30 October 2012

Walther's Hymnal Excerpt #2: "By Adam's Fall Man's Frame Entire"

Continuing my series on Walther's Hymnal and excerpts of important hymns not translated by myself (mostly), here is an excerpt of my correction and alteration of J.C. Jacobi's (1725) full translation of KELG #236, "Durch Adams Fall ist ganz verderbt" (L. Spengler, 1524), a hymn famous among Lutherans as quoted in their Confessions (Ep I 8) as being sung by the church, and yet not being sung by them in the church—well, almost, since a paraphrase of the first part of the hymn is found in Lutheran Service Book as "All Mankind Fell in Adam's Fall." There is also a very good full translation of a modern style by Mark DeGarmeaux in the Evangelical Lutheran Hymnary which has enjoyed usage in the Evangelical Lutheran Synod for several years already.

The text is especially appropriate for Quinquagesima / Esto mihi (the Sunday before Lent in the Historic Lectionary), as well as for Sexagesima, Good Friday, and the Sixth Sunday after Trinity.

The author, Lazarus Spengler (1479–1534), was city clerk of the important Reformation city Nürnberg, and is known, among other things, for designing Luther's seal after his specifications in a letter.

 Its fine melody took its sacred form in Wittenberg, 1529, when it appeared it Joseph Klug's Geistliche Lieder. Our earliest extant example is from 1533. Below is the slightly simplified form which was used in the Missouri Synod during

 
BY ADAM’S fall man’s frame entire
And nature was infected;
The source, whence came the poison dire,
Was not to be corrected.
The lust accursed, / Indulged at first,
Brought death as its production;
But God’s free grace / Hath saved our race
From mis’ry and destruction.

2. Since Eve by Satan was enticed
And, yielding to temptation,
God’s Word rejected and despised,
And ruined was creation:
Naught could be done, / But God His Son
Must send in our own nature
That through His death, / We all by faith
Might be a newborn creature!

3. By one man’s guilt all men, enslaved,
Were subjects of the devil;
But by another’s grace is saved
Mankind from every evil:
And as we all / By Adam’s fall
Were sentenced to damnation,
So too hath God / By Christ’s own blood
Regained our lost salvation.

 . . . (stanzas 4–6 are included in the published version)

7. But who makes God his hope and trust
Shall never be confounded:
No house built on this Rock is lost,
Though everywhere surrounded
By daring foes / And trying woes;
His faith yet stands unshaken.
Who loves the Lord / Shall by no sword
Nor woe be overtaken.

. . . (stanza 8 is included in the published version)

9. Thy Word’s a lamp unto my feet,
A lantern burning brightly;
My surest guide and path to meet
The Way to heaven rightly.
This Star, where’er / It doth appear,
Reveals those heav’nly graces,
Which are laid up / For all that hope
To taste the Lord’s embraces.

19 October 2012

Walther's Hymnal Excerpt #1: "Come Hither Saith the Son of God"

This is the first post in a small series I am doing of excerpts from the upcoming Walther's Hymnal (Concordia Publishing House, 2012). Here it is on CPH's website. This is an excerpt of a Composite translation prepared especially for this hymnal from the hymn “Kommt her zu mir,” by G. Grünwald, which is found as #276, in the section entitled “Christian Life.” In the upcoming Walther's Hymnal, all 16 stanzas are provided in full.

The earliest publication of the German was a two-hymn broadside dated 1530, where it is entitled “A fine new Christian hymn.” The attribution of the hymn to the Anabaptist Georg Grünwald is made by Wackernagel based on second-hand accounts. At times in its history, being in accord with the Lutheran teaching on sanctification, appearing at such an early date, and so widely sung by Lutherans, the hymn was even erroneously attributed to Dr. Luther himself (e.g., in Eler's Cantica, Hamburg, 1588). Other contenders for authorship were Hans Witzstadt von Wertheim and Jörg Berkenmeyer von Ulm.  

Remarkable for its length as for the earnestness of its admonition to repentance, it is perhaps most notable for its familiar tune, “Kommt her zu mir,” which was first paired with it. Those familiar with The Lutheran Hymnal and Lutheran Service Book will recognize the tune as that appointed for “O Little Flock, Fear Not the Foe” [TLH 263, LSB 666].

Note: The following text, as with all in this Walther's Hymnal series, is an excerpt of a CPH publication and does not fall under the Creative Commons License.

“COME HITHER,” saith the Son of God,
“All ye who loathe sin’s heavy load
And would no longer bear it;
Come hither, young and old, to Me,
For well I know your injury
And gladly would repair it.”

2. “My yoke is mild, My burden light,
And all who bear its easy weight,
Release from hell are given.
I’ll give them strength when theirs would fail,
And by My strength they shall prevail
And so inherit heaven.

3. “All I have done and suffered here
From womb to cross, do ye revere,
And emulate in measure.
What you may think or say or do
Is neither safe nor good nor true,
But as it seeks My pleasure.”

4. The world may wish the bliss to gain
Without the cross, reproach, and pain,
Of which they hear the warning:
It cannot be! The cross is there,
And they must choose its shame to bear,
Or endless shame and mourning.


 . . .

 9. The worldly are afraid of death,
And only when they gasp for breath
Are mindful of devotion.
One toiled for this and one for that,
But each his own poor soul forgot,
In all of earth’s commotion.

10. At last, when he must surely die,
He lifts to God an anxious cry,
And makes a forced surrender:—
I sadly fear, God’s slighted grace,
Which long with scorn he did efface,
Will scarce a pardon tender.
 
11. Dear children, ye your God who own
And piety in heart have shown,
Let not your souls be troubled!
Confide in Jesus’ holy Word,
The greatest Refuge ever heard,
So shall your joys be doubled.

  . . .

14. But seems your cross too much to bear?
Then think of hell—its dark despair—
To which the world is hasting:
Its flame eternally supplies
Each man with torment, groans, and sighs—
Its fuèl never wasting.


15. But ye, beyond this world’s annoy,
In Christ shall find your endless joy—
Which ye do well to ponder;
No mortal tongue can realize
What pleasures and eternal prize
Shall swell you with their wonder.

16. For, what the God of changeless truth
Confirms by Spirit and by oath,
Must come, and ye shall see it.
Whoso will trust His proffered grace
Shall in His kingdom find a place
Through Jesus Christ. So be it!

10 October 2012

Kyrie Stelliferi Conditor orbis

Here is my translation of the trope for the Kyrie “Stelliferi Conditor orbis” (i.e. Kyrie XIII). Thanks to Christopher MacAvoy and Ben Stockermans who provided the music from the tropes published by Gregor & Taube. It is well to note that, while there is apparently no evidence that this trope was sung in the Reformation, similar tropes were maintained in the Lutheran use probably into the 18th century, and certainly received renewed attention in the 19th century by musicians such as Fr. Layriz. Well known among these usually rhymed translations is Kyrie fons bonitatis (now Kyrie II), or Kyrie Gott Vater, that is, Kyrie, God, Father in heaven above; also, the German trope for Kyrie magnae Deus potentiae (O Vater der Barmherzigkeit), which in some cantionales and chorale-books was appointed for Christmastide. On occasion the troped Kyrie paschalis (Kyrie Gott Schöpfer) is also found, appointed for Eastertide. It is with this tradition in mind that I am pleased to submit the trope of Kyrie Stelliferi Conditor, which is in my estimation one of the most interesting of the simpler Kyries in the Gregorian tradition. Set in the XI mode, it is not as jubilant as Lux et origo or as hopeful like Magnae Deus potentiae, but has a solemn character, which no doubt recommended it for feasts of the third class (i.e., Memorials), to which category it was eventually relegated. Yet due to its simplicity and haunting beauty, it is a good candidate for congregations interested in expanding their mass repertoire.

The text, or at very least, the title, appears to be inspired by a passage from Boethius beginning with the same words, of which an interesting translation by Geoffrey Chaucer is available. Here the mighty Maker of the wheel that beareth the stars is invoked by his suppliant creatures, that, He whose power is so manifest in the staggering vault of space with its countless stars and constellations, might have mercy on his lowly people. In view of this apparent majesty, He is rightly appealed to; in view of His visible, omnipotent creative power, He is rightly sought for provision. In Christ, Himself God, who ascended far above even these glorious external creatures, and is seated at the right hand of the Father, the supplications of the faithful are found to have a tangible object and sensible ear. Was He not incarnate, and did He not take flesh like ours, and did He not shed His blood and thereby atone for all mankind? And will He not therefore also be ready and willing to hear our prayer when we pray Have mercy? This is the culmination of the third set of tropes, in the place normally understood as relating to the Holy Spirit. Here, appropriately, is not some kind of description of the Spirit Himself, but an encapsulation of the work of the Spirit, the message that the Spirit speaks, viz., the Gospel of Christ. Here finally are comprehended the Word by which the Spirit calls, and the gifts of Christ, the Sacraments, by which the Spirit gathers, enlightens, and sanctifies the Church on earth and keeps her in the one true faith—the faith by which the faithful implore the Father for mercy on behalf of Christ, and are sure to be heard, for mercy in this life and in the one to come.

The music below has been slightly altered to normalize the syllables in each line. The arrangement provides for each troped verse to be followed by a Kyrie eleison or Christe eleison, so that there are nine troped verses and nine untroped verses. The final three troped Kyries utilize a more extended melody, whereas of the untroped Kyrie, only the final one the fuller or doubled melody, as would be the case also if sung without the troped verses.



1
a. Maker of the star-bearing heavens, /
Grant us Thy mercy, eleison. Kyrie…
b. Thee we worship, and quiet never /
Mouth, heart, and spirit, eleison. Kyrie…
c. All that was, is, and ever shall be /
Thou comprehendest, eleison. Kyrie…

2.
a. Receive with favor Thy people’s prayèrs; /
This we beseech Thee, eleison. Christe…
b. Thou at the Father’s right hand art seated, /
Our whole life ruling, eleison. Christe…
c. Wherefore, beholding Thy mighty powèr, /
Christ, we beseech Thee, eleison. Christe…

3.
a. Grace-bestowing Offspring of the Virgin, /
Deign to hear the pray’rs which we, Thy suppliants, /
Unceasing send Thee  / eleison. Kyrie…
b. Thou who by Thy holy blood restorest /
Man which perished by the fair temptation /
Of fruit forbidden, eleison. Kyrie…
c. Thou who feed’st the flock with heavn’ly wonders, /
Quick’ning all in Thee that seek refreshment /
Forgive Thy faithful, eleison. Kyrie…

Translation © 2012 Matthew Carver.

LATIN
1.
a. Stelliferi
conditor orbis,
digneris nostri
eleison: Kyrie eleison.
b. Profitemur
te ore, corde
indesinenter,
eleison; Kyrie eleison.
c. Praeteritum,
quodvis futurum
esse qui cernis,
eleison; Kyrie eleison.

2.
a. Servorum preces
exaudi clemens;
quaesumus, nostri
eleison; Christe eleison.
b. Patris ad dextram
residens, cuncta
gubernans, nostri
eleison; Christe eleison.
c. Qui ratione
potenti semper,
rogamus, Christe,
eleison; Christe eleison.

3.
a. Almificae virginis edite,
supplicantum precibus intende
jugibus tibi, eleison.
b. Qui instauras hominem vetiti
pereuntem dulcedine pomi
cruore sacro, eleison.
c. Qui cuncta refovendo donis
propriis gregem pascentia vescis,
plebis devotae eleison.

