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Simon Zachariah

b. 1951 Translator of "എൻ ദൈവമേ നിൻ മേശമേൽ" in The Cyber Hymnal

1785 - 1866 Author of "Father, while we break this bread" in The Coronation Hymnal Pierpont, John, son of James Pierpont, of Litchfield, Connecticut, was born at Litchfield, April 6, 1785, and educated at Yale College, where he graduated in 1804. After fulfilling engagements as a Tutor in New Haven, and in Charlestown, South Carolina, he was admitted to the Bar in 1812. Shortly after he retired and went into business, only to leave it also, and to pass on to Harvard College as a student in theology. In 1819 he succeeded Dr. Holley as the pastor of the Unitarian congregation in Hollis Street, Boston. At length his zeal against intemperance and slavery caused him to resign his charge in 1840 [sic. 1845] (see Lothrop's Proceedings of an Eccl. Council in the case of the Hollis Street Meeting and the Rev. J. Pierpont). At this date he published his Poems & Hymns, including his anti-slavery and temperance poems and songs. In 1845 he became the pastor of an Unitarian congregation at Troy, New York. This he vacated for another at Medford, Massachusetts, in 1849. That he resigned in 1859. When over 70 years of age he became Chaplain in the United States Army (1862), and was finally a Government clerk in the Treasury Department at Washington. He died suddenly at Medford, Aug. 27, 1866. Pierpont's publications include Airs of Palestine, 1816, some school books, and his Poems & Hymns, 1840 and 1854. His hymns in common use include:— 1. Another day its course hath run. Evening. Appeared in Hymns for Children, Boston, 1825; in Greenwood's Chapel Liturgy, 1827; and in the author's Poems & Hymns, 1840. 2. Break forth in song, ye trees. Public Thanksgiving. Written for the Second Centennial Celebration of the Settlement of Boston, Sept. 17, 1830, and included in the Poems & Hymns, 1840. 3. Break the bread and pour the wine. Holy Communion. In Harris's Hymns for the Lord's Supper, 1820. 4. Father, while we break the bread. Holy Communion. 5. God Almighty and All-seeing. Greatness of the Father. Contributed to Elias Nason's Congregational Hymn Book, Boston, 1857. 6. God of mercy, do Thou never. Ordination. Written for the Ordination of John B. P. Storer at Walpole, Nov. 15, 1826; and published in the author's Poems, &c, 1840. 7. God of our fathers, in Whose sight. Love of Truth desired. This hymn is composed of st. ix., x. of a hymn written for the Charlestown Centennial, June 17, 1830. In this form it was given in the Boston Hymns of the Spirit, 1864, and others. 8. Gone are those great and good. Burial. Written in 1830. Part of No. 2 above. 9. I cannot make him dead. Gone Before. "A part of an exquisitely touching and beautiful poem of ten stanzas, originally printed in the Monthly Miscellany, Oct. 1840." 10. Let the still air rejoice. Praise. 11. Mighty One, Whose name is Holy. Charitable Institutions. Written for the anniversary of the Howard Benevolent Society, Dec. 1826, and included in the author's Poems, &c, 1840. 12. My [0] God, I thank Thee that the night. Morning. Appeared in his Poems, &c, 1840. In Martineau's Hymns, &c, 1873, it begins "O God, I thank Thee," &c. 13. 0 bow Thine ear, eternal One. Opening of Divine Service. This is dated 1823, but was not included in the author's Poems, &c, 1840, although one of his best productions. 14. 0 Thou to Whom in ancient time. Universal Worship. “Written for the opening of the Independent Congregational Church in Barton Square, Salem, Massachusetts, Dec. 7, 1824," and printed at the close of the sermon preached by Henry Colman on that day. It was given in Pierpont's Poems, &c, 1840, and is found in several collections in Great Britain and America. It is widely known. 15. 0 Thou Who art above all height. Ordination. “Written for the Ordination of Mr. William Ware, as Pastor of the First Congregational Church in New York, Dec. 18, 1821," and included in his Poems, &c, 1840. 16. 0 Thou Who on the whirlwind rides. Dedication of a Place of Worship. Written for the opening of the Seamen's Bethel in Boston, Sept. 11, 1833. Sometimes given as “Thou Who on the," &c. 17. O'er Kedron's stream, and Salem's height. Gethsemane. One of eight hymns contributed to Dr. T. M. Harris's Hymns for the Lord's Supper, 1820. It is in Martineau's Hymns, &c, London, 1873, and others. 18. On this stone, now laid with prayer. Foundation-stone Laying. Written for the laying of the cornerstone of Suffolk Street Chapel, Boston, for the Ministry of the Poor, May 23, 1839. 19. With Thy pure dews and rain. Against Slavery. Written for the African Colonization Society, and included in Cheever's American Common Place Book, 1831. Not in the author's Poems, &c, 1840. Pierpont's talents as a hymn-writer, as in other fields, were respectable rather than commanding, but so energetically employed as to make their mark. Thus, although he never wrote a single hymn that can be called a great lyric, yet he has attained to a prominent position in American hymnody. [Rev. F. M. Bird, M.A.] -- John Julian, Dictionary of Hymnology (1907)

