BOOK IV The Christian Year in Chorales (continued 2)

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An Easter hymn, first published in the author’s Lustiger Sabbath, 1712, entitled, “Easter Triumphal Arch. At Midday on Easter Day.” In 1746, it was included in Burg’s Gesangbuch, Breslau.

For comments on Benjamin Schmolck see Hymn 505.

Our hymn is composed of Miss Winkworth’s translation of stanzas 1, 2, 3, and 8.

For comments on Catherine Winkworth see Hymn 236.

MUSIC. DIE HELLE SONNE IST DAHIN was composed by Sigmund Gottlieb “Theophil” Staden, 1607-1655. He was born and died in Nürnberg. Staden composed Seelewig, the first comic opera to be printed. He also composed chorales and wrote an instruction book for singing.

543. Jesus lives! thy terrors now

Christian F. Gellert, 1715-69

Tr. Frances E. Cox, 1812-97

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Based on John 14:19: “Yet a little while and the world seeth me no more; but ye see me: because I live, ye shall live also.”

The hymn was first published in Gellert’s Geistliche Oden und Lieder, 1757, with the title, “Easter Hymn.” It soon became popular in Germany and is widely used now among English speaking people. The hymn is often used at funerals, and sometimes at the dedication of a cemetery. Gellert, a saintly Professor of Philosophy and Poetry at Leipzig, had no fear of death. In the period of the so-called Enlightenment, when religion had become cold and rationalistic, and the old hymns had been watered down, he wrote one of our best and most evangelical hymns.

For comments on the translator, Frances E. Cox, see Hymn 512.

The original poem was without the “Hallelujah.”

MUSIC. CHRIST IST ERSTANDEN is a traditional German melody dating to the 13th century. It was used with words beginning, “Christ ist erstanden.” Luther said of this tune: “after a time one tires of singing all other hymns, but the ‘Christ ist erstanden’ one can always sing again.” It is within easy range of all voices and therefore well adapted for unison singing, though it need not be limited to that.

544. Christ the Lord is risen again!

Michael Weisse, c. 1480-1534

Tr. Catherine Winkworth, 1829-78

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An Easter song, based on I Cor. 5:7, 8 and Rev. 19:6:

For even Christ our passover suffered for us: therefore let us keep the feast, not with old leaven, neither with the leaven of malice and wickedness; but with the unleavened bread of sincerity and truth.

Alleluia! for the Lord God omnipotent reigneth.

Weisse’s poem is based on “Christ is erstanden von der Martyr alle,” the oldest German Easter hymn, found in four versions as early as the 12th century.

Michael Weisse, born at Neisse, Silesia, about 1480, became a priest, and for a time was a monk at Breslau. Influenced by the writings of Luther, he left the monastery to join the Bohemian Brethren, the followers of John Hus, and became their pastor at Landskron and Fulneck, Moravia. Weisse was a man of great influence among the Brethren and was appointed a member of their council. Of a deeply spiritual nature and possessing rare poetic gifts, he translated the old songs of the Bohemian Brethren into German and composed many original poems. He edited the first Brethren hymnbook in German, Ein Neu Gesengbuchlen, 1531, in which the present hymn first appeared. The book, proclaimed by Luther as “the work of a good poet,” contains 155 hymns, all apparently either translations or originals by Weisse himself.

Our translation is by Catherine Winkworth, with stanza 4 omitted.

For comments on Miss Winkworth see Hymn 236.

MUSIC. MACHE DICH, MEIN GEIST, BEREIT is an adaptation of a chorale tune, “Straf mich nicht,” published in Kirch- und Hausbuch, Dresden, 1694. The composer is not known. Refrains are not commonly 334 used with German chorales. The present setting of the tune and words, with a refrain, was made by the editors especially for the Hymnary. It is suitable for children’s choirs as well as for congregational use.

545. Lo, the day of days is here

Frederick L. Hosmer, 1840-1929

A joyous Easter song in which the springtime awakening in nature symbolizes the newness of spiritual life.

For comments on Frederick L. Hosmer see Hymn 72.

MUSIC. SALZBURG appeared in the 19th edition of Crüger’s Praxis Pietatis Melica, 1678, a work which contained the main stream of Lutheran hymnody in the middle of the 17th century. The tune was set to the hymn, “Alle Menschen müssen sterben.”

The composer, Jacob Hintze, 1622-1702, was born in Bernau, Brandenburg. He became court musician to the Elector of Brandenburg, in Berlin, in 1666, and in the year 1662 succeeded Crüger, upon the latter’s death, as editor of the Praxis. The present version, slightly altered from the original, is from J. S. Bach’s Choralgesänge. The tune is also associated with Stopford Brooke’s hymn, “Let the whole creation cry.” (No. 49).

WHITSUNTIDE

546. O Holy Spirit, enter in

Michael Schirmer, 1606-73

Tr. Catherine Winkworth, 1829-78

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This hymn for Whitsuntide, addressed to the Holy Spirit, went through various alterations in German hymnbooks until it finally appeared in 8 stanzas, as here. It is a beautiful New Testament paraphrase of Isa. 11:2:

And the spirit of the Lord shall rest upon him, the spirit of wisdom and understanding, the spirit of counsel and might, the spirit of knowledge and of the fear of the Lord.

Michael Schirmer, born in Leipzig, received his education at the University of Leipzig, graduating with an M.A. degree in 1630. He was appointed assistant rector of the Greyfriars Gymnasium in Berlin, but on account of ill health was compelled to resign. Besides the hardships of the Thirty Years’ War, Schirmer experienced added sorrows in the death of his wife and two children. At times deep melancholy fell upon him, lasting for years at a time. Schirmer was crowned court poet in 1637. His published works include a metrical version of Ecclesiasticus, 336 1655; a scriptural play, Der verfolgte David, 1660; and versions of the Songs of the Old and New Testaments, Biblische Lieder und Lehrsprüche, 1650. Five of his hymns came into wide use in Germany but only this one passed into English.

The translation is by Catherine Winkworth in her Chorale Book for England, 1863. The present hymn is composed of stanzas 1, 4, 6, and 8.

For comments on Miss Winkworth see Hymn 236.