04 October 2012

Mein Trost und Hülf ist Gott allein

I interrupt my series on the hymns of David Spaiser to bring you my translation of the anonymous choral piece, which became a 1-stanza hymn of sorts: “Mein Trost und Hülf ist Gott allein,” first found in Balthasar Musculus, Viertzig schönen geistliche Gesenglein . . . (1597). It is a brief and heartfelt consolation in the face of adversity. The German is quoted, i.a., in Valerius Herberger, Magnalia Dei, Part 9, medit. XI.


MY HELP and stay is God alone, 
  From Him I’ll wander never. 
As His true servant I’ll be known 
  In life and death forever. 
And though the world with all its host 
Oppose me to the uttermost 
  Yet naught will move me from my God 
  While yet my tongue can speak a word. 
    World, what of thee?
    God shieldeth me,
  On Him my trust is founded.

Translation © 2012 Matthew Carver.

GERMAN
Mein Trost und Hülf ist Gott allein,
  ich hab mich ihm ergeben.
Ich bin und bleib der Diener sein
  im Tod und auch im Leben.
Und wenn mir gleich zuwider wär
die ganze Welt mit ihrem Heer,
  von Gott ich doch will lassen nicht,
  dieweili mein Zung ein Wörtlein spricht.
    Welt, wie du willt,
    Gott ist mein Schild:
  Auf ihn steht mein Vertrauen.

17 September 2012

O Gott, ich tu dirs klagen

Here is my translation of the repentance & confession hymn “O Gott, ich tu dirs klagen” (David Spaiser, 1609), originally titled “A dialogue of the poor Sinner with God.” It is to be distinguished from the similarly titled “Ach Gott, ich muß dirs klagen” or “Ach Gott, wem soll ichs klagen” by Franciscus Rhodius. The appointed melody, a contrafact on a secular melody, made its first appearance for sacred use in Spaiser’s Vier und Zwainzig Geistliche Lieder (1609) in conjunction with this text; the tune is more widely known as “Ist Gott für mich, so trete,” though this is an anachronism, since that text was not published until much later. Therefore the proper name of the tune should be “O Gott, ich tu dirs klagen.”


(Sinner:) O GOD, my plaint I bring Thee,
My heart is full of pain.
(Father:) Then let not doubting sting thee,
But tell thy sorrow plain.
(Sinner:) My conscience is offended,
It pricks me grievously!
(Father:) Thy breach may yet be mended,
Take heart, nor timid be.

2. (Sinner:) Alas, the dread conviction
Of all my sins I see!
(Father:) Speak forth, though much affliction
And pain it causes thee.
(Sinner:) Dear Lord, what grief I’ve brought Thee,
My heart’s remorse but view!
(Father:) Then keep what I have taught Thee;
My grace each day is new.

3. (Sinner:) Ah! Lord, in grace behold me,
Have mercy now on me!
(Father:) Come let My arms enfold thee;
My dear child thou shalt be.
(Sinner:) My heartfelt thanks I give Thee,
My Strength, my Rock in need!
(Father:) ’Tis well, then cease to grieve Me,
And to My Word give heed.

4. This lead thy way and guide it,
Until thy life shall close,
Flee all things else beside it
Which do its truth oppose;
And with thy mouth confess it,
Let nothing frighten thee;
With all My heart I’ll bless it,
So well it pleases Me.

5. (Sinner:) Therefore I pray Thee, Father,
Through Jesus Christ my Lord,
My Help above all other;
Give me thy Spirit good,
That I may do this ever
Until my dying day.
Grant nothing us to sever!
Amen, I duly say!

Translation © 2012 Matthew Carver.

GERMAN
1. O Gott, ich tu dirs klagen,
mein Herz steckt voller Pein.
Vater.
Darum wollst nicht verzagen,
Sag an, was mag es sein?
Sünder.
Mein Gwissen tut aufwachen,
das macht mir großen Schmerz.
Vater.
Es ist wohl rath der Sachen,
hab nur ein gutes Herz.

2. Sünder.
Ja, wenn ich hinterdenke
der großen Sünden mein--
Vater.
Sag an, ob dich die kränke
und herzlich leid laßt sein.
Sünder.
Ja freilich, lieber Herre,
hab ich herzliche Reu.
Vater.
So folge meiner Lehre,
mein Gnad ist all Tag neu.

3. Sünder.
Ach Herr, tu dich erbarmen
wohl über mich gar fein.
Vater.
Komm her an meine Armen,
mein liebs Kind sollt du sein.
Sünder.
Deß dank ich dir von Herzen,
mein Stärk und auch mein Hort.
Vater.
Doch mach mir nicht mehr Schmerzen,
Sonder merk auf mein Wort.

4. Dasselbig laß dich leiten
die Zeit des Lebens dein,
fleuch alle Nebenseiten,
die dem zuwider sein;
bekenns auch mit dem Munde,
laß dich nicht schrecken ab:
aus meines Herzen Grunde
ich gfallen an dir hab.

5. Sünder.
So bitt ich dich, mein Vater,
durch Christum allermeist,
der du bist mein Wohltater:
Gib mir dein guten Geist,
damit ichs mög vollenden
bis an das Ende mein,
laß mich nichts von dir wenden;
Amen, sprich ich gar fein.

13 September 2012

O lieber Gott in höchsten Thron

Here is my translation of “O lieber Gott in höchsten Thron” (David Spaiser, ca. 1608),  hymn of thanksgiving for deliverance during the epidemic of 1607. Not much is known about Spaiser himself, and he is generally only known for the first stanza of Ach lieben Christen, seid getrost, which Johann Heune (Gigas) later adapted for his own hymn. We know that Spaiser lived in Augsburg, was a "bader" ("bather", or therapeutic physician) by trade, and was an important member of the Meistersinger guild. While we don't have his birth or death year, we know that he had possession of the Augsburg "Rappenbad" (Rappen baths) from 1581 to 1627, and we also have two of his publications: Vier und zwainzig Geystliche Lieder [24 Spiritual Songs]… (1609), and Vierzig schöne geystliche Lieder… (1621).


DEAR GOD upon Thy highest the highest throne,
True praise to Thee be given,
Through Jesus, Thy beloved Son,
The Lord of earth and heaven,
That Thou, with love and mercy mild,
Hast guarded me, my wife, and child
And all my house from danger.

2. From sickness Thou didst rescue us,
When plagues o’er us impended;
Yet would this judgment have been just
For we have Thee offended
By sin and gross iniquity,
And wicked lives opposed to Thee,
So that Thy rod we merit.

3. In no small peril then I lay
Within my rank and station,
But through the year God was my stay
In working and vocation;
So many men can well attest:
The hand of God hath held me fast,
And sent His blessed angel.

4. I thank Him for His gracious will,
The mercy which He gave me,
Beseeching Him to keep me still
And in all things to save me
And guard me, and my wife, and child,
And all my house with mercy mild,
Through Jesus Christ my Savior.

Translation © 2012 Matthew Carver.

GERMAN
1. O lieber Gott im höchsten Thron,
herzlich tu ich dich loben
durch deinen allerliebsten Sohn
im Himmel hoch dort oben,
daß du mich samt meim Weib und Kind
wie auch mein ganzes Hausgesind
so väterlich behütet.

2. Vor der Seuchen der Pestilenz,
so über uns tat schweben
durch deinen gerechten Sentenz,
so du verhenkt gar eben
wegn  unser Sünd und Missetat,
so jeder wider dich tan hat
mit unserm bösen Leben.

3. Dann ich war nit in gringer Gfahr
in meinem Amt und Wandel
in dem nächsten verschienen Jahr [1607]
mit meinem Tun und Handel,
wie männiglichen ist bekannt,
daß ob mir ghalten Gottes Hand
mit sienem lieben Engel.

4. Ich dank seiner Barmherzigkeit
für diese große Güten;
der wölle mich in Lieb und Leid
hinfüro auch behüten
samt meinem lieben Weib und Kind,
wie auch mein ganzes Hausgesind
durch Jesum Christem. Amen.

10 September 2012

O Gott, mein Herre, mein Glauben mehre

Here is my translation of the supplication hymn for faith, “O Gott, mein Herre, mein Glauben mehre” (David Spaiser, 1509), set to Gastoldi’s (†1609) tune, “A lièta vita,” which in 1594 had been published in conjunction with the text “In dir ist Freude.” The tune has obvious attractions to such a Meistersinger as David Speiser with its bright romantic tone and joyful lilt (there is evidence the tune is based on a German dance form). With only eight lines of text per stanza, It seems that the first three lines of each stanza are meant to be repeated in accordance with the oriignal tune, though since the publication of “In Dir ist Freude,” texts set to this tune normally provide new lines for both sections being repeated. I have followed Spaiser’s construction here, though three extra lines per stanza would probably give the English more room to breathe, so to speak. I have assumed that the second section is not repeated musically. Unlike Spaiser, I rhyme the third line with the final line in each stanza; Spaiser himself rhymes the final accented syllable of the first two lines with the final syllable of the third, and likewise, the final accented syllables of the sixth and seventh lines with the final syllable of the eighth.



LORD GOD, I bid Thee,
Of doubting rid me,
Thy pure Word increase my faith. (x2)
When death must take me,
Do not forsake me;
Grant, I beseech Thee,
That I may reach Thee,
Through Thy beloved Son passing from death.

2. If I have solely
Thy Word so holy,
Hope and comfort my heart fill. (x2)
What higher glory,
God, is before Thee?
Thou, God, art in me,
And I am in Thee;
What can be better than Thine to be still?

3. What of possessions,
Rich acquisitions?
They but for this age remain. (x2)
Thy words of wonder
Shall here and yonder
Stand firm forever
Though men endeavor
Their course to hinder with scorn and disdain.

4. Death, hell, and devil,
All worldly evil,
By Thee, God, confounded be. (x2)
Thy grace I cherish,
And I’ll not perish,
To everlasting
Life I’ll be hasting,
Ever to sing praise and glory to Thee.

Translation © 2012 Matthew Carver.

GERMAN
1. O Gott, mein Herre,
Mein Glauben mehre
durch dein reine güte Lehr.
Wann ich muß scheiden,
wollest mit Leiden
abkürzen schone
in deinem Throne
durch deinen allerliebesten Sohn.

2. Wann ich nur habe
dein Wort vorabe,
gibts meim Herzen Trost und Kraft.
Was will ich mehre,
mein Gott, der Ehre,
weil du bist meine
und ich bin deine?
Wie kann und mag mir doch baß gesein?

3. Güt und auch Gelte
dein Stich nicht hälte,
sonder bleibt alles in der Welt,
aber dein Worte
bleibt hie und dorte
in Ewigkeit,
wer es auch leide
allen, die es verhassen aus Neid.

4. Teufel und Todte
werden zu Spotte
bei meim lieben treuen Gott.
Drum wenn ich sterbe,
Ich nicht verderbe,
das ewig Leben
tust du mir geben:
Sing ich dir allzeit zu Lob und Ehr.

06 September 2012

"Ach lieben Christen, seid getrost" (Spaiser)

Here is my translation of the supplication hymn, “Ach lieben Christen, seid getrost (warum wollt ihr verzagen” (David Spaiser, 1521). The first stanza was later adopted by Johann Heune (Gigas) in 1561 and five new stanzas added to it along the same theme. That hymn can be found in Walther’s Hymnal (KELG) #353. The appointed tune is "Wo Gott der Herr nicht bei uns hält."




