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Johann Olearius

1611 - 1684 Person Name: Johannes G. Olearius Topics: liturgical Scripture Songs Author of "Isaiah 40 (Comfort, Comfort Now My People)" in Voices United Johannes Olearius (b. Halle, Germany, 1611; d. Weissenfels, Germany, 1684) Born into a family of Lutheran theologians, Olearius received his education at the University of Wittenberg and later taught theology there. He was ordained a Lutheran pastor and appointed court preacher to Duke August of Sachsen-Weissenfels in Halle and later to Duke Johann Adolph in Weissenfels. Olearius wrote a commentary on the entire Bible, published various devotional books, and produced a translation of the Imitatio Christi by Thomas a Kempis. In the history of church music Olearius is mainly remembered for his hymn collection, which was widely used in Lutheran churches. Bert Polman ======================= Olearius, Johannes, son of Johann Olearius, pastor of St. Mary's Church and superintendent at Halle, was born at Halle, Sept. 17, (N.S.) 1611. He entered the University of Wittenberg in 1629 (M.A. 1632, D.D. 1643], where he became lecturer, and, in 1635, adjunct of the philosophical faculty. In 1637 he became Superintendent at Querfurt; and, in 1643, was appointed by Duke August of Sachsen-Weissenfels as his chief court preacher, and private chaplain at Halle, where he became in 1657 Kirchenrath, and in 1664 General Superintendent. When, on the death of Duke August in 1680, the administration of Magdeburg fell to the Elector of Brandenburg, Duke Johann Adolf gave Olearius similar appointments at Weissenfels, which he held till his death on April 24, 1684 (Koch, iii. 346; Allgemeine Deutsche Biographie xxiv. 279, &c). Olearius was the author of a Commentary on the whole Bible, and of various devotional works. He was also the compiler of one of the largest and most important German hymn-books of the 17th century, viz. the Geistliche Singe-Kunst, of which the first edition appeared at Leipzig in 1671, with 1207 (1218) hymns, and the second at Leipzig in 1672, with 1340. The first edition contained 302 hymns by Olearius himself, and marked "D. J. O." They may best be described as useful, being for times and seasons hitherto unprovided for, and filling up many gaps in the various sections of the German hymn-books. They are mostly short, many of only two verses, simple and easy of comprehension, often happy in expression and catching, and embodying in a concise form the leading ideas of the season or subject. Many were speedily adopted into German hymn-books, and a considerable number are still in use. Of Olearius's hymns the following have passed into English:— i. Gelobet sei der Herr. Trinity Sunday. One of his best hymns. Founded on the Gospel for Trinity Sunday. Included in 1(571 as above, No. 709, in 5 stanzas of 8 lines, and entitled "Encouragement from the Gospel to thankful meditation on this great mystery." In the Berlin Geistliche Lieder ed. 1863, No. 17. Translated as:— 1. Blest be my Lord and God. A good translation, omitting st. v. by A. T. Russell, as No. 134, in his Psalms & Hymns 1851. 2. 0 praise the Lord! His name extol. A version of st. i.-iii., as No. 115 in the Ohio Lutheran Hymnal, 1880. ii. Herr Jesu Christ, dein theures Blut. Passiontide. His finest hymn. Founded on I St. John i. 7. In 1671 as above, No. 576, in 4 stanzas of 4 lines and entitled "Meditation on the Precious Blood of Jesus Christ." St. ii. is based on the hymn “In Christi Wunden schlaf ich ein" (p. 319, ii.). In the Berlin Geistliche Lieder, edition 1863, No. 233. Translated as:— 1. Lord Jesu Christ! Thy precious blood Brings to my soul. A good and full translation by A. T. Russell, as No. 161 in his Psalms & Hymns, 1851. 2. Lord Jesus Christ! Thy precious blood Is to my soul. In full by C. H. L. Schnette, as No. 77 in the Ohio Lutheran Hymnal, 1880. Another translation is "Lord Jesus Christ, Thy blessed blood." By Miss Manington, 1863, p. 43. iii. Herr, öffhe mir die Herzensthür. Holy Scripture. After Sermon. In 1671 as above, No. 975, in 2 stanzas and a doxology. In the Berlin Geistliche Lieder, ed. 1863, No. 422. The translation in common use is:— Lord, open Thou my heart to hear, And by Thy Word to me draw near. In full by Dr. M. Loy in the Ohio Lutheran Hymnal, 1880. iv. Nun kommt das neue Kirchenjahr. Advent. In 1671 as above, No. 384, in 3 stanzas and a doxology. In the Berlin Geistliche Lieder, ed. 1863, No. 145. The translation is:— The new Church year again is come. By E. Cronenwett, as No. 15 in the Ohio Lutheran Hymnal, l880. v. Tröstet, tröstet meine Lieben. St. John Baptist's Day. In 1671 as above, No. 733, in 4 stanzas of 8 lines, and entitled "Meditation on the Lesson of the Festival. Isaiah xl." In the Berlin Geistliche Lieder, ed. 1863, No. 124. Translated as:— Comfort, comfort ye my people. A full and good translation by Miss Winkworth, as No. 83 in her Chorale Book for England, 1863. Repeated in full in the Parish Hymn Book, 1865, and the Ohio Lutheran Hymnal, 1880, and, omitting st. ii. in the Pennsylvania Lutheran Church Book, 1868. Other hymns by Olearius have been translated into English, viz.:— vi. Gott Lob, mein Jesus macht mich rein. Presentation in the Temple. In 1671 as above, No. 507, as a hymn on the Purification in 6 stanzas, and entitled "Encouragement from the Gospel," viz. St. Luke ii. 22-32. In the Berlin Geistliche Lieder, ed. 1863, No. 1270. The form tr. is "Durch Jesum kann ich auch mit Freud," which is No. 428 in Knapp's Evangelischer Liederschatz, 1837, and is st. iv.-vi. altered. Translated as "I too, through Jesus, may in peace." By Dr. H. Mills, 1845 (1856, p. 277). vii. Sollt ich meinem Gott nicht trauen. Trust in God. In 1671 as above, No. 878, in 6 stanzas, and entitled “Encouragement from the Gospel," viz. St. Matt. vi. 24 ff, the Gospel for the 15th Sunday after Trinity. In the Berlin Geistliche Lieder, ed. 1863, No. 857. Tr. as, "Shall I not trust my God." By Miss Warner, 1858, p. 206. viii. Wenn dich Unglüick hat betreten. Cross and Consolation. In 1671 as above, No. 827, in 6 st., and entitled "Encouragement from the Gospel," viz. St. Matt. xv. 21-28, the Gospel for Reminiscere Sunday (2nd Sunday in Lent). In Porst's Gesang-Buch, ed. 1855, No. 997. The translations are (1) "When afflictions sore oppress you." By Miss Cox, 1841, p. 129. (2) "When affliction rends the heart." By Lady E. Fortescue, 1843, p. 55. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology (1907)

