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María Eugenia Cornou

b. 1969 Person Name: María Eugenia Cornou, b. 1969 Meter: 7.7.7.7 D Translator (st. 4) of "Jesus, Lover of My Soul (Cariñoso Salvador)" in Santo, Santo, Santo

1828 - 1907 Meter: 7.7.7.7 D Composer of "BALBOA PARK" in The Cyber Hymnal Asa Hull USA 1828-1907. Born in Keene, NY, he became a music publisher in New York City. He married Emma F Atherton, and they had a daughter, Harriett. He wrote many tunes and authored temperance rallying songs. He published 33 works, of which 21 were songbooks, between 1863-1895. He died in Philadelphia, PA. John Perry

Fred Pratt Green

1903 - 2000 Person Name: Fred Pratt Green, 1903-2000 Meter: 7.7.7.7 D Author of "Where Christ Is, His Church Is There" in Worship (4th ed.) The name of the Rev. F. Pratt Green is one of the best-known of the contemporary school of hymnwriters in the British Isles. His name and writings appear in practically every new hymnal and "hymn supplement" wherever English is spoken and sung. And now they are appearing in American hymnals, poetry magazines, and anthologies. Mr. Green was born in Liverpool, England, in 1903. Ordained in the British Methodist ministry, he has been pastor and district superintendent in Brighton and York, and now served in Norwich. There he continued to write new hymns "that fill the gap between the hymns of the first part of this century and the 'far-out' compositions that have crowded into some churches in the last decade or more." --Seven New Hymns of Hope , 1971. Used by permission.

John Wesley

1703 - 1791 Meter: 7.7.7.7 D Translator (from German) of "Holy Lamb, Who Thee Receive" in The Cyber Hymnal John Wesley, the son of Samuel, and brother of Charles Wesley, was born at Epworth, June 17, 1703. He was educated at the Charterhouse, London, and at Christ Church, Oxford. He became a Fellow of Lincoln College, Oxford, and graduated M.A. in 1726. At Oxford, he was one of the small band consisting of George Whitefield, Hames Hervey, Charles Wesley, and a few others, who were even then known for their piety; they were deridingly called "Methodists." After his ordination he went, in 1735, on a mission to Georgia. The mission was not successful, and he returned to England in 1738. From that time, his life was one of great labour, preaching the Gospel, and publishing his commentaries and other theological works. He died in London, in 1791, in his eighty-eighth year. His prose works are very numerous, but he did not write many useful hymns. It is to him, however, and not to his brother Charles, that we are indebted for the translations from the German. --Annotations of the Hymnal, Charles Hutchins, M.A., 1872 ====================== John Wesley, M.A., was born at Epworth Rectory in 1703, and, like the rest of the family, received his early education from his mother. He narrowly escaped perishing in the fire which destroyed the rectory house in 1709, and his deliverance made a life-long impression upon him. In 1714 he was nominated on the foundation of Charterhouse by his father's patron, the Duke of Buckingham, and remained at that school until 1720, when he went up, with a scholarship, from Charterhouse to Christ Church, Oxford. Having taken his degree, he received Holy Orders from the Bishop of Oxford (Dr. Potter) in 1725. In 1726 he was elected Fellow of Lincoln College, and remained at Oxford until 1727, when he returned into Lincolnshire to assist his father as curate at Epworth and Wroot. In 1729 he was summoned back to Oxford by his firm friend, Dr. Morley, Rector of Lincoln, to assist in the College tuition. There he found already established the little band of "Oxford Methodists" who immediately placed themselves under his direction. In 1735 he went, as a Missionary of the Society for the Propagation of the Gospel, to Georgia, where a new colony had been founded under the governorship of General Oglethorpe. On his voyage out he was deeply impressed with the piety and Christian courage of some German fellow travellers, Moravians. During his short ministry in Georgia he met with many discouragements, and returned home saddened and dissatisfied both with himself and his work; but in London he again fell in with the Moravians, especially with Peter Bohler; and one memorable night (May 24, 1738) he went to a meeting in Aldersgate Street, where some one was reading Luther's preface to the Epistle to the Romans. There, "About a quarter before nine, while he was describing the change which God works in the heart through faith in Christ, I felt my heart strangely warmed. I felt I did trust in Christ, Christ alone, for salvation; and an assurance was given me, that He had taken away my sins, even mine, and saved me from the law of sin and death." From that moment his future course was sealed; and for more than half a century he laboured, through evil report and good report, to spread what he believed to be the everlasting Gospel, travelling more miles, preaching more sermons, publishing more books of a practical sort, and making more converts than any man of his day, or perhaps of any day, and dying at last, March 2, 1791, in harness, at the patriarchal age of 88. The popular conception of the division of labour between the two brothers in the Revival, is that John was the preacher, and Charles the hymnwriter. But this is not strictly accurate. On the one hand Charles was also a great preacher, second only to his brother and George Whitefield in the effects which he produced. On the other hand, John by no means relegated to Charles the exclusive task of supplying the people with their hymns. John Wesley was not the sort of man to depute any part of his work entirely to another: and this part was, in his opinion, one of vital importance. With that wonderful instinct for gauging the popular mind, which was one element in his success, he saw at once that hymns might be utilized, not only for raising the devotion, but also for instructing, and establishing the faith of his disciples. He intended the hymns to be not merely a constituent part of public worship, but also a kind of creed in verse. They were to be "a body of experimental and practical divinity." "In what other publication," he asks in his Preface to the Wesleyan Hymn Book, 1780 (Preface, Oct. 20,1779), "have you so distinct and full an account of Scriptural Christianity; such a declaration of the heights and depths of religion, speculative and practical; so strong cautions against the most plausible errors, particularly those now most prevalent; and so clear directions for making your calling and election sure; for perfecting holiness in the fear of God?" The part which he actually took in writing the hymns, it is not easy to ascertain; but it is certain that more than thirty translations from the German, French and Spanish (chiefly from the German) were exclusively his; and there are some original hymns, admittedly his composition, which are not unworthy to stand by the side of his brother's. His translations from the German especially have had a wide circulation. Although somewhat free as translations they embody the fire and energy of the originals. It has been the common practice, however for a hundred years or more to ascribe all translations from the German to John Wesley, as he only of the two brothers knew that language; and to assign to Charles Wesley all the original hymns except such as are traceable to John Wesley through his Journals and other works. The list of 482 original hymns by John and Charles Wesley listed in this Dictionary of Hymnology have formed an important part of Methodist hymnody and show the enormous influence of the Wesleys on the English hymnody of the nineteenth century. -- Excerpts from John Julian, Dictionary of Hymnology (1907) =================== See also in: Hymn Writers of the Church

