Handbook to the Mennonite Hymnary

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

For comments on Frederick L. Hosmer see Hymn 72.

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

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

WHITSUNTIDE

546. O Holy Spirit, enter in

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

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

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

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

For comments on Miss Winkworth see Hymn 236.

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

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

547. O Spirit of Life, O Spirit of God

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

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

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

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

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

548. Come, O come, Thou quickening Spirit

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

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

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

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

THE CHURCH

549. A Mighty Fortress is our God

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Based on Psalm 46:

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

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

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

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

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

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

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

Albert Schweitzer writes of this melody:

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

550. The work is Thine, O Christ our Lord

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

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

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

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

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

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

551. Spread, still spread, thou mighty word

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

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

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

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

THE LORD’S SUPPER

552. Deck thyself, my soul, with gladness

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

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

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

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

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

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

For comments on Johann Crüger see Hymn 242.

MORNING

553. Light of Light enlighten me

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

For comments on Benjamin Schmolck see Hymn 505.

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

For comments on Miss Winkworth see Hymn 236.

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

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

553a. Liebster Jesu, wir sind hier

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

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

MUSIC. See 553 above.

554. Come, Thou bright and morning Star

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