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Gregory Murray

1905 - 1992 Person Name: A. Gregory Murray, OSB, 1905-1992 Topics: Daily Life and Work Harmonizer of "BUNESSAN" in Oramos Cantando = We Pray In Song

1930 - 2018 Person Name: Willard F. Jabusch, b.1930 Topics: Daily Life and Work Translator of "Lord, When You Came / Pescador de Hombres" in Lead Me, Guide Me (2nd ed.) Willard F. Jabusch (b. 1930) received degrees from St. Mary of the Lake Seminary, Mundelein, Illinois, and Loyola University, Chicago. He also earned a doctorate at Northwestern University, Evanston, Illinois (1986), and studied music at the Chicago Conservatory and the University of London. A parish priest at St. James Roman Catholic Church in Chicago from 1956 to 1961, he taught at Niles College of Loyola University from 1963 to 1966 and at the Mundelein Seminary from 1968 to 1990. Since 1990 Jabusch has been director of Calvert House, the Roman Catholic student center at the University of Chicago. His theological publications include The Person in the Pulpit (1980), Walk Where Jesus Walked (1986), and The Spoken Christ (1990). He has written some forty tunes and one hundred hymn texts, often pairing them with eastern European and Israeli folk tunes. Bert Polman

Cyril Taylor

1907 - 1991 Person Name: Cyril V. Taylor, 1907-1991 Topics: Daily Life and Work Composer of "ABBOT'S LEIGH" in Evangelical Lutheran Worship Cyril V. Taylor (b. Wigan, Lancashire, England, 1907; d. Petersfield, England, 1992) was a chorister at Magdalen College School, Oxford, and studied at Christ Church, Oxford, and Westcott House, Cambridge. Ordained a priest in the Church of England in 1932, he served the church as both pastor and musician. His positions included being a producer in the religious broadcasting department of the BBC (19391953), chaplain of the Royal School of Church Music (1953-1958), vicar of Cerne Abbas in Dorsetshire (1958-1969), and precentor of Salisbury Cathedral (1969-1975). He contributed twenty hymn tunes to the BBC Hymn Book (1951), which he edited, and other tunes to the Methodist Hymns and Psalms (1983). He also edited 100 Hymns for Today (1969) and More Hymns for Today (1980). Writer of the booklet Hymns for Today Discussed (1984), Taylor was chairman of the Hymn Society of Great Britain and Ireland from 1975 to 1980. Bert Polman

