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John Ellerton

1826 - 1893 Person Name: Rev. J. Ellerton Author of "In the name which earth and heaven" in The Hymnal, Revised and Enlarged, as adopted by the General Convention of the Protestant Episcopal Church in the United States of America in the year of our Lord 1892 John Ellerton (b. London, England, 1826; d. Torquay, Devonshire, England, 1893) Educated at King William's College on the Isle of Man and at Trinity College, Cambridge, England, he was ordained in the Church of England in 1851. He served six parishes, spending the longest time in Crewe Green (1860-1872), a church of steelworkers and farmers. Ellerton wrote and translated about eighty hymns, many of which are still sung today. He helped to compile Church Hymns and wrote its handbook, Notes and Illustrations to Church Hymns (1882). Some of his other hymn texts were published in The London Mission Hymn Book (1884). Bert Polman ========================= Ellerton, John, M.A., son of George Ellerton, was born in London, Dec. 16, 1826, and educated at Trinity College, Cambridge (B.A. 1849; M.A. 1854). Taking Holy Orders he was successively Curate of Easebourne, Sussex, 1850; Brighton, and Lecturer of St. Peter's, Brighton, 1852; Vicar of Crewe Green, and Chaplain to Lord Crewe, 1860; Rector of Hinstock, 1872; of Barnes, 1876; and of White Roding, 1886. Mr. Ellerton's prose writings include The Holiest Manhood, 1882; Our Infirmities, 1883, &c. It is, however, as a hymnologist, editor, hymnwriter, and translator, that he is most widely known. As editor he published: Hymns for Schools and Bible Classes, Brighton, 1859. He was also co-editor with Bishop How and others of the Society for Promoting Christian Knowledge Church Hymns, 1871. His Notes and Illustrations of Church Hymns, their authors and translators, were published in the folio edition of 1881. The notes on the hymns which are special to the collection, and many of which were contributed thereto, are full, accurate, and of special value. Those on the older hymns are too general for accuracy. They are written in a popular form, which necessarily precludes extended research, fulness, and exactness of detail. The result is acceptable to the general public, but disappointing to the hymnological expert. Mr. Ellerton's original hymns number about fifty, and his translations from the Latin ten or more. Nearly every one of these are in common use and include:— 1. Before the day draws near its ending. Afternoon. Written April 22, 1880, for a Festival of Choirs at Nantwich, and first published in the Nantwich Festival Book, 1880. In 1883 it passed into the Westminster Abbey Hymn Book. 2. Behold us, Lord, a little space. General for Weekdays. Written in 1870 for a mid-day service in a City Church, and published in Church Hymns in 1871. It has passed into several collections. 3. Come forth, 0 Christian brothers. Processional for Choral Festival. Written for a Festival of Parochial Choirs held at Chester, May, 1870, and 1st printed in the Service-book of the same. In 1871 it passed into Church Hymns. 4. Father, Name of love and fear. Confirmation. Written in 1871 for a Confirmation in the North of England, and published in Church Hymns, 1871, and other collections. 5. God, Creator and Preserver. In Time of Scarcity. Written for and first published in The Hymnary, 1870; and again in the revised edition, 1872, and other hymnbooks. 6. Hail to the Lord Who comes. Presentation of Christ in the Temple. Written Oct. 6, 1880, for Mrs. Brock's Children's Hymn Book, and published therein, 1881. 