DEAR CHRISTIANS, put away your fears!
Why would ye be despairing
That now God’s hand so harsh appears?
Our hearts should be declaring
That we these scourges merited,
The guilt hangs over every head,
And none may claim exception.

2. But as Saint Paul doth us implore,
Let us mark well and ponder
That all this world’s afflictions sore,
As long as here we wander,
Must pale before that glory fair
Which Christ already doth prepare
For us in life eternal.

3. Therefore I pray Thee now, O Lord,
In these last times escort us,
And keep us steadfast in Thy Word,
In warfare good support us!
Against the devil, world, and sin
We e’er must take up arms again
And so we pray Thee, hear us.

4. Thou say’st Thyself, Come unto Me,
Ye weary, heavy-laden!
For I will always be with thee,
To ward each peril sudden,
Lest e’er the foe thy soul offend.
All graciously I will thee tend,
I am Thy Lord and Maker.

5. Why should we then be fearful now,
Though death have us surrounded,
Since God our Lord will not allow
That we should be confounded?
Ah! then come soon, Lord Christ, we pray,
And usher in Thy glorious Day;
For Thou art our Deliv’rer.

Translation © Matthew Carver, 2011–2012.

GERMAN
1. Ach liebe Christen, seid getrost,
warum wollt ihr verzagen,
weil uns der Herr heimsuchen thut?
Laßt uns von Herzen sagen:
Die Straf wir wohl verdienet han,
das muß bekennen jedermann,
niemand darf sich ausschliessen.

2. Dann wie uns S. Paulus vermeidt,
das wollet merken eben,
daß alles Leiden in der Welt
in unserm ganzen Leben
Nit werth sei der schön Herrlichkeit,
die uns Christus hat schon bereit’t
in dem ewigen Leben.

3. Darum so bitt ich dich, O Herr,
zu diesen letzten Zeiten,
erhalt uns nur bei deiner Lehr,
hilf uns ritterlich streiten;
wider Sünd, Teufel und die Welt
müssen wir stetigs sein im Feld,
darum wöllst uns erhören.

4. Du sprichst ja selbst: Kommt her zu mir,
die ihr mühselig bladen,
dann ich ja stetigs bin bei dir,
will wenden euren schaden,
daß euch der Feind nit schaden soll:
Ich bin allein der Gnaden voll,
darzu dein Gott und Herr.

5. Was wölln wir uns dann fürchten sehr
dn Tod auf dieser Erden,
Dieweil uns dann will Gott der Herr
nit lassen zu Schanden werden?
Darum komm bald, Herr Jesu Christ,
der du unser Erlöser bist,
mit deinem Jüngsten Tage.

24 August 2012

Wer Christi Diener hie will werdn

Here is my translation of a portion of the children’s verses (in 147 stanzas) by Joachim Reubold (in Selnecker's Christliche Psalmen… Leipzig, 1597), including those stanzas for the feast of St. Bartholomew (August 24) and the concluding collect. The original title reads: “Brief rhymes for all Sunday and Festival Gospels for children to learn by heart, as a summary of each Gospel, and to be sung profitably and happily to the tune: “Lord, Keep Us Steadfast in Thy Word.”




On St. Bartholomew’s Day
Luke 22:24–30

HE WHO would be Christ’s servant meek,
Let him no earthly glory seek,
Be Christ’s companion, as is due,
Plant in His gardens virtues true.

or:

HE WHO himself Christ’s man would call,
Though he be big, thinks himself small,
Looks down on none, joins not the proud,
Yet learns much, and keeps from the crowd.

Conclusion:
To God be glory evermore,
May He all ill to good restore,
And spare us any hurtful thing;
It will your welfare surely bring.

Prayer:
O Holy blessed Trinity,
Grant that Thy Church united be,
That every people far and wide
Confess Your name and Yours abide.

Translation: © 2012 Matthew Carver.

GERMAN
Auf alle Sonntags und Feste Evangelien kurze Reimen, den Kindern auswendig zu lernen, als ein Summan eines jeden Evangelii, und im Thon, Erhalt uns Herr bei deinem Wort, nützlich und mit Lust zu singen.


An Sankt Bartholomäus Tag
Lucä am 22.

Wer Christi Diener hie will werdn
achte sich keins Gewalts auf Erdn,
Geb Christo stets einen Gefährtn
pflanz Tugend in all seinen Gärtn.

Oder:
Wer ein Diener Christi will sein,
ist er fast groß, er acht sich klein,
veracht niemand, macht sich nicht gmein,
versteht doch viel, ist gern allein.
Beschluß:
Gott die Ehr in alle Dingen,
das Bös zum Guten thu zwingen,
Schaf ab was Schaden will bringen,
so wird es dir nicht mißlingen.

Gebetlein:
O Heilige Dreifaltigkeit,
laß einig sein dein Christenheit,
aufdaß die fremden Völker weit
dich erkennen in Ewigkeit.


23 August 2012

Mein Seel soll loben Gott den Herrn

Here is my translation of “Mein Seel soll loben Gott den Herrn” (Dr. Cornelius Becker, d. 1604), a paraphrase of the CXLVI. Psalm, Lauda anima mea Dominum; as well as the epigrammatic poem, which I here given in an imitation rather than literal rendering. The original title was “Princes are men”; the melody is “Hats Gott versehn, wer will es wehrn” by Balthasar Musculus, one of three instances in Becker’s psalter, the others being Psalm XCIII and CXXXIII.

WHO HOPE doth place
In princes’ grace
To enter heaven’s portal
WIll find at last
In vain that trust,
For all mankind is mortal.

But he who hath
His hope by faith
In God, and doth not waver
Finds help and speed
In every need;
He shall behold God’s favor.

Alleluia.


O PRAISE the Lord thy God, my soul,
With all my heart I’ll God extol
To God I’ll sing, Him glorify
While yet I live, until I die.

2. Put not your trust in princes, nay,
Nor hope in them to be your stay;
For they are nothing more than men,
In whom no help there is to gain.

3. The breath of man must needs go forth,
His body turns again to earth;
That very day his plans must fall,
His thoughts must perish one and all.

4. But happy is the man always
Whose Help the God of Jacob is.
Whose hope in every need and strife
Is in the Lord, the God of Life.

5. He made the heavens, earth, and sea
And all that therein e’er shall be;
In Him set all thy hope and store,
Who keepeth truth forevermore.

6. He renders justice and with haste
Defends the cause of the oppressed;
To hungry people food He gives,
The pris’ner looses, that he lives.

7. The Lord makes blind men see again,
His mighty hand doth e’er sustain
And raise up those who are downcast.
He loves the righteous to the last.

8. The strangers and the fatherless
He keeps, and shows them faithfulness;
He gives the widow comfort true,
The wicked counsel doth undo.

9. Our hopes in Him alone remain;
The Lord forevermore shall reign;
Thy God, O Zion, we will praise,
And endless Alleluias raise.

Translation © 2012 Matthew Carver.

GERMAN
Wer sich verläßt
auf Herren Gunst
dadurch Heil zu erwerben,
der find zu letzt
das alle umsonst,
weil Menschen müßen sterben.

Wer früh und spat
allein auf Gott
setzt alle sein Vertrauen,
der findet Rath
in aller Noth,
Gotts Güte wird er schauen.

Halleluja.

1. Mein Seel soll loben Gott den Herrn,
ich lob Ihn ja von Herzen gern,
ich will lobsingen meinem Gott
so lang ich leb, bis in den Tod.

2. Verläßt euch doch auf Fürsten nicht,
setzt nicht auf sie eur Zuversicht,
denn sie nichts mehr als Menschen sind
bei denen man kein Hülfe findt.

3. Des Menschen Geist muß doch darvon,
er wird zur Erde wiederum,
als denn sein Anschläg sind verlorn
und alles was er ihm erkorn.

4. Selig ist der zu jeder Frist
des Hülfe der Gott Jacob ist,
der sein Vertrauen in der Noth
allein setzt auf des Lebens Gott.

5. Er hat Himmel, Erd und das Meer
gemacht mit allem ihren Heer;
setzt nur auf Ihm dein Zuversicht,
denn Er hält Glauben ewiglich.

6. Er schaffet recht und hilft sobald
denen die leiden groß Gewalt,
die Hungrigen speist Er mit Brot
und wendet der Gefangnen Noth.

7. Der Herr macht sehend blinde Leut,
er liebt und schützt Gerechtigkeit,
sein starke Hand richt auf Geschwind
alle die niedergeschlagen sind.

8. Waisen und Fremdling Er behüt,
erweiset seine Treu und Güt
an armen Wittwen hochbeschewrt,
gottloses Thun zurück Er kehrt.

9. Darauf steht unser Zuversicht:
der Herr ist König ewiglich,
dein Gott, o Zion, allezeit,
Halleluja singn wir mit Freud.

14 August 2012

Herr, wie macht sich dein Christenheit

Here is my translation of “Herr, wie macht sich dein Christenheit” (Joh. Örtel, 1591?), a hymn on the untimely death of faithful ministers and the persecution of the evangelical church. The original title reads “A Hymn of Lamentation and Supplication Because of the Dwindling of Christendom in These Troublous Times.” It seems to have been composed by Örtel for, and sung on, the occasion of the burial of Wittenberg professor, Dr. Johannes Auenarius, and was subsequently published in Leipzig in 1591. The appointed melodies are “Herr, wie lang willt vergessen mein” (Ps. 13) and “Wo Gott der Herr nicht bei uns hält” (Ps. 124).


O LORD, how scarce Thy Christendom
In these dark times is growing!
Upon us let Thy mercy come!
We trust that Thou, all knowing,
Dost in Thy wisdom take away
Thy faithful servants, that they may
Dwell in Thy heavn’ly kingdom.

2. The wicked world expels them all,
No more can it abide them,
Therefore Thou tak’st them to Thy hall,
Which Thy love hath supplied them,
That they may live within Thy grace
And have their constant dwelling place,
Secure from every danger.

3. Thy Christian Church is as a tree
On all sides roughly shaken;
Scarce fruit she harbors in her lee,
And all too soon they’re taken;
And yet on earth she hath remained.
God, grant that she may be sustained;
From all despair preserve us!

Translation © 2012 Matthew Carver.

GERMAN
1. Herr, wie macht sich dein Christenheit
so dünn zu diesen Zeiten!
Drum denk an dein Barmherzigkeit!
es muß doch was bedeuten
Daß du die treuen Diener dein
so sehr aufrafst, und holst sie heim
zu deinem Himmelreiche:

2. Die schnöde Welt dringt sie fast aus,
ist nicht mist ihn zu frieden,
so nimmstu sie, Herr, in dein Haus,
dahin du sie beschieden,
daß jeder da sein bleibend staht
und sein beständig Wohung hat,
von aller Fahr befreiet.

3. Dein Christlich Kirch ist wie ein Baum,
der gschüt von allen Enden,
daran stehn wenig Beerlein kaum
die sich nicht auch verwenden:
Doch steht der Stamm noch in der Erd,
hilf, Gott, daß der erhalten wird,
so wolln wir nicht verzagen.

Amen.