Fanny Crosby

1820 - 1915 Person Name: Fanny J. Crosby, 1820-1915 Topics: Daily Life and Work Author of "Close to Thee" in Lead Me, Guide Me (2nd ed.) Pseudonymns: A.V., Mrs. A. E. Andrews, Mrs. E. A. Andrews, Mrs. E. L. Andrews, James L. Black, Henrietta E. Blair, Charles Bruce, Robert Bruce, Leah Carlton, Eleanor Craddock, Lyman G. Cuyler, D.H.W., Ella Dare, Ellen Dare, Mrs. Ellen Douglass, Lizzie Edwards. Miss Grace Elliot, Grace J. Frances, Victoria Frances, Jennie Garnett, Frank Gould, H. D. K., Frances Hope, Annie L. James, Martha J. Lankton [Langton], Grace Lindsey, Maud Marion, Sallie Martin, Wilson Meade, Alice Monteith, Martha C. Oliver, Mrs. N. D. Plume, Kate Smiley, Sallie Smith, J. L. Sterling, John Sterling, Julia Sterling, Anna C. Storey, Victoria Stuart, Ida Scott Taylor, Mary R. Tilden, Mrs. J. B. Thresher, Hope Tryaway, Grace Tureman, Carrie M. Wilson, W.H.D. Frances Jane Crosby, the daughter of John and Mercy Crosby, was born in Southeast, Putnam County, N. Y., March 24, 1820. She became blind at the age of six weeks from maltreatment of her eyes during a spell of sickness. When she was eight years old she moved with her parents to Ridgefield, Conn., the family remaining there four years. At the age of fifteen she entered the New York Institution for the Blind, where she received a good education. She became a teacher in the institution in 1847, and continued her work until March 1, 1858. She taught English grammar, rhetoric and American history. This was the great developing period in her life. During the vacations of 1852 and 1853, spent at North Reading, Mass., she wrote the words to many songs for Dr. Geo. F. Root, then the teacher of music at the blind institution. Among them were, "Hazel Dell,", "The Honeysuckle Glen," "Rosalie, the Prairie Flower," "Music in the Air," "Proud World, Good-bye, I'm Going Home," "All Together", "Never Forget the Dear Ones," and others. Subsequently she wrote the words for the cantatas of The Flower Queen and The Pilgrim Fathers, all of which were very popular in their day, though it was not generally known at the time that she was the author. While teaching at the institution she met Presidents Van Buren and Tyler, Hon. Henry Clay, Governor Wm. H. Seward, General Winfield Scott, and other distinguished characters of American history. Concerning Mr. Clay, she gives the following: "When Mr. Clay came to the institution during his last visit to New York, I was selected to welcome him with a poem. Six months before he had lost a son at the battle of Monterey, and I had sent him some verses. In my address I carefully avoided any allusion to them, in order not to wound him. When I had finished he drew my arm in his, and, addressing the audience, said through his tears: 'This is not the first poem for which I am indebted to this lady. Six months ago she sent me some lines on the death of my dear son.' Both of us were overcome for a few moments. Soon, by a splendid effort, Mr. Clay recovered himself, but I could not control my tears." In connection with her meeting these notable men, we might add that Miss Fanny Crosby had the honor of being the first woman whose voice was heard publicly in the Senate Chamber at Washington. She read a poem there on one occasion. In addition to the thousands of hymns that she has written (about eight thousand poems in all), many of which have not been set to music, she has published four volumes of verses. The first was issued in 1844 and was entitled The Blind Girl, and Other Poems, a second volume, Monterey, and Other Poems, followed in 1849, and the third, A Wreath of Columbia's Flowers, in 1858. The fourth, Bells at Evening and Other Verses, with a biographical sketch by Rev. Robert Lowry, and a fine half-tone portrait, in 1897, the sales of which have reached a fourth edition. The book is published by The Biglow & Main Co., New York. Though these show the poetical bent of her mind, they have little to do with her world-wide fame. It is as a writer of Sunday-school songs and gospel hymns that she is known wherever the English language is spoken, and, in fact, wherever any other language is heard. Fanny was married March 5, 1858, to Alex. Van Alstyne, who was also a scholar in the same institution in which she was educated. She began to write Sunday-school hymns for Wm. B. Bradbury in 1864. Her first hymn, "We are going, we are going To a home beyond the skies", was written at the Ponton Hotel on Franklin Street, New York City, on February 5th of that year. This hymn was sung at Mr. Bradbury's funeral in January, 1868. Since 1864 she supported herself by writing hymns. She resided in New York City nearly all her life, where, she says, she is "a member of the Old John Street M. E. Church in good standing." She spent regular hours on certain days at the office of The Biglow & Main Co., the firm for which she did most of her writing, and for whom she has composed over four thousand hymns. Her hymns have been in great demand and have been used by many of our most popular composers, among whom may be mentioned Wm. B. Bradbury, Geo. F. Root, W. H. Doane, Rev. Robert Lowry, Ira D. Sankey, J. R. Sweney, W. J. Kirkpatrick, H. P. Main, H. P. Danks, Philip Phillips, B. G. Unseld, and others. She could compose at any time and did not need to wait for any special inspiration, and her best hymns have come on the spur of the moment. She always composed with an open book in her hand, generally a copy of Golden Hymns, held closely over her eyes, bottom side up. She learned to play on the guitar and piano while at the institution, and has a clear soprano voice. She also received a technical training in music, and for this reason she could, and did, compose airs for some of her hymns. One of these is, "Jesus, dear, I come to Thee, Thou hast said I may," both words and music of which are wonderfully sweet. "Safe in the arms of Jesus", probably one of her best known hymns, was her own favorite. Fanny loved her work, and was happy in it. She was always ready either to sympathize or join in a mirthful conversation, as the case may be. The secret of this contentment dates from her first composition at the age of eight years. "It has been the motto of my life," she says. It is: "O what a happy soul am I! Although I cannot see, I am resolved that in this world Contented I will be;" This has continued to be her philosophy. She says that had it not been for her affliction she might not have so good an education, nor so great an influence, and certainly not so fine a memory. She knows a great many portions of the Bible by heart, and had committed to memory the first four books of the Old Testament, and also the four Gospels before she was ten years of age. Her scope of subjects is wide, embracing everything from a contemplation of heaven, as in "The Bright Forever" and "The Blessed Homeland", to an appeal to the work of this world, as in "To the Work" and "Rescue the Perishing." The most of Fanny's published hymns have appeared under the name of Fanny J. Crosby or Mrs. Yan Alstyne, but quite a large number have appeared under the nom de plumes of Grace J. Frances, Mrs. C. M. Wilson, Lizzie Edwards, Ella Dale, Henrietta E. Blair, Rose Atherton, Maud Marion, Leah Carlton, nearly two hundred different names. -Biographies of Gospel Song and Hymn Writers (excerpts) ======================= Van Alstyne, Frances Jane, née Crosby, a member of the Methodist Episcopal Church, was born at South East, Putnam County, New York, March 24, 1823. When six weeks old she lost her sight. About 1835 she entered the New York City Institution for the Blind. On completing her training she became a teacher therein from 1847 to 1858. In 1858 she was married to Alexander Van Alstyne, a musician, who was also blind. Her first poem was published in 1831; and her first volumes of verse as A Blind Girl, and Other Poems, 1844; Monteresy, and Other Poems, 1849; and A Wreath of Columbia's Flowers, 1858. Her first hymn was "We are going, we are going" (Death and Burial), which was written for Mr. Bradbury and published in the Golden Censer, 1864. From 1853 to 1858 she wrote 20 songs, which were set to music by G. F. Root. Her songs and hymns number some 2,000 or more, and have been published mainly in several of the popular American Sunday school collections, and often under a nom de plume. About 60 have come into common use in Great Britain. The majority of these are taken from the following American collections:— i. From The Shining Star, 1864. 