Evangelical Lutheran Hymnary Handbook
— Hymn Texts and Tunes —
(TUNES ARE IN ITALIC CAPITAL LETTERS.)
SAINT … (SEE: ST. …)
SALVATION ◊ 434
Salvation unto us is come ◊ 227
Es ist das Heil uns kommen her
Von Gnad’ und lauter Güte,
Die Werke helfen nimmermehr,
Sie mögen nicht behüten,
Der Glaub’ sieht Jesum Christum an
Der hat g’nug für uns all’ getan,
Er ist der Mittler worden.
Was Gott im G’setz geboten hat,
Da man es nicht konnt’ halten,
Erhub sich Zorn und grosse Not
Vor Gott so mannigfalten;
Vom Fleisch wollt’ nicht heraus der Geist,
Vom G’setz erfordert allermeist,
Es war mit uns verloren.
Es war ein falscher Wahn dabei,
Gott hätt’ sein G’setz drum geben,
Als ob wir möchten selber frei
Nach seinem Willen leben;
So ist es nur ein Spiegel zart,
Der uns zeigt an die sünd’ge Art,
In unserm Fleisch verborgen.
Nicht möglich war es, diese Art
Aus eignen Kräften lassen.
Wiewohl es oft versuchet ward,
Doch mehrt’ sich Sünd’ ohn Massen;
Denn Gleisnerswerk Gott hoch verdammt,
Und je dem Fleisch der Sünde Schand’
Allzeit war angeboren.
Doch musst’ das G’setz erfüllet sein,
Sonst wär’n wir all’ verdorben;
Darum schickt’ Gott sein’n Sohn herein,
Der selber Mensch ist worden;
Das ganz’ Gesetz hat er erfüllt,
Damit sein’s Vaters Zorn gestillt,
Der über uns ging alle.
Und wenn es num erfüllet ist
Durch den, der es konnt’ halten,
So lerne jetzt ein frommer Christ
Des Glaubens recht’ Gestalte.
Nicht mehr, denn: Lieber Herre mein,
Dein Tod wird mir das Leben sein,
Du hast für mich bezahlet!
Daran ich keinen Zweifel trag’,
Dein Wort kann nicht betrügen.
Nun sagst du, dass kein Mensch verzag’,
Das wirst du nimmer lügen:
Wer glaubt an mich und wird getauft,
Demselben ist der Himm’l erkauft,
Dass er nicht wird verloren.
Es wird die Sünd’ durchs G’setz erkannt
Und schlägt das G’wissen nieder,
Das Evangelium kommt zuhand
Und stärkt den Sünder wieder
Und spricht: Nur kreuch zum Kreuz herzu,
Im G’setz ist weder Rast noch Ruh’
Mit allen seinen Werken!
Die Werk’, die kommen g’wisslich her
Aus einem rechten Glauben;
Denn das nicht rechter Glaube wär’,
Wollt’st ihn der Werk’ berauben.
Doch macht allein der Glaub’ gerecht,
Die Werke sind des Nächsten Knecht’.
Dabei wir’n Glauben merken.
Sei Lob und Ehr’ mit hohem Preis
Um dieser Gutheit willen
Gott Vater, Sohn, Heiligem Geist!
Der woll’ mit Gnad’ erfüllen,
Was er in uns ang’fangen hat
Zu Ehren seiner Majestät,
Dass heilig werd sein Name.
This is the most famous hymn of Paul Speratus and also one of the oldest and best known of Lutheran hymns. It was probably written in the fall of 1523 and then included in the first Lutheran hymnal, the so-called Achtliederbuch, entitled Etlich christlich lider, 1524. It was headed “A Hymn of Law and Faith, Powerfully Furnished with God’s Word,” and was in fourteen stanzas. It has been called “the true confessional hymn of the Reformation” and the “poetical connterpart of Luther’s preface to the Epistle to the Romans.” Miles Coverdale translated it for his Goostly Psalmes and Spiritualle Songes, c. 1539. The cento omits Stanzas 8,11,12, and 14.
The translation is composite. [Handbook to The Lutheran Hymnal]
THEREFORE we conclude that a man is justified by faith without the deeds of the Law” (Rom. 3:28). This hymn by Speratus has been called the poetic parallel to Luther’s preface to the Epistle to the Romans. One hymnologist has called it the great confessional hymn of the Reformation. Luther shed tears of joy when he heard it sung by a street-singer outside his window in Wittenberg. “By means of this hymn the precious truth concerning righteousness by faith through the grace of God was sung into the congregations.” In the town of Waiblingen near Stuttgart the Catholic priests vigorously opposed the Reformation, while the people favored it. The preacher, Werner, delivered the first evangelical sermon in the city in the year 1535. The Catholic priests tried to contradict him, but the congregation struck up the hymn of Speratus, and Werner’s enemies gave up the fight. In the Palatinate, also, the people desired to introduce the Reformation, but the duke dared not for fear that he would incur the emperor’s displeasure. Then, once while mass was being celebrated in the principal church in Heidelberg, the people began singing this hymn “as with one mouth.” The duke realized that it was high time that the people were granted their desire in the matter, and the Reformation was inaugurated. Similar incidents took place in Magdeburg and other cities. The hymn was rendered into Danish for Een ny Haandbog, 1529. It is thought that either Claus Mortensen or Arvid Pedersen prepared this translation. [Dahle, Library of Christians Hymns]
SALVE FESTA DIES ◊ 398
SALZBURG (ALLE MENSCHEN MÜSSEN STERBEN*) ◊ 172
The melody (Salzburg) is by Jacob Hintze (1622-1700), “stadt-musikus” of Berlin. After Johann Crüger’s death, Hintze undertook to superintend further issues of the Praxis Pietatis Melica, and added a number of new tunes. [Dahle, Library of Christians Hymns]
The tune “Alle Menschen müssen sterben” is attributed to Johann Rosenmüller, who is said to have composed it for Albinus’s text, to which the hymn was sung at von Henssberg’s funeral. The melody first appeared in Johann Cruger’s Praxis Pietatis Melica, Berlin, 1678. [Handbook to The Lutheran Hymnal]
Savior of the nations come ◊ 90
1. Veni, Redemptor gentium;
Ostende partum virginis;
Miretur omne saeculum.