27 July 2012

In case you were wondering…

In case you were wondering why half the hymns have disappeared from this site, here is a shameless plug promoting the book where all those translations (largely updated and improved since the last time readers of this blog saw them) will be found bound up in one handy volume:

Sketch of cover design.
I'm pleased to announce (having entered the contract stage) that Concordia Publishing House  has agreed to publish my translations of the missing hymns from KELG, together with the other hymns already translated (such as those in ELHB and TLH), and other material from the Church hymnbook for evangelical Lutheran congregations of the unaltered Augsburg Confession, tentatively to be released later this year—incidentally, the 125th anniversary of the death of the blessed Dr. C. F. W. Walther, the person chiefly responsible for the production of the German original.

Not poised as an official synodical hymnal but primarily as a translation of a historical document with high devotional potential for modern users, it will be published under CPH's Peer Review process, which allows books that would not normally be published (because of, e.g., their relative niche value, the difficulty these days of keeping dedicated in-house editors, etc.) to see the light of day.

Along with a professional and informative historical introduction by Rev. Jon D. Vieker (translator of LSB 596, inter alia), the translation comprises all the hymnody with all the stanzas from the 1847/1892 editions of the hymnal, along with other KELG material, including prayers and collects gathered from Luther, Rabus, and Arndt, KELG's version of the passion harmony, and the history of the destruction of Jerusalem. These materials are augmented by furhter appendices, notably a translation of the old Saxon divine service for Sunday mornings, and 55 supplementary tunes in 4-part notation, for all the tunes needed which do not appear in CPH hymnals from the time of TLH on.

While having all the non-original material itself conveniently collected in one volume will be a unique value in itself, the addition of all the newly translated material will serve as a rich and informative resource for history students and hymn-singers alike. Scholars of Lutheranism in America, as well as anybody who has an passing interest in the Church's hymnody and confessions, should be pleased and edified by this translation of the Church Hymnbook.

Matthew Carver
Ss. Aurelius & Natalia, Martyrs, A.D. 2012.

11 July 2012

Second Revision of KELG Part III: Melodies.


Lehre und Wehre.
Volume 55. Nov. 1909. No. 11.
(pp. 198ff.)

OUR HYMNAL
III. The Melody Specifications.

In the feedback to the delegate convention relating to the need for revising our hymnal, there was attention given to blunders in the assignments of melodies for many of the hymns in our hymnal. The committee for assessing the feedback was provided with the necessary documents and notified as well that, in the event that the synod is so inclined to undertake a revision of its hymnal, this part of the task should only be committed to the hands of experts. This was done. The commission on the hymnal instituted by the synod turned to men in our circles who have a vocation in the field of hymnody and musicology with the assignment of examining the hymns of our hymnal with respect to the correctness of the appointment of their melodies.1 It was obvious that, in the process, individual taste was not to serve a yardstick for what should be changed or left alone, so that a predilection toward this or that melody could not be the deciding factor, but that certain principles had to be followed which could not change in the course of time according to taste but were always applicable. After careful consideration of the reports submitted by the members of the subcommission and a detailed examination of the suggestions made by them, the commission on the hymnal can now present the following results, beginning with the guidelines operative for both commissions.

Our church possesses a rich treasury of melodies which, when employed extensively and in a intentional way, cannot but serve to give our divine services a greater and greater sense of beauty. For this to occur, every melody must be recognized and valued in its quality and viewed in its beauty and peculiar characteristics. There will be some who ask whether melodies in fact have any character. A hymn tune is a hymn tune. What kind of particular features do these melodies have and how should they be distinguished from other melodies except by key and meter? This is an error, and where this erroneous opinion reigns, any given hymn of like meter will be appointed whatever melody appeals to taste or is easiest to sing. Where there is no sense for the characteristics of the melody, one might think that “Lord Keep Us Steadfast in Thy Word” could be sung to the tune for “From Heav’n Above to Earth I Come,” or “From Depths of Woe I Cry to Thee” sung to the tune for “All Glory Be to God Alone.” Many a jarring example could be cited to show that this is no exaggeration. We have a hymnal in front of us that was published some years ago in which we find the melody “Vom Himmel Hoch” [From Heav’n Above] sung on Ascension and Pentecost, at harvest, at a committal, and at the consecration of a school building, and “Herzlich tut mich verlangen” [My Heart Is Filled with Longing] sung at Christmas. The most astonishing, however, is the use of the melody “Wer weiß, wie nahe mir mein Ende” [Who Knows When Death May Overtake Me] for singing hymns from the sections for Sunday, Morning, Confirmation, and even Dedication of an Organ! Now that is what you call pushing praxis to the extreme. Now, does anything similar happen in our hymnal? Can anyone think of something more wrong than having the deeply stirring Passion hymn, “Der am Kreuz ist meine Liebe” (KELG #71) [Jesus Crucified Possesses], sung to the lightly prancing melody, “Werde munter, mein Gemüte” [Sink Not Yet, My Soul, to Slumber]? Or would anyone seriously suggest that the melody, “Liebster Jesu, wir sind hier” [Dearest Jesus, We Are Here] is fitting for the contents of the passion hymn, “Meine Seel’, ermuntre dich” [O My Soul, Take Comfort, See] (KELG #81)? And we find plenty of such cases in our current hymnal. Granted, the committee is aware that the melodies appointed to the hymns are only a help, and that because of the relative unfamiliarity of their proper melodies these hymns can only be sung by a handful of our congregations. But the committee is also convinced that it is just such an unprincipled handling of our melodies that clouds the judgment of the singing congregation and ruins its taste. Here it is apparent how much can be done in our circles to improve the hymnody, namely, that they are not only sung correctly in respect to their rhythms, but also to the right choice of melodies, and that there is attention given to rehearsing them.

Just as hymn lyrics have their own character, so do hymn melodies, and the character of the melody has to fit precisely with the lyric. This is a principle of greatest importance. The more innate and characteristic this connection is, the greater the effect of the hymn when sung. From this is follows that taking one of our melodies originally appointed for only one hymn text and using it for another text requires the greatest precaution so that two things are not linked together that do not belong together. If this happens, the effect of these hymns that lack their own tune suffers, and—what is even more significant—the tune itself suffers. When they are used thoughtlessly for every possible text, the congregation loses its sensitivity for the characteristics of the melody; this creates a meaningless array of tunes whose only value lies in the fact that any text of a certain meter can be sung to them. In this way monotony and colorlessness enter into the hymnody of the divine service. In addition, this comes: When a melody is chosen at will, or if one melody is used for a certain text today and another tomorrow, no firm tradition can be built up in the congregation, and the divine service is impoverished in its characteristic movement and in the means for giving it the desired variety. 

Characteristic variety does not consist of colorfully trading off melodies of the same meter between hymn texts, but of choosing the melody that fits the text and allowing the melody to be heard in the right place and at the right time. Then the golden apples of our hymns are provided with the silver settings of melody. There are hence two things to look for in the proper apportioning of melody and text of like meter: first, to regard the characteristics of the hymn and tune; second, to examine the melody in its appropriateness for festivals and feast days. The first principle is immediately obvious and applies to the majority of hymns in our current hymnal whose character does not direct them for a specific time of the church year; the second principle is in need of closer substantiation.

The study of hymnology teaches us that a large portion of our most magnificent hymn music finds its roots in certain particular times of the church year and feast days. Our most significant melodies belong in origin and character to a festival of the church or a certain particular segment of the Christian life. Mostly, however, the former is the case. We have many marks that give the seasons of the church year their own quality; but aside from the act of salvation to be celebrated, the hymn and its melody form the characteristic mark of the seasons of the church year. The fact that the church seasons have need of such particular quality is essential to their nature. The way the earth looks, its clothing, instantly appears in our mind whenever a season of the natural year is mentioned. New leaves, buds and blossoms signify the spring; the beauty of flowers and ripening grain, the summer; produce, harvest-time; falling leaves, the autumn; and the snowy garments of the frigid earth, the winter. It is the same with the church year. When we hear “Gott sei Dank durch alle Welt” [Let the Earth Now Praise the Lord], to the customary melody “Nun komm, der Heiden Heiland” [Savior of the Nations, Come], we know that we are in the serious season of Advent. Among the classic melodies of the Christmas season belong “Gelobet seist du, Jesu Christ” [We Praise Thee, Jesus, at Thy Birth] and “Vom Himmel hoch, da komm ich her” [From Heav’n Above to Earth I Come]. When we hear the crown of all passion tunes, “Herzlich tut mich verlangen” with the words “O Haupt voll Blut und Wunden” [O Sacred Head, Now Wounded] or the singular “O Lamm Gottes unschuldig” [Lamb of God, Pure and Holy] sounded, it must be the season when Christians meditate on the Savior’s the sufferings and death; when the powerful tune “O Traurigkeit” [O Darkest Woe] is intoned, it must be Good Friday, and when the exultant cry, “Christ ist erstanden” [Christ Is Arisen] rings out, and “Auf, auf, mein Herz, mit Freuden” [Awake, My Heart, with Gladness] at its heels, it is the Easter jubilee. We could go on and on, but these examples will suffice.

According to these principles, then, the following melody rubrics have been selected and amended. It is not suggested that the right one was always found in every case according to these principles, since it is obviously far easier to characterize hymn texts than to discern the core essence of melodies. The committee welcomes notification of erroneous indication of melodies. It should be further noted that certain melodies that were burdened too heavily have been unburdened somewhat, and others of like character and fitting the text put in their place. Where the chorale books that we use contain proper melodies for specific hymns, these were indicated in almost every case, so that the wealth of our church’s melodies could always be recalled, and organists and congregations encouraged to think about rehearsing those melodies in cases where they are unfamiliar. However, a more closely fitting melody is always provided by which the hymn may be sung until the proper melody has come into practice. When two melodies are indicated for the same hymn, the first takes precedence. Perhaps in a later article the correction of the melody assignments will be explained in greater detail.

