Evangelical Lutheran Hymnary Handbook
— Hymn Texts and Tunes —
(TUNES ARE IN ITALIC CAPITAL LETTERS.)
MACH’S MIT MIR GOTT ◊ 422
The melody (Machs mit mir, or Eisenach) by J. H. Schein, was first printed in a little pamphlet with the hymn, “Machs mit mir, Gott, nach deiner Gut,” and later it appeared in Schein’s Cantional, Leipzig, 1645. In Schein’s Choralgesänge there are two arrangements by J. S. Bach. [Dahle, Library of Christians Hymns]
The tune “Mach’s mit mir, Gott” is by Johann Hermann Schein, 1628. It is based on an older melody, set to the hymn “Ein wahrer Glaub’ Gottes Zorn stillt” in Bartholomäus Gesius’s Geistliche Deutsche Lieder, etc., Frankfurt a. d. O.,1607. [Handbook to The Lutheran Hymnal]
MACHT HOCH DIE TÜR (FREYLINGHAUSEN) ◊ 92
The most popular tune for this hymn is by Johann A. Freylinghausen. It appeared in his Neues Geistreiches Gesangbuch, Halle, 1704. Some musicians think it is a recast of Crüger’s tune by the same name “in the Freylinghausen manner”; others consider it an original melody. [Handbook to The Lutheran Hymnal]
MAGDALEN ◊ 197
The melody (Magdalene) is by Sir John Stainer, and was composed especially for this hymn for The revised Edition of Hymns Ancient and Modern, 1875. [Dahle, Library of Christians Hymns]
MARIA HUN ER EN JOMFRU REN ◊ 268
The melody was written by the Danish organist and composer, Johan Christian Gebauer (b. Copenhagen, 1808; d. ibid. 1884), for the hymn “Du Herre Krist, min Frelser est.” The first four measures are repeated. Lindeman’s Koralbog has two melodies, the one being taken from Kingo’s Gradual, 1699, the other being composed by Lindeman. [Dahle, Library of Christians Hymns]
Master of eager youth ◊ 183
??? This hymn is a rather free translation, if it can be called that, of one of our oldest Christian hymns, attributed to Clement of Alexandria, beginning with the line Stomion pwlwn adawn.
It was appended to the second of Clement’s great trilogy, The Tutor.
Henry M.Dexter declared that after he first translated the Greek text of Clement’s into prose, he “transfused as much of its language and spirit” as he could into the verse. This was in 1846. While he was preparing a sermon from the text Deut. 32:7: “Remember the days of old” on “Some Prominent Characteristics of the Early Christians,” he wrote the hymn in order that it might be used in the service. The hymn was first printed in The Congregationalist, December 21, 1849. [Handbook to The Lutheran Hymnal]
May God be praised* ◊ 327
(See: O Lord, we praise Thee)
May God bestow on us His grace ◊ 591
Es woll’ uns Gott genädig sein
Und seinen Segen geben;
Sein Antlitz uns mit hellem Schein
Erleucht’ zum ew’gen Leben,
Dass wir erkennen seine Werk’,
Und was ihm liebt auf Erden,
Und Jesus Christus Heil und Stärk’
Bekannt den Heiden werden
Und sie zu Gott bekehren.
So danken, Gott, und loben dich
Die Heiden überalle,
Und alle Welt, die freue sich
Und sing’ mit grossem Schalle,
Dass du auf Erden Richter bist
Und lässt die Sünd’ nicht walten
Dein Wort die Hut und Weide ist,
Die alles Volk erhalten.
In rechter Bahn zu wallen.
Es danke, Gott. und lobe dich
Das Volk in guten Taten;
Das Land bringt Frucht und bessert sich,
Dein Wort ist wohl geraten.
Uns segne Vater und der Sohn,
Uns segne Gott der Heil’ge Geist
Dem alle Welt die Ehre tu’,
Vor ihm sich fürchte allermeist.
Nun sprecht von Herzen: Amen!
This is Martin Luther’s Ps. 67, rewritten as a New Testament missionary hymn. It first appeared, without a tune, at the end of Luther’s Ein weise christlich Mess zuhalte, Wittenberg, and in Eyn Enchiridion, Erfurt, 1524. The melody, “Es woll’ uns Gott genädig sein” was first coupled with the text in Teutsch Kirchenamt, Strassburg, 1525. The composer is unknown. It is the first missionary hymn of Protestantism. [Handbook to The Lutheran Hymnal]
THE 67th Psalm furnished the inspiration for this hymn by Dr. Martin Luther. It was evidently printed in 1523-1524 in a leaflet together with “Aus tiefer Noth” (Out of the depths I cry to Thee. L. H. 273), and shortly after the text was published in Luther’s Ein weyse Christliche Messe zu halten und zum Tisch Gottis zu gehen, Wittenberg, 1524. The same year it was also published in Eyn Enchiridion; from this it passed into all the German hymnals. Klaus Mortensøn translated it into Danish and added a closing stanza (see Landst. 28). This version was used in the Malmø Hymnary of 1533 and later in the editions of H. Thomissøn, Kingo, and Pontoppidan. Landstad’s and Hauge’s versions are somewhat different. The revised hymn book of the former Norwegian Synod follows in the main Mortensøn’s translation.