Talis decet partus Deo.
2. Non ex virili semine,
Sed mystico spiramine
Verbum Dei tactum est caro,
Fructusque ventris floruit.
3. Alvus tumescit virginis.
Claustrum pudoris permanet;
Vexilla virtutum micant,
Versatur in templo Deus.
4. Procedit e thalamo suo,
Pudoris aulo regia,
Geminae gigans substantiae
Alacris ut currat viam.
5. Egressus eius a Patre,
Regressus eius ad Patrem ;
Excursus usque ad inferos
Recursus ad sedem Dei.
6. Aequalis aeterno Patri,
Carnis tropaeo accingere,
Infirma nostri corporis
Virtute firmans perpeti.
7. Praesepe iam fulget tuum,
Lumenque nox spirat novum,
Quad nulla nox interpolet
Fideque iugi luceat.
8. Gloria tibi, Domine,
Qui natus es de virgine,
Cum Patre et saneto Spiritu,
In sempiterna saecula.
It will be noted that the fourth stanza of the Latin text has been omitted in our version. Julian informs us that the Latin hymn, though included in older breviaries, is not in the Roman Breviary “and can hardly be said to be in use at the present day, a somewhat unfortunate ecclesiastical prudery having set aside this noble composition.” The same authority, however, adds: “It must be confessed that a strictly literal English version is hardly desirable for modern congregational use.”
Luther’s German version appeared with the tune in both editions of Eyn Enchiridion, Erfurt, 1524, and in Johann Walther’s Geystliche gesangk Buchleyn, Wittenberg, 1524.
The translation is a slightly altered form of the version by William M. Reynolds and first appeared in 1860. [Handbook to The Lutheran Hymnal]
AUGUSTINE says: “I feel that I am moved much more by the testimony of the word which is voiced in song than by that which is not sung: There is, therefore, a sort of mysterious relationship between the movements of the spirit and song.” This is one of the twelve hymns which the Benedictine writers ascribed to Ambrose. Augustine refers to this as one of the hymns of Ambrose, and Pope Coelestine expressly mentions the name of Ambrose at the Synod of Rome, 430. Likewise, Faustus in his Epistola ad gratium diaconum, ca. 450, and also Cassiodorus (d. ca. 575) in his Commentary on the Psalms. The hymn is found in two Vatican manuscripts of the eighth century, besides in manuscripts as follows: Trier (ninth century); Bern and München (tenth century); Cambridge and British Museum (eleventh century). It is also found in many hymnological works and in the breviaries of many nations. It is not found, however, in the Roman Breviary, due possibly to an exaggerated ecclesiastic critical sense—snobbishness, which took offense at certain figurative expressions. “The fourth stanza is based upon Psalm 19:6. David’s figure of the sun is applied by Ambrose to Christ” (Skaar). The hymnologist Dreves relates that the hymn originally began as follows: “Intende qui regis Israel”; thus in manuscripts of the Vatican, Milan, and other old Italian editions. Outside of Italy this stanza is commonly omitted. The German version of this hymn was rendered by Henrik von Laufenberg, a minister of Freiburg (d. 1445): “Kum har, erlöser volkes schar.” A version by another author of the fifteenth century reads as follows: “Kom, erlöser aller leute,” and one from the beginning of the sixteenth century: “Erlediger der völckher khum”; and finally Luther’s version of 1524: “Nun komm, der Heiden Heiland,” with the title, Der hymnus: Veni Redemptor gentium etc. verdeutscht. Luther’s translation was printed in two editions of the Erfurt Enchiridion and was taken up by other German hymnals and for a long time employed as an Advent hymn, but chiefly used as a Christmas hymn. Among the English translations we have eighteen renderings from the Latin text and ten translations from Luther’s German version. Of the latter, only one seems to be in common use, the version found in our Lutheran Hymnary rendered by W. M. Reynolds (1850) for the Church Book with Music of the General Synod. The fourth and sixth stanzas of the original are here omitted.
Latin revision of Ambrose’s hymn was made b Johann Campanus (1565-1622), rector of the University of Prague. His version became popular an was rendered into German by Johann Franck: “Komm Heiden Heiland, Lösegeld,” which was included in many German hymnals, among which may be mentioned Bunsen’s (somewhat changed). Of this version there are three English translations, of which one is by Miss Winkworth: “Redeemer of the nations, come.” Luther’s “Nun komm der Heiden Heiland” was translated into Danish in 1569, by Hans Thomissøn: “Kom, Hedningernes Frelser sand.” This was a very defective translation, and Kingo in his first draft of the Winterpart rendered a new version: “Kom nu alle Folkes Trøst”; in later editions changed to “Kom, o Hedning-Frelser sand.” But in spite of the fact that these translations were a great improvement upon Thomissøn’s version, none of them were accepted by the committee which was given authority to compile Kingo’s Hymn Book. The old version by Thomissøn was preferred. Landstad prepared a new translation consisting of four stanzas for his hymnary.