New melody specifications: 
2. Christus, der ist mein Leben. 3. Proper melody, or: Nun laßt uns Gott dem Herren. 13. Zeuch ein zu meinen Toren, or: Aus meines Herzens Grunde. 15. Proper melody, or: Vom Himmel hoch. 16. Ach Gott vom Himmelreiche, or: Valet will ich dir geben. 25. Nun danket alle Gott. 26. The repeats should be dropped. 29. Proper melody, or: Vom Himmel hoch. 33. Von Gott will ich nicht lassen, or: Helft mir Gotts Güte preisen. 34. Nun danket alle Gott, or: Was frag ich nach der Welt. 37. Proper melody. 42. Proper melody, or: Vom Himmel hoch. 43. Vom Himmel hoch, or: Lob sei dem allmächtigen Gott. 44. Proper melody, or:Valet will ich dir geben. 45. O Jesu Christ, dein Kripplein ist, or proper melody. 48. Proper melody, or: Herr Jesu Christ, dich zu uns wend. 49. Vom Himmel hoch, or proper melody. 50. Proper melody, or: Aus meines Herzens Grunde. 52. Zion klagt mit Angst und Schmerzen, or: Werde munter, mein Gemüte.2 57. O Welt, ich muß dich lassen. 60. Wo Gott zum Haus nicht gibt sein Gunst, or: Herr Jesu Christ, meins Lebens Licht. 61. Vom Himmel hoch, or: Lob sei dem allmächtigen Gott. 62. Herr Jesu Christ, dich zu uns wend. 66. Allein aus Gottes Wort, or: Durch Adams Fall ist ganz verderbt. 70. Da Jesus an dem Kreuze stund (or: In dich hab ich gehoffet, Herr.)3 71. Proper melody, or: Freu dich sehr, o meine Seele. 74. Herr Jesu Christ, du höchstes Gut, or: Herr, wie du willst. 77. Der am Kreuz ist meine Liebe, or: Freu dich sehr, o meine Seele. 78. Jesu, meines Lebens Leben, or: Jesu, der du meine Seele. 81. Proper melody (or: Liebster Jesu, wir sind hier). 83. Proper melody, or: O Gott, du frommer Gott. 85. Proper melody, or: Nun laßt uns den Leib begraben. 86. The repeats should be dropped. 87. The repeats should be dropped. 89. Proper melody, or: O Welt, ich muß dich lassen. 91. Freu dich sehr, o meine Seele, or: Der am Kreuz ist meine Liebe. 94. Proper melody (or: Herr Christ, der einig Gottssohn). 95. Nun laßt uns den Leib begraben, or: Wenn wir in höchsten Nöten sein. 101. Zeuch ein zu meinen Toren, or: Aus meines Herzens Grunde. 102.4 115. Herr Jesu Christ, meins Lebens Licht, or: Ach, bleib bei uns. Herr Jesu Christ. 118. Es ist das Heil uns kommen her. 121. Zeuch ein zu meinen Toren, or: Aus meines Herzens Grunde. 126. Proper melody, or: Erschienen ist der herrlich Tag. 127. Der Heilge Geist herniederkam, or: Erschienen ist der herrlich Tag. 128. Helft mir Gott Güte preisen, or: Aus meines Herzens Grunde. 131.5 135. Proper melody, or: Gott des Himmels und der Erden. 137. O daß ich tausend Zungen hätte (in 4/4 time), or: Wer nur den lieben Gott läßt walten. 139. Herr Jesu Christ, dich zu uns wend. 141. Proper melody, or: Aus meines Herzens Grunde. 143. Herr Jesu Christ, dich zu uns wend, or proper melody. 148. Proper melody, or: Aus meines Herzens Grunde. 150. Christ, unser Herr, zum Jordan kam (or: Es wollt uns Gott genädig sein). 153. Herr Jesu Christ, meins Lebens Licht.)6 155. Nun freut euch, lieben Christen gmein, or proper melody. 157. Es ist das Heil uns kommen her. 160. Allein auf Gottes Wort, or: O Herre Gott, dein göttlich Wort. 162. Proper melody, or: Wo Gott der Herr nicht bei uns hält (Nun freut euch, lieben Christen gmein). 163. Proper melody, or: Vater unser im Himmelreich. 166. Proper melody (or: Aus tiefer Not). 167. Proper melody, or: Herzliebster Jesu, was hast du verbrochen. 169. Ich dank dir, lieber Herre, or: Valet will ich dir geben. 170. Proper melody (or: Wo Gott der Herr nicht bei uns hält). 176. Erhalt uns, Herr, bei deinem Wort, or: Wenn wir in höchsten Nöten sein. 179. Erhalt uns, Herr, bei deinem Wort, or: Herr Jesu Christ, meins Lebens Licht. 181. Dies sind die heilgen zehn Gebot. 182. Dies sind die heilgen zehn Gebot. 186. Proper melody (or: Es wollt uns Gott genädig sein). 191. Christ, unser Herr, zum Jordan kam (or: Es wollt uns Gott genädig sein). 194. Herr, wie du willst, or: Herr Jesu Christ, du höchstes Gut. 197. Proper melody, or: Herr Jesu Christ, du höchstes Gut. 201. O Welt, sieh hier dein Leben, or: O Welt, ich muß dich lassen. 202. Ich sterbe taglich, or: Wer nur den lieben Gott läßt walten (G maj.). 206. Proper melody, or: Herr Jesu Christ, dich zu uns wend. 214. Proper melody (or: Herr, wie du willst). 215. Aus tiefer Not, or: Wo Gott der Herr nicht bei uns hält. 216. Proper melody (or: Es ist gewißlich an der Zeit). 218. Proper melody, or: Wer nur den lieben Gott läßt walten. 221. Proper melody, or: Jesu, meines Lebens Leben. 222. Jesus, meine Zuversicht, or: Meinen Jesum last ich nicht. 228. Aus tiefer Not, or: Herr, wie du willst. 230. Auf meinen lieben Gott. 234. O daß ich tausend Zungen hätte (4/4 time). 238. Herr Jesu Christ, du höchstes Gut, or: Es ist gewißlich an der Zeit. 239. Ich dank dir, lieber Herre, or: Valet will ich dir geben. 240. Proper melody, or: O daß ich tausend Zungen hätte. 245. Proper melody, or: Es ist das Heil uns kommen her. 250. Proper melody (or: Nun komm, der Heiden Heiland). 253. Proper melody, or: Gott des Himmels und der Erden. 254. Proper melody, or the melody of hymn no. 255. 263. Proper melody, or: O Gott, du frommer Gott. 264. Proper melody, or: Herr, ich habe mißgehandelt. 266. Herr Jesu Christ, dich zu uns wend. 267. Jesus, meine Zuversicht, or: Meinen Jesum last ich nicht. 272. Das Jesulein soll doch mein Trost, or: Durch Adams Fall ist ganz verderbt. 284. Proper melody, or: O Herre Gott, dein göttlich Wort. 288. Ach Gott vom Himmel, sieh darein (or: Es ist gewißlich an der Zeit). 293. Geduld, die solln wir haben, or: Ich dank dir, lieber Herre. 299. Herr Jesu Christ, meins Lebens Licht. 304. Nun laßt uns Gott dem Herren. 312. Proper melody, or: Ach, bleib bei uns, Herr Jesu Christ. (drop repeats) 313. Proper melody, or: Herr Jesu Christ, dich zu uns wend. 314. Proper melody (or: Herzlichster Jesu, was hast du verbrochen). 317. Wo Gott zum Haus nicht gibt sein Gunst. 320. Proper melody, or: Nun danket all und bringet Ehr. 329. Proper melody, or: O Welt, ich muß dich lassen. 333. Proper melody (Kunz-Brauer). 334. Proper melody, or: Herr Gott, dich loben alle wir. 339. Proper melody, or: Nun danket all und bringet Ehr. 342. Lob sei dem allmächtigen Gott, or: Herr Gott, dich loben alle wir. 344. Proper melody, or: Nun freut euch, lieben Christen gmein. 345. Lob sei dem allmächtigen Gott, or: Herr Gott, dich loben alle wir. 351. Proper melody, or: Lasset uns mit Jesu ziehen. 352. Proper melody, or: Herr Jesu Christ, meins Lebens Licht. 353. Wo Gott der Herr nicht bei uns hält, or: Herr, wie du willst. 358. Was frag ich nach der Welt. 361. Proper melody, or: Erhalt uns, Herr, bei deinem Wort. 362. Erhalt uns, Herr, bei deinem Wort, or: Wenn wir in höchsten Nöten sein. 367. Proper melody, or: Herzlich tut mich verlangen. 377. Proper melody, or: Durch Adams Fall ist ganz verderbt. 378. Von Gott will ich nicht lassen, or: Helft mir Gotts Güte preisen. 379. Zion klagt mit Angst und Schmerzen, or: Freu dich sehr, o meine Seele. 380. Zion klagt mit Angst und Schmerzen, or: Freu dich sehr, o meine Seele. 381. Proper melody (or: O Herre Gott, dein göttlich Wort.) (Drop repeats.) 385. Proper melody, or: Freu dich sehr, o meine Seele. 386. Proper melody (or: Herzliebster Jesu, was hast du verbrochen). 388. Was mein Gott will, das gscheh allzeit, or: Durch Adams Fall ist ganz verderbt. 395. Aus tiefer Not, or: Ach Gott vom Himmel, sieh darein. 396. Herr Jesu Christ, du höchstes Gut, or: Herr, wie du willst. 402. Wenn mein Stündlein vorhanden ist, or: Herr, wie du willst. 407. Proper melody, or: Wenn wir in höchsten Nöten sein. 410. Proper melody, or: O Ewigkeit, du Donnerwort. 413. Zion klagt mit Angst und Schmerzen, or: Freu dich sehr, o meine Seele. 414. Proper melody, or: Zeuch ein zu meinen Toren. 418. Herr Jesu Christ, wahr Mensch und Gott, or: Nun laßt uns den Leib begraben. 419. Wenn mein Stündlein vorhanden ist, or: Herr, wie du willst. 422. O Welt, sieh hier dein Leben, or: O Welt, ich muß dich lassen. 428. Proper melody, or: Herr, wie du willst. 437. Ach Gott vom Himmelreiche, or: Valet will ich dir geben. 438. Proper melody, or: Es ist das Heil uns kommen her.

The Commission on the Hymnal: A. Crull.
O. Hattstädt.
J. Schlerf.
1On the subcommittee is Prof. E. Homann, the organist J.M. Theiß, H.F. Hölter, H. Ilse, and Prof. F.O. Reuter.
2If the hymn were restored to its original form, it would be sung to “Herr, ich habe mißgehandelt.”
3Only in the circumstance that the first melody for this hymn is very unfamiliar, the committee has considered providing the melody “In dich hab ich gehoffet, Herr,” which fits the meter, though not the rhyme, so as to make the hymn more singable. All parenthetical melody appointments are only to be seen as an aid until the first melody is in use.
4In most of the reformation hymnals, the double Hallelujah in the middle of everys stanza is dropped and replaced with a single Hallelujah at the end, so that the hymn can be sung to the Easter melody “Erschienen ist der herrlich Tag.” This also applies to #107.
5Only to be sung after the proper melody and not after “Ein feste Burg.” There is recently a sort of unspoken agreement in hymnals to leave the melody “Ein feste Burg” only to its proper text.
6When sung as a repentance and confession hymn, use “Wenn wir in höchsten Nöten sein.”

Translation: © 2012 Matthew Carver.

07 July 2012

Second Revision of KELG: Part II.


Lehre und Wehre.
Volume 54. 1908. (p. 448ff., 500ff.)


II. Index of Authors.


Regarding the information under the hymns in our hymnal, no certain method has been used. Either the hymn text is followed by the supposed year of composition, or the year of the author’s death, or the year when the hymn first appeared in print. A fourth system has even been adopted by many hymnals, which is namely to identify the respective hymnwriter’s biographical dates, the year of his birth and death. This system, however, is not to be recommended for the simple fact (as already noted in the first publication of the Hymnal Commission in the August edition of this monthly journal) that the biographical dates of a Luther, Gerhardt, Rist, Heerman, etc., would be so often repeated , that one would be forced to ask what the purpose was. No more to be recommended is the system observed in our hymnal whereby many hymns are followed by the year of their composition, since by only a slight few of the hymns can the time of creation be determined with any numeric certainty. Even the hymns of Luther cannot all be dated. The best system is the one that we find in the older hymnals. The hymn is followed only by the name of the author, but in the the appendix to the hymnal there is an index of authors in which everything interesting or edifying that is known about an author is detailed in a brief, compact manner—not only the essential personal details, his calling, title, and alias, but also his importance to the church or Christian life, an excellent book of edification that he wrote, the circle in which he moved, etc.