MUSIC. NICOLAI, better known as “Wie schön leuchtet der Morgenstern,” has long been known as the “Queen of Chorales.” (For the “King of Chorales,” see Hymn 522.) It is a magnificent tune. In Germany it was set on many city chimes.

For comments on the composer, Philipp Nicolai, see Hymn 522.

547. O Spirit of Life, O Spirit of God

Johann Niedling, 1651

Tr. John C. Mattes, 1876-1948

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The original hymn, in six stanzas, first appeared in Johann Niedling’s Lutherisches-Altenburgisches Handbüchlein, Naumburg, 1651. Some of the hymns in this collection are original with Niedling, and bear his name. This hymn, however, appears anonymously, leaving doubt as to its authorship. The Common Service Book of the United Lutheran Church credits it to Niedling.

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The English translation was made especially for the United Lutheran Hymnal, in 1913, employing the first four stanzas of the original.

The translator, John Casper Mattes, was born in Easton, Pa. After graduating from Lafayette College and Mt. Airy Theological Seminary, he served as pastor of the Church of the Saviour, Trenton, N. J., 1901-15, and St. John Lutheran Church, Scranton, Pa., 1915-38. From 1939 until his death in 1948 he was a teacher at the Wartburg Theological Seminary, Dubuque, Iowa. Mattes was a frequent contributor to Lutheran publications and served on the United Lutheran Church Common Service Book Committee. He was a member of the Intersynodical Committee on translation of Luther’s Small Catechism, and is translator of Koberle’s Rechtfertigung und Heiligung.

MUSIC. O HEILIGER GEIST, O HEILIGER GOTT, also called “O Jesulein Süss,” first appears in Auserlesene Catholische Geistliche Kirchengesäng, Cologne, 1623, set to the hymn, “Ist das der Leib, Herr Jesu Christ.” In Christliche Seelenharfe, Halle, 1650, it is set to “Komm heiliger Geist, mit deinen Genad” while in S. Scheldt’s Tabulatur Buch, Görlitz, 1650, it is used with the hymn, “O Jesulein süss, O Jesulein mild.” The melody appears in many later collections, both Catholic and Protestant. Its present form, a variant of Scheldt’s, appeared in the Neu Leipziger Gesangbuch, Leipzig, 1682, set to the hymn, “O heiliger Geist, O heiliger Gott.” It is an attractive tune in triple time, of the type associated with early German carols.

Samuel Scheidt, 1587-1654, the composer, was born at Halle, the son of Conrad Scheidt, overseer of the salt works. He had for his teacher the famous Peter Sweelinck of Amsterdam, and became a noted organist and composer. His Tabulatura Nova, 1624, set a new standard in organ playing, by showing how to make it less ostentatious and more meaningful and coherent. His great work, Tablaturbuch, is a series of harmonized chorales, published in three parts, 1624-53.

548. Come, O come, Thou quickening Spirit

Heinrich Held, c. 1620-59

Tr. Charles W. Schaeffer, 1813-96

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A fine hymn of invocation to the Holy Spirit, written for Whitsuntide, in 9 stanzas.

The author, Heinrich Held, a lawyer by profession, was born in Guhrau, Silesia. After receiving his education at the Universities of Königsberg, Frankfurt a. Oder, and Leyden, he practiced law in his home town of Guhrau where he lived all his life. He became one of the best Silesian poets and hymn writers, probably because he was taught in the school of affliction and suffering, brought about by the Thirty Years’ War.

The translation is by Charles W. Schaeffer, a native of Hagerstown, Maryland. After graduating from the University of Pennsylvania and the Theological Seminary at Gettysburg, he held several pastorates and then became a teacher in the Lutheran Theological Seminary in Philadelphia. Our hymn is a selection of stanzas 1, 2, 7, and 8.

MUSIC. EISENACH, also known as “St. Leonard,” and “Komm, O komm, du Geist des Lebens,” is an attractive melody, composed by Johann Christoph Bach, 1642-1703, an excellent musician, and a first 339 cousin of the father of the eminent Johann Sebastian Bach. He was organist at Eisenach where he spent most of his life. The name of the tune is derived from Bach’s town. Much of the music he composed is extant, mostly in manuscript, but some keyboard and choral music is in print. His motet, I wrestle and pray, was published by Novello.

THE CHURCH

549. A Mighty Fortress is our God

Martin Luther, 1483-1546

Tr. Frederick H. Hedge, 1805-90

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Based on Psalm 46:

James Moffatt names this the “greatest hymn of the greatest man in the greatest period of German history.” More than any other, this hymn has transcended all national boundaries and denominational 340 lines, and has become a truly ecumenical church song. It has been translated into nearly two hundred languages. “Ein feste Burg” was sung over Luther’s grave at Wittenberg in the Schloss-Kirche, on the door of which some 30 years before, he had nailed his 95 theses against Roman Indulgences. The hymn has been used at many historic occasions and conventions. In 1925, at the meeting of Christians from all parts of the world in Stockholm, the opening hymn was “Ein’ feste Burg ist unser Gott.” Each delegate sang in his own tongue, but it was the same tune, the same hymn and the same spirit; and the great conference, assembled to consider the life and mission of the church, adopted the hymn as an ecumenical symbol. It was adopted as the Conference hymn for the fourth Mennonite World Conference held at Goshen, Ind., and North Newton, Kan., August 3-10, 1948.

The hymn arose out of the writer’s conflict with the evil forces of the world and the corrupt hierarchy of a corrupt church. When Luther was summoned to the Diet of Worms, he was warned by his friends not to go. He ignored their advice, and, standing before that assemblage of emperors and principalities and powers, he spoke these memorable words:

It is neither safe nor prudent to do aught against conscience. Till such time as either by proof from holy Scripture or by fair reason or argument I have been confuted and convicted, I cannot and will not recant. Here I stand. I cannot do otherwise. God be my help. Amen.

It is against this background of opposition and trouble that the great hymn was penned.

There are more than sixty versions of the hymn in the English language. The translation used here is by Frederick H. Hedge, then Professor of Ecclesiastical History, and later of German Literature, at Harvard. It is the commonly accepted version in America. In England, the translation by Thomas Carlysle is the most widely used.