Friedrich Gottlieb Klopstock

1724 - 1803 Person Name: Friedrich G. Klopstock Meter: 7.7.7.7 D Author of "Lord, Remove the Veil Away" in The Cyber Hymnal Klopstock, Friedrich Gottlieb, the eldest of the 17 children of Gottlob Heinrich Klopstock (then advocate and commissionsrath at Quedlinburg, and after 1735 amtmann at Friedeburg, on the Saale, near Halle), was born at Quedlinburg, July 2, 1724. From 1739 to 1745 he attended the famous school at Schulpforte, near Naumburg (where he conceived the first idea of his Messias); then he entered the University of Jena, in the autumn of 1745, as a student of theology, and the University of Leipzig at Easter, 1746. At Leipzig he made acquaintance with J. A. Cramer (q.v.); and became one of the contributors to the Bremer Beiträge, in which the first three books of his Messias appeared. In 1748 he became tutor in the house of a merchant named Weiss at Langensalza; and in 1750 accepted an invitation to visit Zurich (the literary capital of Switzerland), where his Messias had been received with great enthusiasm. He was then, in the spring of 1751, invited by the Danish prime minister, Count von Bernstorff, to take up his residence at the Court of King Frederick V., at Copenhagen, in order to be able to finish his Messias free from the cares of a profession; and was, in 1763, appointed Legationsrath. After the Count ceased, in the end of 1770, to be prime minister, Klopstock retired to Hamburg, in 1771, on a pension. The rest of his life was passed mainly at Hamburg, except about a year spent at Carlsruhe, at the Court of the Margave Carl Friedrich of Baden, who appointed him Hofrath. He d. at Hamburg, March 14, 1803, and was buried with civic honours on the 22nd, under a lime-tree in the churchyard at Ottensen (Koch, vi. 322; Allg. Deuteche Biog., xvi, 291, &c). Klopstock ranks among the classic poets of Germany. In his Oden (collected at Hamburg, 1771; enlarged, Leipzig, 1798; finally enlarged, Leipzig, 1804) he is seen at his best; his earlier compositions of this class being the finest modern examples for perfection of form, lyric grace, majesty, and purity of rhythm. His most famous work is his Messias, which on its first appearance created an enthusiasm such as had not been awakened by any German work for centuries. It was suggested by Milton's Paradise Lost, but Milton's calm majesty, firmness of touch, and unity of action were all foreign to Klopstock's nature—his genius was lyric rather than epic. With all its defects of style and construction, it is still a noble work, and could only have been written by a true poet and a sincere Christian; though to us its interest perhaps consists as much in its historical importance and results as in its intrinsic merits. (Books 1-3 written in prose at Jena, and then in hexameter verse at Leipzig, and first pub. in the Neue Beyträge, Bremen, 1748. Books 1-3 revised, and 4, 5 added at Halle, 1751; 6-10 added in the Copenhagen ed., 1755; 11-15, Copenhagen, 1768; 16-20, Halle, 1773. Finally revised ed. in 4 vols., Leipzig, 1800.) In his hymns Klopstock is not seen at his best. He seems to have had little apprecia¬tion of the requirements which the writer of hymns for use in public worship has to meet. His hymns are emotional and subjective, little suited to congregational tunes, and not sufficiently simple in style. In his first collection (1) Geistliche Lieder, Copenhagen, 1758, he included a number of indifferent recasts of earlier German hymns; his second collection (2) Geistliche Lieder, Copenhagen, 1769, consists entirely of original compositions. The only one of his hymns which is still much used in Germany is "Auferstehn, ja auferstehn, wirst du" (q.v.). The others which have passed into English common use are:— i. Deine heilige Geburt. Supplication. In his Geistliche Lieder, 1758, p. 44, in 141, repeated in Knapp's Evangelischer Lieder-Schatz, 1837, No. 468. Translated as "Saviour! by Thy holy birth," by Dr. W. L. Alexander, in 2 stanzas of 8 lines. It was written about 1830, but 1st published in the 2nd ed., 1858, of his Selection of Hymns, No. 339, entitled "Christ's aid invoked." ii. Herr, du wollst sie vollbereiten. Holy Communion. In his Geistliche Lieder, 1758, p. 135, arranged for antiphonal singing by choir and congregation. The form translated into English is "Herr, du wollst uns vorbereiten," being the first two stanzas for choir altered as No. 246 in the Württemberg Gesang-Buch, 1842, in 2 stanzas of 12 lines. Translated as "Grant us, Lord! due preparation," by L. Heyl, in the Ohio Lutheran Hymnal, 1880. Another tr. is, "O God, do Thou Thy folk prepare," by Dr. G. Walker, 1860, p. 64. iii. Nicht nur streiten, überwinden. Christian Warfare. 