This commission recommends that our hymnal be supplemented with such an index. Many congregants would be surprised to learn from this index that those who wrote our hymns came from all different walks of life. Of course the majority of them were theologians, but scattered among these are also many pious laymen, persons of high station as well as common folk, tutors of princes and teachers of peasants, mayors and statesmen, soldiers and poets of worldly renown, musicians, doctors and lawyers, as well as ladies of the nobility.Among these poets are men who exercised a far-reaching influence on the development of the Kingdom of God, and also those who, unheeded by the world, served their God in silence, and of whom we might well have known nothing, had they not left us one or more hymns. How useful such an index would be for school also! Of course, this index can, by nature of the case, only be limited to the simplest information. But precisely because of its simplicity, it might easily be resorted to briefly on many occasions in school, and no doubt help to affix the live words of the teacher and assist in remembering them. A sketch of the sort of hymnwriter index that the commission has in mind is presented here following. That the commission has taken every precaution for the reliability of the information cannot be especially authenticated; much of the more or less unfamiliar information rests nevertheless on solid sources.




Index of the Authors of our Hymns.
“Let us praise the renowned and our fathers one after the other. They have learned the music and composed spiritual hymns” (Sir. 44:1, 5).


Agricola, M. Johann (Schnitter), born 1492 in Eisenach, died 1566 as court preacher in Berlin, sometime docent in Wittenberg, later came into conflict with Luther. His hymn, #273, is a proper supplication for a Christian life.


Alber, Dr. Erasmus (Alberus), born ca. 1500 in Wetterau, student and friend of Luther, died 1553 as superintendent in Mecklenburg, led a passionate life and was full of zeal for the Lutehran church. His hymns, #122, #310 (?), #312, #442, were probably composed by him in low German.


Albin, Johann Georg (Albinus), born 1624 in Unterneißa near Weißenfels, died 1679 as pastor in Naumburg. #397.


Ämilie Juliane, duchess of Schwarzburg-Rudolstadt, born 1637, wife of the duke Albert Anton, died 1706, wrote 587 hymns, among them a morning hymn before Communion, #196, a hymn for the end of the week, #322, a hymn of praise, #336, a hymn for inclement weather #392, and a hymn for dying #429.


Anark, lord of Wildenfels, died 1539 in Altenburg. #161 (?).


Arends, Wilhelm Erasmus, born 1672, died 1721 as pastor in Halberstadt. His mighty battle hymn for spiritual warfare and victory is hymn #282.


Arnschwanger, M. Johann Christoph, born 1625 in Nürnberg, died 1696 as senior and archdeacon in his native city. #164.


Assig, Hans von, born 1650 in Breslau, died 1694 as palace captain and chamberlain in Schwiebus. For the consecration of the church in Schwiebus he wrote hymn #168.


Bapzien, Michael, born 1628, was cantor in Hayn in the principality of Liegnitz and Königsberg, 1669 in Thorn, where he died 1693. # 80.


Becker, Dr. Kornelius, born in Leipzig 1561, died there 1604 as professor of theology and pastor at St. Nicolai, put the entire Psalter into verse. His 100th psalm we possess in the Hannover version; it is hymn #10, with beautiful refrain: “Gott loben, das ist unser Amt.” #365 (st. 7), #414.


Behm, Martin (Behem, Behemb, Bohemus), born 1557 in Labau, died there 1622 as senior pastor. Three of his hymns are in our hymnal: the Epiphany hymn #59, the dying hymn #85, and the morning hymn #303.


Bienemann, Dr. Kaspar (Melissander), born in Nürnberg 1540, tutor of the prince at the court of Weimar, died 1591 as general superintendent in Altenburg. Hymn #270, a heartfelt prayer to be sustained in the true faith and for a blessed end, he composed in 1573 when he was chased out of his office in Weimar by the Calvinists.


Birken, Sigismund von (Betulius), native of Wildensten, Bohemia (near Eger) in 1626, tutor at vareious courts, fled Bohemia with his parents because of the faith, died as private schoilar in Nürnberg 1681. His hymns have found a home in our hymnal as #76 and #278.


Blaurer, Thomas, studied in Wittenberg ca. 1520, later converted to the Reformed church, was mayor and imperial judge. #189.


Burmeister, Franz Joachim, born 1633 in Lüneburg, where he became pastor 1670 and died 1672. #403.


Clausnitzer, M. Tobias, born 1618 in Thurn, Saxony, died 1684 as palatinate consistoriate in Weiden, Upper Palatinate, wrote hymns #8 (sts. 1–3) and #184. Hymn #74 is a reworking of one of his hymns.


Crasselius, Bartholomäus, born 1667 in Glauchau, Saxony, where he died 1724; was a student of A.H. Francke and pastor in Düsseldorf. From him we have the invocation of the Spirit and truth, hymn #265.


Creutziger, Elisabeth (Cruciger), died 1535, wife of the professor of theology Caspar Creutziger in Wittenberg, a friend of Luther’s. It is from this lover of spiritual hymnody that the first Jesus hymn of the Lutheran church, #24, derives.


Dach, M. Simon, born 1605 in Memel, died 1659 as professor of poetry at the university of Königsberg, was the chief of that city’s circle of poets. Three burial hymns by him survive till today: #410, #424, #437. He wrote the justification hymn #239 upon the departure of Duke Achatius von Dohna.


Decius, Nikolaus, is supposed to have written hymns #1 and #86. But according to more recent research the author was probably either Nikolaus von Hof or Joachim Slüter, the publisher of the earliest Low German hymnal of 1525, in which both hymns first appeared.


Denicke, David, born 1603, native of Zittau, Upper Lusatia, consistory advisor in Hannover, from 1646 on published an influential Hannoverian hymnal with Justus Gesenius, in which for the first time older hymns appeared principally and methodically reworked according to newer taste; died 1680 in Hannover. Since Gesenius and Denicke did not distinguish their own hymns in their Hannover hymnal, the hymns of these men appeared almost entirely as anonymoous in the 17th century. #10, 70, 160, 178, 182, 191, 244, 277, 287, 396.


Derschau, Dr. Bernhard von (Derschow), born 1591 in Königsberg, where he died 1639 as professor of theology, consistory advisor, and head pastor. #199.


Deßler, Wolfgang Christoph, born 1660 in Nürnberg, died 1722 as assistant pastor there, wrote hymn #262 [My Soul’s Best Friend], which has rendered him unable to be forgotten.


Dilherr, M. Johann Michael, born 1604 in Themar in Hennebergisch, professor at Jena, then college director at Nürnberg and finally pastor and librarian there, collaborator on the Weimar Bible project, died 1669. #296.


Drese, Adam, born 1620 in Thuringia, died 1701 as the princely Schwarzburg music director at Arnstadt in Thuringia. From him we get hymn #260 along with its melody which helped quickly to spread the hymn.


Eber, Dr. Paul, born 1511 in Kitzingen, lower Franconia, friend of Luther and Melanchthon, died 1569 as professor of theology, general superintendent and city rector of Wittenberg. As among the hymns of dying the hymn #407 claims a high place, so does #387 among the hymns of consolation. Besides these hymns #50 and 156 are from him. The former contains in its first letters of the stanzas the name of his daughter Helena (acrostic).


Fischer, Christoph (Vischer), born in Joachimsthal, Bohemia, died 1600 as court pastor and general superintendent in Celle. His hymn #95 is inserted [eingefügt] as his “exposition of the Passion.”


Fleming, Dr. Paul, born 1609 in Hartenstein, Saxony; in 1633 took part in a six year ambassadorship to Russia and Persia, during the beginning of which he composed hymn #329, and as a doctor in Hamburg, died 1640 as a result of the exertions of this journey.


Flitner, Johann (Flittner), born 1618 in Suhl, was deacon in Greifswald, died 1678 as emigrant in Stralsund. #252.


Franck, Johann, born 1618, died 1677 as national elder of Lower Lusatia and mayor of his native city Guben; after Paul Gerhardt was the most important hymnwriter of his time; a student of Simon Dach. #64, 210, 251.


Franck, Michael, born 1609 in Schleusingen, was forced to end his studies and became a baker, later teacher in the city school of Koburg, where he died in 1667. #284.


Franck, Salomo, born 1659 in Weimar, died there in 1725 as head consistorial secretary, w


Freundt, Kornelius, born in Plauen in the Voigtland ca. 1530; was cantor in Borna near Leipzig,1565 in Zwickau, where he died in 1591. #19.


Freystein, Dr. Johann Burkhard, born 1671 in Weißenfels, died 1718 as court counselor and justicial advisor in Dresden. #279.


Fritsch, Dr. Ahasverus, born 1629 in Mücheln in the province of Saxony, chancellor and consistory president in Rudolstadt, where he encouraged both countesses Ludmilla and Emily Juliane of Schwarzburg-Rudolstadt in the composition of spiritual poetry; died in that place in 1701.


Fröhlich, Bartholomäus, pastor of Perleberg, Priegnitz 1580–1590. #402.


Füger, Kaspar, the “court preacher of the old wife of duke Henry,” died in Dresden toward the end of the 16th century. Among his spiritual hymns the Christmas hymn #45 is the most famous.


Funcke, Friederich, born in 1642 in Nossen in the Ore Mountains, cantor in Perleberg and Lüneburg, 1694 pastor in Römstedt near Lüneburg where he died in 1699, was musical artist and singer, as well as writer of 15 hymns. #124.


Gedicke, Lampertus, born 1683 in Gardelegen in the Old March, died 1735 as the resolute soldier-pastor of Friedrich Wilhelm I at the garrison church of Berlin. #383.


Gerhardt, Paul, after Luther the greatest of the hymnwriters of the Lutheran church, born on March 12, 1607 in Gräfenhainichen near Wittenberg, studied Wittenberg, was active from 1643 to 1651 as candidate in Berlin, 1651–1657 provost in Mittenwald, 1657 deacon at St. Nicolai in Berlin, was ejected from his office in 1667 because of his Lutheran confession, from 1669 archdeacon in Lübben on the Spree, where he died June 7, 1676. #20, 93, 40, 44, 46, 54, 56, 73, 84, 89, 91, 97, 113, 130, 141, 150, 187, 200, 248, 256, 274, 290, 291, 304, 319, 338, 339, 340, 347, 351, 355, 366, 370, 375, 379, 401, 409, 419, 432.


Gesenius, Justus, born 1601 in Esbeck in Hannover, died 1673 as general superintendent and head court preacher in Hannover. (See notes on Denicke.) #37, 77, 94, 112, 140, 149, 157, 188, 246 (st. 6), 360.


Gotter, Ludwig Andreas, born 1661, died 1735 as court counselor in his native city Gotha. His hymn #269 is fervent prayer for the gifts of the Holy Ghost.


Gramann, Dr. Johann (Graumann, Poliander), born 1487 in Neustadt, Bavaria, Eck’s secretary at the Leipzig Disputations with Luther in 1519; then an adherent of Luther, and, recommended by the latter to Königsberg, died there as pastor in 1541. His famous reworking of Psalm 103, #348 (1–4) is the earliest hymn of praise of the Lutheran church.


Groß, Dr. Johann (Major), born 1564 in Reinstädt near Orlamünde, 1592 deacon in Weimar, 1605 pastor and superintendent in Jena, 1611 at the same time professor of theology, collaborator on the Weimar Bible work, died there in 1654. #212 (?).


Greif, Andreas (Gryphius), born 1616 in Groß-Glogau, died there in 1664 as agent [Syndikus] of the local estates. While chiefly a worldly poet, he also authored excellent spiritual hymns. #169.