1. Softly on the breath of evening. Evening. ii. From Fresh Laurels, 1867. 2. Beautiful Mansions, home of the blest. Heaven. 3. Jesus the Water of Life has given. The Water of Life. 4. Light and Comfort of my soul. In Affliction. 5. There's a cry from Macedonia. Missions. 6. We are marching on with shield and banner bright. Sunday School Anniversary. iii. From Musical Leaves, 1868. 7. 0 what are you going to do, brother? Youth for God. iv. From Sabbath Carols, 1868. 8. Dark is the night, and cold the wind is blowing. Affliction anticipated. 9. Lord, at Thy mercy seat, Humbly I fall. Lent. v. From Silver Spray, 1868. 10. If I come to Jesus, He will make me glad. Peace in Jesus. 11. 'Twill not be long—our journey here. Heaven anticipated. vi. From Notes of Joy, 1869. 12. Little beams of rosy light. The Divine Father. 13. Press on! press on! a glorious throng. Pressing towards the Prize. vii. From Bright Jewels, 1869. 14. Christ the Lord is risen today, He is risen indeed. Easter. 15. Holy, holy, holy is the Lord! Sing 0 ye people, &c. Holiness of God. 16. Jesus, keep me near the Cross. Near the Cross of Christ. 17. Saviour, bless a little child. A Child's Prayer. Written Feb. 6, 1869. viii. From Songs of Devotion, 1870. 18. Pass me not, 0 gentle Saviour. Lent. Written in 1868. 19. Rescue the perishing, care for the dying. Home Missions. ix. From Pure Gold, 1871. 20. Great is Jehovah. King of kings. Greatness of God. 21. I would be Thy little lamb. The Good Shepherd. 22. Lead me to Jesus, lead me to Jesus. Desiring Jesus. 23. To the work, to the work, we are servants of God. Home Missions. 24. Why labour for treasures that rust and decay? The Fadeless Crown. x. From the Royal Diadem, 1873. 25. I am Jesus' little friend. For Infant Schools. 26. Jesus I love Thee. Loving Jesus. 27. Mourner, wheresoe'er thou art. To the Sorrowing and Penitent. Written Oct. 3, 1871. 28. Never be faint or weary. Joy in Jesus. 29. Only a step to Jesus. Invitation. xi. From Winnowed Hymns, 1873-4. 30. Loving Saviour, hear my cry. Lent. xii. From Echoes of Zion, 1874. 31. Say, where is thy refuge, my brother? Home Missions. xiii. From Songs of Grace and Glory, 1874. 32. Thou my everlasting Portion. Christ the Portion of His People. xiv. From Brightest and Best, 1875. 33. All the way my Saviour leads me. Jesus the Guide. 34. I am Thine, O Lord: I have heard Thy voice. Holiness desired. 35. O come to the Saviour, believe in His name. Invitation. Written, Sep. 7, 1874. 36. O how sweet when we mingle. Communion of Saints. Written in 1866. 37. O my Saviour, hear me. Prayer to Jesus for blessing and love. 38. Only Jesus feels and knows. Jesus the Divine Friend. 39. Revive Thy work, O Lord. Home Missions. 40. Saviour, more than life to me. Jesus All and in All. 41. To God be the glory, great things He hath done. Praise for Redemption. xv. From Calvary Songs, 1875. 42. Come, O come with thy broken heart. Invitation. xvi. From Gospel Music, 1876. 43. Here from the world we turn. Divine Worship. 44. When Jesus comes to reward His servants. Watching, xvii. From Welcome Tidings, 1877. 45. O hear my cry, be gracious now to me. For Pardon and Peace. xviii. From The Fountain of Song, 1877. 46. Lord, my trust I repose on Thee. Trusting in Jesus. xix. From Good as Gold, 1880. 47. In Thy cleft, O Rock of Ages. Safety in Jesus. 48. Sound the alarm ! let the watchman cry. Home Missions. 49. Tenderly He leads us. Christ the Leader. 50. 'Tis the blessed hour of prayer. The Hour of Prayer. In addition to these hymns, all of which are in common use in Great Britain (mainly through I. D. Sankey's Sacred Songs and Solos, the Methodist Sunday School Hymn Book, the Silver Street Sunday Scholars Companion, and other collections for Sunday schools), there are also "A blessing for you, will you take it?" (Pardon through Jesus); "My song shall be of Jesus" (Praise of Jesus); “Now, just a word for Jesus"(Home Missions); "Onward, upward, Christian soldier" (Pressing Heavenward); 44 Sinner, how thy heart is troubled" (Invitation); "'Tis a goodly, pleasant land" (Heaven anticipated); and "When the dewy light was fading" (Death anticipated). All of these are in I. D. Sankey's Sacred Songs & Solos. Mrs. Van Alstyne's most popular composition is "Safe in the arms of Jesus" (Safety in Jesus). This was written in 1868, at the request of Mr. W. H. Doane, to his well-known melody with which it is inseparably associated, and published in Bright Jewels, 1869. Mrs. Van Alstyne's hymns have sometimes been published anonymously; but the greater part are signed by a bewildering number of initials. The combined sales of the volumes of songs and hymns named above have amounted in English-speaking countries to millions of copies. Notwithstanding the immense circulation thus given to Mrs. Van Alstyne's hymns, they are, with few exceptions, very weak and poor, their simplicity and earnestness being their redeeming features. Their popularity is largely due to the melodies to which they are wedded. Since the above was in type we have found that the following are also in common use in Great Britain:— 51. Suppose the little cowslip. Value of Little Things. 52. Sweet hour of prayer. The Hour of Prayer. These are in Bradbury's Golden Chain, 1861. 53. Never lose the golden rule. Love to our Neighbours. In Bradbury's Golden Censer, 1864. 54. I will not be afraid at night. Trust in God. In Bradbury's Fresh Laurels, 1867. 55. Praise Him, praise Him, Jesus our, &c. Praise of Jesus. In Biglow & Main's Bright Jewels, 1869. 56. More like Jesus would I be. More like Jesus. In Perkins & Taylor's Songs of Salvation, 1870. 57. Behold me standing at the door. Christ at the Door. In Biglow & Main's Christian Songs, 1872. 58. If I come to Jesus. Jesus the Children's Guide. 59. Jesus, Lord, I come to Thee. Trust in Jesus. 60. Let me learn of Jesus. Jesus the Children's Friend. 61. Singing for Jesus, O singing for Jesus. Singing for Jesus. 62. There is a Name divinely sweet Holy Name of Jesus. Of these hymns Nos. 58-62 we have not been able to trace. --Excerpts from John Julian, Dictionary of Hymnology (1907 ================ Van Alstyne, Frances J., p. 1203, ii. From the American collections of recent date we find that Mrs. Van Alstyne is still actively engaged in hymn-writing. In the Funk and Wagnalls Company Gloria Deo, 1903, there are about 30 of her hymns, most of which are new. They are all signed, and some are dated, but we have not space to quote the first lines and subjects, as this hymnal is not an official collection of any denomination. Another name, "Mrs. S. K. Bourne" is credited in the same hymnal with about 40 new hymns. If this signature is not another pen-name of Mrs. Van Alstyne's (and these pen-names and initials of hers are very numerous), we can only say that she has a very successful understudy in "Mrs. S. K. Bourne." --John Julian, Dictionary of Hymnology, New Supplement (1907)

