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b. Alamagordo, New Mexico: 29 February 1948
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He was a pupil of Sterndale Bennett, John Goss and Cipriani Potter. After short spells at other London churches, he was organist of Holy Trinity Brompton 1847-74, where he collaborated with the vicar, the Revd H.S.Irons, in The Metrical Psalter 1855 and One Hundred Hymn Tunes 1857.
A noted pianist and music teacher, he composed cantatas, anthems, songs, instrumental pieces and particularly glees and madrigals.
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He came to London in 1874 as a bassoonist at Covent GArden Theatre. He composed much for the theatre and many songs, edited several song collections and wrote some theoretical works. He wrote 24 tunes for hymns by his great friend Charles Wesley, and was partly responsible for bringing into fashion a more florid style of hymn tune.
In 1748-49 he went to Dublin, and in 1750 moved to the Royal Theatre, Edinburgh. He is buried in Canongate churchyard, Edinburgh.
(See also DNB; GDM; OCM)
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He was educated at Clifton College Bristol, and at the Royal College of Music where he studied under Walter Parratt and C.V.Stanford. He was assistant music master at the Royal Naval College Osborne 1913; Banstead Hall Preparatory School 1914-20; and Clifton College 1920-29; and Director of Music at Christ's Hospital Horsham 1929-45. He retired to devote all his time to examining and composition.
He wrote a violin concerto, oratorios, church music, many organ and piano works, and was music editor of The Public School Hymn Book revised edition 1949.
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He lost all his sight by the age of three; but because of his parents' poverty he had no formal musical training or Braille instruction until he was ten. He was educated at the Institut Nationale des Jeunes Avengles, Paris, studying piano, organ and composition, and then at the Paris Conservatoire under Dupr‚, Dukas and Messiaen. He returned to the Institut as teacher in 1931 and as Professor in 1971.
He held the post of organist at several churches in Paris, notably St Clothilde 1945-88. He composed a great deal of music, his ouput of organ music exceeding even Bach's in quantity.
(See also GDM)
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(See also DNB; Julian p.1213b)
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(See also Julian, p.666)
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He may have been a chorister of Salisbury Cathedral, where his father was a vicar-choral. From 1626 he was `epistoler' (reader of the epistle in communion services), then a Gentleman of the Chapel Royal and later `clerk of the cheque' there. In 1631 he was appointed one of the King's musicians `for the lutes and voices'.
He wrote the music for Milton's Comus, performed at Ludlow Castle in 1634, and for several other entertainments; he is, however, chiefly remembered for his more than 400 songs. Herrick and others of his time greatly valued his settings of their verse. He provided the music for George Sandys's Paraphrases of the Psalms and other Passages of Scripture 1637/38; published Choice Psalmes 1648 (including work of his brother William), and published three volumes of Ayres and Dialogues. At the Restoration in 1660 he was reinstated in his court posts, and wrote a coronation anthem for Charles II. His friend John Milton dedicated a sonnet to him (see below).
He is buried in the cloisters of Westminster Abbey.
(See also DNB; GDM; OCM; OCEL)
- Milton: `To Mr H.Lawes on his Aires'
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He studied at York Minster under Sir Edward Bairstow; and later trained at the Royal College of Music. He was principal lecturer in music at Keswick Hall College Norwich from 1966 to 1981. He was the music editor of The New Catholic Hymnal 1971.
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He spent his life in various kinds of youth work, particularly the Boys' Brigade. He won the Military Cross in the 1914-18 war; was Bursar of Caterham School 1919-39; and was entertainments officer in South Wales during the 1939-45 war. He was a professional entertainer `by magic and music', and gave a Command Performance at Windsor in 1937; he earned the Gold Star of the Magic Circle in 1940.
He was also an organist, and composed several hymn tunes.
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(See also OCLW)
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He was the son of the Rector of Chagford; and became a chorister at St George's Chapel Windsor, where he played voluntaries when aged 10 and a full service when aged 12. He was educated at Uppingham School and the Royal College of Music; and was organ scholar at Keble College Oxford, 1906-9; organist of Christ Church Cathedral Oxford 1909-26; and Choragus of the University 1923-26. He was Precentor (Director of Music) at Radley College Abingdon 1916-18; Director of Music at Eton College 1926-45; and Professor of Organ at the Royal College of Music 1919-41.
He composed anthems, songs, a children's operetta, and organ music; and co-edited The Oxford Psalter 1932, The Church Anthem Book 1933, and The Oxford Chant Book No.2 1934.
(See also DNB; GDM; OCM)
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He was born into a prominent Norwegian musical family; and studied with his father, a concert pianist and organist for 57 years at the Church of Our Lady, Trondheim. From the age of 12 Ludvig often deputized at the organ for his father. In 1833 he began theological studies in Christiania (now Oslo), but played the 'cello in the theatre orchestra 1834-40 and devoted himself wholly to music from 1839.
He was organist of the Church of Our Saviour, Christiania, from 1840 (or 1839) to 1887, and taught music at the theological seminary 1849-87. With his son Peter he founded the Christiania Conservertoire of Music in 1883. He composed piano, organ and choral music; but his greatest work was collecting Scandinavian folk tunes, which were published in several collections, the chief of which - used by Grieg and other composers - is still a standard work. In 1877 he edited for the Norwegian Church a chorale-book including 60 tunes of his own.
A brilliant organist and improviser, he was one of those who inaugurated the organ in the Royal Albert Hall, London, 1871.
(See also GDM; OCM)
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(See also DNB; Julian p.697b-680a)
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From Rydal School he went up to Emmanuel College Cambridge to study science, but music pulled more strongly. Following army service he therefore studied composition with William Alwyn and Eric Thiman at the Royal Academy of Music.