1st pub. in the G. B. für St. Petri Kopenhagen, 1760, No, 639; repeated in his Geistliche Lieder, 1769, p. 23, in 5 stanzas of 8 lines, entitled "The Victory of the Faithful." In the Berlin Geistliche Leidersegen, ed. 1863. Translated as “Labour ever, late and early," a full but rather free tr. by Dr. Kennedy, in his Hymnologia Christiana, 1863. iv, Zeige dich uns ohne Hülle. Sunday. In his Geistliche Lieder, 1769, p. 88, in 4 stanzas of 8 lines, entitled “Preparation for Divine Service." Included in the Berlin Geistliche Leidersegen, ed. 1863. It is the only hymn by Klopstock much used in English. Translated as "Lord, remove the veil away," a good and full tr. by Miss Borthwick,in Hymns from the Land of Luther, 3rd Ser., 1858, p. 47 (1884, p. 168). Included in full in Kennedy, 1863; Eng. Presbyterian Psalms & Hymns, 1867; Temple Hymn Book, 1867; Dale's English Hymn Book, 1875, and others. It is abridged in W. F. Stevenson's Hymns for Church & Home, 1873, Laudes Domini, N. Y., 1884, and others. Hymns not in English common use:-- v. Ach wie hat mein Herz gerungen. Strength in Weakness. 1769, p. 101, in 10 stanzas, Translated as “Ah me, what woes this heart have wrung," by J. Sheppard, in his Foreign Sacred Lyre , 1857, p. 68. vi. Du wollst erhoren Gott, ihr Flehn. For the Dying . 1758, p. 73, in 11 stanzas. The form translation is the recast (probably by J. S. Diterich), as No. 120, in the Berlin Gesang-Buch 1765, beginning "Dein sind wir Gott! in Ewigkeit." Translated as "We're Thine, O God, for evermore," by Dr. H. Mills, 1845 (1856, p. 241). vii. Selig sind des Himmels Erben. For the Dying; or, At Funerals. 1758, p. 15, in 4 pts., arranged for choir and congregation, in all 10 stanzas. Founded on Rev. xiv. 13. Sung at the funeral of J. C. Lavater, January 4, 1801. Translated as "Blessed are the heirs of heaven," by G. Moultrie, in his Hymns & Lyrics, 1867, p. 337. viii. Starke, die zu dieser Zeit. For the Dying , 1758, p. 1, in 3 stanzas. Translated as "Strengthen, Lord, the weary soul," by G. Moultrie, in his Hymns & Lyrics , 1867, p. 355, marked as an "orison for the departing spirit." ix. Um Erden wandeln Monde. The Lord's Prayer. In his Oden, vol. ii., Leipzig, 1798, p. 119, marked as written in 1789, and entitled "Psalm." It is an ode of 58 lines, embodying and amplifying the Lord's Prayer. Sung at his own funeral. Translated as, (1) "Moons round their planets roll," by J. Sheppard, 1857, p. 46. (2) "Round their planets roll the moons," by Miss Winkworth, 1869, p. 332. x. Wenn ich einst von jenem Schlummer. Morning. 1769, p. 57, in 3 stanzas. In the Württemberg Gesang-Buch, 1842, No. 562. The translations are, (1) "When I rise again to life," by W. Nind, in his Odes of Klopstock, 1848, p. 307. (2) "When I wake from out that slumber," in A. Baskerville's Poetry of Germany, 1854, p. 39, repeated in the Schaff-Gilman Library of Religious Poetry, ed. 1883, p. 282. (3) "Father, let no day to come" (the text used begins with stanza ii. altered to "Gieb dass keiner meiner Tage"), by J. Sheppard, 1857, p. 88. (4) "Since I one day from yonder sleeping," by Miss Warner, 1869, p. 40. xi. Zitternd freu ich mich. The Vision of God. First published in the Nordische Aufselier ed. by J. A. Cramer, vol. ii. (Kopenhagen, 1760). In his Oden, Hamburg, 1771, p. 25, in 90 lines, and marked as written in 1759. Translated as, (1) "With trembling I rejoice," by W. Nind, 1848, p. 130. (2) "I joy, but tremblingly," by J. Sheppard, 1857, p. 24. (3) "Trembling I rejoice," by Miss Winkworth, 1869, p. 329. Besides the above a considerable number of Klopstock's Oden are translated by J. Sheppard in his Foreign Sacred Lyre, 1857. A full selection from the Oden appeared as Odes of Klopstock from 1747 to 1780. Translated from the German by William Nind , London, W. Pickering, 1848. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology (1907)