Hans Leo Hassler

1564 - 1612 Person Name: Hans Leo Hassler, 1564-1612 Topics: Daily Life and Work Composer of "PASSION CHORALE" in Gather (3rd ed.) Hans Leo Hassler Germany 1564-1612. Born at Nuremberg, Germany, he came from a family of famous musicians and received early education from his father. He then studied in Venice, Italy, with Andrea Gabrieli, uncle of Giovanni Gabrieli, his friend, with whom he composed a wedding motet. The uncle taught him to play the organ. He learned the polychoral style and took it back to Germany after Andrea Gabrieli's death. He served as organist and composer for Octavian Fugger, the princely art patron of Augsburg (1585-1601). He was a prolific composer but found his influence limited, as he was Protestant in a still heavily Catholic region. In 1602 he became director of town music and organist in the Frauenkirche in Nuremberg until 1608. He married Cordula Claus in 1604. He was finally court musician for the Elector of Saxony in Dresden, Germany, evenually becoming Kapellmeister (1608-1612). A Lutheran, he composed both for Roman Catholic liturgy and for Lutheran churches. He produced two volumns of motets, a famous collection of court songs, and a volume of simpler hymn settings. He published both secular and religious music, managing to compose much for the Catholic church that was also usable in Lutheran settings. He was also a consultant to organ builders. In 1596 he, with 53 other organists, had the opportunity to examine a new instrument with 59 stops at the Schlosskirche, Groningen. He was recognized for his expertise in organ design and often was called on to examine new instruments. He entered the world of mechanical instrument construction, developing a clockwork organ that was later sold to Emperor Rudolf II. He died of tuberculosis in Frankfurt, Germany. John Perry

Winfred Douglas

1867 - 1944 Person Name: C. Winfred Douglas, 1867-1944 Topics: Daily Life and Work Harmonizer of "MORNING SONG" in Gather (3rd ed.) Charles Winfred Douglas (b. Oswego, NY, 1867; d. Santa Rosa, CA, 1944), an influential leader in Episcopalian liturgical and musical life. Educated at Syracuse University and St. Andrews Divinity School, Syracuse, New York, he moved to Colorado for his health. There he studied at St. Matthew's Hall, Denver, and founded the Mission of the Transfiguration in Evergreen (1897). Ordained a priest in the Episcopal Church in 1899, he also studied in France, Germany and England, where he spent time with the Benedictines of Solesmes on the Island of Wight from 1903 to 1906. For much of his life, Douglas served as director of music at the Community of St. Mary in Peekskill, New York, and had associations with cathedrals in Denver, Colorado, and Fond du Lac, Wisconsin. He promoted chanting and plainsong in the Episcopal Church through workshops and publications such as The American Psalter (1929), the Plainsong Psalter (1932), and the Monastic Diurnal (1932). His writings include program notes for the Denver Symphony Orchestra, various hymn preludes; organ, as well as the book, Church Music in History and Practice (1937). He was editor of both the Hymnal 1916 and its significant successor, Hymnal 1940, of the Episcopal Church. Douglas's other achievements include a thorough knowledge of the life and culture of Hopi and Navajo natives, among whom he lived for a number of years. Bert Polman