Ambrose’s hymn has been translated also into French, Portuguese, Low-German, Swedish, Icelandic, and other languages. “‘Veni Redemptor gentium’ was possibly one of these hymns sung by the congregation in the church of Milan during the night vigils of the year 386. While the Arians denied the divinity of Christ, we have in this hymn a direct statement confessing Christ to be true God, born of the Father from eternity” (Skaar). It has not been definitely established that the melody for this hymn dates from the fourth century. It is possibly a German tune from the Middle Ages and was used by Johann Walther for Luther’s version of the Latin text. It was printed together with this hymn in the Geystliche Gesangk-Buchleyn and in the Erfurt Enchiridion, 1524. [Dahle, Library of Christians Hymns]
Savior, again to Thy dear name we raise ◊ 597
THIS hymn was written in 1866 for a meeting of the Malpas, Middelwich, and Nantwich Choral Association. Originally it had 6 stanzas. Later it was revised and abbreviated and was thus printed in a supplement to Hymns Ancient and Modern, 1868. It is very commonly used as the closing hymn of the evening service. [Dahle, Library of Christians Hymns]
Savior, when in dust to Thee ◊ 296
UNDER the title: Litany, this hymn of five stanzas appeared first in The Christian Observer, 1815. Grant’s hymns were published, 1839, in a new edition under the title: Sacred Poems. This was edited by his brother, Lord Glenelg. The hymn text differs somewhat from that of the first edition, but Lord Glenelg designates the later form as “more correct and authentic.” The third stanza of the original is omitted in this second edition. The hymn has undergone many changes in several hymn books and the first line especially appears in many different forms, as follows: “By Thy birth and early years”; “By Thy birth and by Thy tears”; “Father, when in dust to Thee”; “Jesus, when in prayer to Thee.” The hymn is extensively used in all these various forms and it has been translated into many languages. R. gingham has rendered it into Latin with the first line as follows: “Quando genua flectentes.” [Dahle, Library of Christians Hymns]
SCHMÜCKE DICH ◊ 328
THE first stanza of this hymn was published 1649, in J. Crüger’s Kirchenmelodien. It was there set to Crüger’s melody. [Dahle, Library of Christians Hymns]
The first stanza of this hymn by Johann Franck appeared in Johann Crüger’s Geistliche Kirchen Melodien, 1649, set to the beautiful tune “Schmücke dich,” which Crüger himself had composed for it. Whether the entire hymn was written in that year or earlier is not certain. Franck published it in his Geistliches Sion, etc., Guben, 1674, headed “Preparation for the Holy Communion.” Both text and tune are truly great. Julian states:
This hymn is perhaps the finest of all German hymns for the Holy Communion. It is an exhortation to the soul to arise and draw near to partake of the Heavenly Food and to meditate on the wonders of Heavenly Love, ending with a prayer for final reception at the Eternal Feast. It soon attained, and still retains, popularity in Germany (in many German churches it is still the unvarying hymn at the celebration), was one of the first hymns translated into Malabar, and passed into English in 1754. [Handbook to The Lutheran Hymnal]
SCHÖNSTER HERR JESU ◊ 54
Its modern form together with the beautiful melody was noted down from oral recitation in the province of Glaz, Silesia, and was printed in Schlesische Volkslieder, Leipzig, 1842. This version became the basis for our present English translation, which was rendered by Dr. Joseph Augustus Seiss, an American Lutheran pastor born in Maryland, 1823 (d. 1904). It was this hymn with its beautiful melody which inspired the poet B. S. Ingemann to write his famous Crusaders’ Hymn in the Danish, “Deilig er Jorden,” which ought to take the place of this hymn in our English hymnals. [Dahle, Library of Christians Hymns]
The tune “Schönster Herr Jesu” is first found in a book of Silesian folksongs, Schlesische Volkslieder, Leipzig, 1842. The carol is not an ancient “Crusaders’ Hymn,” as often stated. Both text and tune are modern. [Handbook to The Lutheran Hymnal]
SCHUMANN ◊ 445
The melody (Schumann or Heath) has been arranged from one of Robert Schumann’s melodies (1810-56). [Dahle, Library of Christians Hymns]
The tune “Schumann” is from Mason and Webb’s Cantica Laudis, Boston, 1850. In that volume the tune is called “White.” It is supposed to be an arrangement from Robert Schumann, but authorities have been unable to find anything among his writings from which it could have been derived. [Handbook to The Lutheran Hymnal]
Seek where ye may to find a way ◊ 207
Such’, wer da will, Ein ander Ziel,
Die Seligkeit zu finden;
Mein Herz allein Bedacht soll sein,
Auf Christum sich zu gründen.
Sein Wort ist wahr, Sein Werk ist klar,
Sein heil’ger Mund Hat Kraft und Grund,
All’ Feind’ zu überwinden.
Such’, wer da will, Nothelfer viel,
Die uns doch nichts erworben;
Hier ist der Mann, Der helfen kann,
Bei dem nie was verdorben!