In connection with this hymn the story is told from Magdeburg that one of the citizens, an old clothier, gathered people in the marketplace by singing and selling this hymn together with the companion hymn, “Out of the depths I cry to Thee.” The burgomaster had him arrested, but he was released following a demonstration of protest staged by the citizens. Two months later the people of Magdeburg put through the Reformation in their city. The hymn was sung by the army of Gustavus Adolphus on the morning of the battle of Lutzen, November 6, 1632. Both this hymn and “A Mighty Fortress is our God” were sung to the accompaniment of trumpets and kettle-drums. Ludvig Holberg relates that the hymn was sung by a child during the night before the introduction of the Reformation in Helsingør. The hymnologist, James Mearns, says that Luther remodeled the Old Testament Psalm into a New Testament missionary hymn and adds, “It was therefore fitting that it should be sung at the opening service during the dedication of the mission church in Trichinopoli, India, July 11, 1792. The service was conducted by C. F. Schwartz. “
Besides 14 English translations there are numerous versions in Danish, Norwegian, Swedish, Icelandic, French, Portuguese, Latin, and other languages. The version in The Lutheran Hymnary is by Richard Massie, born 1800, in Chester, England. In 1854 he published in London Martin Luther’s Spiritual Songs. His Lyra Domestica, London, 1860 and 1864, contains Spitta’s and other German hymns in English translation. He also translated many German hymns for Mercer’s Church Psalter and Hymn Book. Massie died March 11, 1887. [Dahle, Library of Christians Hymns]
MEIN SCHÖPFER, STEH MIR BEI ◊ 513
Johann J. Rambach published this hymn in his Poetische Festgedanken, 1729. It was accepted in the Hannoverisches Gesang Buch, 1740, together with the tune “Mein Schoepfer, steh mir bei” by Franz Heinrich Meyer, to which is has since been wedded. [Handbook to The Lutheran Hymnal]
MEINEN JESUM LASS ICH NICHT (DARMSTADT) ◊ 88, 426
The tune “Meinen Jesum lass ich nicht” is found in the Darmstadt hymnal, Neuverfertigtes Gesangbuch, 1699, set to the text of the hymn beginning with that line, “Jesus I will never leave”. The composer is unknown. It has long been a popular melody.
\\
MEINEN JESUM LASS ICH NICHT (HAMMERSCHMIDT) ◊ 362
MELITA (NAVY HYMN*) ◊ 418
MENDELSSOHN ◊ 125
The melody (Mendelssohn) was mainly borrowed from Mendelssohn’s Festgesang by W. H. Cummings in 1855, and has gradually taken the place of all melodies formerly used. It is said that Mendelssohn himself wished to use this melody for words other than those for which it was originally written, and that he also considered it unsuitable for a religious text. [Dahle, Library of Christians Hymns]
The tune “Mendelssohn” is from the Festgesang for Male Chorus and Orchestra, composed for, and first sung at, the festival held in Leipzig, June, 1840, to celebrate the invention of printing. Dr. W. H. Cummings, organist at Waltham Abbey, adapted the tune for this hymn, 1856. In some books the tune is called St. Vincent; in others, Bethlehem.
Songs of Praise Discussed, adds this interesting comment on the tune:
“It is curious that some years previous to the publication of Dr. Cummings’s adaptation, Mendelssohn, in writing to his English publishers on the subject of an English translation of the Festgesang, said: “I must repeat the wish I already expressed in my letter to Mr.Bartholomew. I think there ought to be other words to No. 2. If the right ones are hit at, I am sure that piece will be liked very much by the singers and hearers, but it will never do to sacred words. There must be a national and merry subject found out, something to which the soldierlike and buxom motion of the piece has some relation, and the words must express something gay and popular, as the music tries to do it.” [Handbook to The Lutheran Hymnal]
MENDON ◊ 249
The tune “Mendon” was introduced to American tune books by Samuel Dyer in the Supplement of Samuel Dyer’s Third Edition of Sacred Music, 1828, where the tune, called “German Air,” had one more note in each line and a different last line than the form now familiar. The omission of the additional note in the fourth edition of the book was accompanied with this comment: “It is believed that the present arrangement is the original form.” It is thought Lowell Mason altered the last line which he began using is it in his publications and that he gave it its present name. [Handbook to The Lutheran Hymnal]
MERRIAL ◊ 560
The melody (Merrial) was written by Joseph Barnby, 1868. [Dahle, Library of Christians Hymns]
MERTON ◊ 96
MICHAEL ◊ 203
MIGHTY SAVIOR ◊ 567
MILWAUKEE ◊ 91
The tune, known in our circles as “the Milwaukee tune,” is by August Lemke, 1849. [Handbook to The Lutheran Hymnal]
MIN SJÆL OG AAND* (See: OM HIMMERIGES RIGE) ◊ 586
MISSIONARY HYMN ◊ 195
The melody (Missionary Hymn), written by the well known American church musician, Dr. Lowell Mason (b. 1792, d. 1872), is one of the very few American melodies found in the leading English hymnals. [Dahle, Library of Christians Hymns]