Thomas Ken

1637 - 1711 Person Name: Thomas Ken, 1637-1711 Topics: Daily Life and Work Author of "Awake, My Soul, and with the Sun" in Evangelical Lutheran Worship Thomas Ken (b. Berkampstead, Hertfordshire, England, 1637; d. Longleat, Wiltshire, England, 1711) studied at Winchester College, Hart Hall, and New College, Oxford, England. Ordained in the Church of England in 1662, he served variously as pastor, chaplain at Winchester College (1669-1679), chaplain to Princess (later Queen) Mary in The Hague, and bishop of Bath and Wells (1685-1691). He was a man of conscience and independent mind who did not shirk from confrontations with royalty. When King Charles II came to visit Winchester, he took along his mistress, the famous actress Nell Gwynne. Ken was asked to provide lodging for her. The story is told that Ken quickly declared his house under repair and had a builder take off the roof! He later was dismissed from the court at The Hague when he protested a case of immorality. Then, later in 1688, Bishop Ken refused to read King James II's Declaration of Indulgence in the churches, which granted greater religious freedom in England, and he was briefly imprisoned in the Tower of London. A few years later he refused to swear allegiance to King William, and he lost his bishopric. Ken wrote many hymns, which were published posthumously in 1721 and republished in 1868 as Bishop Ken's Christian Year, or Hymns and Poems for the Holy Days and Festivals of the Church. But he is best known for his morning, evening, and midnight hymns, each of which have as their final stanza the famous doxology “Praise God, from Whom All Blessings Flow.” Bert Polman =============== Ken, Thomas, D.D. The bare details of Bishop Ken's life, when summarised, produce these results:—-Born at Berkhampstead, July, 1637; Scholar of Winchester, 1651; Fellow of New College, Oxford, 1657; B.A., 1661; Rector of Little Easton, 1663; Fellow of Winchester, 1666; Rector of Brighstone, 1667; Rector of Woodhay and Prebendary of Winchester, 1669; Chaplain to the Princess Mary at the Hague, 1679; returns to Winchester, 1680; Bishop of Bath and Wells, 1685; imprisoned in the Tower, 1688; deprived, 1691; died at Longleat, March 19, 1711. The parents of Ken both died during his childhood, and he grew up under the guardianship of Izaak Walton, who had married Ken's elder sister, Ann. The dominant Presbyterianism of Winchester and Oxford did not shake the firm attachment to the English Church, which such a home had instilled. His life until the renewal of his connection with Winchester, through his fellowship, his chaplaincy to Morley (Walton's staunch friend, then bishop of Winchester), and his prebend in the Cathedral, calls for no special remark here. But this second association with Winchester, there seems little doubt, originated his three well-known hymns. In 1674 he published A Manual of Prayers for the Use of the Scholars of Winchester College, and reference is made in this book to three hymns, for "Morning," "Midnight," and "Evening," the scholars being recommended to use them. It can scarcely be questioned that the Morning, Evening, and Midnight hymns, published in the 1695 edition of The Manual, are the ones referred to. He used to sing these hymns to the viol or spinet, but the tunes he used are unknown. He left Winchester for a short time to be chaplain to the Princess Mary at the Hague, but was dismissed for his faithful remonstrance against a case of immorality at the Court, and returned to Winchester. A similar act of faithfulness at Winchester singularly enough won him his bishopric. He stoutly refused Nell Gwynne the use of his house, when Charles II. came to Winchester, and the easy king, either from humour or respect for his honesty, gave him not long afterwards the bishopric of Bath and Wells. Among the many acts of piety and munificence that characterised his tenure of the see, his ministration to the prisoners and sufferers after the battle of Sedgmoor and the Bloody Assize are conspicuous. He interceded for them with the king, and retrenched his own state to assist them. He attended Monmouth on the scaffold. James II. pronounced him the most eloquent preacher among the Protestants of his time; the judgment of Charles II. appears from his pithy saying that he would go and hear Ken "tell him of his faults." Among the faithful words of the bishops at Charles's death-bed, none were so noble in their faithfulness as his. He was one of the Seven Bishops who refused to read the Declaration of Indulgence, and were imprisoned in the Tower by James for their refusal, but triumphantly acquitted on their trial. At the accession of William III, he refused, after some doubt on the subject, to take the oaths, and was at length (1691) deprived of his see. His charities had left him at this time only seven hundred pounds, and his library, as a means of subsistence; but he received hospitality for his remaining years with his friend Lord Weymouth, at Longleat. The see of Bath and Wells was again offered him, but in vain, at the death of his successor, Bishop Kidder. He survived all the deprived prelates. His attitude as a nonjuror was remarkable for its conciliatory spirit. The saintliness of Ken's character, its combination of boldness, gentleness, modesty and love, has been universally recognised. The verdict of Macaulay is that it approached "as near as human infirmity permits to the ideal perfection of Christian virtue." The principal work of Ken's that remains is that on the Catechism, entitled The Practice of Divine Love. His poetical works were published after his death, in four volumes. Among the contents are, the Hymns for the Festivals, which are said to have suggested to Keble the idea of The Christian Year; the Anodynes against the acute physical sufferings of his closing years; and the Preparatives for Death. Although many passages in them are full of tender devotion, they cannot rank either in style or strength with the three great hymns written at Winchester. The best biographies of Ken are he Life of Ken by a