Uns wird das Heil Durch ihn zuteil,
Uns macht gerecht Der treue Knecht,
Der für uns ist gestorben.
Ach sucht doch den, Lasst alles stehn,
Die ihr das Heil begehret!
Er ist der Herr Und keiner mehr,
Der euch das Heil gewähret.
Sucht ihn all’ Stund’ Von Herzensgrund,
Sucht ihn allein, Denn wohl wird sein
Dem, der ihn herzlich ehret.
Mein’s Herzens Kron’, Mein’ Freudensonn’
Sollst du, Herr Jesu, bleiben;
Lass mich doch nicht Von deinem Licht
Durch Eitelkeit vertreiben!
Bleib du mein Preis, Dein Wort mich speis;
Bleib du mein’ Ehr’, Dein Wort mich lehr’,
An dich stets fest zu gläuben!
Wend von mir nicht Dein Angesicht,
Lass mich im Kreuz nicht zagen;
Weich nicht von mir, Mein’ höchste Zier,
Hilf mir mein Leiden tragen
Hilf mir zur Freud’ Nach diesem Leid,
Hilf, dass ich mag Nach dieser Klag’
Dir ewig dort lobsagen!
Georg Weissel first published this hymn in Preussische Fest Lieder durchs gantze Jahr, Part I, Elbing, 1642. It had been written by him in 1623. When he became pastor in Königsberg in that year, in conjunction with his entrance into office there, he dedicated the newly built church (Alt-Rossgärtsche Kirche) on the Third Sunday in Advent. He had composed the hymn for this occasion.
The translation by Arthur Voss was prepared for The Lutheran Hymnal in 1938. [Handbook to The Lutheran Hymnal]
SEELENBRÄUTIGAM ◊ 587
The melody (Seelenbräutigam) was composed by Adam Drese, 1698. [Dahle, Library of Christians Hymns]
The tune “Seelenbräutigam” is by Adam Drese and was written for his own hymn “Seelenbräutigam, Jesu, Gotteslamm” and published in the Halle Gesang-Buch (Schütze), 1697. [Handbook to The Lutheran Hymnal]
Send, O Lord, Thy Holy Spirit ◊ 507
Segne, Herr, mit deinem Geiste
Deinen Diener immerdar,
Dass den rechten Dienst er leiste
Dir an deiner Lämmerschar.
Deines Wortes reine Lehr’,
Deines heil’gen Namens Ehr’,
Deiner Lämmlein Seligkeit
Sei sein Ziel zu aller Zeit.
Du, o Herr hast ihn erwählet
Zu dem Amt, so schön, doch schwer;
Ohne deinen Geist ihm fehlet
Alle Hilfe, Kraft und Wehr.
Schenk ihm Weisheit und Verstand,
Stärk ihm Herz und Mund und Hand.
Hör uns, o Herr Jesu Christ,
Der du Hirt und Helfer bist!
Hilf, Herr Christ, ihm treulich weiden
Unsre Kindlein auf den Au’n
Deines Worts, hilf ihm sie leiten,
Dass sie selig einst dich schaun.
Hilf ihm tragen all’ Beschwer,
Die sein Amt bringt mit sich her;
Krön ihn auch mit Herrlichkeit
Einst in sel’ger Ewigkeit.
We have been unable to determine the author of this 19th-century hymn. It became known in certain circles through the old German Lieder-Perlen, a Concordia Publishing House publication for use in our schools. It is to be used at the installation of a teacher. The translator is Frederick W. Herzberger. [Handbook to The Lutheran Hymnal]
Shepherd of tender youth* ◊ 183
(See: Master of eager youth)
SICILIAN MARINERS ◊ 588
SIEH, HIER BIN ICH ◊ 89, 159
The melody is taken from Geistreiches Gesangbuch, Darmstadt, 1698. [Dahle, Library of Christians Hymns]
The tune “Sieh, hier bin ich” is from the Darmstadt hymnal Geistreiche Gesangbuch, 1698, set to Joachim Neander’s hymn “Sieh, hier bin ich Ehrenkönig.” [Handbook to The Lutheran Hymnal]
Silent night! ◊ 140
Stille Nacht, heilige Nacht!
Alles schläft, einsam wacht
Nur das heilige hochheilige Paar,
Holder Knabe in lockigem Haar,
Schlaf in himmlischer Ruh’,
Schlaf in himmlischer Ruh’.
Stille Nacht, heilige Nacht!
Hirten erst kundgemacht;
Durch der Engel Halleluja
Tönt es laut von fern und nah:
Christ, der Retter, ist da!
Christ, der Retter, ist da!
Stille Nacht, heilige Nacht!
Gottes Sohn, o wie lacht
Lieb’ aus deinem göttlichen Mund,
Da uns schläget die rettende Stund’,
Christ, in deiner Geburt!
Christ, in deiner Geburt!
This is one of the most popular Christmas carols in America. It was written by Joseph Mohr, in 1818, for the Christmas celebration in his church that year. The tune “Stille Nacht” was composed by Franz Gruber, organist, who was schoolmaster at Arnsdorf, a village not far from Oberndorf, where Mohr had his parish.