For ordinary occasions the use of the first two stanzas is sufficient.

MUSIC. EIN’ FESTE BURG IST UNSER GOTT, also by Luther, is one of the great chorales destined to be sung to the end of time. It is perfectly adapted to the words and especially effective with large congregations. The musical merits of the tune have been recognized by the great masters. Mendelssohn used the tune in the last movement of his Reformation Symphony and Bach used it in several of his cantatas.

Albert Schweitzer writes of this melody:

“Ein feste Burg” is woven out of Gregorian reminiscences. The recognition of this fact deprives the melody of none of its beauty and Luther of none of the credit for it. It really takes considerable talent to create an organic unity out of fragments.

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550. The work is Thine, O Christ our Lord

Stanzas 1 and 2, S. Preiswerk, 1799-1871

Stanza 3, F. Zaremba, 1794-1874

Tr. Julius Henry Horstmann

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A missionary hymn written at the request of students at the Basel Mission House, Basel, Switzerland. The students wanted a good missionary poem to use with the present tune, then erroneously ascribed to J. Michael Haydn. Preiswerk supplied the first two stanzas. They were first sung June 17, 1829, at an anniversary festival. The third stanza was added by Count Felician von Zaremba, since it was felt that the first two did not have enough emphasis on foreign missions.

The hymn was sung at the laying of the cornerstone of Bethel College and again at the sixtieth anniversary of that event, celebrated October 12, 1948.

Samuel Preiswerk was born in Rümlingen, Switzerland, the son of the pastor of the Reformed Church at that place. He was educated at the Universities of Basel, Tübingen, and Erlangen. After serving in a curacy at Benken and on the staff of the Basel Orphanage, he taught Hebrew at the Basel Mission House, later accepting a pastorate at Muttenz, and a professorship at the Ecole de Théologie in Geneva. In 1840 he was called to the St. Leonhardt Church in Basel, where he became the 342 main pastor in 1843. Finally he was made Antistes or Superintendent of the Reformed Churches in the Basel Area. Preiswerk was one of the editors of the Baseler Gesangbuch of 1854 and was otherwise active as a hymnologist.

Felician von Zaremba, author of the third stanza, was born at Zaroy, Poland, and died in Basel. A descendant of an old Polish noble family, he received a good education at the University of Dorpat, excelling in languages. Although he prepared himself for the diplomatic service to Russia, he became greatly interested in the missionary work centering in Basel, and eventually entered the work carried on among the Mohammedans and Nestorians in South Russia and the Caucasus regions. For many years he was an itinerant preacher in Germany and Switzerland.

The translator, Julius Henry Horstmann, was born at Naperville, Ill., and is living in retirement at Maplewood, Mo. He was educated at Northwestern College, Elmhurst College and Eden Theological Seminary. He served churches in Indiana and Texas and from 1906 to 1936 was editor of the Evangelical Herald.

MUSIC. DIE SACH’ IST DEIN, a popular, effective melody, is of uncertain origin. It was formerly attributed, without evidence, to Haydn.

551. Spread, still spread, thou mighty word

J. F. Bahnmaier, 1774-1841

Tr. Percy Dearmer, 1867-1936

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One of the best and most useful hymns for Foreign Missions. It has been rendered into English by such eminent translators as Frances Cox, H. J. Buckoll, and Catherine Winkworth. But in order to make a freer and more modern use of the original, Percy Dearmer made this new 343 translation for Songs of Praise, London, 1931, of which he was the editor.

For comments on J. F. Bahnmaier see Hymn 329.

Percy Dearmer was born in London and educated at Oxford. After serving as vicar in the church of St. Mary the Virgin, Primrose Hill, he became Professor of Ecclesiastical Art at King’s College, London. He was an authority on hymnology and liturgies, and wrote extensively on these subjects. His works include The New Reformation, A Short Handbook of Public Worship, The Story of the Prayer Book, and Songs of Praise Discussed.

MUSIC. GOTT SEI DANK appeared in Freylinghausen’s Geistreiches Gesangbuch, Halle, 1704, where it is set to the hymn, “Gott sei Dank in aller Welt.” It is also called “Lübeck,” “Berlin,” and “Carinthia.” The composer is unknown.

THE LORD’S SUPPER

552. Deck thyself, my soul, with gladness

Johann Franck, 1618-77

Tr. Catherine Winkworth, 1829-78

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The finest of all German communion hymns. It expresses the reverent joy that should accompany the sacrament of the Lord’s Supper. The hymn is sung, invariably, in many German churches on communion occasions.

Johann Franck was born at Guben, Brandenburg, the son of a lawyer, and was himself educated for the law. At the University of Königsberg he was greatly influenced by Simon Dach, Professor of Poetry, and, in spite of his law practice and the holding of public offices, he became an important poet and hymn writer of his time, second only to Paul Gerhardt. The dominant theme of his hymns is the mystical union of the soul with the Savior. Franck’s hymns had appeared in the works of his friends Weichman and Crüger, and later were published, 110 in all, at Guben, in 1674, in a volume entitled Geistliches Sion.

The hymn is a selection of stanzas 1, 2, 7, and 9 of the original.

For comments on the translator, Catherine Winkworth, see Hymn 236.

MUSIC. SCHMÜCKE DICH is a beautifully expressive tune by Johann Crüger, 1598-1662, first published in the composer’s Praxis Pietatis Melica, 1644. J. S. Bach used the tune for an organ setting which constitutes one of the most beautiful of Bach organ chorales. Upon hearing it played by Mendelssohn, Robert Schumann wrote concerning the chorale:

Round the cantus firmus hung golden garlands of leaves, and 345 such blissfulness was breathed from within it, that you yourself avowed that if life was bereft of all hope and faith, this one chorale could renew them for you. I was silent and went away dazed into God’s acre, feeling acutely pained that I could lay no flower on his urn.

For comments on Johann Crüger see Hymn 242.

MORNING

553. Light of Light enlighten me

Benjamin Schmolck, 1672-1737

Tr. Catherine Winkworth, 1829-78

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A hymn for the Sabbath morning, reflecting the light, joy, and peace that the day of rest brings to the worshipper. It is one of the finest chorales in our collection.

For comments on Benjamin Schmolck see Hymn 505.