7. In the Name which earth and heaven. Foundation of a Church. Written for and first published in Church Hymns, 1871, and repeated in several collections. The hymn sung at the re-opening of the Nave of Chester Cathedral, January 25, 1872, was compiled by Mr. Ellerton from this hymn, and his "Lift the strain of high thanksgiving.” 8 King Messiah, long expected. The Circumcision. Written Jan. 14, 1871, and first published in Church Hymns, 1871. It has passed into other collections. 9. King of Saints, to Whom the number. St. Bartholomew. Written for and first published in Church Hymns., 1871. It is very popular, and has been repeated in many hymnals. 10. Mary at the Master's feet. Catechizing. Written for and first published in Church Hymns, 1871. 11. O Father, all-creating. Holy Matrimony. Written Jan. 29, 1876, at the request of the Duke of Westminster, for the marriage of his daughter to the Marquess of Ormonde. It was published in Thring's Collection, 1880 and 1882. 12 O! how fair the morning broke. Septuagesima. Written March 13, 1880, for Mrs. Brock's Children's Hymn Book, and included therein, 1881. 13. O Lord of life and death, welcome. In Time of Pestilence. Written for and first published in Church Hymns, 1871. 14. O shining city of our God. Concerning the Hereafter. First published in the Rev. R. Brown-Borthwick's Sixteen Hymns with Tunes, &c, 1870; and again in Church Hymns, 1871. 15. O Son of God, our Captain of Salvation. St. Barnabas. Written April 5, 1871, and first published in Church Hymns, 1871; and again in Hymns Ancient & Modern, 1875, Thring's Collection, 1882, and others. 16. O Thou in Whom Thy saints repose. Consecration of a Burial Ground. Written for the consecration of an addition to the Parish Churchyard of Tarporley, Cheshire, 1870, and published in Church Hymns, 1871. 17. O Thou Whose bounty fills the earth. Flower Services. Written for a Flower Service at St. Luke's Church, Chelsea, June 6, 1880, and published in Mrs. Brock's Children's Hymn Book, 1881. 18. Praise to our God, Whose bounteous hand. National Thanksgiving. Written in 1870 for Church Hymns, but first published in the Rev. R. Brown-Borthwick's Select Hymns, &c., 1871, and then in Church Hymns later the same year. 19. The day Thou gavest, Lord, is ended. The darkness, &c. Evening. Written in 1870 for A Liturgy for Missionary Meetings (Frome, Hodges), and revised for Church Hymns, 1871. The revised form has passed into other collections. 20. The Lord be with us when we bend. Close of Afternoon Service. Written [in 1870] at the request of a friend for use at the close of Service on Sunday afternoons when (as in summer) strictly Evening hymns would be unsuitable. It was published in Church Hymns, 1871, Thring's Collection, 1882, and others. 21. This day the Lord's disciples met. Whitsuntide. "Originally written in 1855 for a class of children, as a hymn of 8 verses of 5 lines each, beginning, 'The Fiftieth day was come at last.’ It was abridged, revised, and compressed into C.M. for Mrs. Brock's Children's Hymn Book, 1880," and published therein, 1881. 22. Thou in Whose Name the two or three. Wednesday. Appeared in the Parish Magazine, May, 1871, as a hymn for Wednesday. After revision it was included in Church Hymns, 1871, and repeated in other collections. 23. Thou Who sentest Thine Apostles. SS. Simon and Jude. Written in June, 1874, for the revised edition of Hymns Ancient & Modern, and published in the same in 1875. 24. We sing the glorious conquest. Conversion of St. Paul. Written Feb. 28, 1871, for and published later the same year in Church Hymns. It was repeated in Hymns Ancient & Modern, 1875. 