The tune “Missionary Hymn,” also called “Heber” and “Gospel Banner,” was written for this hymn by Lowell Mason and appeared in 1829 in The Boston Handel and Haydn Society Collection, 9th edition. J. T. Lightwood says this tune will not soon be forgotten if “modern editors will leave the simple, original, but effective harmonies alone.” [Handbook to The Lutheran Hymnal]
MIT FREUDEN ZART ◊ 26
MIT FRIED UND FREUD ◊ 48
The tune “Mit Fried’ und Freud’“ appeared with the text at its first publication in 1524. The composer is unknown. [Handbook to The Lutheran Hymnal]
MITTEN WIR IM LEBEN SIND ◊ 527
The tune “Mitten wir im Leben sind” is from a 13th-century gradual. It was first used with Luther’s text in Johann Walther’s Gegstliche gesangk Buchleyn, Wittenberg, 1525. The melody in The Lutheran Hymnary has been associated with this hymn since the earliest German version. [Dahle, Library of Christians Hymns, and Handbook to the Lutheran Hymnal] [Handbook to The Lutheran Hymnal]
MONKS GATE ◊ 183
MORGENGLANZ DER EWIGKEIT ◊ 75
The melody (Dayspring) is first found in J. J. Freylinghausen’s Geistreiches Gesangbuch, 1704. [Dahle, Library of Christians Hymns]
The beautiful tune “Morgenglanz der Ewigkeit” is found in Freylinghausen’s Neues geistreiches Gesangbuch, Halle, 1704. It is an adaptation of Johann Rudolf Ahle’s spiritual aria “Seelchen, was ist Schönres wohl als der Höchste Gott?” [Handbook to The Lutheran Hymnal]
MORNING HYMN ◊ 74
The melody (Morning Hymn, or Magdalene) is composed by Francois H. Barthélémon (1741-1808) for The Female Orphan’s Asylum and appeared first in 1785. Barthélémon, who was a composer and violinist in France, first came to England on a visit in 1765. Later he took up his residence there. He died in 1808. [Dahle, Library of Christians Hymns]
The tune “Morning Hymn, also called “Magdalene”, and “Hippolytus,” was composed by François Hippolite Barthélémon. It was written for the Female Orphan Asylum at the request of its chaplain and was first printed in the Supplement to the Hymns and Psalms at the Asylum or House of Refuge for Female Orphans, 1785. W. Gawler, organist to the asylum, was the editor. It was headed “New Tune” and set to the words of this hymn. [Handbook to The Lutheran Hymnal]
MORNING STAR ◊ 169
The tune “Morning Star” for the hymn “Brightest and best” also seems to be growing in popularity in our country. It was part of an anthem composed by James P. Harding, in 1892, for use at Gifford Hall Mission in London. According to Robert Guy McCutchan the tune was first used in an American hymnal when it was included in The New Psalms and Hymns, Richmond, Va., 1901, by the Presbyterian Committee of Publication. It was set to Heber’s hymn in The Methodist Hymnal, 1905, and also in the Evangelical Lutheran Hymn-Book, 1912. [Handbook to The Lutheran Hymnal]
MOSCOW* (ITALIAN HYMN) ◊ 11, 12, 202
Most ancient of all mysteries ◊ 419
MOVILLE ◊ 425
MÜDE BIN ICH ◊ 570
The tune “Müde bin ich, geh’ zur Ruh”’ first appeared in Theodore Fliedner’s Liederbuch für Kleinkinder-Schulen, Kaiserswerth, 1842, where it was set to the famous German children’s evening song beginning with those words. [Handbook to The Lutheran Hymnal]
MUNICH ◊ 171
The melody (Munich) was first published in Meiningisches Gesangbuch, 1693; later in J. G. Störl’s Choralbuch, 1710. Mendelssohn made use of this melody in the oratorio Elijah. The melody for “O Gud, du fromme Gud,” “Ach Gott, verlass mich nicht,” “O God, Thou faithful God” (L. H. 457), is a variant of this melody. [Dahle, Library of Christians Hymns]
The tune “Munich” is by an unknown composer. It appeared in the Neuvermehrtes Gesangbuch, Meiningen, 1693, where it was set to the hymn “O Gott, du frommer Gott” by Johann Heermann. [Handbook to The Lutheran Hymnal] ?????
My course is run ◊ 528
Es ist vollbracht! Gott Lob, es ist vollbracht!
Mein Jesus nimmt mich auf!
Fahr hin, o Welt! Ihr Freunde, gute Nacht!
Ich ende meinen Lauf
Bei Jesu Kreuz mit tausend Freuden,
Ich sehne mich, von hier zu scheiden.
Es ist volltracht!
Es ist volltracht! Mein Jesus hat auf sich
Genommen meine Schuld;
Er selber hat am Krenzesstamm für mich—
O ungemeine Huld!—
Gebüsset, und in Jesu Wunden
Hab’ ich die rechte Freistadt funden.
Es ist vollbracht!
Es ist vollbracht! Hier bin ich ausser Not.
Angst und Gefahr gesetzt:
Hier speiset mich der Herr mit Himmelsbrot,
Hier bin ich hoch geschätzt;
Hier hör’ ich auf den Engelsbühnen
Den süssen Ton der Seraphinen.
Es ist vollbracht!
Es ist vollbracht! Gott Lob, es ist vollbracht!
Mein Jesus nimmt mich auf;
Fahr hin, o Welt! Ihr Freunde, gute Nacht!
Ich schliesse meinen Lauf
Und allen Jammer, der mich troffen.
Wohl mir, ich seh’ den Himmel offen.
Es ist vollbracht!
This cento is composed of Stanzas 1, 2, 4, and 7 of the hymn “Es ist vollbracht,” which is commonly attributed to Andreas Gryphius. It first appeared in Vollständiges Haus- und Kirchen-Gesangbuch, Breslau, 1726.