Mary Nelson Keithahn

b. 1934 Meter: 7.7.7.7 D Author of "Now Thank We God, for Honest Labor" in Faith That Lets Us Sing Mary Nelson Keithahn, a retired United Church of Christ ordained pastor and church educator, has been a curriculum writer-editor, journalist, and lyricist for musical dramas and anthems. She still works out of her home in Rapid City, South Dakota, as a free-lance writer. In 2016 she published Elfie: Adventures on the Midwest Frontier, a chapter book for children, and Embracing the Light: Reflectioins on God’s Holy Word, a collection of meditations for individual or small group use. Augsburg Fortress also published Sing the Stories of God’s NEW People, the third in a trilogy of Bible story-based collections of songs for young children, written with her longtime colleague, John D. Horman. The two have written over a hundred hymns together, some of which are included in these hymnals and supplements: Community of Christ Sings, God’s Mission, God’s Song, Hymns of Heritage and Hope, Lift Up Your Hearts, Sing Justice! Do Justice, Sing the Faith, Singing Our Savior’s Story, Singing the New Testament, The Faith We Sing, Upper Room Worshipbook, Voices Found, Voices United, and Worship and Song. They have also published four collections of their hymns: Come Away with Me and Time Now to Gather (Abingdon, 1998), The Song Lingers On (Zimbel, 2003), and Faith That Lets Us Sing (Wayne Leupold Editions, 2017). Mary is a Life Member and former board member of Choristers Guild and a Life Member of the Hymn Society in the United States and Canada. She is also a member of ASCAP. In 2006 she received a Distinguished Achievement Award from her alma mater, Carleton College in Northfield, MN, in recognition of her work in composing text for religious music. Mary was married to the Rev. Richard K. Keithahn, a U.C.C. pastor, and widowed in 1986. She has three children, eight grandchildren, and one great-grandchild. --mnk