He was assistant music master at Charterhouse School from 1950 and Director of Music there 1965-87. He has been closely involved with choral music: in 1950 he formed the Linden Singers, famed through frequent broadcasts; and was conductor of the Leith Hill Music Festival at Dorking 1890-94. He was President of the Incorporated Society of Musicians 1977-78. He edited The Novello Book of Carols 1986, and a number of RSCM collections.
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He was the son of a Baptist minister, and became a commercial traveller but was a significant amateur musician. He was a founder of the Welsh Choral Union of Liverpool, and was often an Eisteddfod adjudicator. He published two collections of hymn tunes, Casgliad o Donau 1843 and (with Ebenezer Rees) Aberth Moliant 1870, and much other vocal music, some of which attained great popularity in Wales.
(See also DWB; OCM; OCLW)
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( * The parish register gives his age at death unmistakably as 76; an apparently syndicated notice in several newspapers gave 70. Nothing seems to be known of his early life. )
Though blind from infancy he pursued a very active career as an organist in London, using deputies to enable him to hold several posts simultaneously. He served the churches of St Katharine Cree 1766-1858, St Mary's Lambeth 1766-1815 (and probably as deputy before that), Orange Street (Congregational) Chapel 1794 (or earlier) -1815, and the Lock Hospital three times: 1768 (or earlier) -1770; 1772-78; 1790-97.
He was a noted trainer of children's choirs; and he composed songs, instrumental music, anthems and about fifty hymn-tunes.
(See also HSB No.209, October 1996, pp.278-282)
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(See also DNB; Julian, pp.187-189a)
See also Julian's account of the dispute between John Logan and Michael Bruce's family over the authorship of certain hymns, and his transcription of W.Tidd Matson's `Vindication' of Logan's side of the dispute.
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(See also DAB; Julian p.685)
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He was educated at Eton and King's College Cambridge. After curacies at Knebworth 1932-34 and St Peter's Church Swansea 1934-35, he was Vicar of Froxfield, Petersfield, Hampshire 1945-53, Rector of Haddiscoe, Norfolk 1853-58, and of Soulbury with Stoke Hammond, Bedfordshire 1958-72.
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Luard-Selby, B.: see Selby, B.Luard
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[ Biographical note from the Companion to Congregational Praise, 1953 ]
Martin Luther, the great German religious reformer, was the son of a miner. He attended the village school at Mansfeld, and later went to schools at Magdeburg and Eisenach. In 1501 he entered the University at Erfurt. He was intended for the law, but in 1505 he entered the Augustinian convent at Erfurt, where he spent three years, being ordained priest in 1507.In 1508 he was sent to Wittenberg to assist in the University, and he began to preach.
A visit to Rome in 1511 opened his eyes to the corruptions of the Church. Returning to Wittenberg, he began to lecture on indulgences. The visit of the Dominican friar Tetzel to sell indulgences brought matters to a crisis, and Luther's theses of denunciation were nailed to the church door on October 31, 1517.
His treatise on The Babylonian Captivity of the Church was condemned by a papal bull, which he publicly burned in 1520. In 1521 he appeared before the Diet at Worms, where he refused to retract his doctrines.
In 1521-2 he was in hiding at the Wartburg under the protection of the Elector. Here he began his translation of the Bible, which he completed in 1531. He returned to Wittenberg in 1522, and became the leader of the Reformation Movement. In 1525 he married Katherine von Bora, a former nun. His remaining years were much occupied in controversy with Erasmus and the Swiss Reformers, and all the troubles of the Peasants' War. He died on February 18, 1546, at Eisleben.
Luther saw the need for more psalms and hymns to take the place of the old Latin hymns and sequences, so full of false doctrine. He wrote to Spalatin in 1523: "It is my plan to make vernacular psalms for the people. ... I desire that new-fangled and courtly expressions may be avoided, and that the words may all be exceedingly simple and common, such as plain folk may understand, yet withal pure and skilfully handled." He set to work and produced just what was wanted. He himself wrote thirty-seven hymns.
He was a musician as well as well as a poet. `I would see the arts,' he wrote, `especially music, in the service of Him who made and created them.' He had been a fine singer as a boy, and played the lute and the flute. The tunes to which he set his hymns were partly adaptations of ancient plainsong, partly arrangements of popular folk-songs, and partly original. Whether he composed any entirely original tunes is uncertain. `Even, however,' says Dr Millar Patrick, `if he was no more than an adaptor, he showed himself such a master in selection and adaptation that he deserves the unqualified credit of originating the tunes that bear his name' (The Story of the Church's Song, 1927).
Coleridge said that Luther `did as much for the Reformation by his hymns as by his translation of the Bible'. This may be an exaggeration, but it remains true, as Dr Patrick says, that `great masses of the people, with his hymns and melodies on their lips, sang themselves into the creed of the Protestant Reformation'.
For notes on Luther's published hymn-books, click here > > . For references to hymns and tunes in Rejoice & Sing, see below.
(See also GDM; Julian pp.703-4)
see also
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An obituary notice appeared in the Year Book of the Congregational Union of England & Wales, 1863.
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Also known as Meier Leon. He was Cantor at the Great Synagogue in Duke's Place, Aldgate, London from 1768-72, where he was known by the liturgical name `Leoni'.
He moved to Dublin in 1772, returning in 1784 for a year before emigrating to Jamaica, where he died.
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(See also DNB; Julian pp.706-7)
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(The Rejoice & Sing Enchiridion:edited by David Goodall; last amended 20/12/03)