Layman, and, specially, his Life, by the Very Rev. E. H. Plumptre, Dean of Wells, 1888. [Rev. H. Leigh Bennett, M.A.] Bishop Ken is known to hymnody as the author of the Morning, Evening, and Midnight Hymns, the first and second of which at least have found a place in almost every English collection for the last 150 years. The general history of these hymns, as we now know it, is as follows:— 1. In 1674 Ken published his Manual of Prayers for Winchester Scholars as A Manual of Prayers For the Use of the Scholars of Winchester College [here arms of William of Wykeham within a border]. London, Printed for John Martyn, 1674, 12 mo, pp. 69. From a passage in this work it may fairly be inferred that the author had already composed hymns for the use of the scholars. He says:— “Be sure to sing the Morning and Evening Hymn in your chamber devoutly, remembering that the Psalmist, upon happy experience, assures you that it is a good thing to tell of the loving kindness of the Lord early in the morning and of his truth in the night season." Two hymns only seem to be here referred to, but the expression "night season" may include both the Evening and Midnight hymns, and the latter would be only used occasionally. The hymns are not given in the Manual of 1674, or succeeding editions, until that of 1695, when the three hymns are added as an Appendix. The title of this edition is:— A Manual of Prayers For the Use of the Scholars of Winchester College. And all other Devout Christians. To which is added three Hymns for Morning, Evening, and Midnight; not in former Editions: By the Same Author. Newly Revised. London, Printed for Ctarles Brome at the Ovn, at the West end of St. Paul's Church, 1695. 2. In 1704 Richard Smith, a London publisher, issued a book similar in appearance to the Manual, and entitled Conference between the Soul and Body concerning the Present and Future State. This edition contained a strong recommendation by Dodwell, an intimate friend of Ken, but no hymns. To the 2nd edition, however (1705), were added two (Morning and Evening) hymns, with Ken's name appended, but containing two additional verses to the Evening hymn, and differing in several other respects from the text of the Manual. Thereupon Charles Brome, to whom the copyright of the latter belonged, issued a new edition with an Advertisement stating that Ken "absolutely disowned" the hymns appended to the Conference, "as being very false and uncorrect," and that the genuine text was that given in the Manual only. Brome's Advertisementreads:— "Advertisement—-Whereas at the end of a Book lately Publish'd call'd, 'A Conference between the Soul and Body,' there are some Hymns said to be writ by Bishop Ken, who absolutely disowns them, as being very false and uncorrect; but the Genuine ones are to be had only of Charles Brome, Bookseller, whose just Propriety the Original copy is." 3. In 1709, however, the spurious hymns were again published as Ken's in a book entitled A New Year's Gift: in Two Parts: to which is added A Morning and Evening Hymn. By Thomas, late L. B. of Bath and Wells. The Third Edition with additions. London Printed by W. Olney. 1709. Brome met this, as before, with a new edition of the Manual, in which the Advertisement of 1705 as above was repeated, but the text of the hymns considerably revised. This revised text was followed in all subsequent editions of the Manual, but as, until lately, it was thought to have appeared first in the edition of 1712, published soon after Ken's death, its genuineness was suspected by many. The question as it then stood was fully discussed in an able letter by Sir Roundell Palmer (Lord Selborne), prefixed to the reprint of Ken's Hymns, published by D. Sedgwick in 1864. Since that time the discovery in the Bodleian Library of a copy of the Manual of 1709 shows that the revision was made in that year, and confirms the conclusion at which Lord Selborne had previously arrived, that it was Ken's genuine revised text. The title of this edition is:— A Manual of Prayers For the Use of the Scholars of Winchester College, And all other Devout Christians, To which is added three Hymns for Morning, Evening, and Midnight; By the same Author. Newly Revised. London: Printed for Charles Brome at the Gun, the West end of St. Paul's Church, 1709. The Advertisement before referred to is at p. 130. The alterations of 1709 may therefore be accepted as being made by Ken himself, and it seems not improbable that the revision was suggested by the recent republication of the spurious text in spite of Brome's disclaimer in 1705, and possibly by adverse criticism of the original text. Lord Selborne pointed out in his Letter that Ken altered a passage in his Practice of Divine Love (1st ed., 1685) because "some Roman Catholic writer professed to discover the doctrine of Transubstantiation" therein. This alteration was made in the 2nd ed., 1686, and explained in the Preface to have been made "to prevent all misunderstanding for the future." A passage also in the Manual—-"Help me, then, ye blessed Hosts of Heaven, to celebrate that unknown sorrow, &c." — was claimed in a Roman Catholic pamphlet as a passage which taught the scholars of Winchester to invocate the whole Court of Heaven." This passage Ken altered "to prevent all future misinterpretations," and prefixed an Advertisement to the 1687 edition of the Manual explaining why he had done so. In looking through the texts of the three hymns for 1695, and 1709, and especially at the doxologies, and at st. x. and xi. in the Evening Hymn, "You my Blest Guardian, whilst I sleep," &c. (1695); and "O may my Guardian while I sleep," &c. (1709), do we not see a good and sufficient reason to account for the revision of the hymns? 