The translation is by August Zich and was prepared for The Lutheran Hymnal in 1937. [Handbook to The Lutheran Hymnal]
My faith looks up to Thee ◊ 184
HEBREWS 12:1-2. This hymn was written immediately after the author had graduated from college, and had accepted a teaching position in New York. “I gave form to what I felt, by writing the stanzas with very little effort. I recollect that I wrote with very tender emotions, and ended the last line in tears.” A short time afterwards the hymn was given to Dr. Lowell Mason for a work then to be compiled by him and Dr. T. Hastings. In 1831 that work was published as Spiritual Songs for Social Worship, etc., words and music being arranged by Thomas Hastings, of New York, and Lowell Mason, of Boston. “My faith looks up to Thee” is included in this work, in four stanzas, entitled Self Consecration, to the tune by Dr. Mason, later known as “Olivet.” The hymn has found a place in most of the modern collections in all English-speaking countries, and has been rendered into numerous languages. The Latin translation, by H. H. Macgill, begins “Fides Te mea spectat.” [Dahle, Library of Christians Hymns]
My God, accept my heart this day ◊ 512
WITH my whole heart have I sought Thee: let me not wander from Thy commandments” (Ps. 119:10).
This confirmation hymn, used largely in England and America, appeared first in the author’s Hymns of the Heart, 1848. In some hymnals it begins with the second stanza of the original, “Before the cross of Him who died.” [Dahle, Library of Christians Hymns]
My God, and is Thy table spread ◊ 323
COME, for all things are now ready” (Luke 14:17).
“None of the hymns of Watts,” says H. L. Bennett, “can compare with this one in form, or in feeling, or in beauty of diction.” With Malachi 1:12 as a title, it was first printed in 1755 in Job Orton’s edition of Doddridge’s hymns. These were published after the author’s death. The original has six stanzas. Our edition has made use of stanzas 1, 2, and 4. The hymn is found in the abbreviated form in most hymnals, but it is used very extensively and has been translated into many languages. It has been rendered into Latin by Bingham. [Dahle, Library of Christians Hymns]
My heart is longing ◊ 61
\\
My hope is built on nothing less ◊ 197
ORIGINALLY this hymn has as its first line “Nor earth, nor hell my soul can move.” Our version begins with the second stanza of the original. There has been much doubt as to the authorship of this hymn. Hence, Edw. Mote, at one time, sent the following explanation to The Gospel Herald: “One morning it came to my mind as I went to my labor, to write a hymn on the ‘Gracious Experience of a Christian.’ As I went up Holborn, I had the chorus:
‘On Christ, the solid Rock, I stand, All other ground is sinking sand.’
“In the day I had the first four verses completed, and wrote them off. On the Sabbath following, I met brother King, as I came out of the Lisle Street meeting—who informed me that his wife was very ill, and asked me to call and see her. I had an early tea, and called afterward. He said that it was his usual custom to sing a hymn, read a portion, and engage in prayer before he went to meeting. He looked for his hymn-book, but could find it nowhere. I said: ‘I have some verses in my pocket’; if he liked, we could sing them. We did, and his wife enjoyed them so much, that after service he asked me, as a favor, to leave a copy of them for his wife. I went home, and by the fireside composed the last two verses, wrote the whole off, and took them to sister King. As these verses so met the dying woman’s case, my attention to them was the more arrested, and I had a thousand printed for distribution. I sent one to The Spiritual Magazine, without my initials, which appeared some time after this. Brother Rees, of Crown Street, Soho, brought out an edition of hymns (1836), and this hymn was in it. David Denham introduced it with Rees’ name, and others after.—Your inserting this brief outline may in the future shield me from the charge of stealth, and be a vindication of truthfulness in my connection with the Church of God.” The hymn was written about 1834 and printed in the author’s Hymns of Praise, London, 1836, under the title, The Immutable Basis of a Sinner’s Hope. Bishop Bickersteth has called the hymn, “A grand hymn of faith.” Two stanzas are omitted in The Lutheran Hymnary. [Dahle, Library of Christians Hymns]
My inmost heart now raises ◊ 79
Aus meines Herzens Grunde
Sag’ ich dir Lob und Dank
In dieser Morgenstunde,
Dazu mein Leben lang,
O Gott, in deinem Thron,
Dir zu Preis, Lob und Ehren
Durch Christum, unsern Herren,
Dein’n eingebornen Sohn,
Dass du mich hast aus Gnaden
In der vergangnen Nacht
Vor G’fahr und allem Schaden
Behütet und bewacht.
Ich bitt’ demütiglich,
Woll’st mir mein’ Sünd’ vergeben.
Womit in diesem Leben
Ich hab’ erzürnet dich.
Du wollest auch behüten
Mich gnädig diesen Tag
Vor’s Teufels List und Wüten,
Vor Sünden und vor Schmach,
Vor Feu’r und Wassersnot,
Vor Armut und vor Schanden,
Vor Ketten und vor Banden,
Vor bösem schnellem Tod.
Dein’n Engel lass auch beiben
Und weichen nicht von mir,
Den Satan zu vertreiben,
Auf dass der bös’ Feind hier
In diesem Jammertal
Sein’ Tück’ an mir nicht übe,
Leib und Seel’ nicht betrübe
Und bring’ mich nicht zu Fall.
Gott will ich lassen raten,
Denn er all’ Ding’ vermag;
Er segne meine Taten,
Mein Vornehmen und Sach’,
Denn ich ihm heimgestellt
Mein’n Leib, mein’ Seel’, mein Leben
Und was er mir sonst geben.
Er mach’s, wie’s ihm gefällt.
Darauf so sprech’ ich Amen
Und zweifle nicht daran,
Gott wird es all’s zusammen
Sich wohlgefallen lan;
Und streck’ num aus mein’ Hand,
Greif’ an das Werk mit Freuden,
Dazu mich Gott bescheiden
In mein’m Beruf und Stand.