25. When the day of toil is done. Eternal Best. Written in Jan., 1870, and first published in the Rev. R. Brown-Borthwick's Sixteen Hymns with Tunes, &c. 1870, Church Hymns, 1871, and subsequently in several Scottish hymn-books. The tune "Preston," in Church Hymns was written for this hymn. To these hymns must be added those which are annotated under their respective first lines, and the translations from the Latin. The grandest of his original compositions is, "Throned upon the awful tree," and the most beautiful and tender, "Saviour, again to Thy dear Name we raise"; and of his translations, "Sing Alleluia forth in duteous praise," and "Welcome, happy morning, age to age shall say," are the most successful and popular. The subjects of Mr. Ellerton's hymns, and the circumstances under which they were written, had much to do with the concentration of thought and terseness of expression by which they are characterized. The words which he uses are usually short and simple; the thought is clear and well stated; the rhythm is good and stately. Ordinary facts in sacred history and in daily life are lifted above the commonplace rhymes with which they are usually associated, thereby rendering the hymns bearable to the cultured, and instructive to the devout. His antitheses are frequent and terse, almost too much so for devotional verse, and are in danger of interrupting the tranquil flow of devotion. His sympathy with nature, especially in her sadder moods, is great; he loves the fading light and the peace of eve, and lingers in the shadows. Unlike many writers who set forth their illustrations in detail, and then tie to them the moral which they are to teach, he weaves his moral into his metaphor, and pleases the imagination and refreshes the spirit together. Now and again he falls into the weakness of ringing changes on words; but taken as a whole his verse is elevated in tone, devotional in spirit, and elegant in diction. -- John Julian, Dictionary of Hymnology (1907) ===================== Ellerton, John, p. 326, i. Other hymns are:— 1. O Father, bless the children. Holy Baptism. Written in 1886, and published in his Hymns, &c, 1888, in 4 stanzas of 8 lines. Also in the 1889 Suppl. Hymns to Hymns Ancient & Modern. 2. O Thou Who givest food to all. Temperance. Written Aug. 30, 1882, and printed in the Church of England Temperance Chronicle, Sept. 1882. Also in his Hymns, &c, 1888. 3. Praise our God for all the wonders. St. Nicholas's Day. Dated in his Hymns, 1888, "December 1882." It was written for the Dedication Festival of St. Nicholas's Church, Brighton, and first printed as a leaflet in 1882. 4. Praise our God, Whose open hand. Bad Harvest. Written as a hymn for the bad harvest of 1881, and printed in the Guardian in August of that year. Also in his Hymns, &c, 1888. 5. Praise to the Heavenly Wisdom. St. Matthias's Day. Dated in his Hymns, &c, 1888, "January, 1888." Also in the 1889 Suppl. Hymns to Hymns Ancient & Modern. 6. Shine Thou upon us, Lord. For a Teachers' Meeting. Contributed to the 1889 Suppl. Hymns to Hymns Ancient & Modern. 7. Thou Who wearied by the well. Temperance. Written for the Opening of a Workmen's Coffee Tavern, and dated in his Hymns, &c, 1888, "September 23, 1882." It was printed in the Church of England Temperance Chronicle the same year. 8. Throned upon the awful Tree. Good Friday. Written in 1875, and published in the 1875 ed. of Hymns Ancient & Modern. It has passed into many collections, and is one of the finest of Mr. Ellerton's productions. Mr. Ellerton's original and translated hymns to the number of 76 were collected, and published by Skeffington & Son in 1888, as Hymns, Original and Translated. By John Ellerton, Rector of White Roding. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) =================== Ellerton, J., pp. 326, ii.; 1561, ii. He was appointed Hon. Canon of St. Albans in 1892. and died June 15, 1893. His Life and Works, by H. Housman, was published in 1896. --John Julian, Dictionary of Hymnology, New Supplement (1907)