The translation is from Lyra Germanica, published by Catherine 346 Winkworth, 1855. Our hymn is a selection of stanzas 1, 2, 4, and 3, in that order, of the original seven stanzas.

For comments on Miss Winkworth see Hymn 236.

MUSIC. LIEBSTER JESU appeared in the Alterdorfer Gesangbuch, 1671, set to the words, “Liebster Jesus, wir sind hier,” by Tobias Clausnitzer. J. S. Bach made a setting for the tune, used in some hymn books, and also arranged it as a chorale prelude for the organ.

The composer of the tune, Johann Rudolph Ahle, 1625-73, received his education at the Universities of Göttingen and Erfurt. He was elected Cantor of St. Andreas’ Church, and director of the music school, at Erfurt. Interested also in civic affairs, he was elected to the town council at Mühlhausen in 1656, and made mayor in 1661. He became one of the most radical reformers of church music, cultivating the simple chorale style and avoiding the polyphonic counterpoint then in use. Ahle wrote over 400 songs, many of which are still in use among the Protestant churches of England and America.

553a. Liebster Jesu, wir sind hier

Tobias Clausnitzer, 1619-84

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Based on Acts 10:33: “Now therefore are we all here present before God, to hear all things that are commanded thee of God.” The third stanza is reminiscent of a phrase in the Nicene creed: “God of God, Light of Light, begotten, not made.” The hymn, written to be sung by the congregation just before the reading of the Scripture lesson, has had wide use among German speaking churches.

Tobias Clausnitzer was born at Thum, Saxony. He graduated from the University of Leipzig in 1643 and became a chaplain in the Swedish army, for a time, during the Thirty Years’ War. In 1649 he became minister at Weiden where he remained until his death.

MUSIC. See 553 above.

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554. Come, Thou bright and morning Star

Christian Knorr, Baron von Rosenroth, 1636-89

Tr. Richard Massie, 1800-87

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One of the best and most spirited of morning hymns, “as if born from the dew of the sunrise.”

The author, Christian Knorr, Baron von Rosenroth, was the son of a Silesian pastor. After years of study and travel, he also settled down to a pastorate in Silesia. He was well versed in philosophy and chemistry, as well as theology, and his memory was so remarkable that he knew nearly the whole Bible by heart. He took special interest in the study of the Jewish Kabbala, the so-called secret wisdom of the rabbis, and his writings on this literature made him world famous. Knorr wrote seventy hymns, the present being the only one now in general use among English speaking people.

The translator, Richard Massie, was the son of the Rev. R. Massie, a minister in the Anglican church. A man of wealth and leisure, he was able to devote himself to literature and gardening. His rock garden, a rare thing in those days, attracted wide attention. Massie and his mother and sisters are remembered for their quiet spirituality and saintliness.

MUSIC. MORGENGLANZ DER EWIGKEIT is an adaptation of an air by Johann Rudolph Ahle. The tune appeared in Freylinghausen’s Gesangbuch, Halle, 1704, set to this hymn. Its beauty of melody and rhythm is extraordinary. For comments on the composer see Hymn 553.

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555. Evening and morning, sunset and dawning

Paul Gerhardt, 1607-70

Tr. Richard Massie, 1800-87

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“A splendid hymn of our poet, golden as the sun going forth in his beauty, full of force and of blessed peace in the Lord, full of sparkling thoughts of God.” (Lauxmann). Our hymn is a selection of stanzas 4, 8, and 12 of the original twelve.

For comments on Paul Gerhardt see Hymn 134.

This excellent translation by Richard Massie has come into general use.

For comments on Massie see Hymn 554.

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MUSIC. DIE GÜLDNE SONNE, also called “Franconia,” is a beautiful melody by Johann G. Ebeling, 1620-76. A number of his chorales are still in high favor. The name of the tune is derived from the title of Gerhardt’s hymn for which it was written.

For comments on Ebeling see Hymn 525.

EVENING

556. The duteous day now closeth

Stanzas 1, 2, Paul Gerhardt, 1607-76

Tr. Robert Bridges, 1844-1930

Stanzas 3,4, Robert Bridges

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Gerhardt’s hymn appeared in nine stanzas in Crüger’s Praxis Pietatis Melica, 3d ed., 1648. The hymn became known everywhere in Germany and was a favorite of the poet Schiller.

For comments on Paul Gerhardt see Hymn 134.

Stanzas 1 and 2 are free translations by Robert Bridges who added stanzas 3 and 4, his own work, for his Yattendon Hymnal, 1899.

For comments on Bridges see Hymn 32.

MUSIC. INNSBRUCK is commonly attributed to Heinrich Isaak, c. 1460-c. 1527, a German or Dutch (it is not certain which) born musician who spent most of his life in Italy, an eminent organist and composer. Isaak was kapellmeister of Lorenzo the Magnificent and later of Maximilian of Vienna. The tune was first published, so far as is known, in Nürnberg, 1539, in a different version, set to the words, “Innsbruck ich muss dich lassen.” Later it was adapted to the hymn, “O Welt ich muss dich lassen,” and then to Gerhardt’s evening hymn, “Nun ruhen alle Wälder.” The melody has appeared in many different forms in German collections. The arrangement here is that made by J. S. Bach and used in his St. Matthew Passion and elsewhere.

557. Now cheer our hearts this eventide

Nikolaus Selnecker, 1532-92

Tr. Robert Bridges, 1844-1930

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The author, Nikolaus Selnecker, an ardent Lutheran, was a scholar and accomplished musician. He became church organist when only twelve years old and afterwards, in succession, lecturer at the University of Wittenberg, Professor of Theology at Jena, and pastor of St. Thomas’ Church at Leipzig. He wrote Latin verse and composed many German hymns but is chiefly known through this evening hymn. The English rendering of it we owe to Robert Bridges’ Yattendon Hymnal. It was made to suit Bach’s setting of the Proper tune, and freely though finely expands stanzas 1 and 9 of the original.

For comments on Robert Bridges see Hymn 32.

MUSIC. ACH BLEIB BEI UNS, “one of the most famous of German chorales,” appeared in Geistliche Lieder, Leipzig, 1589, and in other contemporary collections.