This hymn is by Georg Nigidius (Niege). According to Prof. P. Althaus it was first published in Creutzbuechlein, 1585—1587, at Herford, Germany. A Low German version is found in the Bremer Gesangbuch of 1589. Then in 1592 it appeared in four different publications with text variations. The hymn has long been a favorite in many circles. Gustavus Adolphus loved it, and it was often sung at matins by his soldiers.
The translation is based on that of Catherine Winkworth, Chorale Book for England, 1863. [Handbook to The Lutheran Hymnal]
My life is hid in Jesus* ◊ 473
(See: For me to live is Jesus)
My Maker, be Thou nigh ◊ 513
Mein Schöpfer, steh mir bei,
Sei meines Lebens Licht!
Dein Auge leite mich,
Bis mir mein Auge bricht!
Hier leg’ ich Herz und Glieder
Vor dir zum Opfer nieder;
Bestimme meine Kräfte
Für dich und dein Geschäfte!
Du willst, dass ich der Deine sei:
Mein Schöpfer, steh mir bei!
Mein Heiland, wasche mich
Durch dein so teures Blut,
Das alle Flecken tilgt
Und lauter Wunder tut!
Schliess die verirrte Seele
In deine Wundenhöhle,
Dass sie von Zorn und Sünde
Hier wahre Freiheit finde!
Ich bin verloren ohne dich:
Mein Heiland, wasche mich!
Mein Tröster, gib mir Kraft,
Wenn sich Versuchung zeigt!
Regiere meinen Geist,
Wenn er zur Welt sich neigt!
Lehr mich den Sohn erkennen,
Ihn meinen Herrn auch nennen,
Sein Gnadenwort verstehen,
Auf seinen Wegen gehen!
Du bist, der alles Gute schafft:
Mein Tröster, gib mir Kraft!
Gott Vater, Sohn und Geist,
Dir bin ich, was ich bin.
Ach, drücke selbst dein Bild
Recht tief in meinen Sinn!
Erwähle mein Gemüte
Zum Tempel deiner Güte,
Verkläre an mir Armen
Dein gnadenreich Erbarmen!
Wohl mir, wenn du der Meine heisst:
Gott Vater, Sohn und Geist!
Johann J. Rambach published this hymn in his Poetische Festgedanken, 1729. It was accepted in the Hannoverisches Gesang Buch, 1740, together with the tune “Mein Schoepfer, steh mir bei” by Franz Heinrich Meyer, to which is has since been wedded.
The translation is by the Rev. R. E. Taylor of Melbourne, Australia, somewhat altered. It was prepared for the Australian Lutheran Hymn-Book, 1925. [Handbook to The Lutheran Hymnal]
My song is love unknown ◊ 303
My soul doth magnify the Lord ◊ 47
\\
This hymn is a free paraphrase by John Theodore Mueller of the German metrical Magnificat, “Mein’ Seel’, o Gott, muss loben dich,” for the Visitation of the Virgin Mary (Fünf auserlesene geistliche Lieder, Marburg, 1535) of unknown authorship. The translation was prepared for The Lutheran Hymnal in 1940. [Handbook to The Lutheran Hymnal]
My soul, now bless thy Maker! ◊ 456
Nun lob, mein’ Seel’, den Herren,
Was in mir ist, den Namen sein!
Sein’ Wohltat tut er mehren,
Vergiss es nicht, o Herze mein!
Hat dir dein Sünd’ vergeben
Und heilt dein’ Schwachheit gross,
Errett’t dein armes Leben,
Nimmt dich in seinen Schoss,
Mit rechtem Trost beschüttet,
Verjüngt dem Adler gleich.
Der Kön’g schafft Recht, behütet,
Die leiden in sein’m Reich.
Er hat uns wissen lassen
Sein herrlich Recht und sein Gericht,
Dazu sein’ Güt’ ohn’ Massen,
Es mangelt an Erbarmung nicht.
Sein’n Zorn lässt er wohl fahren,
Straft nicht nach unsrer Schuld,
Die Gnad’ tut er nicht sparen,
Den Blöden ist er hold.
Sein’ Güt’ ist hoch erhaben
Ob den’n, die fürchten ihn.
So fern der Ost vom Abend
Ist unsre Sünd’ dahin.
Wie sich ein Mann erbarmet
Über sein junge Kinderlein,
So tut der Herr uns Armen,
So wir ihn kind ich fürchten rein.
Er kennt das arm Gemächte
Und weiss, wir sind nur Staub,
Gleichwie das Gras von Rechte,
Ein’ Blum’ und fallend Laub,
Der Wind nur drüber wehet,
So ist es nimmer da:
Also der Mensch vergehet,
Sein End’, das ist ihm nah.
Die Gottesgnad’ alleine
Bleibt stet und fest in Ewigkeit
Bei seiner lieben G’meine,
Die steht in seiner Furcht bereit.
Die seinen Bund behalten.
Er herrscht im Himmelreich.
Ihr starken Engel, waltet
Seins Lobs und dient zugleich
Dem grossen Herrn zu Ehren
Und treibt sein heil’ges Wort,
Mein’ Seel’ soll auch vermehren
Sein Lob an allem Ort.
Martin Chemnitz, the great Lutheran theologian and one of the authors of the Formula of Concord, is given as authority for the statement that Johann Gramann (Graumann; Poliander) wrote this hymn in 1525, based on Ps. 103, at the request of his friend the Margrave Albrecht of Brandenburg-Ansbach, a follower of Luther’s and supporter of the Reformation. It is without question one of our most majestic and most fervent hymns of praise, one that should be in the reportory of every Lutheran congregation. A fifth stanza, evidently not by Gramann, appeared in 1555 and was added to the hymn in a number of German hymnals. It reads:
5. Sei Lob und Preis mit Ehren
Gott Vater, Sohn und Heil’gem Geist!