Joseph Haydn

1732 - 1809 Person Name: Haydn Composer of "[In the name which earth and heaven]" in The Hymnal, Revised and Enlarged, as adopted by the General Convention of the Protestant Episcopal Church in the United States of America in the year of our Lord 1892 Franz Joseph Haydn (b. Rohrau, Austria, 1732; d. Vienna, Austria, 1809) Haydn's life was relatively uneventful, but his artistic legacy was truly astounding. He began his musical career as a choirboy in St. Stephen's Cathedral, Vienna, spent some years in that city making a precarious living as a music teacher and composer, and then served as music director for the Esterhazy family from 1761 to 1790. Haydn became a most productive and widely respected composer of symphonies, chamber music, and piano sonatas. In his retirement years he took two extended tours to England, which resulted in his "London" symphonies and (because of G. F. Handel's influence) in oratorios. Haydn's church music includes six great Masses and a few original hymn tunes. Hymnal editors have also arranged hymn tunes from various themes in Haydn's music. Bert Polman

Henry Thomas Smart

1813 - 1879 Person Name: H. Smart Composer of "BETHANY" in The Church Hymnal Henry Smart (b. Marylebone, London, England, 1813; d. Hampstead, London, 1879), a capable composer of church music who wrote some very fine hymn tunes (REGENT SQUARE, 354, is the best-known). Smart gave up a career in the legal profession for one in music. Although largely self taught, he became proficient in organ playing and composition, and he was a music teacher and critic. Organist in a number of London churches, including St. Luke's, Old Street (1844-1864), and St. Pancras (1864-1869), Smart was famous for his extemporizations and for his accompaniment of congregational singing. He became completely blind at the age of fifty-two, but his remarkable memory enabled him to continue playing the organ. Fascinated by organs as a youth, Smart designed organs for important places such as St. Andrew Hall in Glasgow and the Town Hall in Leeds. He composed an opera, oratorios, part-songs, some instrumental music, and many hymn tunes, as well as a large number of works for organ and choir. He edited the Choralebook (1858), the English Presbyterian Psalms and Hymns for Divine Worship (1867), and the Scottish Presbyterian Hymnal (1875). Some of his hymn tunes were first published in Hymns Ancient and Modern (1861). Bert Polman

Arthur Sullivan

1842 - 1900 Person Name: A. S. Sullivan Composer of "LUX EOI" in The Church Hymnary 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

