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From 1856 she was a regular contributor to Tiffany's Monthly, under her maiden name of Whitcomb.
Extract from Tiffany's, Vol.2 (1856), p.329 (transcribed from a copy in the British Library):
We are happy to say to our readers that we have secured a most valuable correspondent for our Monthly in the person of Miss Whitcomb, of Hancock, N.H. She is an inspired writer, and whatever comes from her pen will be found to be pregnant with spiritual and divine truth. We expect articles from her pen monthly; and we would say to our readers, "He that hath ears to hear, let him hear what the Spirit saith unto the churches."
Other articles by her, noted in the same Volume:
[ p.403]
BY LOVE M. WHITCOMB.
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p.493
BY LOVE M.WHITCOMB.
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p.531
L.M.WHITCOMB.
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(See also Julian p.1728a)
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He was apprenticed to his father, a shoemaker, and in his spare time studied music, mathematics, and the designing of sundials. He supplemented his income by teaching, and sometimes led the singing in the Secession church. In about 1800 he moved to Pollockshaws to work in the cotton mills, and later to Duntocher as a draughtsman in a mill.
He became the manager of the Secession church in Duntocher, and helped to found the first Sunday School there. He wrote and adapted many psalm tunes; but only two survive, because shortly before his death he directed that all his music manuscripts should be destroyed.
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See note on his Selection of Psalm Tunes, &c., 1825
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He was educated at Manchester Grammar School, Dulwich College, and Sidney Sussex College Cambridge where he took an honours degree in mathematics and physics. After a year teaching science at Repton School, he swithced to music and took a `crash' course at the Royal College of Music while lodging with his uncle, Walford Davies. He was briefly assistant music master at Tonbridge School; then in 1932 he went to Charterhouse where, after a war-time break teaching science, he was director of music 1947-65.
He taught harmony and acoustics at the RCM 1965-80; then returned to give individual tuition at Charterhouse until his death. He was for a few years organist of Guildford Methodist Church.
He was closely involved in the editing of The Clarendon Hymn Book 1936, Hymns for Church & School 1964, Hymns & Songs 1969; Broadcast Praise 1981, and Hymns & Psalms 1983. For the RSCM he edited Hymns for Celebration (with Erik Routley, 1974), Sixteen Hymns of Today 1978, and Twenty-One Hymns Old & New 1985; and he was frequently consulted by other hymn-book editors in Britain and abroad.
For many years he arranged the annual `Come and Sing' hymn services in Westminster Abbey; and he was prominent in the work of the Hymn Society of G.B. & Ireland, being Treasurer 1965-90. He was a constant source of stimulation and encouragement to hymn-writers and composers.
(See also Hymn Society GBI Bulletin No.193, October 1992, pp.158-162)
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[ Biographical note from the Companion to Congregational Praise, 1953 ]
Catherine Winkworth was a daughter of Henry Winkworth of Alderley Edge, Cheshire, and lived in the neighbourhood of Manchester until she settled with her father and sisters at Clifton in 1862.
Her Lyra Germanica (two series, 1848 and 1855), containing her translations of German hymns, is generally regarded as a devotional classic. The original suggestion of setting these to music came from Baron Bunsen, and The Chorale Book for England was published in 1863. She consulted Mr Halle in regard to a musical editor, and he recommended Sterndale Bennett, who undertook the work. Later Baron Bunsen suggested that Otto Goldschmidt, husband of Jenny Lind, be consulted, and Sterndale Bennett agreed to co-operate with him.
Her Christian Singers of Germany appeared in 1869. James Martineau described it as `a most interesting chapter of religious history. After the Scriptures,' he said, `the Wesley hymn-book appears to me the grandest instrument of popular religious culture that Christendom has ever produced. But for the German antecedents, however, it would never have come into existence.'
Catherine Winkworth was also a pioneer in the higher education of women, and she was one of the founders of Clifton High School, Bristol. The strain of public life affected her health, however, and in 1878 she went to Switzerland, where she died. Her sister Susanna survived her, and wrote a memoir which was completed by their niece, Margaret Sharn, and published as Memories of Two Sisters (1908).
(See also DNB; Julian p.1287)
(see also)
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(See also DNB; Julian pp.1289-90)
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(See also Julian p.1291)
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He was the son of a choirman of St Patrick's (Protestant) Cathedral, Armagh. He was educated in the Cathedral School, and then studied with Stanford, Parry and Bridge at the Royal College of Music, where he taught harmony and counterpoint 1889-1926. During the same period (1891-1926) he was first organ scholar and then organist of Gonville & Caius College Cambridge; University Lecturer in harmony and counterpoint 1897-1924; and Professor of Music 1924-26.
He composed chamber music, choral and orchestral works, part-songs, solo songs, organ and church music, notably The Passion according to St Mark 1921. He did much to revive Genevan psalm-tunes; and he collaborated with G.R.Woodward in Songs of Syon 1904 & 1910 and the Cowley, Cambridge and Italian carol books. As a teacher he had a far-reaching influence on the musical life of the time - and indeed later.
(See also DNB; GDM; OCM)
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(See also DNB; Julian p.1292)
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He was the son of a vicar-choral of Christ Church and St Patrick's Cathedrals, Dublin. He himself was a chorister of Christ Church from 1751-60, and organist there from 1765-77. He was a vicar-choral of St Patrick's 1772-77; and apparently master of the choristers at both Cathedrals.
He studied music at Trinity College Dublin, and wrote church music and songs, catches and canons; but only a few of his chants are still in use.
One of his canons, `Let the words of my mouth', is engraved on his monument in Christ Church Cathedral.
(See also GDM)
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He studied painting at the Royal Academy and music history in London and at Oxford. He exhibited at the Academy, and was a stained-glass designer and Slade Professor of Fine Arts at Oxford 1895-1904.
He was also a musicologist; and published The English Metrical Psalter 1890, edited an edition of Chappell's Music of the Olden Time 1893, co-edited three volumes of Purcell's church music, and wrote the first two volumes of The Oxford History of Music (1901, 1905) and a number of other books. He collected and arranged the music for Robert Bridges' The Yattendon Hymnal 1895-1899.
(See also DNB; GDM)
Xref:
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(See also DNB; Julian pp.1293-94)
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(See also GDM)
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(See also Julian p.1295a)
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Xrefs:
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While still a schoolboy he made an organ recital tour of Jamaica, the USA and Canada, before going to St Catharine's College Cambridge as organ scholar.
He was music director for the first professional tour of Andrew Lloyd Webber's Joseph and his Amazing Technicolour Dreamcoat; and served as organist at a number of Methodist and Anglican churches. From 1984-95 he was Director of Music at Coventry Cathedral. He is also well known as a conductor.
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End of Biographies W3. Return to Top . . .
(The Rejoice & Sing Enchiridion:edited by David Goodall; last amended 11/12/03)