A brochure on “Silent Night” was prepared several years ago by Frederick H. Jänicken in which the circumstances of its origin are told. According to Mr. Jänicken it was first played on a guitar in the church study of Joseph Mohr at Oberndorf, where Pastor Mohr, who wrote the text and, in a sense, provided the poetic impulse for the music, was the vicar. Pastor Mohr and Gruber had been friends for a long time. Gruber was the organist and choirmaster in the neighboring village of Arnsdorf, and they often visited each other, usually for the purpose of singing hymns and sometimes, when other singers could be brought in, the more difficult motets. On one of these occasions, just a week or two before Christmas of 1818, Gruber had said to Mohr, “Do you know, Pastor, the true Christmas song is yet to be written?” Gruber was looking out into the deep, serene, snow-clad Alpine reaches when he spoke, and Mohr, following his gaze, agreed. Pastor Mohr, pondering the thought of a perfect Christmas song, was called on Christmas Eve to the hut of a woodchopper whose wife had just borne a child. Face to face with the mystery of life, Pastor Mohr, after performing appropriate offices for the family, returned through the snow-drifts to his house and almost automatically began to write since that was the most effective way he could think of to give expression to his mood and his sensibilities. According to the story he stopped writing at 4 o’clock on Christmas morning—and the poem of “Silent Night” had been written. After a few hours’ sleep he arose at 9, hurried to the home of his friend Gruber in Arnsdorf, presented him with the text, and returned to his own home. Later in the day Gruber came to Oberndorf with the notes sketched in. The organ in the pastor’s study was broken, so Gruber took a guitar from the wall, played the music through once, and then the two sang it together in thirds. It was then not more than half an hour before the Christmas services were to begin; but Pastor Mohr quickly assembled his choir, Herr Gruber sang the tune, they followed, and by the time the congregation had filled the church, they were ready to give it to the world. In 1897 a memorial tablet was placed on the schoolhouse in Arnsdorf with this inscription:
Silent night! Holy night!
Who composed thee, hymn divine?
Mohr it was who wrote each line,
Gruber found my tune sublime,—
Teacher together with priest.
The translation is by an unknown writer. According to Julian it first appeared in C. L. Hutchins’s Sunday School Hymnal, 1871. Our copy, which is Edition A, 1889, has a different translation. The Sunday School Hymn Book of the General Council, 1873, carried this translation, and thus it came into common use among American Lutherans. [Handbook to The Lutheran Hymnal]
“Silent night, holy night,” one of our most popular Christmas hymns, was written for the Christmas festival 1818, while Mohr was assistant pastor of Laufen, near Salzburg. The music was composed by Franz Gruber, a teacher in the neighboring town of Arnsdorf. The hymn has been translated into many languages and is extensively used in all Christian lands. There are twelve English translations. [Dahle, Library of Christians Hymns]
SINE NOMINE ◊ 554
The tune “Sine nomine” was written for this hymn by R. Vaughan Williams. It appeared in the English Hymnal, 1906. It is a powerful tune, one of the finest hymn tunes by a modern composer, and the congregation that has mastered it will sing it with an ever-deepening appreciation. [Handbook to The Lutheran Hymnal]
Sing praise to the God of Israel ◊ 46
Sing to the Lord of harvest ◊ 464
Sing, my tongue, how glorious battle ◊ 298
\\
SIROË ◊ 232
SLANE ◊ 59
SO NIMM DENN MEINE HÄNDE ◊ 210
SO WAHR ICH LEB ◊ 417
So rest, my Rest ◊ 338
\\
So truly as I live, God saith ◊ 417
So wahr ich leb’, spricht Gott der Herr,
Des Sünders Tod ich nicht begehr’,
Sondern dass er bekehre sich
Tu’ Buss’ und lebe ewigilch.
Drum Christ, der Herr, sein’ Jünger sandt’:
Geht hin, predigt in allem Land
Vergebung der Sünd’ jedermann,
Dem’s leid ist, glaubt und will ablan.
Wem ihr die Sünd’ vergeben werd’t,
Soll ihr’r los sein auf dieser Erd’.
Wem ihr sie b’halt’t im Namen mein,
Dem sollen sie behalten sein.
Was ihr bind’t, soll gebunden sein;
Was ihr auflöst, das soll los sein.
Die Schlüssel zu dem Himmelreich
Hiermit ich euch geb’ allen gleich.
Wenn uns der Beicht’ger absolviert,
Sein Amt der Herr Christ durch ihn führt
Und spricht uns selbst von Sünden rein;
Sein Werkzeug ist der Dien’r allein.
Wem der Beicht’ger auflegt sein’ Hand,
Dem löst Christ auf der Sünden Band
Und absolviert ihn durch sein Blut:
Wer’s glaubt, aus Gnad’ hat solches Gut.
Wen nun sein G’wissen beisst und nagt,
Die Sünd’ quält, dass er schier verzagt,
Der halt’ sich zu dem Gnadenthron,
Zum Wort der Absolution.
Lob sei dir, wahrer Gottessohn,
Für die heil’g’ Absolution,
Darin du zeigst dein’ Gnad’ und Güt’:
Vor falschem Ablass uns behüt!
Nikolaus Herman first published this hymn, in eleven stanzas, in his Die Sontags Euangelia, etc., Wittenberg, 1560. The title was “A hymn on the power of the keys and the virtue of holy absolution; for the children in Joachimsthal.” It probably suggested the better-known hymn by Johann Heermann “So wahr ich lebe.” [Handbook to The Lutheran Hymnal]
Soldiers of Christ, arise ◊ 520
PUT on the whole armor of God, that ye may be able to stand against the wiles of the devil” (Ephesians 6:11).