Hagen, Peter (Hagius), born 1569 in Heiligenbeil, East Prussia, died 1620 as headmaster of the cathedral school in Königsberg. #61, 66.


Heermann, Johann, born 1585 in Raubten, Silesia; from 1611 pastor in Köben near Glogau, suffered much cross with his congregation and at home during the tribulations of the Thirty Years’ War, died 1647 in Lissa, Poland. He is the most important hymn-writer of the period between Luther and Gerhardt. #47, 75. 105, 152, 163, 175. 176, 198, 206, 219, 223, 223, 229, 230, 246, 257, 272, 281, 237 (st. 7), 238, 308, 318, 373, 378, 334, 385, 390, 405, 413, 421; #77 and 277 are reworkings of his hymns.


Heider, Friedrich Christian, born 1677 in Merseburg, died 1754 as pastor in Zörbig bei Halle. # 202.


Held, Heinrich, born 1620 in Guhrau, Silesia, solicitor in Fraustadt and Stettin, died 1659 as city secretary of Altdamm, Stettin. Both hymns # 23 and 135 assure him steadfast remembrance.


Helder, Bartholomäus, born in Gotha, from 1607 to 1616 teacher in Freimar near Gotha, died 1635 as pastor in Remstädt near Gotha; also a composer. # 102, 139 (?), 153.


Helmbold, N. Ludwig, born 1532 in Mühlhausen, Thuringia; died 1593 als superintendent and pastor in that place. His hymn of comfort # 374, written during the plague in Erfurt, established his name no less than did his hymn of praise # 309 and his catechetical hymn # 179.


Herberger, Valerius, born 1562, died 1627 as pastor in his native Fraustadt, Posen; as his pupil, Johann Heermann, a bearer of the cross in the troubles of the Thirty Years’ War, wrote innumerable works of edification. The glorious hymn # 426, into which wove his baptismal name in the beginning letters of the individual stanzas, he wrote in 1613 while the plague was dominating Fraustadt.


Herbert, Petrus, died 1571 as assisting elder [Konsenior] of the Unity of Bohemian-Moravian Brethren in Eibenschütz. # 314.


Hermann, Nikolaus, cantor in Joachimstal, Bohemia; friend of his pastor, Johann Mathesius, died 1561 at a ripe old age. # 30, 103, 192, 294. 317. 330. 423. 431.


Hermann, N. Zacharias, born 1643 in Namslau, Silesia, died 1716 as pastor and inspector in Lissa, Poland. Losing several children one after another was no doubt the inspiration for his hymn # 430.


Herrnschmidt, S. Johann Daniel, born 1675 in Bopsingen, Württemberg, died 1723 in Halle as professor of theology and codirector of the Franconian foundations. A highly poetic outpouring of every verse of Psalm 146 is his hymn # 441.
Herzog, Johann Friedrich, born 1647 in Dresden, died 1699 as solicitor in that place. as student in Wittenberg he wrote the hymn # 320.
Heune, Johann (Gigas), born 1514 in Nordhausen, pupil and friend of Justus Jonas, died 1581 as pastor in Schweidnitz, Silesia. # 353.
Hippen, Johann Heinrich von, born in Wohlau, Silesia. 1676 Limburg counselor and court martial, wrote the morning hymn # 326.
Hodenberg, Bodo von, born 1604, died 1650 as Landdrost in Osterode am Harz. # 315 (?).
Homburg, Ernst Christoph, born 1605 in Mühla near Eisenach, died 1631 as solicitor in Naumburg. # 79, 116.
Hubert, Konrad, born 1507 in Bergzabern, died 1577 as deacon at St. Thomas in Straßburg, personal secretary of reformed theologian Bucer. # 213 (1—3).
Job, Johann, born 1664 in Frankfurt a. M., died 1736 as councilman and builder in Leipzig. # 90.
Jonas, Justus, born 1493 in Nordhausen, as Professor in Wittenberg one of the most diligent collaborators with Luthers, first evangelical superintendent in Halle, 1546 banished as a result of the Schmalkaldic War, died 1555 as superintendent in Eisfeld, Thuringia. # 159 (st. 4–5), 438.
Keimann, Christian, born 1607 in Pankraz, Bohemia, died 1662 as headmaster of the college in Zittau. # 13. 255.
Kinner, Dr. Samuel, born 1603 in Breslau, doctor in Brieg, died 1668. His Supper hymn # 197 is a glorious confession of the biblical doctrine of the Supper over against the Zwinglian enthusiasts.
Kolrose, Johann, German language teacher in Basel, wo he is supposed to have died ca. 1560. # 300.
Kramer, Moritz, born 1646 in Ammerswort in Holstein, died 1702 as pastor in Marne in Süderitmarschen, was a decided opponent of Pietism. # 129.
Lackmann, Peter, born 1659 (?) in Lübeck, pupil A. H. Francke’s, died 1713 as head pastor in Oldenburg, Holstein. # 264 (?).
Laurenti, Laurentius (Lorenz Lorenzen), born 1660 in Husum, Schleswig; died 1722 as music director and cantor at the cathedral in Bremen. # 224.
Lehr, Leopold Franz Friedrich, born 1709 in Kronberg near Frankfurt a. M., died 1744 in Magdeburg as deacon in the Lutheran church in Köthen. His most beautiful hymn, which has been translated into many languages, is the justification hymn # 242.


Linzner, Georg, born in Kamenz in Upper Lusatia, was ca. 1630 personal tutor in Breslau. # 264 (?).
Liscow, Salomo, born 1640 in Niemitzsch, Lower Lusatia, died 1689 as deacon in Würzen, Saxony. # 53, 203. 259. 393.
Lochner, Karl Friedrich, born 1634 in Nürnberg, died 1697 as pastor in Fürth. # 286 (?).
Löscher. Dr. Valentin Ernst, born 1673 in Sondershausen, died 1749 as chief consistory advisor and superintendent in Dresden, a man both resolute and gentle of manner, of a well-rounded education, who labored and contended a great deal for the things of the Lord. st. 17 of # 434.
Löwenstern, Matthäus Apelles von, born 1594 in Neustadt, Upper Silesia; of a middle-class family by the name of Löwe, granted a title of nobility by Emperor Ferdinand II., died 1648 in Breslau as imperial advisor and state counselor of the Duke of Münsterberg and Öls. His hymn # 167 is a prayer for bodily and spiritual peace.


The Commission on the Hymnal: A. Crull.
O. Hattstädt.
J. Schlerf.
(To be continued.)


II. Index of Authors
(Conclusion.)


Ludämilie Elisabeth, countess of Schwarzburg-Rudolsadt, born 1640, died 1672 as wife of the count Christian Wilhelm von Schwarzburg-Sondershausen. #253, 372, 394.


Luther, Dr. Martin, founder and master of German hymnody, born in Eisleben, Nov. 10, 1483, died in the same place, Feb. 18, 1546. He formed his hymns partly in a free manner, partly by translation of Latin hymni or integration of old German stanzas or borrowing of biblical excerpts. # 15, 21, 36, 41, 42, 60, 65, 99, 110, 132, 134, 136, 142, 143, 145, 147, 158, 159 (sts. 1–3), 162, 166, 170, 171, 177, 180, 181, 183, 185, 186, 195, 205, 214, 243, 328, 337, 368, 399, 416.


Magdeburg, Johann, born 1525, Gardelegen in the Altmark, evangelical preacher in Esserding, Austria, exiled thence in 1583, pastor in Essen until 1587. #381 (st. 1), the first words of which used to be inscribed on many houses.


Mathesius, Johann, born 1504, Rochlitz, Saxony; a companion at Luther’s home and table while studying in Wittenberg, worked as pastor of the German Lutheran church in Joachimstal, Bohemia, where he died in 1565. His homiletic biography of Luther is among the popular books of our church. #361.


Mentzer, Johann, born 1658, Jahma, Lusatia; died 1734 as pastor in Chemnitz in the same region. His magnificent psalm of jubilation, #349, is a brilliant demonstration of his pious Christian outlook in all his afflictions.


Meyfart, Dr. Johann Matthäus, born 1590, Walwinkel, Gotha; died 1642, as professor of theology and pastor in Erfurt. During the oppression of the Thirty Years’ War he composed his hymn of longing for the heavenly Jerusalem, #443.


Möckel, Johann Friedrich, born 1661, Kulmbach; died 1729, as pastor of Steppbach in Bayreuth. #302.


Molanus, Dr. Gerhard Walther, born 1633 Hameln; died 1722, as abbot of Loccum cloister in Hannover. #203.


Moller, Martin, born 1547 in Kroppstädt by Wittenberg; died 1606 as senior pastor in Görlitz; was a man practiced in suffering, who in the letters of his name M. M. left the constant warning, “Memento mori” (Remember thou shalt die). #225, 258, 342, 352, 362.


Möller, Johann Joachim, born 1660, Sommerfeld; died 1733 as archdeacon in Krossen. #108, 235.


Mühlmann, Dr. Johann, born 1573, Pegau; died 1613 as professor of theology and archdeacon at St. Nikolai, Leipzig; fought the papists and Calvinists with great zeal from both the pulpit and the teacher’s lectern.


Mylius, Johann, from Themar, 1596, in Thuringia. #62.


Nachtenhöfer, Kaspar Friedrich, born 1624, Halle; died 1685 as pastor of Koburg. #27.


Neander, Joachim, the most important poet of the Reformed church in the age of Pietism; born 1650, Bremen; died 1680 as morning preacher at St. Martini, Bremen, wrote the popular, fervent hymn of praise #341.


Neumann, Kaspar, born 1648, Breslau; died 1715 in the same place as pastor of St. Elisabeth, professor, and inspector of the church. Among his 39 hymns, three have become common property of the singing Church: # 109, 268, 316.


Neumark, Georg, born 1612, Langesalza; died 1681 as librarian and archivist in Weimar. His worldly hymns are forgotten, but not his hymn of comfort, # 382, and his responses in hymn #417.


Neumeister, Erdmann, born 1671, Üchteritz by Weißenfels; died 1756 as head pastor at St. Jacobi in Hamburg; was an opponent of Pietism and Unionism. #222, 241.


Nicolai, Dr. Philipp, born 1556 in Mengeringhausen, Waldeck, where he assisted his father in the preaching office; in 1583 became pastor in Hardeck an der Ruhr, and in 1586, of the secret Lutheran congregation in Cologne; 1587 court preacher in Wildungen, and from 1596, in Unna, where, during the time of the plague, he wrote his Joyous Mirror of Eternal Life, as well as both of his famous hymns, #261 and 436; from 1601 head pastor at St. Katharine, Hamburg, where he died in 1608.


Niedlung, Johann, born 1602, Sangerhausen; 1626 was teacher at the college in Altenburg, where he died in 1668 as Scholae senior. #106, 125.


Olearius, Dr. Johann, hymnologist of our church, born in Halle, 1611; general superintendent and senior court preacher of duke August of Saxony in Halle; later in the same position in Weißenfels, where he died in 1684. His hymn #5 serves as a silent prayer upon entering church. #35, 63, 68, 137 (?), 144, 204, 232, 275, 327, 380, 391.


Olearius, Dr. Johann Gottfried, nephew of the preceding, born 1635, Halle, died 1711 as superintendent and consistory advisor in Arnstadt. #26, 151.