The composer, Seth Calvisius, 1556-1615, was the son of poor parents, but succeeded in obtaining an education at the Universities of Helmstedt and Leipzig. He was an astronomer and chronologer, besides being a musician, and was offered the Chair of Mathematics at Wittenberg in 1611. Calvisius refused the offer in order to devote himself to music. After holding various musical posts in churches in Leipzig and Schulpforta, he became music director at the Thomaskirche in the former city. Calvisius wrote treatises on the theory of music and published several collections of his own and others’ music, among them Hymni Sacri Latini et Germanici, 1594, in which this tune appears in the alto as a descant to another melody. The present version is from J. S. Bach’s Vierstimmige Choralgesänge, 1769.

GENERAL

558. Commit thou all thy griefs

Paul Gerhardt, 1607-76

Tr. John Wesley, 1703-91

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This “Hymn of Trust” is Gerhardt’s finest lyric. It is based on Psalm 37:5: “Commit thy way unto the Lord; trust also in him; and he shall bring it to pass.” The initial words of each stanza form an acrostic of the German version: “Befiehl dem Herrn deine Wege, und hoff auf ihn; er wird es wohlmachen.” The hymn first appeared in Crüger’s Praxis, 1646. It expresses the simple trust in God that supported Gerhardt through the troubles that arose out of the Thirty Years’ War, as well as his own personal sorrows.

For comments on Gerhardt see Hymn 134.

Of the many translations of this hymn, this one by John Wesley remains the most popular. It was published in 16 four-line stanzas in his Hymns and Sacred Poems, 1739, with the title, “Trust in Providence.” Since the hymn was written in Short Meter, the editors of the Hymnary had to abridge the third line of each stanza to fit this tune with its 7.6.7.6. meter, a practice which Wesley himself would have heartily condemned. Wesley’s unaltered version of his eight stanzas used here are as follows:

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The latter part of the hymn, in Wesley’s translation, is found at No. 246.

For comments on John Wesley see Hymn 170.

MUSIC. The tune, BEFIEHL DU DEINE WEGE, appears anonymously in the Gesangbuch mit Noten. It is probably of American origin.

559. Abide with us, our Savior

Josua Stegmann, 1588-1632

Tr. Anonymous

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A simple and beautiful hymn, having as its keynote the saying of the two disciples at Emmaus: “Abide with us: for it is toward evening, and the day is far spent” (Lk. 24:29). It originally appeared in the author’s Christliches Gebetsbüchlein, Rinteln, 1627, and later in his Erneuerte Hertzen-Seufzer, 1630, under the title, “For the Blessing and Support of the Ministry,” to be used as a closing hymn after the “Prayer for the Preservation of the Doctrine, and of the Church of God.”

Our version is a free translation of stanzas 1 to 3 as it appeared, anonymously, in the Dalston Hospital Hymn Book, 1848, and as repeated in the Pennsylvania Lutheran Church Book, 1868.

Josua Stegmann, son of a Lutheran pastor, was born at Sülzfeld, Germany. He was educated at the Universities of Leipzig and Wittenberg. After holding several positions as teacher and pastor, he became Professor of Theology at Rinteln. With the outbreak of the Thirty Years’ War, he was forced to flee but returned after several years. He suffered much at the hands of his Catholic opponents. Benedictine monks claimed to be the rightful professors and demanded the restoration of certain church properties. At one time soldiers were sent into Stegmann’s house, demanding a refund of his salary, compelling him to a public disputation, and otherwise subjecting him to humiliation.

MUSIC. ACH BLEIB MIT DEINER GNADE is a simple but lovely tune, permeated 356 with a feeling of deep serenity, fitting the present hymn perfectly. It appeared in the composer’s Ein Schön Geistlich Gesangbuch, Jena, 1609, set to the hymn, “Christus, der ist mein Leben,” by which name the tune is also known. J. S. Bach used the melody in his chorale cantata, Christus, der ist mein Leben.

The composer, Melchior Vulpius, c. 1560-1616, was precentor at Weimar about 1600. He composed a number of tunes and published them in his Ein schön geistlich Gesangbuch, &c., durch M.V. Cantorem zu Weymar. Others of his tunes were published after his death.

560. God is my Light

Johann H. K. Hengstenberg, 1770-1634

Tr. Ernst Wm. Hengstenberg, 1835

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The hymn was written by Johann Heinrich Karl Hengstenberg, a Lutheran pastor in the town of Wetter in Westphalia. His literary work is Psalterion published in Essen, 1825, a collection of his hymns, several of which passed into general use in the Lutheran churches of Germany.

The translator has not been identified.

MUSIC. GOTT IST GETREU is a melody contributed by J. R. Ahle, in his Geistliche Arien, 1662, where it is set to the hymn, “Es ist genug,” by Franz Burmeister.

For comments on Ahle see Hymn 553.

561. Take Thou my hand, O Father

Julie von Haussmann, 1825-1901

Tr. H. Brueckner

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Julie von Haussmann, born in Mitau, in the province of Kurland, was the second youngest of a family of six daughters. Her father had been a teacher in a Gymnasium at Riga, later moving to Mitau where he held a government position. Julie, never in vigorous health, was a shy, retiring young woman, but keen of intellect. On several occasions she accepted positions as governess in private homes but was always compelled to give up on account of her health. She finally dismissed all thoughts of a career and devoted herself to the care of her father who had become blind, until the latter’s death in 1864. The following two years she lived with a married sister in Germany and Switzerland and then accompanied her younger sister to Biarritz in southern France where the latter held a position as organist. In 1870 both went to St. Petersburg to be with two other sisters, one of them employed as Director 358 of St. Annenschule. The family circle was broken in 1896 and 1898 upon the death of the youngest and oldest sister. In 1901 Julie settled with relatives near Wösso in Estonia. In spite of old age and weak eyesight, she was busily engaged, until her death, with charities and literary work. She published a devotional book, Hausbrot, and, upon the insistence of a friend, Gustav Knak, her lyrics were published in three volumes, entitled, Maiblumen. Lieder einer Stillen im Lande. “So nimm denn mein Hände” appeared in Maiblumen, 1862, Vol I. It has been translated into many languages.

For comments on the translator, H. Brueckner, see Hymn 517.

