compose prolifically. He was a keen walker, and named many of his hymn tunes after local places that he loved to visit, the most notable being the hymn tunes such as Tockington, Olveston, Almondsbury and Thornbury. In 1936 advancing in years, he let the Woodhouse estate and moved to Bournemouth. Part of the estate, Woodhouse Down, was later sold to his contemporary Robert Baden-Powell who was two years older than he was and who had also attended Charterhouse School, and is used as a Scout Camp to this day. In 1939, at eighty, he moved to London, taking a flat in Fleet Street. After a long life, he died on 3 April 1949, eight days short of his 90th birthday, at Courtfield Gardens in the Royal Borough of Kensington, London. A memorial service was held in St Paul's Cathedral on 22 April 1949. Mabel survived him, dying shortly before her 103rd birthday on 20 July 1974. He was survived by two sons; Major John Edward Godfrey Harwood (1900–1996) and Basil Antony Harwood (1903–1990) Senior Master of the Supreme Court, Q.B.D. and Queen's Remembrancer. His remains are interred in St. Barnabas Church, Pimlico and marked by a plaque inset in floor of the chancel, close to where he would have stood to conduct the choir. He composed cantatas, church music and works for the organ; his Service in A flat, the anthem O how Glorious and the hymn tunes LUCKINGTON ("Let all the world in every corner sing") and THORNBURY ("Thy hand O God has guided"), first used during a festival of the London Church Choir Association, remain in the Anglican repertory. --en.wikipedia.org/wiki

Timothy R. Matthews

1826 - 1910 Person Name: Rev. T. R. Matthews, B. A. Composer of "CHENIES" in The Scottish Hymnal Timothy Richard Matthews MusB United Kingdom 1826-1910. Born at Colmworth, England, son of the Colmworth rector, he attended the Bedford and Gonville Schools and Caius College, Cambridge. In 1853 he became a private tutor to the family of Rev Lord Wriothesley Russell, a canon of St. George’s Chapel, Windsor Castle, where he studied under organist, George Elvey, subsequently a lifelong friend. He married Margaret Mary Thompson, and they had 11 children: Norton, Mary, George, Cecil, Evelyn, Eleanor, Anne, Arthur, Wilfred, Stephen, and John. Matthews served as Curate and Curate-in-Charge of St Mary’s Church, Nottingham (1853-1869). While there, he founded the Nottingham Working Men’s Institute. He became Rector at North Coates, Lincolnshire (1869-1907). He retired in 1907 to live with his eldest son, Norton, at Tetney vicarage. He edited the “North Coates supplemental tune book” and “Village organist”. An author, arranger, and editor, he composed morning and evening services, chants, and responses, earning a reputation for simple but effective hymn tunes, writing 100+. On a request he wrote six tunes for a children’s hymnal in one day. He composed a Christmas carol and a few songs. His sons, Norton, and Arthur, were also known as hymn tune composers. He died at Tetney, Lincolnshire, England. John Perry