Among his other hymns is, “Before the Lord we bow,” a thanksgiving hymn written by Key in 1832 for a Fourth of July celebration.

MUSIC. WOMIT SOLL ICH DICH WOHL LOBEN is by Justin H. Knecht, 1752-1817, who was born in Biberach, Swabia. He studied music under Kramer and became one of the great organists of his time. His most valuable production was the Württemberg Choralbuch which he edited along with J. F. Christmann, and to which he contributed 97 tunes of his own composition.

512. Sing praise to God who reigns above

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The hymn is based on Deut. 32:3: “Because I will publish the name of the Lord: ascribe ye greatness unto our God.” The original poem of nine stanzas, Schütz’s only hymn, first appeared in his Christliches Gedenkbüchlein. Our hymn is a translation of stanzas 1, 3, 5, and 7 of the original.

The author, Johann Jakob Schütz, born at Frankfurt-am-Main, was a lawyer by profession. He was a man of deep religious convictions and a close friend of P. J. Spener and Joachim Neander, early leaders of the Pietist movement in Germany. Schütz left the Lutheran church and became a separatist. He died at Frankfurt-am-Main.

The translation is by Frances Cox, 1812-97, an English woman of culture and learning who is second only to Catherine Winkworth as a translator of German hymns.

MUSIC. MIT FREUDEN ZART, one of our finest hymn tunes, was used by the Bohemian Brethren, and is probably much older than their Gesangbuch of 1566 in which it first appeared. The tune is a joyous one, as the name indicates, and should not be sung too slowly. All the voices are to sing the melody, the accompanying instrument bringing out the harmonization.

513. Praise thou the Lord, O my soul

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The hymn is a poetic version of Psalm 146. It was first published in the second part of Freylinghausen’s Gesangbuch, Halle, 1714, the original having 8 stanzas. The translation here given is a free rendering of stanzas 1 and 8, and was made especially for the Hymnary.

The author of this hymn, Johann Daniel Herrnschmidt, a learned and devout man, was born in Bopfingen, in Württemberg, where his father was pastor. He was a pupil and for a time assistant of pastor August Francke in Halle. Later he became minister in Bopfingen, then superintendent and councilman at Nassau-Idstein. In 1715 he became teacher and pastor in Halle where he died 8 years later.

MUSIC. LOBE DEN HERREN, O MEINE SEELE, inseparably united with this hymn, is one of the most brilliant and striking gems in our chorale treasury. The composer is unknown. The tune first appeared in Anhang der Seelen-Harpff, Onolzbach, 1665, and later in Freylinghausen’s Gesangbuch, 1714.

514. Now thank we all our God

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The Te Deum of Germany. It is the most celebrated hymn coming out of the second period (1570-1648) of German hymnody.

The first two stanzas of the hymn were composed as a Tischlied, a grace after meat, to be sung by the author’s household. The third stanza was added as a doxology. The hymn was sung at the conclusion of the Peace of Westphalia which ended the Thirty Years’ War, and has been used since on many national occasions of thanksgiving, not only in Germany but in England and America as well.

Martin Rinkart was born in Eilenburg, Saxony, the son of a cooper. After graduating from the University of Leipzig, he held appointments as Master at the Gymnasium and Cantor of St. Nicholas Church in Eisleben, then became, in 1617, Archidiaconus at Eilenburg, a position he held the rest of his life. Rinkart was poet, dramatist, and musician, as well as pastor. During the Thirty Years’ War, his church at Eilenburg became an asylum for refugees from all parts. The suffering from famine and pestilence was indescribable. For some time, Rinkart was the only clergyman in the town, and he frequently conducted as many as forty funeral services in one day. A man of sympathy and generosity, he strained his own resources in his efforts to keep others from starving.

The translation is from Miss Winkworth’s Lyra Germanica, 1858.

For comments on Catherine Winkworth see Hymn 236.

MUSIC. NUN DANKET was composed by Johann Crüger, 1598-1662. It appeared in his famous collection, Praxis Pietatis Melica, which was issued in more than fifty editions during the century after its first publication in 1644. Mendelssohn used the tune in his Lobgesang, in six-part harmony.

For comments on Crüger see Hymn 242.

515. Praise to the Lord, the Almighty

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The hymn is based on Psalm 103:1-6 and Psalm 150. It is “a magnificent song of praise, probably the finest there is, when we consider the tune, and certainly the finest production of Neander’s.”

Neander was the first prominent writer of hymns in the Reformed Church of Germany which for a long time used only metrical versions of the Psalms in public worship. After a brief and stormy ministry, he died at the age of thirty.

For further comments on Neander see Hymn 505.

For comments on Miss Winkworth see Hymn 236.