George Whitefield

1714 - 1770 Person Name: George Whitfield Meter: 7.7.7.7 D Alterer of "Hark! The Herald Angels Sing" in Song and Service Book for Ship and Field

David Ashley White

b. 1944 Meter: 7.7.7.7 D Composer of "LA GRANGE" in Sing the Faith David Ashley White (b. 1944) is a seventh-generation Texan, born in San Antonio, and he both studied and taught in Texas throughout his career. He majored in oboe at Del Mar College, Corpus Christi, in composition for his Masters in Music at the University of Houston, and received a DMA from the University of Texas at Austin. Since 1977 he has been on the faculty of the Moores School of Music at the University of Houston, teaching theory and composition. White is a widely published composer of many types of compositions and has received many commissions. Selah Publishing Co. published three collections of his hymns. Emily Brink

Joseph Swain

1761 - 1796 Meter: 7.7.7.7 D Author of "Brethren, While We Sojourn Here" in The Cyber Hymnal Swain, Joseph, was born at Birmingham in 1761, and after being apprenticed to an engraver, removed to London. After a time he became a decided Christian, and being of an emotional poetic temperament, began to give expression to his new thoughts and feelings in hymns. In 1783 he was baptized by the Rev. Dr. Rippon, and in 1791 became minister of a Baptist congregation in East Street, Walworth. After a short but popular and very useful ministry, he died April 16, 1796 Swain published the following:— (1) A Collection of Poems on Several Occasions, London, 1781; (2) Redemption, a Poem in five Books, London, 1789; (3) Experimental Essays on Divine Subjects, London, 1791; (4) Walworth Hymns, by J. Swain, Pastor of the Baptist Church Meeting there, London, 1792, 129 hymns; with a Supplement, 1794, 192 hymns; (5) A Pocket Companion and Directory, London, 1794. In addition to a limited number of Swain's hymns, annotated under their respective first lines, the following, from his Walworth Hymns1792, and the 2nd ed., 1796, are also in common use:— 1. Brethren, while we sojourn here. Mutual Encouragement. 2. Children of the King of grace. Holy Baptism. 3. Christ the Lord will come again. Second Advent. 4. Come, ye souls, by sin afflicted. The Yoke of Christ. 5. How sweet, how heavenly is the sight. Communion of Saints. 6. In expectation sweet. Second Advent. 7. Lift up your heads, ye gates. Ascension. 8. Love is the sweetest bud that blows. A Flower an Emblem of Christ. 9. 0 how the thought that I shall know. Heaven Anticipated. Sometimes it begins with st. ii., "For ever to behold Him shine". 10. On earth the song begins. Heaven Anticipated. 11. On the wings of faith upspringing. Passiontide. 12. Pilgrims we are to Canaan bound. Pilgrimage of Life. 13. Praise ye the Lord, the eternal King. Divinity of Christ. 14. Praise your Redeemer, praise His Name. Praise for Redemption. 15. 'Tis heaven begun below. Heaven Anticipated. 16. What is it for a saint to die? Death and Burial. 17. What must [will] it be to dwell above? Heaven Anticipated. 18. When firm I [we] stand on Zion's hill. Confidence. Sometimes as "I stand on Zion's mount," in American collections. 19. Who can forbear to sing? Praise of Jesus. From his Redemption, a Poem in Five Books, 1791, the following hymns are also in common use:-- 20. 0 Thou in whose presence my soul takes delight. In Affliction. 21. Ye daughters of Zion, declare, have you see? Comfort in Affliction. Of these hymns the most widely known are Nos. 1, 5, 6, and 20. We may add that several of Swain's hymns appeared in The Theological Miscellany, 1784-1789. [Rev. W. R. Stevenson, M.A.] -- John Julian, Dictionary of Hymnology (1907)