MUSIC. SO NIMM DENN MEINE HÄNDE first appeared with the present hymn in 1883. The tune was composed by Friedrich Silcher, 1789-1860, a German musician, born at Schnaith, Württemberg. For 43 years Silcher was the director of music and organist at the University of Tübingen. He composed popular songs and hymns, and a cantata.

562. What mercy and divine compassion

Philipp F. Hiller, 1699-1769

Tr. Frieda Kaufman, 1883-1944

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Based on I Tim. 1:13: “aber mir ist Barmherzigkeit widerfahren” (“but I obtained mercy”).

The hymn appeared first in Hiller’s Geistliches Liederkästlein, Part II, 1767, with the following note by the author:

An unconverted person is much too proud to say these words sincerely from the heart; but the converted person confesses them freely before God and man.

For comments on the author, Philipp Friedrich Hiller, see Hymn 524. The hymn is credited, erroneously, to Gerhard Tersteegen, in the Hymnary.

A number of Hiller’s hymns have been translated but this one apparently had never before been put into English. Our translation, consisting of stanzas 1, 2, 4, and 5, was made especially for the Hymnary by Sister Frieda Kaufman who was for many years associated with the Bethel Deaconess Hospital, Newton, Kansas. Sister Frieda was born near Basel, Switzerland; came with her parents to Halstead, Kansas; and attended Bethel College. After graduating from a nursing course in Cincinnati, Ohio, she received her deaconess garb and has since been known as “Sister Frieda.” From 1908 to 1943 she served as sister-in-charge of the hospital and during much of that time served also as its superintendent. She had much to do with the planning of the Home for the Aged which is operated in connection with the hospital. To these two institutions she devoted her rare gifts and set for them a high standard of Christian service. Sister Frieda had unusual literary and artistic endowments and translated several German hymns into English.

MUSIC. ERBARMUNG is a popular Swiss melody which appeared anonymously in the Gesangbuch mit Noten. It was composed by Johann Gottfried Schicht, 1753-1823, who was born in Zittau. Schicht composed 3 oratorios, church and chamber music, and edited Bach’s motets. He became cantor of the Thomasschule in Leipzig in 1810.

563. Strive aright when God doth call thee

Johann J. Winckler, 1670-1722

Tr. Catherine Winkworth, 1829-78

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Based on the following scripture passages: (1) Stanzas 1 to 5, Luke 13:24: “Strive to enter in at the strait gate; for many, I say unto you, shall seek to enter in, and shall not be able;” (2) stanzas 6 to 15, Philippians 2:12: “Work out your own salvation with fear and trembling;” (3) stanzas 16 to 24, Genesis 19:15-22: “Haste thee, escape thither,” and the story of Lot’s flight from Sodom.

Johann J. Winckler was a Lutheran pastor of the early Pietistic group. After receiving his education in the University of Leipzig, he held important church posts in the city of Magdeburg, climaxed by his appointment as chief preacher at the Cathedral. He made enemies in Magdeburg on several occasions, first, by his stand against theater-going, and afterwards, by his well-meant though futile attempt to bring about a closer union between the Lutheran and Reformed Churches in Prussia. But he bore his opposition with Christian patience and fortitude. His hymns, all of them lengthy, are distinguished by a firm faith and earnestness. They represent the better productions of the early Pietistic writers of Germany.

Our version is a translation of stanzas 1, 13, and 16, by Miss Winkworth, from her Chorale Book for England, 1863. For comments on Catherine Winkworth see Hymn 236.

MUSIC. RINGE RECHT first appeared in Freylinghausen’s Gesangbuch, 1714, and later in Johann Thommen’s Musikalischer Christenschatz, Basel, 1745, set to Winckler’s hymn from which it derives its name. The tune appears in a number of hymn books, sometimes with slight adaptations, and given such names at “Batty,” “Turnan,” and “Invitation.” The composer remains anonymous.

564. Jesus, priceless Treasure

Johann Franck, 1618-77

Tr. Catherine Winkworth, 1829-78

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In its depth of spiritual experience, this hymn by Franck resembles Wesley’s “Jesus, lover of my soul.” It has made a wide appeal and the words have been translated into various tongues. Peter the Great, the irreligious Czar of Russia, of all people, had the hymn done into the Russian language, and it has also been translated into Estonian.

For comments on the author, Johann Franck, see Hymn 552.

For comments on the translator, Catherine Winkworth, see Hymn 236.

MUSIC. JESU MEINE FREUDE is an adaptation of a traditional melody found in J. Crüger’s Praxis Pietatis Melica, 1653, where it is set to the present hymn. Our version of the melody and the harmony is by J. S. Bach. It is a superb tune and rates as one of the finest of all German chorales.

For comments on Johann Crüger see Hymn 242.

For comments on J. S. Bach see Hymn 539.

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565. I am the Lord, O hear my voice

Johann Scheffler, 1624-77

Tr. Joanna Andres

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Based on Matt. 16:24: “If any man will come after me, let him deny himself, and take up his cross and follow me.” The hymn has been called a “masterpiece of scriptural didactic poetry.” It appeared first in the author’s Heilige Seelenlust, 1668.

Johann Scheffler, author of the hymn, holds a high place in the first rank of German poets. Born in Breslau, Silesia, the son of Lutheran parents, he studied in the Universities of Strassburg, Leyden, and Padua, graduating with the degrees of Ph.D. and M.D. Early in life he became 364 deeply interested in the famous shoemaker, Jacob Böhme, a mystic and writer of popular books on the inner life. As a result of his studies in mysticism, Scheffler left the Lutherans and became a priest in the Roman Catholic Church. He then gave up the medical profession to devote himself to writing and the priesthood. Scheffler’s hymns, on the whole, are, however, not distinctly Roman Catholic in sentiment, and they became much more popular among the Lutherans and Moravians than among the Catholics. Scheffler wrote under the nom de plume, “Angelus Silesius,” “Angelus” being the name of a Spanish mystic who influenced him greatly, to which he added “Silesius” to indicate his native country.

The translation was made especially for the Hymnary, by Mrs. Joanna Andres, Newton, Kansas. The hymn is unusual in its use of the personal pronoun “I” in the first three stanzas.