MUSIC. LOBE DEN HERREN is a tune of great vigor and strength, yet simple of structure. It is very usable in a service of praise and thanksgiving and has been sung with great effect by large chorus choirs. The origin of the tune is uncertain. It appeared anonymously in Ander Theil des Erneuerten Gesangbuch, Stralsund, 1665, to the words, “Hast du denn, Liebster, dein Angesicht gänzlich verborgen,” by Ahasuerus Fritsch, which suggests a secular origin of the melody. It is believed, by some authorities, that Neander himself adapted it from an earlier chorale. The tune appears with many variants of melody and harmonization in different hymn books. The present form has been used since 1708.

516. How great, Almighty, is Thy kindness

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The hymn was first published in Leipzig, 1757, in six stanzas, entitled, “The Goodness of God.”

Gellert was one of the most popular writers in German literature. Born in Saxony, the son of a Lutheran country preacher, he attended Fürstenschule at Meissen, and then went to the University of Leipzig where he studied philosophy and theology. Later he lectured at that university on poetry, elocution, and moral philosophy. He was beloved by all his classes, the lectures sometimes being attended by four hundred. Outside the university he was even more popular. A poor peasant once unloaded a cart full of wood before Gellert’s house, begging him to accept the gift as thanks for his beautiful fables. The keynote of his popularity is expressed in one of his letters:

Mein grösster Ehrgeiz besteht darin, dasz ich den Vernünftigen dienen und gefallen will, und nicht den Gelehrten im engen Verstande. Ein kluges Frauenzimmer gilt mir mehr als eine gelehrte Zeitung, und der niedrigste Mann von gesundem Verstande ist mir würdig genug, seine Aufmerksamkeit zu suchen, sein Vergnügen zu befördern und ihm in einem leicht zu behaltenden Ausdrucke gute Wahrheiten zu sagen und edle Empfindungen in seiner Seele rege zu machen.

Gellert’s reputation rests chiefly on his fables and stories. His best religious poems are “Wie gross ist des Allmächt’gen Güte,” “Dies ist der Tag, den Gott gemacht,” and “Jesus lebt, mit ihm auch ich” (543).

No information is at hand concerning the translator, Margarete Münsterberg.

MUSIC. WIE GROSS IST DES ALLMÄCHT’GEN GÜTE is ascribed here to C. F. Richter. The Canadian Gesangbuch credits the tune to J. Freylinghausen.

Christian Friedrich Richter, 1676-1711, born at Sorau, in Niederlausitz, studied medicine and theology in Halle and became practicing physician in the Orphanage in Halle. A deeply religious man with poetic insight, he wrote 33 hymns, and is the author of a treatise on the Crucifixion of Christ.

517. O Pow’r of love, all else transcending

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One of the great hymns by the German mystic, Gerhard Tersteegen.

For comments on Tersteegen see Hymn 506.

Our version is a free translation of stanzas 1, 2, and 4 of the original 8.

Herman Brueckner, translator of the hymn, was born in Eisenach, Germany, and was educated at the Universities of Leipzig, Greifswald, and Jena. The latter gave him the doctor’s degree in theology in 1923. Coming to America, Brueckner served a year as Lutheran Seaman’s Pastor for the Port of New York. From 1915 to 1931 he was pastor of St. Matthaeus Lutheran Church, Hoboken, N. J., and since that time has served as Professor of Church History in Hartwick Seminary. He is the author of a number of volumes on ecclesiastical and historical subjects, among them, Church and State in Germany, published in 1934.

Brueckner’s translation was slightly altered by the editors of the Hymnary, at two points:

Stanza 1, line 4: “And sign of thy celestial lore,” to “Thy name to honor and adore.”

Stanza 2, line 5: “Thy love, so tender, and caressing,” to “Thy love, so tender, so possessing.”

MUSIC. ST. PETERSBURG, also known as “Wells,” “Wellspring,” and “Shangana,” is adapted from a portion of a mass by the Russian composer, Dimitri S. Bortniansky, 1752-1825.

For comments on Bortniansky see Hymn 28.

The “Don Cossacks” sing this melody with thrilling effect to “Kol slaven,” a Russian folk song. The tune, slightly altered, has in recent years been introduced into a number of American hymnals.

518. Lord, who can be with Thee compared

A hymn in praise of God, the Creator of heaven and earth, originally in 10 stanzas. It is based on Psalm 104, one of the great nature Psalms.

Johann Andreas Cramer was the son of a Lutheran pastor. He was educated at Leipzig and became famous as a preacher and teacher, later serving as Professor of Theology and Chancellor of the University of Kiel in Germany. He wrote numerous religious lyrics and psalm versions, a number of which passed into the hymnbooks of his time, and several of which have been translated into English.

The present hymn is a translation of stanzas 1 and 10 of the German original. No information has been traced concerning Harriett R. Spaeth, the translator.