Louis Bourgeois

1510 - 1561 Topics: liturgical Scripture Songs Composer of "GENEVAN 42" in Voices United Louis Bourgeois (b. Paris, France, c. 1510; d. Paris, 1561). In both his early and later years Bourgeois wrote French songs to entertain the rich, but in the history of church music he is known especially for his contribution to the Genevan Psalter. Apparently moving to Geneva in 1541, the same year John Calvin returned to Geneva from Strasbourg, Bourgeois served as cantor and master of the choristers at both St. Pierre and St. Gervais, which is to say he was music director there under the pastoral leadership of Calvin. Bourgeois used the choristers to teach the new psalm tunes to the congregation. The extent of Bourgeois's involvement in the Genevan Psalter is a matter of scholarly debate. Calvin had published several partial psalters, including one in Strasbourg in 1539 and another in Geneva in 1542, with melodies by unknown composers. In 1551 another French psalter appeared in Geneva, Eighty-three Psalms of David, with texts by Marot and de Beze, and with most of the melodies by Bourgeois, who supplied thirty four original tunes and thirty-six revisions of older tunes. This edition was republished repeatedly, and later Bourgeois's tunes were incorporated into the complete Genevan Psalter (1562). However, his revision of some older tunes was not uniformly appreciated by those who were familiar with the original versions; he was actually imprisoned overnight for some of his musical arrangements but freed after Calvin's intervention. In addition to his contribution to the 1551 Psalter, Bourgeois produced a four-part harmonization of fifty psalms, published in Lyons (1547, enlarged 1554), and wrote a textbook on singing and sight-reading, La Droit Chemin de Musique (1550). He left Geneva in 1552 and lived in Lyons and Paris for the remainder of his life. Bert Polman