MUSIC. MIR NACH! SPRICHT CHRISTUS UNSER HELD is a popular tune composed by Johann Hermann Schein (misspelled “Rhein” in the Hymnary and the Gesangbuch mit Noten).

For comments on Schein see Hymn 508.

566. O God, Thou faithful God

Johann Heermann, 1585-1647

Tr. Catherine Winkworth, 1829-78

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First published in the author’s Devoti Musica Cordis, Breslau, 1630, where it was entitled “Daily Prayer.” Regarding the hymn, originally appearing in 18 stanzas, Fischer writes in his Kirchenlieder Lexicon, 1878:

It is one of the most widely used and signally blessed hymns and has not unjustly been called his “Master Song.” If it is somewhat “home baked” yet it is excellent, nourishing bread. It gives a training in practical Christianity and especially strikes three notes—godly living, patient suffering, and happy dying.

For comments on Johann Heermann see Hymn 534.

For comments on the translator, Miss Winkworth, see Hymn 236.

MUSIC. O GOTT, DU FROMMER GOTT, also known as “Darmstadt,” is attributed to Ahasuerus Fritsch, a German poet and composer who lived in the second half of the 17th century. The music appeared in his Himmels-Lust und Welt Unlust, Jena, 1679. The present version is from J. S. Bach’s Vierstimmige Choralgesänge, 1765-9.

567. Whate’er my God ordains is right

Samuel Rodigast, 1649-1708

Tr. Catherine Winkworth, 1829-78

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Based on Deut. 32:4: “He is the Rock, his work is perfect: for all his ways are judgment; a God of truth and without iniquity, just and right is he.”

Samuel Rodigast, Professor of Philosophy at the University of Jena, and later rector of the Greyfriars Gymnasium in Berlin, wrote this hymn for his friend Severus Gastorius, precentor of the church at Jena, when Gastorius was ill. Gastorius in turn composed the tune on his sick bed, requesting that the hymn be sung at his funeral. The condition of his health turned for the better whereupon Gastorius ordered his choir to sing the hymn at the door of his house once each week during the period of his convalescence. The music and words became widely known and are used throughout the whole of German Protestantism. The hymn appeared first in Hannoversches Gesangbuch, 1676. The melody appeared in the Auserlesenes Weimarisches Gesangbuch, 1681.

The translation, stanzas 1, 2, and 6 of the original, is Miss Winkworth’s in her Chorale Book for England, 1863.

For comments on Catherine Winkworth see Hymn 236.

568. Lord, Thou hast been Thy people’s rest

James Montgomery, 1771-1854

A metrical version of the 90th Psalm.

For comments on James Montgomery see Hymn 62.

MUSIC. ALLEIN GOTT IN DER HÖH’ SEI EHR’ appeared in Geistliche Lieder, Leipzig, 1539, where it is set to the hymn, “Allein Gott in der Höh sei Ehr,” by Nikolaus Decius. The tune is of pre-Reformation origin. It is an adaptation from an Easter Gloria of anonymous composition, and appears with variants in different collections. Many settings 367 of the tune have been made by Bach and other great composers, the one here being by Mendelssohn, used in his oratorio, St. Paul.

569. Jehovah, let me now adore Thee

Bartholomäus Crasselius, 1667-1724

Tr. Catherine Winkworth, 1829-78

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A prayer for the spirit of grace rightly to praise and worship God, based on John 16:23-28. The hymn was first published in Geistreiches Gesangbuch, Halle, 1697, and appeared again in Freylinghausen’s Gesangbuch, 1704.

Bartholomäus Crasselius, son of a cooper, was born in Wernsdorf, Saxony. He became an ardent disciple of A. H. Francke, leader of the Pietistic movement at Halle. Crasselius was an aggressive advocate of the new life. As Lutheran pastor at Nidda, and later at Düsseldorf, he was known for his unrestrained testimony against the people and the times. Crasselius was nearly always in conflict with the authorities and at one time was suspended four weeks from his office and punished with fines and imprisonment.

The translation, consisting of stanzas 1 and 2, is somewhat altered from Catherine Winkworth’s as it appeared in her Chorale Book for England, 1863.

For comments on Catherine Winkworth see Hymn 236.

MUSIC. DIR, DIR JEHOVAH has been coupled with this text since its first publication in 1704 in Freylinghausen’s Gesangbuch. It is an altered form of a melody set to “Wer nur den lieben Gott lässt walten,” published in the Musikalisches Handbuch, Hamburg, 1690. The composer is not known. In England the tune was altered to fit the long meter hymn, “Ride on, ride on in majesty,” and is called “Winchester New.” See Hymn 369.

570. The Spirit of the Lord revealed

George W. Briggs, 1875—

A hymn on the Scriptures, setting forth the truth that what the Spirit of God revealed dimly in the Old Testament was fulfilled in the New Testament by the Incarnate Word which is Jesus Christ. George W. Briggs wrote the hymn for Songs of Praise, London, 1931.

For comments on Briggs see Hymn 307.

MUSIC. AUS MEINES HERZENS GRUNDE, also known as “Wolder,” is a traditional tune of anonymous origin. It is found in D. Wolder’s Neu Catechismus Gesangbüchlein, Hamburg, 1588, but is doubtless much older than this book. In the Gesangbuch mit Noten the tune is set to the words, “Aus meines Herzens Grunde,” by J. Matthesius, from which it derives its name.

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571. He who would be in God confiding

Georg Neumark, 1621-81

Tr. J. J. Voth

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One of the most popular of the German hymns. The heading given it by the author was:

A Song of Comfort. God will care for and help every one in His own time. Cast thy burden on the Lord and He shall sustain thee. Psalm 55:22.

The hymn arose out of the author’s personal need and suffering. On his way to Königsberg, to attend the University at that place, Neumark was robbed of his money and stripped of all his possessions except his prayer book and a small amount of cash which, he had sewn into his clothing. He was therefore destitute and in despair, with no prospect 370 of going to school or making a living. After many privations, he at last received an appointment as private tutor in the family of a judge at Kiel, “which good fortune, coming suddenly and as if fallen from heaven,” he wrote, “greatly rejoiced me, and on that very day I composed to the honour of my beloved Lord the hymn, well known here and there, ‘Wer nur den lieben Gott lässt walten,’ and had certainly cause enough to thank the Divine compassion for such unlooked-for grace shown to me.”