Der woll in uns vermehren,
Was er uns aus Genad’ verheisst,
Dass wir ihm fest vertrauen,
Gänzlich uns lass’n auf ihn,
Von Herzen auf ihn bauen,
Dass uns’r Herz, Mut und Sinn
Ihm festiglich anhangen.
Drauf singen wir zur Stund:
Amen, wir werd’n’s erlangen,
Glaub’n wir aus Herzensgrund.
The hymn was used by Gustavus Adolphus on April 24, 1632, at the first restored Protestant service in Augsburg and also by the inhabitants of Osnabrück, in Westphalia, as a thanksgiving at the close of the Thirty Years’ War on October 25, 1648.
The translation is by Catherine Winkworth, slightly altered, in her Chorale Book for England, 1863. [Handbook to The Lutheran Hymnal]
GRAUMANN’S famous hymn, based upon the 103rd Psalm, was first published in Nürnberg, 1540. It also appeared in Kugelmann’s Hymnal of the same year. Martin Chemnitz relates that Graumann was requested to write this hymn in 1525 by the elector Albrecht, whose favorite Psalm was the 103rd. Chemnitz adds: “I often recollect with joy what I witnessed eight years ago, when this pious ruler lay upon his deathbed. At all devotional meetings he requested that this hymn be sung last. How he joined in the singing of the beautiful text and was cheered with the many pious thoughts which he thus gathered! On this account the hymn is especially cherished also by me.”
This hymn was sung at the Lutheran service conducted in the Church of St. Anna by Gustavus Adolphus after he had entered the city of Augsburg and restored the Augsburg Confession. It was sung with bassoon accompaniment at Osnabruck, 1648, celebrating the peace at the close of the Thirty Years’ War. The Danish-Norwegian king, Christian III (d. 1559), sang this hymn upon his deathbed and expired while singing the words, “For, as a tender father hath pity on his children here.” It has found a place in almost all Danish-Norwegian hymnals. The first Danish version was published in Hans Thomissøn’s Hymn Book of 1569. Another translation was later made by Landstad.
The first English translation was rendered by I. C. Jacobi in 1722. The version which appears in our Lutheran Hymnary is by Miss C. Winkworth and dates from the year 1863. [Dahle, Library of Christians Hymns]
NAAR MIT ØIE (CONSOLATION*) ◊ 412
The melody (Naar mit Øie) is by Ludvig Lindeman. [Dahle, Library of Christians Hymns]
The tune “Consolation,” also called “Naar mit Øie,” is by Ludwig M. Lindeman and appeared in 1871 in his Koralbog for den Norska Kirke, set to H. A Brorson’s hymn “Naar mit Øie, træt af Møie.” [Handbook to The Lutheran Hymnal]
Nature with open volume stands ◊ 299
NAVY HYMN* (MELITA) ◊ 418
NEANDER* (UNSER HERRSCHER) ◊ 29, 217, 547
Near the cross was Mary weeping ◊ 294
\\
THIS is commonly accepted as the most pathetic of all the hymns from the Middle Ages. It belongs, possibly, to the 13th century. It was not written for liturgical use, but it soon became very widely known. It was used by the Flagellants during the middle of the 14th century. As they marched from town to town scourging each other they sang the “Stabat mater.” During the 15th century, or somewhat earlier, it entered into a few of the missals in use. Not before 1727 was it incorporated into the Missale Romanum. It was commonly used in redactions containing ten stanzas, but more stanzas have been found. Our cento in The Lutheran Hymnary is made up of several revised and combined strophes. There are many such free renderings of the original poem. The original hymn describes the Savior’s mother in anguish beneath the cross. “Stabat mater” is based upon John 19:25; Luke 22:35; Zech. 13:6; 2 Cor. 4:10; Gal. 6:17. It is not definitely known who wrote this stirring poem, picturing to us the mother of Christ standing beneath the cross—this poem with its deep sincerity of feeling, its beautiful rhythm, and its melodious feminine rime. Jacopone di Benedetti (from Todi), who died in 1306, has commonly been mentioned as the probable author of this hymn. Pope Innocent III (1161-1216) and others have also been mentioned. It is not known that this form of verse was used earlier than 1150. The hymnologist Mone is of the opinion that the original poem was written by Pope Innocent III and later revised and enlarged by Jacopone.
… The oldest Danish translation of “Stabat mater” dates from the Middle Ages; first three lines thus:
Hoss korssens tree, mz sorg oc wee, stood christi moder, med graadzens floder, hennes søn paa korssyt hengde.
In 1777 it was revised into current Danish by B. G. Sporon: “Naglet til et Kors paa Jorden.” With a few changes this was employed by Landstad.—”Stabat mater” has been set to music by great composers, such as Palestrina, Pergolesi, Haydn, Rossini, Dvorak, etc. [Dahle, Library of Christians Hymns]
NETTLETON ◊ 42
NEW BRITAIN ◊ 218
NICAEA ◊ 15
The melody (Nicea) by J. B. Dykes was composed for the first edition of Hymns Ancient and Modern, 1861. It has much in common with the melody for “Wake, awake, for night is flying,” by Philipp Nicolai. The name “Nicea” was given to this melody in memory of the Council of Nice, where the doctrine of the Trinity was finally established. [Dahle, Library of Christians Hymns]
The tune “Nicaea” was written for the hymn by John B. Dykes and appeared in Hymns Ancient and Modern, 1861. It was named “Nicaea” because the doctrine of the Trinity was definitely estabiished as a dogma in the Church at the Council of Nicaea, 325 A. D., against the Arians. [Handbook to The Lutheran Hymnal]
Not all the blood of beasts ◊ 305
Isaac Watts published this hymn in the enlarged edition of his Hymns and Spirztual Songs, 1709. The text is slightly altered, chiefly in Stanza 4, Line 4, where Watts had
And hopes her guilt was there.