Miriam Therese Winter

b. 1938 Topics: liturgical Scripture Songs Author of "Song of Mary (My Soul Gives Glory to My God)" in Voices United

Catherine Winkworth

1827 - 1878 Topics: liturgical Scripture Songs Translator of "Isaiah 40 (Comfort, Comfort Now My People)" in Voices United Catherine Winkworth (b. Holborn, London, England, 1827; d. Monnetier, Savoy, France, 1878) is well known for her English translations of German hymns; her translations were polished and yet remained close to the original. Educated initially by her mother, she lived with relatives in Dresden, Germany, in 1845, where she acquired her knowledge of German and interest in German hymnody. After residing near Manchester until 1862, she moved to Clifton, near Bristol. A pioneer in promoting women's rights, Winkworth put much of her energy into the encouragement of higher education for women. She translated a large number of German hymn texts from hymnals owned by a friend, Baron Bunsen. Though often altered, these translations continue to be used in many modern hymnals. Her work was published in two series of Lyra Germanica (1855, 1858) and in The Chorale Book for England (1863), which included the appropriate German tune with each text as provided by Sterndale Bennett and Otto Goldschmidt. Winkworth also translated biographies of German Christians who promoted ministries to the poor and sick and compiled a handbook of biographies of German hymn authors, Christian Singers of Germany (1869). Bert Polman ======================== Winkworth, Catherine, daughter of Henry Winkworth, of Alderley Edge, Cheshire, was born in London, Sep. 13, 1829. Most of her early life was spent in the neighbourhood of Manchester. Subsequently she removed with the family to Clifton, near Bristol. She died suddenly of heart disease, at Monnetier, in Savoy, in July, 1878. Miss Winkworth published:— Translations from the German of the Life of Pastor Fliedner, the Founder of the Sisterhood of Protestant Deaconesses at Kaiserworth, 1861; and of the Life of Amelia Sieveking, 1863. Her sympathy with practical efforts for the benefit of women, and with a pure devotional life, as seen in these translations, received from her the most practical illustration possible in the deep and active interest which she took in educational work in connection with the Clifton Association for the Higher Education of Women, and kindred societies there and elsewhere. Our interest, however, is mainly centred in her hymnological work as embodied in her:— (1) Lyra Germanica, 1st Ser., 1855. (2) Lyra Germanica, 2nd Ser., 1858. (3) The Chorale Book for England (containing translations from the German, together with music), 1863; and (4) her charming biographical work, the Christian Singers of Germany, 1869. In a sympathetic article on Miss Winkworth in the Inquirer of July 20, 1878, Dr. Martineau says:— "The translations contained in these volumes are invariably faithful, and for the most part both terse and delicate; and an admirable art is applied to the management of complex and difficult versification. They have not quite the fire of John Wesley's versions of Moravian hymns, or the wonderful fusion and reproduction of thought which may be found in Coleridge. But if less flowing they are more conscientious than either, and attain a result as poetical as severe exactitude admits, being only a little short of ‘native music'" Dr. Percival, then Principal of Clifton College, also wrote concerning her (in the Bristol Times and Mirror), in July, 1878:— "She was a person of remarkable intellectual and social gifts, and very unusual attainments; but what specially distinguished her was her combination of rare ability and great knowledge with a certain tender and sympathetic refinement which constitutes the special charm of the true womanly character." Dr. Martineau (as above) says her religious life afforded "a happy example of the piety which the Church of England discipline may implant.....The fast hold she retained of her discipleship of Christ was no example of ‘feminine simplicity,' carrying on the childish mind into maturer years, but the clear allegiance of a firm mind, familiar with the pretensions of non-Christian schools, well able to test them, and undiverted by them from her first love." Miss Winkworth, although not the earliest of modern translators from the German into English, is certainly the foremost in rank and popularity. Her translations are the most widely used of any from that language, and have had more to do with the modern revival of the English use of German hymns than the versions of any other writer. -- John Julian, Dictionary of Hymnology (1907) ============================ See also in: Hymn Writers of the Church