Neumark was now able to enter the University and became a student of law and poetry. After years of hardship, he finally had the good fortune of being appointed court poet, librarian, and registrar to Duke Wilhelm II of Saxe-Weimar, and custodian of the ducal archives. Shortly before his death in 1681 he became blind. The hymns he wrote during his prosperous years were markedly inferior to those written during his earlier years of hardship and privation.

The translation was made by Rev. J. J. Voth, North Newton, Kansas, then a member of the Bethel College staff, and pastor of the Gnadenberg Mennonite Church near Whitewater, Kansas. There is also a fine translation of this hymn, by Catherine Winkworth.

MUSIC. WER NUR DEN LIEBEN GOTT is wrongly attributed in the Hymnary to the author of the words. Neumark wrote an extraordinarily fine tune, in the minor mode, for these words, used in many collections, including the Canadian Mennonite Gesangbuch, 1942. The present tune is simpler and more popular than Neumark’s. The composer is not known.

572. Our Lord, His passion ended

Francis C. Burkitt, 1864—

A hymn for Whitsuntide.

Francis Crawford Burkitt, born in London, is a scholar of wide repute in England, the author of many linguistic and theological works. He holds honorary degrees from the Universities of Edinburgh, Dublin, St. Andrews, and Oxford. Burkitt was, for many years, Professor of Divinity in Cambridge University.

The meter of the hymn is unique in that the second quatrain of each stanza changes from the common lambic (- —) to the Trochaic (— -).

MUSIC. FORTEM VIRILI PECTORE, of unknown origin, has much of the character of a German folk tune. It appears in various editions of the Catholisches Gesangbuch, Strassburg, 1697 and onwards, set to a German version of the words, “Fortem virili pectore.”

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573. God who madest earth and heaven

Heinrich Albert, 1604-51

Trs. Johann C. Jacobi, 1670-1750

Arthur T. Russell, 1806-74

Catherine Winkworth, 1829-78

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A morning hymn. Stanzas 2, 3, and 5 were special favorites in Germany, 372 stanza 5 having been adopted by children, by brides, by old and young, as a morning prayer. Concerning this hymn, Dr. Cosack, a Königsberg writer, says:

For two hundred years it is hardly likely that a single day has greeted the earth that has not, here and there, in German lands, been met with Albert’s hymn. Hardly another morning hymn can be compared with it, as far as popularity and intrinsic value are concerned, if simplicity and devotion, purity of doctrine and adaptation to all the circumstances of life are to decide.

The author, Heinrich Albert, was the son of a tax collector at Lobenstein, Voigtland. He began the study of music under his uncle, Heinrich Schütz, Court Kapellmeister at Dresden, but abandoned it, at the desire of his parents, to become a lawyer. The profession of law had, however, little interest for him and he returned to his first love, accepting, in 1631, the position of organist of the Cathedral of Königsberg. Albert wrote several hundred secular and sacred poems and composed in all 78 sacred melodies. Most of the former were published in his Etliche Arien.

The hymn has been rendered into English by five or six eminent translators. Johann Christian Jacobi, a native of Germany who was Keeper of the Royal German Chapel, St. James Palace, London, for 42 years, made a translation of this hymn which he included in his Divine Hymns, 1720. Our second stanza, slightly altered, is the work of his hand.

Arthur Tozer Russell, an Anglican clergyman and prolific writer, translated many hymns and composed about 140 original hymns besides a large number of chants and hymn tunes. To him belongs the credit for our 3d stanza which is a translation of stanza 6 of the original. Russell’s translations, on the whole, are “vigorous and strong, but somewhat ultra-faithful to the original metres.”

Catherine Winkworth made a full translation of Albert’s hymn for her Lyra Germanica, 1st Ser. 1855. Our first verse is taken from this work.

For comments on Miss Winkworth see Hymn 236.

MUSIC. GOTT DES HIMMELS UND DER ERDEN was composed by Albert, author of the words. The tune is known too by the names “Godesberg,” and “Waltham.” (See Hymn 370). J. S. Bach used the melody in his Christmas Oratorio.

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574. Jesus, still lead on

Nicolaus L. von Zinzendorf, 1700-60

Tr. Jane L. Borthwick, 1813-97

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Entitled, “Following Christ.” The hymn has become a great favorite in Germany, especially as a children’s hymn. Stanzas 1, 3 and 4 are from Zinzendorf’s “Seelenbräutigam, O du Gotteslamm,” a poem of 11 stanzas, written September 1721. The second stanza is from “Glanz der Ewigkeit,” a 15-stanza poem, dated Berlin, May 1721.

Nicolaus Ludwig, Graf von Zinzendorf, was born at Dresden of a noble, wealthy and religious family. Early in life he came under the teaching of influential Pietists, having Philipp Spener for his godfather and Augustus Francke for his tutor. From his earliest years he had strong religious impressions. As a child his favorite play was “preaching;” as a boy in school he organized the “Order of the Mustard Seed,” the members of which bound themselves in a special manner to the service of Christ, and above all to promote the conversion of the heathen. Upon the insistence of non-pietistic relatives, he attended the University of Wittenberg to study law and to acquire such accomplishments as dancing, fencing, and shooting, but he himself would have preferred the study of theology.

At the age of 21, Zinzendorf bought an estate in Saxony with the view of gathering a number of truly religious persons into a community, which should be a source of new religious life. He invited a group of Moravian exiles, a religious body which sprang from the work of John Hus, to settle on the estate. Thus was formed, in 1722, the Moravian settlement which took the name Herrnhut, “Shelter of the Lord.” The colony grew rapidly and attracted to its numbers not only immigrants from Moravia but many others. In 1727 Zinzendorf gave up his post as an official at the Court of the King of Saxony, to join the Moravian 374 colony and superintend the growing community. Accusing him of spreading false doctrines, his opponents secured an edict from the king, banishing Zinzendorf from Saxony. During this exile, which lasted 10 years, he was engaged in unceasing missionary efforts, from St. Petersburg to the West Indies.