Christian Gregor

1723 - 1801 Composer of "DULCE CARMEN" in The Evangelical Hymnal Gregor, Christian, son of Georg Gregor, a peasant living in the Silesian village of Dirsdorf, near Peilau, was born at Dirsdorf, Jan. 1, 1723. In 1742 he went to Herrnhut, where he was at first employed in tuition. He became leader of the music in the [Moravian] Brethren's congregation at Herrnhaag, in 1748, and in 1749 at Zeist; but in 1753 he returned to Herrnhut as cashier of the Brethren's Board of Direction. He was, in 1756, ordained diaconus, in 1767 presbyter, and in 1789 bishop of the Brethren's Church. On Nov. 6,1801, he attended a meeting, held at Herrnhut, of the Board of Direction of which he had been a member from 1764. Just as he entered his house at Berthelsdorf, near Herrnhut, he was struck with paralysis, and died that same day. (Koch, vi. 436; Allgemeine Deutsche Biographie, ix. 630.) He was a man greatly beloved and respected, simple of heart, loving, earnest and hardworking; and was entrusted with many important missions and visitations. His hymns are characterised by childlike fervour of devotion to his crucified Lord. A number appeared in Des kleinen Brüder-Gesangbuchs dritter Theil, Barby, 1767; but they were mostly contributed to the Gesang-buch zum Gebrauch der evangelischen Brüder Gemeinen, Barby, 1778, of which he was the principal editor. He was also an excellent organist, and edited, in 1784, a collection of accompanying tunes for the hymnbook of 1778, contributing thereto various melodies by himself. A little volume entitled Historische Nachrteht vom Brüder-Gesangbuche des Jahres 1778, und von dessen Lieder-Verfassern, Gnadau, 1835 (2nd ed., 1851), occasionally referred to in these pages, is based on materials collected by Gregor. His hymns in English common use are:— i. Bis dereinst mein Stündlein schlägt. [Love to Christ.] 1778, No. 640, in 5 st. of 4 1. Translated as:— Till permitted hence to go, of st. i., ii., iv., as No. 563 in the Moravian Hymn Book, 1801 (1886, No. 1228). In 1826 an original st.anza by T. Bird was added, beginning, " Till the day when I shall tread." Repeated thus in 1886, No. 1228, and in J. A. Latrobe's Collection, 1841, No. 484. ii. Die Gottes Cherubim. [The Angels.] Appeared as No. 1877 in Appendix xii. c, 1746, to the Herrnhut Gesang-Buch of 1735, thus :— "Die Gottes Cherubim Erheben ihre Stimm, (Funkelnd von Blitz und Strahl,) Ihr Lied ist, wenn ichs sagen darf, Dazu spielt mehr als eine Harf: Ehre dem Seitenmaal!" In 1778 it is included as No. 1600, beginning, "Die Gottes Seraphim," and expanded to three stanzas; i. of the Angels; ii. of the Redeemed; iii. of the Church on Earth. Here the song, "Ehre dem Seitenmaal," is given to the Church on Earth, and a paraphrase of Is. vi. 3, to the Angels. The only translation in common use is :— The Seraphim of God, in full from the 1778, by J. Miller and F. W. Foster, as No. 792 in the Moravian Hymn Book, 1789 (1886, No. 1220), repeated in J. A. Latrobe's Collection, 1841, No. 424. Another translation is The Cherubims of God," from the original form, as No. 93 in pt. iii. of the Moravian Hymn Book, 1748. iii. Heiliger, heiliger, heiliger, Herr Zebaoth. [Public Worship.] The introductory hymn in 1778, in 4 st. of 81, as on "The Word of God." The only translation is:— Holy Lord, Holy lord, Holy and Almighty Lord, by F. W. Foster, C. G. Clemens, and J. Swertner, as No. 1 in the Moravian Hymn Book, 1789 (1886, No. 1). Included from the text of 1801, as No. 217 in Dr. Pagenstecher's Collection, 1864. iv. Nach tausendfachen Plagen. [Passiontide.] 1778, No. 128, in 8 1. It is translated as :— Behold, my soul, Thy Saviour, by P. H. Molther, as No. 352 in the Moravian Hymn Book, 1789. See No. vi. v. 0 angenehme Augenblicke. [Eternal Life.] Written in 1766. In 1778, No. 1749, in 2 st. of 8 1. The translations are :— 1. What heavenly joy and consolation, by P. H, Molther, of st. i., as No. 886 in the Moravian Hymn Book, 1789 (1886, No. 1314, st. iii.). Included as st. iii. of No. 403 in the Irish Church Hymnal, 1873. 2. 0 what joy, 0 what joy awaiteth me. No. 988 in the Moravian Hymn Book, 1801. In the 1886 edition it is marked as a translation of No. v. as above. It bears more resemblance, however, to "O wie wallt mein Herz," which is No. 268 in the 1806 Appendix to the Brüder Gesang-Buchof 1778. vi. 0 süsse Seelenweide. [Passiontide.] 1778, No. 167, in 11 st. of 8 1. St. i., ii. are ascribed to Gregor; iii., iv., xi. to Johann Prätorius ; and v.