This change was made, with others not so happy, in the Wesleyan Hymn Book, 1875. [Handbook to The Lutheran Hymnal]
Not in anger, mighty God ◊ 454
\\
THE Biblical basis for this hymn is the Sixth Psalm, by stanzas as follows: 1, “Jehovah, rebuke me not in Thine anger”; 2, “Have mercy upon me, O Jehovah; for I am withered away; O Jehovah, heal me; for my bones are troubled”; 3, “I am weary with my groaning”; 4, “Depart from me, all ye workers of iniquity; for Jehovah hath heard the voice of my weeping”; 5, a doxology.
A special edition of this hymn was published in 1655. A number of years later it appeared in a hymn book entitled Andächtig Singender Christenmund, Wesel, 1692. The English translation of this hymn was made by Miss Winkworth and was included among the hymns in her Chorale Book for England, 1863. [Dahle, Library of Christians Hymns]
Not what these hands have done ◊ 433
SALVATION through Christ alone.”
“For all have sinned, and fall short of the glory of God; being justified freely by His grace through the redemption that is in Christ Jesus” (Rom. 3:23-24).
This hymn appeared first in Hymns of Faith and Hope, second series, 1861. It contained 12 four-lined stanzas. As a rule it appears in an abbreviated form. The first line is also found thus: “Not what I feel or do” (second stanza, first line, of the original); “I bless the Christ of God” (seventh stanza, first line, of the original). It is used very extensively in these various versions. [Dahle, Library of Christians Hymns]
Now are the days fulfilled ◊ 164
Nun ist die Zeit erfüllt,
Des Höchsten Sohn ist kommen
Und hat das arme Fleisch
Der Menschen angenommen.
Hier ist der Mann, der Herr,
Der Furcht und Strafe stillt,
Des Weibes Same kommt:
Nun ist die Zeit erffült.
Nun ist die Zeit erfüllt,
Der Stern aus Jakob funkelt,
Die trübe Nacht ist hin,
Die alle Welt verdunkelt.
Hier ist es, Israel,
Was du erwarten willt;
Der Zionshüter schreit:
Nun ist die Zeit erfüllt.
Nun ist die Zeit erfüllt,
Der Stab von Aaron blühet,
Worauf das alte Bild
Der heil’gen Lade siehet.
Es hat sich Rat, Kraft, Held
In armen Staub verhüllt
Und wird ein schwaches Kind:
Nun ist die Zeit erfüllt.
Nun ist die Zeit erfüllt,
Die Kindschaft ist erworben.
Was unter dem Gesetz
Und dessen Fluch verdorben,
Das hört nun weiter nicht,
Wie Zorn und Eifer brüllt.
Gott ruft den Frieden aus;
Nun ist die Zeit erfüllt.
We have been unable to trace the authorship of this hymn. It is not found in many hymnals. The Rochlitzer Gesangbuch of 1746 is one of the few that have it.
The translation is an altered form of that by Frederick W. Herzberger published in the Selah Song-Book. [Handbook to The Lutheran Hymnal]
Now Christ is risen! ◊ 355
Now Christ the sinless Son of God ◊ 248
\\
Now hail the day so rich in cheer ◊ 131
Der Tag, der ist so freudenreich
Aller Kreature,
Denn Gottes Sohn vom Himmelrelch
Über die Nature
Von einer Jumgfrau ist geborn.
Maria, du bist auserkor’n,
Dass du Mutter wärest.
Was geschah so wumderlich?
Gottes Sohn vom Himmelreich,
Der ist Mensch geboren.
(For the second verse, see: To us is born a little Child.)
This hymn comes to us from the Latin “Dies est laetitiae” through the German. James Mearns thinks it is of German origin. He further states that Luther spoke of this hymn as a work of the Holy Spirit. It is found in Latin and German versions, but the author and the original text cannot be determined. The German version is given by Wackernagel as a fifteenth-century translation from the Latin. Some of the various German versions have as rnany as thirteen stanzas.
Our translation is an altered form of what was prepared for The Lutheran Hymnal in 1940. The tune “Der Tag, der ist” is also at least of fifteenth-century origin. It is found in M. Vehe’s Ein neues Gesangbüchlein, Geistliche Lieder, Strassburg, 1537. It had previously appeared in the hymnbook of the Bohemian Brethren by Michael Weisse, 1531. The tune has also been set to a harvest hymn by Eleanor Farieon, in Songs of Praise, and is called “Cornfields.” [Handbook to The Lutheran Hymnal]
Now hush your cries and shed no tear ◊ 480
\\
Now I have found the ground wherein ◊ 499
Ich habe num den Grund gefunden,
Der meinen Anker ewig hält.
Wo anders als in Jesu Wunden?
Da lag er vor der Zeit der Welt,
Der Grund, der unbeweglich steht,
Wenn Erd’ und Himmel untergeht.