MUSIC. HERR, DIR IST NIEMAND VERGLEICHEN derives its name from the first line of the hymn with which it is associated. The composer, Justin Heinrich Knecht, 1752-1817, was an eminent German organist and music director of the town of Biberach, Swabia. He edited the Württemberg Choralbuch, an important collection of tunes, to which he contributed 97 of his own compositions.

519. Holy God, we praise Thy name

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The words are a rhymed form of the Te Deum which Luther, in strict ecclesiastical style, translated from the Latin. The hymn is popular among Roman Catholics, Lutherans, and Anglicans, as a post-communion hymn, and is a great favorite among Mennonite churches. It sounds a universal note of praise that can be sung by Christians of all denominations. The hymn was used at the opening of the first World Assembly of Churches, held at Amsterdam, August 22 to September 4, 1948, where it was sung simultaneously in different tongues.

The author, Ignaz Franz, was born at Protzan, Kr. Frankenstein, in Silesia. He first was priest in Schlowa, and then became rector of a graduate school for priests in Breslau. In 1772, under the influence of the Enlightenment, he published a Catholic hymnbook. He is described as a man filled with zeal for the good things in religion and the church.

Note: The Te Deum is a long Latin hymn of uncertain origin, constituting the supreme expression of rejoicing in the Roman Catholic, Anglican, and other Christian Churches. It is sometimes called the “Canticle of Ambrose and Augustine,” from the legend that at the baptism of Augustine by Ambrose it was sung antiphonally, extempore, by the two men. It dates back to the fourth or fifth century. Its contents are drawn from different sources: the Apostles’ Creed, the “Gloria in Excelsis,” and the Psalms (e.g. 28:9, 31:1, 33:22, 123:3, 145:2). Luther, who translated it into German, praised it as a “fine symbol or confession, not only for confessing the right faith but also for praising and thanking God withal.” A real confession of faith ought to be sung, and as such the Te Deum has been on the lips of the Church, in one form or another, ever since it was composed.

MUSIC. GROSSER GOTT, WIR LOBEN DICH is of unknown composition. The tune first appeared in the Katholisches Gesangbuch, a book undated but not earlier than 1774, set to the words, “Grosser Gott.” Its first appearance in a Protestant hymn book was in Schicht’s Choral-Buch, Leipzig, 1819. It was set to English words in Melodia Sacra, Dublin, 1844, to the hymn, “Jesus, and shall it ever be,” where the tune was modified to fit the words and named, “Stillorgan.” Later, under the name, “Hursley”, it became widely associated with Keble’s evening hymn, “Sun of my Soul” (No. 30). St. Basil’s Hymnal (Roman Catholic, 1918), as well as the Gesangbuch mit Noten, attribute the tune to Peter Ritter; Glaubensharfe, to J. Haydn. There seems to be no good evidence for either. The English Church Hymnary, London, 1935, has set the tune, naming it “Pascal”, to Toplady’s “Rock of Ages.” In some of the books the last score is marked with a repeat sign for the sake of emphasis and climax.

520. Holy Lord, holy Lord

The notes of thanksgiving and praise are dominant. The origin of the hymn has not been traced.

MUSIC. FAHRE FORT, attributed erroneously in the Hymnary to Johann E. Schmidt, is of anonymous origin. It appeared in Freylinghausen’s Gesangbuch, Halle, 1704, with the well-known hymn, “Fahre fort, fahre fort,” by Johann E. Schmidt, 1669-1745. The tune derived its name from this hymn.

521. All glory be to God on High

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An example of what a good, popular hymn should be—“neither didactic nor introspective, but natural, strong, and churchly.”

The author, Nikolaus Decius, was a contemporary of Luther. (The date, “1626,” in the Hymnary is obviously wrong.) He was a monk in the Roman Catholic Church but became a follower of Luther, leaving the cloister at Steterburg, in 1519, to become a teacher and evangelical preacher. His work was carried on under constant opposition from the Church of Rome. He died suddenly in 1541 with some suspicion of having been poisoned by his enemies. Three hymns are ascribed to Decius: versions of the Sanctus, the Gloria in excelsis, and the Agnus Dei (No. 540). The present hymn is a translation of the second, the Gloria in excelsis. It became very popular, though Luther did not use it in any of his collections.

For comments on Catherine Winkworth see Hymn 236.

MUSIC. NUN FREUT EUCH is also attributed to Decius who was a good musician as well as a popular preacher. It is often called “Luther’s Hymn” but there is no evidence that he wrote it. The tune appeared in Geistliche Lieder, Wittenberg, 1535, where it was set to Luther’s hymn, “Nun freut euch, liebe Christengemein.”

ADVENT

522. Wake, awake, for night is flying

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