4. With regard to the text given in the Conference, Lord Selborne observes that it is not improbable that alterations and various readings, originating with Ken himself, might have obtained private circulation among his friends, long before he had made up his own mind to give them to the public; a suggestion which may possibly help to explain the fact, that a writer, patronised by Dodwell, was misled into believing (for such a writer ought not lightly to be accused of a wilful fraud) that the text, published in the Conference in Ken's name was really from his hand. That Ken occasionally altered passages in his writings when for any reason he considered it necessary, is certain ; and there can be little doubt that the text of the three Winchester hymns was more or less unsettled before 1695. At any rate, before their first appearance in that year in the Manual the Evening hymn had found its way into print. It was published in ”Harmonia Sacra; or Divine Hymns and Dialogues .. . Composed by the Best Masters . . . The Words by several Learned and Pious Persons. The Second Book," London, Henry Playford, 1693. The first volume, of this work appeared in 1688, and was dedicated to Ken. It is not improbable therefore that Playford, when collecting materials for his second volume, obtained the words of the Evening Hymn directly from the author. The hymn was set by Clarke as a Cantata for a solo voice, with the Doxology as a chorus in four parts. 5. The various Morning Hymns by Ken which have appeared in the Appendix to Tate and Brady's Version of the Psalms, and in most hymnals published during the past 150 years are compilations from this hymn, with, in many instances, slight alterations of the text either of 1695 or of that of 1709. In some modern hymnals the difficulty of the length of the hymn is overcome by dividing it into two or more parts. A reference to the text given in Harmonia Sacra shows that the change from "Glory" to "All praise" in line 1. is only a restoration of the original reading; and without being aware of this fact, Lord Selborne points out that the expression "All praise" is remarkably consistent with Ken's frequent use of it in other writings. The same alteration was made in 1709 in the Morning Hymn, stanza 9, and in the Midnight Hymn, st. 7; while at the same time "Glory" in the Morning Hymn, st. v. 1. 4, is changed to "High Praise." As in the case of "Awake my soul," this hymn has been divided, subdivided, and rearranged in a great many ways during the last 150 years. In one form or another it will be found in most hymnals published during that period. Like the Morning and Evening Hymns, this hymn has been divided and rearranged in various ways, and is found in one form or another in most hymnals published during the last 150 years. 6. The various centos from these hymns which are in common use in English-speaking countries are:— i. From the Morning Hymn. 1. All praise to Thee Who safe hast kept. 2. Awake, my soul, and with the sun. 3. Glory to Thee Who safe hast kept. 4. I wake, I wake, ye heavenly choirs. 5. I would not wake nor rise again. 6. Wake, and lift up thyself, my heart. ii. From the Evening Hymn. 1. All praise to Thee, my God, this night. 2. Glory to Thee, my God, this night. iii. From the Midnight Hymn. 1. All praise to Thee in light array'd. 2. Glory to Thee in light array'd. 3. Lord, now my sleep doth me forsake. 4. My God, now [when] I from sleep awake. 7. Bishop Ken has not escaped the not unusual charge of plagiarism, in connection with his celebrated hymns. Charges of this kind have been made from time to time, the nature and value of which we will endeavour to summarize. These are: (1) he borrowed from Sir Thomas Browne; (2) he did the same from Thomas Flatman; (3) he did neither, but Paraphrased from the Latin. 8. The title of Bishop Ken's hymns on the Festivals of the Church, published posthumously in 1721, is: Hymns for all the Festivals of the Year. They were republished by Pickering as: Bishop Ken's Christian Year or Hymns and Poems for the Holy Days and Festivals of the Church, Lond., 1868. From this work the following centos have come into common use:— 1. All human succours now are flown. Visitation of the Sick. 2. I had one only thing to do. A New Creature. 3. O purify my soul from stain. 10th Sunday after Trinity, or A Prayer for Purity. 4. 0 Lord, when near the appointed hour. Holy Communion. 5. Unction the Christian name implies. Confirmation. [George Arthur Crawford, M.A.] -- John Julian, Dictionary of Hymnology (1907) ======================== Ken, T. , p. 422, i. Since this article was electrotyped the following details concerning Bishop Ken's three hymns have come to light:—In a Catalogue of the Society for Promoting Christian Knowledge, published in 1707, there appears an entry of a tract entitled, Three Hymns for Morning, Evening; and Midnight, by the Author of the Manual of Prayers for Winchester Scholars. A copy of this hitherto unknown tract has lately come into the hands of Mr. W. T. Brooke, and by him has been passed on to the British Museum Library. It is bound up in a volume with two other pamphlets, of which the respective titles are: (1) An Exposition on the Church Catechism, or the Practice of Divine Love. Revised. Composed for the Diocese of Bath and Wells. Printed for Charles Brome, at the Gun of the West end of St. Paul's Churchyard, 1703; (2) Directions for Prayer for the Dioceses of Bath and Wells. Price 2d. pp. 16; (3) A Morning, Evening, and Midnight Hymn by the Author of the Manual of Prayers for Winchester Scholars. Nos. 2 and 3 have no title, but on the last page of No. 3 is "London, Printed at the Gun, at the West End of St. Paul's Church." The text of this tract of the "Three Hymns" agrees absolutely with that of 1709, except that in the 10th stanza of the Morning Hymns it reads "not rise again," as in 1705. We may therefore conclude that Ken's revisions, with this exception, were made between 1705 and 1707, the date of the Society for Promoting Christian Knowledge Catalogue. We may add that another cento from Ken's Midnight Hymn is "Blest Jesu! Thou, on heaven intent." in Rice's Hymns, 1870. The Life of Bishop Ken by the late Dean Plumptre was published in 1888, in 2 volumes. It is by far the best and most exhaustive life of the Bishop, and is worthy of the author's great reputation. [George Arthur Crawford, M.A.] --John Julian, Dictionary of Hymnology, Appendix I (1907)