This hymn is given in Wesley’s Hymns and Sacred Poems, 1749, in 16 eight-line stanzas. In W. S. Hymnbook, 1780, 12 stanzas were given as three separate hymns: 1. Soldiers of Christ, arise, 2. But above all lay hold, 3. In fellowship alone. Our cento is found in several hymn books in England and America. [Dahle, Library of Christians Hymns]
SOLLT’ ICH MEINEM GOTT ◊ 448
The tune “Sollt’ ich meinem Gott nicht singen” was composed by Johann Schop for Johann Rist’s Easter hymn “Lasset uns den Herren preisen, o ihr Christen, überall,” published with that text in Rist’s Himmlzsche Lieder Liineburg, 1641. In the course of time, however, this tune became wedded to this hymn of Gerhardts and is the most widely used in spite of the fact that at least twenty tunes have been composed for Gerhardt’s text. The congregation that masters this tune possesses a treasure of which it will never grow weary. [Handbook to The Lutheran Hymnal]
SOM TØRSTIGE HJORT ◊ 462
The melody was composed by L. M. Lindeman especially for this hymn [Dahle, Library of Christians Hymns]
SONG 13 (LIGHT DIVINE*) ◊ 402
The tune “Song 13” or “Light Divine” by Orlando Gibbons is also called “Song 13.” It appeared in The Hymnes and Songs of the Church by George Wither, in 1623, where it was set to a metrical paraphrase of a part of the Song of Solomon. [Handbook to The Lutheran Hymnal]
Songs of thankfulness and praise ◊ 172
Christopher Wordsworth published this hymn in his Holy Year, 1862, with the heading:
“Sixth Sunday after the Epiphany.—Recapitulation of the Subjects presented in the Services of former weeks throughout the season of Epiphany; and Anticipation of the future great and glorious Epiphany, at which Christ wil1 appear again to judge the World.” [Handbook to The Lutheran Hymnal]
SONNE DER GERECHTIGKEIT ◊ 310
Soul, adorn thyself with gladness ◊ 328
Schmücke dich, o liebe Seele,
Lass die dunkle Sündenhöhle,
Komm ans heile Licht gegangen,
Fange herrlich an zu prangen!
Denn der Herr, voll Heil und Gnaden,
Will dich jetzt zu Gaste laden;
Der den Himmel kann verwalten,
Will jetzt Herberg’ in dir halten.
Eile, wie Verlobte pflegen,
Deinem Bräutigam entgegen,
Der da mit dem Gnadenhammer
Klopft an deine Herzenskammer!
Öffn’ ihm bald des Geistes Pforten,
Red ihn an mit schönen Worten:
Komm, mein Liebster, lass dich küssen.
Lass mich deiner nicht mehr missen!
Zwar in Kaufung teurer Waren
Megt man sonst kein Geld zu sparen;
Aber du willst für die Gaben
Deiner Huld kein Geld nicht haben,
Weil in allen Bergwerksgründen
Kein solch Kleinod ist zu finden.
Das die blutgefüllten Schalen
Und dies Manna kann bezahlen.
Ach, wie hungert mein Gemüte,
Menschenfreund, nach deiner Güte!
Ach, wie pfleg’ ich oft mit Tränen
Mich nach dieser Kost zu sehnen!
Ach, wie pfleget mich zu dürsten
Nach dem Trank des Lebensfürsten!
Wünsche stets, dass mein Gebeine
Sieh durch Gott mit Gott vereine.
Beides Lachen und auch Zittern
Lässet sich in mir jetzt wittern;
Das Geheimnis dieser Speise
Und die unerforschte Weise
Machet, dass ich früh vermerke,
Herr, die Grösse deiner Werke.
Ist auch wohl ein Menseh zu finden,
Der dein’ Allmacht sollt’ ergründen?
Nein, Vernunft, die muss hier weichen,
Kann dies Wunder nicht erreichen,
Dass dies Brot nie wird verzehret,
Ob es gleich viel Tausend’ nähret,
Und dass mit dem Saft der Reben
Uns wird Christi Blut gegeben.
O der grossen Heimlichkeiten,
Die nur Gottes Geist kann deuten!
Jesu, meines Lebens Sonne,
Jesu, meine Freud’ und Wonne,
Jesu, du mein ganz Beginnen,
Lebensquell und Licht der Sinnen,
Hier fall’ ich zu deinen Füssen;
Lass mich würdiglich geniessen
Dieser deiner Himmelsspeise
Mir zum Heil und dir zum Preise!
Herr, es hat dein treues Lieben
Dich vom Himmel hergetrieben,
Dass du willig hast dein Leben
In den Tod für uns gegeben
Und dazu ganz unverdrossen,
Herr, dein Blut für uns vergossen,
Das uns jetzt kann kräftig tränken,
Deiner Liebe zu gedenken.
Jesu, wahres Brot des Lebens,
Hilf, dass ich doch nicht vergebens
Oder mir vielleieht zum Schaden
Sei zu deinem Tisch geladen!
Lass mich durch dies Seelenessen
Deine Liebe recht ermessen,
Dass ich auch, wie jetzt auf Erden,
Mög’ dein Gast im Himmel werden!