Alexander Stewart

1843 - 1923 Author of "Lord Jesus Christ, we seek Thy face" in Hymns

Naseem Hilou

1868 - 1951 Person Name: نسيم الحلو Author of "يسوع يا رب السلام" in كتاب الترانيم الروحية للكنائس الإنجيلية نسيم الحلو

Daniel Hughes

Person Name: D. H. Author of "Tyrd bicell bur sy'n gwella'r briw a roi" in Mawl a chân = praise and song

Robert Schumann

1810 - 1856 Composer of "[LORD, Thou hast searched me; Thou hast known]" in Selected Psalms for Church Singing Robert Alexander Schumann DM Germany 1810-1856. Born at Swickau, Saxony, Germany, the last child of a novelist, bookseller, and publisher, he began composing music at age seven. He received general music instruction at the local high school and worked to create his own compositions. Some of his works were considered admirable for his age. He even composed music congruent to the personalities of friends, who took note of the anomaly. He studied famous poets and philosophers and was impressed with the works of other famous composers of the time. After his father’s death in 1826, he went to Leipzig to study law (to meet the terms of his inheritance). In 1829 he continued law studies in Heidelberg, where he became a lifelong member of Corps Saxo-Borussia Heidelberg. In 1830 he left the study of law to return to music, intending to pursue a career as a virtuoso pianist. His teacher, Friedrich Wieck, assured him he could become the finest pianist in Europe, but an injury to his right hand (from a practicing method) ended that dream. He then focused his energies on composition, and studied under Heinrich Dorn, a German composer and conductor of the Leipzig opera. Schumann visited relatives in Zwickau and Schneeberg and performed at a concert given by Clara Wieck, age 13 at the time. In 1834 he published ‘A new journal for music’, praising some past composers and deriding others. He met Felix Mendelssohn at Wieck’s house in Leigzig and lauded the greatness of his compositions, along with those of Johannes Brahms. He also wrote a work, hoping to use proceeds from its sale towards a monument for Beethoven, whom he highly admired. He composed symphonies, operas, orchestral and chamber works, and also wrote biographies. Until 1840 he wrote strictly for piano, but then began composing for orchestra and voice. That year he composed 168 songs. He also receive a Doctorate degree from the University of Jena that year. An aesthete and influential music critic, he was one of the most regarded composers of the Romantic era. He published his works in the ‘New journal for music’, which he co-founded. In 1840, against the wishes of his father, he married Clara Wieck, daughter of his former teacher, and they had four children: Marie, Julie, Eugenie, and Felix. Clara also composed music and had a considerable concert career, the earnings from which formed a substantial part of her father’s fortune. In 1841 he wrote 2 of his 4 symphonies. In 1843 he was awarded a professorship in the Conservatory of Music, which Mendelssohn had founded in Leipzig that same year, When he and Clara went to Russia for her performances, he was questioned as to whether he also was a musician. He harbored resentment for her success as a pianist, which exceeded his ability as a pianist and reputation as a composer. From 1844-1853 he was engaged in setting Goethe’s Faust to music, but he began having persistent nervous prostration and developed neurasthenia (nervous fears of things, like metal objects and drugs). In 1846 he felt he had recovered and began traveling to Vienna, Prague, and Berlin, where he was received with enthusiasm. His only opera was written in 1848, and an orchestral work in 1849. In 1850 he succeeded Ferdinand Hiller as musical director at Dusseldorf, but was a poor conductor and soon aroused the opposition of the musicians, claiming he was impossible on the platform. From 1850-1854 he composed a wide variety of genres, but critics have considered his works during this period inferior to earlier works. In 1851 he visited Switzerland, Belgium, and returned to Leipzig. That year he finished his fourth symphony. He then went to Dusseldorf and began editing his complete works and making an anthology on the subject of music. He again was plagued with imaginary voices (angels, ghosts or demons) and in 1854 jumped off a bridge into the Rhine River, but was rescued by boatmen and taken home. For the last two years of his life, after the attempted suicide, Schumann was confined to a sanitarium in Endenich near Bonn, at his own request, and his wife was not allowed to see him. She finally saw him two days before he died, but he was unable to speak. He was diagnosed with psychotic melancholia, but died of pneumonia without recovering from the mental illness. Speculations as to the cause of his late term maladies was that he may have suffered from syphilis, contracted early in life, and treated with mercury, unknown as a neurological poison at the time. A report on his autopsy said he had a tumor at the base of the brain. It is also surmised he may have had bipolar disorder, accounting for mood swings and changes in his productivity. From the time of his death Clara devoted herself to the performance and interpretation of her husband’s works. John Perry