Frederick C. Atkinson

1841 - 1896 Topics: liturgical Scripture Songs Composer of "[Spirit of God, descend upon my heart]" in Voices United Born: August 21, 1841, Norwich, Norfolk, England. Died: November 30, 1896, East Dereham, Norfolk, England. As a boy Atkinson was a chorister and assistant organist at Norwich Cathedral. In 1867 he graduated with a Bachelor of Music degree from Cambridge and then served as organist and choirmaster in St. Luke's Church, Manningham, Bradford. He also held that position at Norwich Cathedral and at St. Mary's Parish Church in Lewisham. Atkinson wrote hymn tunes, anthems, and complete Anglican services, as well as songs and piano pieces. Psalter Hymnal Handbook, 1988

Orlando Gibbons

1583 - 1625 Person Name: Orlando Gibbons, 1583-1625 Topics: liturgical Scripture Songs Composer of "SONG 1" in Voices United Orlando Gibbons (baptised 25 December 1583 – 5 June 1625) was an English composer, virginalist and organist of the late Tudor and early Jacobean periods. He was a leading composer in the England of his day. Gibbons was born in Cambridge and christened at Oxford the same year – thus appearing in Oxford church records. Between 1596 and 1598 he sang in the Choir of King's College, Cambridge, where his brother Edward Gibbons (1568–1650), eldest of the four sons of William Gibbons, was master of the choristers. The second brother Ellis Gibbons (1573–1603) was also a promising composer, but died young. Orlando entered the university in 1598 and achieved the degree of Bachelor of Music in 1606. James I appointed him a Gentleman of the Chapel Royal, where he served as an organist from at least 1615 until his death. In 1623 he became senior organist at the Chapel Royal, with Thomas Tomkins as junior organist. He also held positions as keyboard player in the privy chamber of the court of Prince Charles (later King Charles I), and organist at Westminster Abbey. He died at age 41 in Canterbury of apoplexy, and a monument to him was built in Canterbury Cathedral. A suspicion immediately arose that Gibbons had died of the plague, which was rife in England that year. Two physicians who had been present at his death were ordered to make a report, and performed an autopsy, the account of which survives in The National Archives: We whose names are here underwritten: having been called to give our counsels to Mr. Orlando Gibbons; in the time of his late and sudden sickness, which we found in the beginning lethargical, or a profound sleep; out of which, we could never recover him, neither by inward nor outward medicines, & then instantly he fell in most strong, & sharp convulsions; which did wring his mouth up to his ears, & his eyes were distorted, as though they would have been thrust out of his head & then suddenly he lost both speech, sight and hearing, & so grew apoplectical & lost the whole motion of every part of his body, & so died. Then here upon (his death being so sudden) rumours were cast out that he did die of the plague, whereupon we . . . caused his body to be searched by certain women that were sworn to deliver the truth, who did affirm that they never saw a fairer corpse. Yet notwithstanding we to give full satisfaction to all did cause the skull to be opened in our presence & we carefully viewed the body, which we found also to be very clean without any show or spot of any contagious matter. In the brain we found the whole & sole cause of his sickness namely a great admirable blackness & syderation in the outside of the brain. Within the brain (being opened) there did issue out abundance of water intermixed with blood & this we affirm to be the only cause of his sudden death. His death was a shock to peers and the suddenness of his passing drew comment more for the haste of his burial – and of its location at Canterbury rather than the body being returned to London. His wife, Elizabeth, died a little over a year later, aged in her mid-30s, leaving Orlando's eldest brother, Edward, to care for the children left orphans by this event. Of these children only the eldest son, Christopher Gibbons, went on to become a musician. One of the most versatile English composers of his time, Gibbons wrote a quantity of keyboard works, around thirty fantasias for viols, a number of madrigals (the best-known being "The Silver Swan"), and many popular verse anthems. His choral music is distinguished by his complete mastery of counterpoint, combined with his wonderful gift for melody. Perhaps his most well known verse anthem is This is the record of John, which sets an Advent text for solo countertenor or tenor, alternating with full chorus. The soloist is required to demonstrate considerable technical facility at points, and the work at once expresses the rhetorical force of the text, whilst never being demonstrative or bombastic. He also produced two major settings of Evensong, the Short Service and the Second Service. The former includes a beautifully expressive Nunc dimittis, while the latter is an extended composition, combining verse and full sections. Gibbons's full anthems include the expressive O Lord, in thy wrath, and the Ascension Day anthem O clap your hands together for eight voices. He contributed six pieces to the first printed collection of keyboard music in England, Parthenia (to which he was by far the youngest of the three contributors), published in about 1611. Gibbons's surviving keyboard output comprises some 45 pieces. The polyphonic fantasia and dance forms are the best represented genres. Gibbons's writing exhibits full mastery of three- and four-part counterpoint. Most of the fantasias are complex, multisectional pieces, treating multiple subjects imitatively. Gibbons's approach to melody in both fantasias and dances features a capability for almost limitless development of simple musical ideas, on display in works such as Pavane in D minor and Lord Salisbury's Pavan and Galliard. In the 20th century, the Canadian pianist Glenn Gould championed Gibbons's music, and named him as his favorite composer. Gould wrote of Gibbons's hymns and anthems: "ever since my teen-age years this music ... has moved me more deeply than any other sound experience I can think of." In one interview, Gould compared Gibbons to Beethoven and Webern: ...despite the requisite quota of scales and shakes in such half-hearted virtuoso vehicles as the Salisbury Galliard, one is never quite able to counter the impression of music of supreme beauty that lacks its ideal means of reproduction. Like Beethoven in his last quartets, or Webern at almost any time, Gibbons is an artist of such intractable commitment that, in the keyboard field, at least, his works work better in one's memory, or on paper, than they ever can through the intercession of a sounding-board. To this day, Gibbons's obit service is commemorated every year in King's College Chapel, Cambridge. --wikipedia.org