The first stanza of this hymn by Johann Franck appeared in Johann Crüger’s Geistliche Kirchen Melodien, 1649, set to the beautiful tune “Schmücke dich,” which Crüger himself had composed for it. Whether the entire hymn was written in that year or earlier is not certain. Franck published it in his Geistliches Sion, etc., Guben, 1674, headed “Preparation for the Holy Communion.” Both text and tune are truly great. Julian states:
This hymn is perhaps the finest of all German hymns for the Holy Communion. It is an exhortation to the soul to arise and draw near to partake of the Heavenly Food and to meditate on the wonders of Heavenly Love, ending with a prayer for final reception at the Eternal Feast. It soon attained, and still retains, popularity in Germany (in many German churches it is still the unvarying hymn at the celebration), was one of the first hymns translated into Malabar, and passed into English in 1754.
The composite translation is an altered form of that by Catherine Winkworth in her Lyra Germanica, second series, 1858, and in her Chorale Book for England, 1863, with the addition of Stanzas 3, 6, and 8, which she omitted. [Handbook to The Lutheran Hymnal]
THE first stanza of this hymn was published 1649, in J. Crüger’s Kirchenmelodien. It was there set to Crüger’s melody. The whole hymn of nine stanzas appeared in the Crüger-Runge Gesangbuch, published in 1653 under the title, A Preparation for the Lord’s Supper. It was also given a place in Crüger’s Praxis Pietatis, 1656; in Franck’s Geistliches Zion, 1674, and soon found a place in all the leading German hymnals, where it has since been retained. It belongs to the immortal hymns of the Lutheran Church and in a large number of congregations in Germany and America this hymn is sung regularly before communion. The former president of the Norwegian Synod, Dr. V. Koren, employed this hymn in his church on Washington Prairie, Iowa, every Maundy Thursday during the course of his ministry, which extended over fifty years in that one congregation. The hymnologist, James Mearns, says that this hymn is possibly the most beautiful of all the German communion hymns.
Danish versions were made by Brorson and Fr. Rostgaard. The latter’s translation was given a place in Pontoppidan’s Hymnal. There are in all eight or more English versions. Of these, Miss Winkworth’s is the most popular. There are two versions by Miss Winkworth. The first one appeared in her Lyra Germanica, 1858, and is not in the meter of the original; the other, dating from 1863, is in the same meter as the original. In both versions, however, stanzas 3, 6, and 8 are omitted. The Evangelical Lutheran Hymn Book of the Missouri Synod includes all nine stanzas. Johann Crüger’s melody from 1649 has always been used with this hymn. [Dahle, Library of Christians Hymns]
SOUTHWELL ◊ 453
The tune “Southwell” is from William Daman’s Psalmes of David, 1579, where it is set to a metrical version of Ps. 45. [Handbook to The Lutheran Hymnal]
SPANISH CHANT ◊ 510
The tune “Spanish Chant” is from an old seventeenth-century melody, arranged by Benjamin Carr, 1824. [Handbook to The Lutheran Hymnal]
Speak, O Lord, Thy servant heareth ◊ 230
Rede, liebster Jesu, rede,
Denn dein Kind gibt acht darauf;
Stärke mich, denn ich bin blöde,
Dass ich meinen Lebenslauf
Dir zur Ehre setze fort.
Ach, lass stets dein heilig Wort
In mein Herz sein eingeschlossen,
Dir zu folgen unverdrossen!
Ach wer wollte dich nicht hören,
Dich, du liebster Menschenfreund?
Sind doch deine Wort’ und Lehren
Alle herzlich wohl gemeint.
Sie vertreiben alles Leid,
Selbst des Todes Bitterkeit
Muss vor deinen Worten weichen,
Nichts ist ihnen zu vergleichen.
Jesu, dein Wort soll mich laben;
Deine trosterfüllte Lehr’
Will ich in mein Herz eingraben.
Ach, nimm sie doch nimmermehr
Von mir weg in dieser Zeit,
Bis ich in der Ewigkeit
Werde kommen zu den Ehren,
Dich, o Jesu, selbst zu hören.
Unterdes vernimm meh Flehen;
Liebster Jesu, höre mich!
Lass bei dir mich feste stehen;
So will ich dich ewiglich
Preisen mit Herz, Sinn und Mund,
Ich will dir zu Jeder Stund’
Ehr’ und Dank in Demut bringen
Und deh hohes Lob besingen.
This hymn by Anna Sophia, countess of Hesse-Darmstadt, first appeared in her Der treue Seelenfreund Christus Jesus, etc., Jena, 1658, in five stanzas. The omitted Stanza 3 reads:
Deine Worte sind der Stecken,
Woran ich mich halten kann,
Wenn der Teufel mich will schrecken
Auf der schmalen Lebensbahn;
Sie, sie führen ohne Qual
Mich selbst durch des Todes Tal,
Sind mein Schirm und mehe Stütze
Unter aller Kreuzeshitze.