-x. to C. B. von Zinzendorf (taken from Nos. 40 and 41 of the collected edition of his hymns, 1754). The translation is:— How is my soul delighted, a translation of st. i., ii., iv., v., vii., x. by F. W. Foster, and J. Miller, as No. 360 in the Moravian Hymn Book, 1789. In the 1801 and later editions (1886, No. 407), Molther's translation of No. iv. was prefixed as st. i., new trranslations of st. viii., x. given, and the rest altered. In the Book of Common Praise, ed. 1872, No. 86, is st. i., ii., 11. 5-8, and iii., by Gregor; and iv., 11. 5-8, by Prätorius, beginning, "Behold, my soul, thy Saviour." vii. 0 Tage wahrer Seligkeit. [Joy of Forgiveness.] 1778, No. 398, in 6 st. of 8 1., included in the Berlin Geistliche Lieder S. , ed. 1863. Translated as:— O days of solid happiness in full as No. 340 in the Moravian Hymn Book, 1801 (1886, No. 386). Two centos from the text of 1849 are in common use :— 1. "What days of solid happiness," st. i.-iv., as No. 433 in the edition of 1857 of Mercer's The Church Psalter & Hymnbook. 2. "Whene'er we contemplate the grace," st. iv.-vi. as No. 396 in the Irish Church Hymnal, 1873. viii. Wenn schlägt die angenehme Stunde. [Ascension.] Written for Aug. 17, 1765, and included as No. 113 in 1767, as above, in 8 1. Translated as :— When, O when shall I have the favour, by P. H. Molther, c. 1774, included as No. 839 in the Moravian Hymnbook, 1789, repeated as st. ii. of No, 403, in the Irish Church Hymnal, 1873. In the 1886 ed. of the Moravian Hymnbook, No. 1314, it begins, "O when shall I have that great favour." ix. Wie wifd mir einst dooh sein. [Eternal Life.] 1778, No. 1743, in 10 st. of 6 1. In the Historische Nachricht thereto, st. i.-iii. are marked as by Gregor, and st. iv.-x. as by N. L. von Zinzendorf. St. iv.-x. are recast from a hymn beginning, "Die Bäume blühen ab," writ¬ten in the autumn of 1721, and included as No. 1245 in the 3rd edition, 1731, of his Sammlung geistund lieblicher Lieder, in 46 st. of 4 1., the stanza of the original used being in order 39, 42, 34, 18, 22, 29, 45. The only translation in common use is:— What shall I feel, when I, in full from the 1778, by J. A. Latrobe, as No. 885 in the Moravian Hymnbook, 1789 (1886, No. 1301). Two centos are in use:- 1. "How shall the joy be told"; st. i.-iv., vi., viii. altered in J. A. Latrobe's Collection, 1841, No. 498. 2. "I hear the enraptured song"; st. 2, 6, 9, 10, as No. 582 in the App. of 1873 to Mercer's The ChurchPsalter & Hymnbook. Hymns not in English common use:— x. Ach mein Heir Jesu! dein Nahesein. Communion with Christ. 1767, as above, No. 432, in 10 st. In the Berlin Geistliche Lieder S.,, ed. 1863, No. 925. Justly characterised by Dr. Schaff in his Christ in Song, 1869, p. 496, as "One of the sweetest hymns from the holy of holies of the believer's personal communion with his Saviour, and very characteristic of Moravian piety in its best form." The trsanslations are (1) "What peace divine, what perfect happiness," by P. H. Molther, as No. 278 in the Moravian Hymn Book, 1789 (1849, No. 362). In the 1886 ed. of the Moravian Hymn Book, No. 359, it begins with the translation of st. v., "Gracious Redeemer, grant to us while here." (2) "Jesus, our Lord, when Thou art near," by Dr. H. Mills, 1845 (1856, p. 122). (3) "Ah dearest Lord! to feel that Thou art near," by Miss Winkworth, 1858, p. 168. (4) "Ah, Jesus, Lord, Thou art near to me," in the British Herald, Dec, 1866, p. 372, and as No. 304 in Reid's Praise Book, 1872. (5) "Jesus, my Lord, Thy nearness does impart," by E. Reynolds for Schaff’s Christ in Song, 1869, p. 496. xi. Hallelujah! der Heiland lebt. Easter. 1778, No. 203, in 17 st. (st. xiv. being by Matthaus Stach, and first published as st. ii. of No. 109, in 1767). Translated as "Sing Hallelujah, Christ doth live," as No. 131 in the Moravian Hymn Book, 1801 (1886, No. 142), repeated in Bishop Ryle's Collection, 1860, No. 131. Beginning with the translation of st. ix., “The God of Peace, to guilty man," 6 st. were included as No. 90 in Reid's Praise Book, 1872. [Rev. James Mearns, M.A.] -- John Julian, Dictionary of Hymnology (1907)

James Langran

1835 - 1909 Person Name: J. Langran Composer of "DEERHURST" in The Church Hymnal James Langran (b. St. Pancras, London, England, November 10, 1835; d. Tottenham, London, England, June 8, 1909) studied organ as a youth but did not receive his Bachelor of Music degree from Oxford until he was forty-nine years old. He had several organist positions–the longest was at St. Paul's Church, Tottenham, England, from 1870 to 1909. He also taught music at St. Katherine's Training College for Schoolmistresses (1878-1909). Music editor of theNew Mitre Hymnal　(1875), Langran composed around fifty hymn tunes and contributed several of them to early editions of Hymns Ancient and Modern. Bert Polman

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