Nolan Williams

Person Name: Nolan Williams, Jr., b.1969 Topics: Daily Life and Work Arranger of "CLOSE TO THEE" in Lead Me, Guide Me (2nd ed.)

Jan Struther

1901 - 1953 Person Name: Jan Struther, 1901-1953 Topics: Daily Life and Work Author of "Lord of All Hopefulness" in Gather (3rd ed.) Jan Struther, given name: Joyce Torrens-Graham [sic Joyce Anstruther] (b. Westminster, London, England, 1901; d. New York, NY, 1953) wrote many poems and essays under the pen name of Jan Struther (derived from her mother's maiden name, Eva Anstruther). In addition to her pen name, Struther also had the married names of Mrs. Anthony Maxtone Graham and, from a second marriage, Mrs. Adolf Kurt Placzek. During World War II she moved with her children to New York City and remained there until her death. In England she is best known for her novel Mrs. Miniver (1940), which consists of sketches of British family life before World War II. Immensely popular, the book was later made into a movie. Struther also wrote comic and serious poetry, essays, and short stories, published in Betsinda Dances and Other Poems (1931), Try Anything Twice (1938), The Glass Blower (1941), and, posthumously, The Children's Bells (1957). Songs of Praise (1931) included twelve of her hymn texts. Bert Polman

Johann Sebastian Bach

1685 - 1750 Person Name: J. S. Bach, 1685-1750 Topics: Daily Life and Work Harmonizer of "PASSION CHORALE" in Gather (3rd ed.) Johann Sebastian Bach was born at Eisenach into a musical family and in a town steeped in Reformation history, he received early musical training from his father and older brother, and elementary education in the classical school Luther had earlier attended. Throughout his life he made extraordinary efforts to learn from other musicians. At 15 he walked to Lüneburg to work as a chorister and study at the convent school of St. Michael. From there he walked 30 miles to Hamburg to hear Johann Reinken, and 60 miles to Celle to become familiar with French composition and performance traditions. Once he obtained a month's leave from his job to hear Buxtehude, but stayed nearly four months. He arranged compositions from Vivaldi and other Italian masters. His own compositions spanned almost every musical form then known (Opera was the notable exception). In his own time, Bach was highly regarded as organist and teacher, his compositions being circulated as models of contrapuntal technique. Four of his children achieved careers as composers; Haydn, Mozart, Beethoven, Mendelssohn, Schumann, Brahms, and Chopin are only a few of the best known of the musicians that confessed a major debt to Bach's work in their own musical development. Mendelssohn began re-introducing Bach's music into the concert repertoire, where it has come to attract admiration and even veneration for its own sake. After 20 years of successful work in several posts, Bach became cantor of the Thomas-schule in Leipzig, and remained there for the remaining 27 years of his life, concentrating on church music for the Lutheran service: over 200 cantatas, four passion settings, a Mass, and hundreds of chorale settings, harmonizations, preludes, and arrangements. He edited the tunes for Schemelli's Musicalisches Gesangbuch, contributing 16 original tunes. His choral harmonizations remain a staple for studies of composition and harmony. Additional melodies from his works have been adapted as hymn tunes. --John Julian, Dictionary of Hymnology (1907)