Ralph Vaughan Williams

1872 - 1958 Topics: liturgical Scripture Songs Composer of "[Halellujah! Hallelujah!]" in Voices United Through his composing, conducting, collecting, editing, and teaching, Ralph Vaughan Williams (b. Down Ampney, Gloucestershire, England, October 12, 1872; d. Westminster, London, England, August 26, 1958) became the chief figure in the realm of English music and church music in the first half of the twentieth century. His education included instruction at the Royal College of Music in London and Trinity College, Cambridge, as well as additional studies in Berlin and Paris. During World War I he served in the army medical corps in France. Vaughan Williams taught music at the Royal College of Music (1920-1940), conducted the Bach Choir in London (1920-1927), and directed the Leith Hill Music Festival in Dorking (1905-1953). A major influence in his life was the English folk song. A knowledgeable collector of folk songs, he was also a member of the Folksong Society and a supporter of the English Folk Dance Society. Vaughan Williams wrote various articles and books, including National Music (1935), and composed numerous arrangements of folk songs; many of his compositions show the impact of folk rhythms and melodic modes. His original compositions cover nearly all musical genres, from orchestral symphonies and concertos to choral works, from songs to operas, and from chamber music to music for films. Vaughan Williams's church music includes anthems; choral-orchestral works, such as Magnificat (1932), Dona Nobis Pacem (1936), and Hodie (1953); and hymn tune settings for organ. But most important to the history of hymnody, he was music editor of the most influential British hymnal at the beginning of the twentieth century, The English Hymnal (1906), and coeditor (with Martin Shaw) of Songs of Praise (1925, 1931) and the Oxford Book of Carols (1928). Bert Polman

Stuart Dauermann

b. 1944 Person Name: Steffi G. Rubin Topics: liturgical Scripture Songs Author of "Isaiah 55 (You Shall Go Out with Joy)" in Voices United

Hal H. Hopson

b. 1933 Topics: liturgical Scripture Songs Composer of "MERLE'S TUNE" in Voices United Hal H. Hopson (b. Texas, 1933) is a prolific composer, arranger, clinician, teacher and promoter of congregational song, with more than 1300 published works, especially of hymn and psalm arrangements, choir anthems, and creative ideas for choral and organ music in worship. Born in Texas, with degrees from Baylor University (BA, 1954), and Southern Baptist Seminary (MSM, 1956), he served churches in Nashville, TN, and most recently at Preston Hollow Presbyterian Church in Dallas, Texas. He has served on national boards of the Presbyterian Association of Musicians and the Choristers Guild, and taught numerous workshops at various national conferences. In 2009, a collection of sixty four of his hymn tunes were published in Hymns for Our Time: The Collected Tunes of Hal H. Hopson. Emily Brink

William Wright

Topics: liturgical Scripture Songs Composer of "DEER PARK" in Voices United William Wright was Director of Music and Organist at Deer Park United Church in Toronto from 1965-2009. He taught at the University of Toronto and at the Toronto School of Theology. Dianne Shapiro