Öler, Ludwig, lived around 1530, canon of the St. Thomasstift, Strasbourg. #12.
Opitz, Martin, born 1597, Bunzlau; died 1639, Danzig, as secretary and historian of the King of Poland. It is to his efforts for the German poetic artform that our current hymns owe their greater smoothness. #57.

Pfeffer, Paul, born 1651, Neustadt, Principality of Glogau; died after 1710 as mayor of Budissin (Bautzen). #424 (the responding stanzas).

Pfefferkorn, Georg, born in the village of Iffta outside Eisenach; tutor to the prince at the court of Duke Ernst the Pious; died 1732 as superintendent and consistory assessor of Gräfentonna by Gotha. #285.

Prätorius, Benjamin, born 1636, Obergreislau by Weißenfels; died 1674 as pastor in Großlissa by Delitzsch. #283.

Quirsfeld, Johann, born 1642, Dresden, died 1686 as deacon in Pirna. #422.

Reimann, Georg, born 1570, Leobschütz, Upper Silesia; died 1615 as professor of rhetoric in Königsberg. #114, 155.

Reusner, Adam, (Reißner), born 1496 in Windelsheim, Bavarian Swabia; student of Reuchlin; private secretary of field commander Georg von Frundsberg; follower of Schwenkfeld; died ca. 1575 in the place of his birth.

Rinckart, Martin, born 1586, Eilenburg, Saxony, where he died in 1649; like Herberger and Heermann, he was a faithful leader of his flock during the appalling tribulations visited upon it the Thirty Years’ War. He probably wrote his hymn of thanks, #346, in the year 1630. Hymn #146 can also be trace back to a composition of Rinckart.

Ringwald, Bartholomäus, born 1530, Frankfurt an der Oder; died 1599 as pastor in Langenfeld, Neumark; a zealous defender of Lutheran doctrine and a faithful witness of the truth, who unflinchingly chastised the immorality of his day. #138, 216, 433.

Rist, Johann, writer of many splendid hymns; born 1607, Ottensen by Hamburg; died 1667 as pastor in Wedel, Holstein. Through his hymns he comforted and edified many thousands during the difficult times of the Thirty Years’ War, and continues to do so. # 13, 52, 67, 88, 120, 194, 207, 221, 238, 321, 434.

Rodigast, Samuel, born 1649, Gröben by Jena, died 1708 as headmaster of the Gray Cloister college in Berlin. His only hymn, #376, which however is heard in the whole singing Church, based on Deut. 32:4, was written in 1675 in Jena, for the consolation of an ailing cantor.

Rosenmüller, Johannes, from electoral Saxony, music director in Leipzig and Wolfenbüttel; died 1686. #397 (?).

Rothe, Johann Andreas, born 1688, Lissa by Görlitz; [Count] Zinzendorf’s pastor in Berthelsdorf; died 1758 as Lutheran pastor in Thommendorf in Upper Lusatia; was a powerful preacher of great pastoral faithfulness. He lives on in the Church through his hymn, #240.

Ruopp, Johann Friedrich, a native of Strasbourg; died 1708 as adjunct of the theological faculty in Halle. #266.

Sacer, Dr. jur. Gottfried Wilhelm, born 1635 in Naumburg, Saxony; died 1699 as private attorney in Wolfenbüttel. #14, 82, 121, 131, 425.

Saubert, Dr. Johann, the younger; born 1638 in Nürnberg; died 1688 as professor of theology and superintendent in Altdorf; published the Nürnberg Hymnal, which included his hymn, #393.

Schade, Johann Kaspar, born 1666, Kühndorf by Meiningen, from 1691 deacon at St. Nikolai, Berlin, a fellow minister with Spener; died in that place 1698. #81, 369.

Schalling, Martin, born 1532, Straßburg, died 1608 as pastor in Nürnberg; for his own consolement wrote hymn #271.

Scheffler, Johann, born 1624 in Breslau, from 1649 physician of the Duke of Öls; 1653 deserted to the Roman church under the name Angelus Silesius and became a vehement opponent of the Lutheran church. #72, 250, 280.

Scheidt, Dr. Christian Ludwig, born 1709, Waldenburg by Schwäbisch-Hall; died 1761 as court advisor and librarian in Hannover; was well known for his hymn, #234, which first appeared in 1743.

Schenk, Hartmann, born 1634, Ruhla by Eienach; died 1681 as pastor in Ostheim vor der Rhön. #9.

Schirmer, Michael, born 1606, Leipzig; a friend of Paul Gerhardt; died 1673 as joint headmaster of the Gray Cloister college in Berlin; a hymn-writer much used to bearing his cross, called the “German Job.” #418. Hymn #140 is a reworking of one of his hymns.

Schlicht, Levin Johann, born 1681 in Kalbe in the Altmark; teacher at the paedogogium in Halle; died 1723 as a pastor in Berlin; was able to speak Latin and understand Greek and Hebrew as early as ten years old. #311.

Schmidt, Christian, born 1683, Stolberg in Misnia; died 1754 as pastor at the Bergkirche outside Eilenburg. #332.

Schmolck, Benjamin, born 1672 in Brauchitschdorf by Liegnitz; died 1737 as senior pastor and inspector in Schweidnitz; known as a publisher of devotional literature. Of his 1,200 hymns, our hymnal has #190, 247, 267, 331.

Schneegaß, Cyriakus, born 1546, Busleben by Gotha; died 1597 as pastor in Friedrichroda by the Thuringian Forest; had a thorough knowledge of music; his spouse was a grandniece of Luther’s. #49, 51, 388.

Schröder, Johann Heinrich, born 1667 in Springe by Hannover; died 1699 as pastor in Meseburg by Magdeburg. #249.

Schütz, Johann Jakob, born 1640 in Frankfurt am Main; practiced law; died 1690 in the same place; at the end of his life fell under the influence of the Enthusiasts and renounced the Lutheran church. #350.

Selnecker, Dr. Nikolaus, born 1530 in Hersbruck by Nürnberg; studied under Melanchthon; died 1592 as professor of theology, superintendent, and pastor at St. Thomas in Leipzig; co-author of the Formula of Concord; a much-persecuted, steadfast confessor, whose prayer for constancy, so poignant in its simplicity, was granted by God. #193, 298, 420. Hymn # 165 was partly written by him.

Sonnemann, Ernst, 1608 became joint headmastor of Celle; 1661 pastor in Eimbeck; died there in 1670. #117 (?), reworked after Wegelin.

Spengler, Lazarus, supporter of the Reformation, born 1479, Nürnberg; councilor and jurist in his native city, where he died in 1534. His hymn #236 was once of similar meaning for the Reformation as the hymn of the following author.

Speratus, Dr. Paul, born 1484 in Rötlen, Swabia; was already openly preaching the Gospel from 1519 in Würzburg and Salburg; 1522 in Stephans cathedral in Vienna and in Iglau, for which he was put in prison in Olmütz in 1523, where he wrote his hymn, #237, which he sent to his congregation; the same year came to Wittenberg, at Luther’s recommendation became court preacher of Duke Albert of Prussia; was especially active there in the introduction of the Reformation; died 1551 as Lutheran bishop of Pomesania in Marienwerder.

Stegmann, Dr. Josua, born 1588 in Sulzfeld by Meiningen; died 1632 as professor of theology and superintendent in Rinteln; was force to endure great affliction during the time of the Thirty Years’ War, moving from placed to place as an exile. #2.

Stockmann, Ernst, born 1634 in Lützaen, died 1712 as senior consistory advisor and church advisor in Eisenach. #356.

Thebesius, Adam, born 1596 in Seifersdorf in the principality of Liegnitz; died 1652 as pastor in Liegnitz. #83.

Thilo, Valentin, the Elder, born 1579 in Zinten, East Prussia; died 1620 from the plague as deacon in Königsberg. #33 (sts. 1–3).

Tietze, Christoph (Titius), born 1641 in Wilkau by Breslau; died 1703 as pastor in Hersbruck, Nürnberg. #218, 371, 427.

Walther, Johann, the old Luther-cantor, became court cantor in Torgau around 1520; Luther’s assistant in the institution of the German mann and in the shaping of the evangelical church melodies; died after 1566 as kapellmeister in Dresden. His hymn on eternity, #16, shows that Walther was not only a musician, but also a poet of God’s grace.

Wandersleben, Martin, born 1608 in Wassertalheim, Schwarzburg-Sondershausen; died 1668 as superintendent of Waltershausen in the Gothaischen. #299.

Weidenheim, Johann; the personal details of this man who lived around the turn of the 17th century are unknown. #215.

Weise, Christian, born 1642 in Zittau; from 1676 professor of politics, rhetoric, and poetry in Weißenfels; died 1708 as headmaster of the college in his native city. #231.

Weiße, Michael, born in Neiße, Silesia; 1531 became priest and representative of the German congregation of the Bohemian Brethren in Landeskron, Bohemia; in the same year published the first German hymnal of the Bohemian Brethren; died in that place in 1534, a little over 40 years old. #22, 29, 32, 43, 100, 417, 440.

Weissel, Georg, born 1590 in Domnau, East Prussia; died 1635 as pastor in Königsberg; #31, 58, 148, 245. Hymn #112 is a reworking of one of his hymns.

Werner, Georg, born 1589 in Preußisch-Holland; died 1643 as deacon in Königsberg. #55, 101, 128.

Wiesenmeyer, Burkhard, ca. 1640 teacher at the Gray Cloister college in Berlin; reworker of older hymns; #305.

Zehner, Dr. Samuel, born 1594 in Suhl; died 1635 as superintendent in Schleusingen; wrote hymn #211 in the year 1633 while the Croats were laying siege to the place of his residence.

Zesen, Philipp von, born 1619 in Priorau by Dessau; led the life of a man of letters without a permanent position; died 1689 in Hamburg. #38.

Ziegler, Dr. jur. Kaspar, an authority on law of the first degree, born 1621 in Leipzig; died 1690 in Wittenberg as professor of law. #25.

Zihn, Johann Friedrich, born 1650 in Suhl; died 1719 as archdeacon in his native city. #359.

Zwick, Johannes, born in Constance ca. 1496; died 1542 as an evangelical pastor of his native city in Bischofszell, which he had committed himself to serve for the sake of the local congregation during the time of the plague. #118.


The authors of the following hymns and stanzas are unknown:
 
Hymns: # 3, 4, 6, 7, 11, 17, 28, 34, 43, 69, 74, 78, 87, 92, 96, 98, 104, 107, 111, 115, 119, 123, 126, 127, 133, 146, 154, 165, 172, 173, 201, 209, 220, 226, 227, 233, 276, 239, 292, 295, 301, 306, 307, 313, 323, 324, 325, 333, 343, 344, 345, 357, 353, 363, 377, 386, 389, 395, 400, 404, 408, 411, 412, 415, 423, 439.

Stanzas: # 8 (st. 4), 10 (st. 7), 21 (st. 1), 33 (st. 4), 50 (st. 7), 35 (st. 7), 83 (st. 1), 136 (st. 1), 174 (sts. 2–3), 177 (st . 2), 195 (st . 1), 213 (st . 4), 320 (st . 10), 348 (st . 5), 381 (st . 2. 3), 417 (st . 8), 423 (st . 5).



The Commission on the Hymnal: 
A. Crull.
O. Hattstädt.
J. Schlerf.

Translation: © 2012 Matthew Carver.