Es ist das ewige Erbarmen,
Das alles Denken übersteigt;
Es sind die offnen Liebesarme
Des, der sich zu dem Sünder neigt,
Dem allemal das Herze bricht,
Wir kommen oder kommen nicht.
Wir sollen nicht verloren werden.
Gott will, uns soll geholfen sein;
Deswegen kam der Sohn auf Erden
Und nahm hernach den Himmel ein;
Deswegen klopft er für und für
So stark an unsre Herzenstür.
O Abgrund, welcher alle Sünden
Durch Christi Tod verschlungen hat!
Das heisst die Wunde recht verbinden,
Da findet kein Verdammen statt,
Weil Christi Blut beständig schreit:
Barmherzigkeit! Barmherzigkeit!
Darein will ich mich gläubig senken,
Dem will ich mich gekost vertraun
Und, wenn mich meine Sünden kränken,
Nur bald nach Gottes Herzen schaun;
Da findet sich zu aller Zeit
Unendliche Barmherzigkeit.
Wird alles andre weggerissen,
Was Seel’ und Leib erquicken kann,
Darf ich von keinem Troste wissen
Und scheine völlig ausgetan
Ist die Errettung noch so weit;
Mir bleibet doch Barmherzigkeit.
Beginnt das Irdische zu drüken,
Ja häuft sich Kummer und Verdruss,
Dass ich mich noch in vielen Stücken
Mit eitlen Dingen mühen muss,
Darüber sich mein Geist zerstreut,
So hoff’ ich auf Barmherzigkeit.
Muss ich an meinen besten Werken,
Darinnen ich gewandelt bin,
Viel Unvollkommenheit bemerken,
So fällt wohl alles Rühmen hin;
Doch ist auch dieser Trost bereit:
Ich hoffe auf Barmherzigkeit.
Es gehe mir nach dessen Willen,
Bei dem so viel Erbarmer, ist;
Er wolle selbst mein Herze stillen,
Damit es das nur nicht vergisst;
So stehet es in Lieb’ und Leid
In, durch und auf Barmherzigkeit.
Bei diesem Grunde will ich bleiben,
Solange mich die Erde trägt;
Das will ich denken, tun und treiben,
Solange sich ein Glied bewegt.
So sing’ ich einstens höchst erfreut:
O Abgrund der Barmherzigkeit!
Johann A. Rothe is the author of this fine hymn. It was first published in Zinzendorf’s Christ-Catholische Singe- und Bet-Büchlein, 1727. The following paragraph from Julian shows that there is uncertainty as to its exact date:
In the Historische Nachricht (to the Brüder Gesang Buch, 1778), ed. 1835, p. 176, it is said to have been written for Zinzendorf’s birthday, May 26, 1728. This is probably a misprint for 1725, and the hymn, as will be seen above, was in print in 1727. Koch, II, 241, suggests that it was written in return for the hymn “Christum über alles lieben” which Zinzendorf had sent to Rothe in 1722 (in the Sammlung, 1725, No. 652, and in the Deutsche Gedichte, 1735, p. 30, marked as “on a friend’s birthday,” and dated May 12, 1722). This, if correct, would rather suggest 1723 as the date of Rothe’s hymn; only in that case Zinzendorf would almost certainly have included it in the Sammlung of 1725. Zinzendorf, it may be added, gives in his Deutsche Gedichte two other pieces written for Rothe’s birthdays, one dated 1724, for his 36th birthday (beginning “Wer von der Erde ist”), the other dated 1728, for his 40th birthday (beginning “Der du der Herzen König bist”).
It was suggested by Heb. 6:19.
The translation is composite. [Handbook to The Lutheran Hymnal]
THIS beautiful poem is one of the German hymns which is most popular, not only in Germany, but also in Norway, Sweden, and Denmark, and in the English-speaking countries as well. It was first published in Zinzendorf’s Christ-Catholisches Singe- und Bet-Büchlein, 1727. It was later taken up in the hymn books of the Moravian Brethren. This circumstance gave rise to the conception that this and other hymns of Rothe were of the “Zinzendorf” type and, hence, they were not recognized and employed by the Lutherans until a later period.
The original contains 10 stanzas. It was rendered into Danish by H. A. Brorson and appeared first in Nogle Psalmer om Troens Grund, 1735. This version with a few alterations entered into Landstads Salmebog. The English translation of stanzas 1, 2, 4, 5, 6, and 10, was rendered by John Wesley, 1740, for his Wesley Hymns and Sacred Poems. Wesley’s translation was rendered in a meter different from the original. …
There are at least five other English renderings of this hymn. It is related that the well-known pastor Ludwig Hofacker, upon his installation into the office in Rielinghausen, voiced his confession in the words of the tenth stanza of this hymn (the sixth of the present version), “Fixed on this ground will I remain,” etc. “I pray to God that He will let my whole congregation find this ground.” Many incidents are related from English-speaking countries, showing how this hymn has been a source of comfort and blessing to many. Words from this hymn were heard from the lips of the pastors Edward Bickersteth and J. W. Fletcher as they lay upon their deathbeds. Skaar says that if Rothe had not written any hymns other than this one, it alone would have entitled him to rank among the best hymn-writers of the Church. [Dahle, Library of Christians Hymns]
Now lay we calmly in the grave ◊ 476
\\
Now let triumphant faith dispel ◊ 260
\\
Now let us to the Lord lift up our hearts* ◊ 40:2
Now may He who from the dead ◊ 19
John Newton published this hymn in the Olney Hymns, 1779, to be sung “after the sermon.” It is based on Heb. 13: 20-22. [Handbook to Th