The translation is by George T. Rygh, 1909. It appeared in The Lutheran Hymnary, 1913. [Handbook to The Lutheran Hymnal]
THIS hymn was printed in 1658, in Der Treue Seelen-Freund. It was translated into Norwegian by M. B. Landstad, and Landstad’s version was rendered into English by the Rev. Geo. T. Rygh, 1909. [Dahle, Library of Christians Hymns]
Spread, O spread, thou mighty Word ◊ 201
Walte, walte nah und fern,
Allgewaltig Wort des Herrn,
Wo nur seiner Allmacht Ruf
Menschen für den Himmel schuf;
Wort vom Vater der die Welt
Schuf und in den Armen hält
Und aus seinem Schoss herab
Seinen Sohn zum Heil ihr gab;
Wort von des Erlösers Huld,
Der der Erde schwere Schuld
Durch des heil’gen Todes Tat
Ewig weggenommen hat;
Kräftig Wort von Gottes Geist,
Der den Weg zum Himmel weist
Und durch seine heil’ge Kraft
Wollen und Vollbringen schafft.
Auf zur Ernt’ in alle Welt!
Weithin wogt das weisse Feld;
Klein ist noch der Schnitter Zahl,
Viel der Garben überall.
Herr der Ernte gross und gut,
Wirk zum Werke Lust und Mut;
Lass die Völker allzumal
Schauen deines Lichtes Strahl!
According to Koch, Jonathan Friedrich Bahnmeier first published this hymn in seven stanzas in 1827, with the first line reading, “Walte, fürder, nah und fern.” This was later altered as we have it above.
The translation is by Catherine Winkworth, Lyra Germanica, second series, 1858, slightly altered.
The omitted stanza, Bahumeier’s fifth, reads in Miss Winkworth’s translation:
Word of Life, most pure and strong,
Lo, for thee the nations long;
Spread till from its dreary night
All the world awakes to light.
[Handbook to The Lutheran Hymnal]
THIS hymn was first published in a special edition in 1827. In 1828 it was entered in the collection, Kern des deutschen Liederschatzes, Nürnberg. In 1833 it appeared with the first line, Walte, walte, nah und fern, published in Bunsen’s Versuch. It is considered one of the best missionary hymns of the Church. Our English rendering is by Miss Winkworth. It was published in Lyra Germanica, 1858. It passed over into many Lutheran and other hymnals. [Dahle, Library of Christians Hymns]
ST. AGNES ◊ 278
The melody (St. Agnes), by J. B. Dykes, was composed especially for this hymn. [Dahle, Library of Christians Hymns]
The tune “St. Agnes” is by John B. Dykes. It first appeared in the Hymnal for Use in the English Church, 1866, where it was set to the hymn “O Jesus, King most wonderful”. [Handbook to The Lutheran Hymnal]
ST. ANNE ◊ 160
The melody (St. Anne) was composed by William Croft (b. ca. 1677), organist of St. Anne’s, Westminster, later organist of Chapel Royal and Westminster Abbey. He was a prominent composer of church music. Croft died in 1727 and was buried in Westminster Abbey. [Dahle, Library of Christians Hymns]
The tune “St. Anne,” now inseparably associated with this hymn, first appeared in Brady and Tate’s Supplement to the New Version of Psalms, sixth edition, 1708, where it was set to the new version of Ps. 42. It is generally ascribed to William Croft. Within the last few years Croft’s authorship of “St. Anne” has been called in question, that tune being found in the seventh edition of Abraham Barber’s Book of Psalms, 1715, where it is called “Leeds Tune” and ascribed to a Mr. Denby. An earlier copy of the above work has been discovered, published probably in 1696 or 1697, but it does not contain “Leeds Tune.” Whether it was added to Barber’s collection before the appearance of “St. Anne” in the Supplement of 1708 is still uncertain. (J. Love, Scottish Church Music.) [Handbook to The Lutheran Hymnal]
ST. CATHERINE ◊ 395
The melody is by Henri F. Hemy, England, 1818-1888, altered by James G. Walton, England, 1821-1905. [Dahle, Library of Christians Hymns]
ST. CHRISTOPHER ◊ 330
The melody (St. Christopher) is by F. C. Maker, composer of songs, born 1844, in England. [Dahle, Library of Christians Hymns]
ST. COLUMBA ◊ 370
ST. CRISPIN ◊ 403
The tune “St. Crispin” was composed in 1862 by George J. Elvey. It appeared in A Selection of Psalm and Hymn Tunes, edited by E. H. Thorne, 1863. It was composed for the hymn “Just as I Am.” [Handbook to The Lutheran Hymnal]
ST. GEORGE’S, WINDSOR ◊ 461
The tune “St. George,” which is not to be confused with other tunes by the same name, was composed by George J. Elvey and was written for Thorne’s musical counterpart of Selection of Psalm and Hymn Tunes, i858, by Morrell and How. It was there set to James Montgomery’s mission hymn “Hark, the Song of Jubilee.” In the original edition of Hymns Ancient and Modern this tune was set to Henry Alford’s hymn “Come, Ye Thankful People, Come” and is virtually wedded to that hymn. However, the tune seems to fit the spirit of Bowring’s hymn very nicely. [Handbook to The Lutheran Hymnal]
ST. LOUIS ◊ 137
The tune for the carol, “St. Louis,” was composed, in 1868, by Lewis H. Redner, who was Brooks’ organist at the Church of the Advent in Philadelphia. [Handbook to The Lutheran Hymnal]
ST. LUKE ◊ 455
The tune “St. Luke,” by Jeremiah Clarke, was first published in Playford’s The Divine Companion, 1701. It seems to have been written for Venantius Fortunatus’s hymn “The Royal Banners Forward Go.” It is one of Clarke’s finest tunes, smooth, vocal, and expressive. [Handbook to The Lutheran Hymnal]
ST. MAGNUS ◊