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Author: Martin Luther; Rev. Frederick H. Hedge Meter: 8.7.8.7.6.6.6.6.7 Appears in 673 hymnals Topics: Fearlessness; God our Helper; Holy Spirit; Christ as King; Kingdom of God; Persecution Of Believers; Reformation Day; God of Christ our Refuge; Renunciation; Satan; Security; Truth; Victory Lyrics: 1 A mighty fortress is our God, A bulwark never failing; Our Helper He, amid the flood Of mortal ills prevailing. For still our ancient foe Doth seek to work us woe; His craft and power are great, And armed with cruel hate, On earth is not his equal. 2 Did we in our own strength confide, Our striving would be losing; Were not the right Man on our side, The Man of God's own choosing. Dost ask who that may be? Christ Jesus, it is He; Lord Sabaoth His Name, From age to age the same, And He must win the battle. 3 And though this world, with devils filled, Should threaten to undo us, We will not fear, for God has willed His truth to triumph through us. The prince of darkness grim, We tremble not for him; His rage we can endure, For lo! his doom is sure; One little word shall fell him. 4 That word above all earthly powers– No thanks to them– abideth; The Spirit and the gifts are ours Through Him who with us sideth. Let goods and kindred go, This mortal life also; The body they may kill, God's truth abideth still, His kingdom is forever. Used With Tune: EIN' FESTE BURG

Great Shepherd Who Leadest Thy people in Love

Meter: 11.11.11.11 Appears in 16 hymnals Topics: Persecution Of Believers; Shepherd, God, Christ As Scripture: Psalm 80 Used With Tune: CARITAS

To God My Earnest Voice I Raise

Meter: 8.8.8.8 Appears in 28 hymnals Topics: Deliverance From Enemies; Liberty, Spiritual; Persecution Of Believers; Refuge, God, Christ, Our Scripture: Psalm 142 Used With Tune: HAMBURG

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EIN FESTE BURG (ISORHYTHMIC)

Meter: 8.7.8.7.6.6.6.6.7 Appears in 641 hymnals Composer and/or Arranger: Martin Luther; Johann S. Bach, 1685-1750 Topics: Commitment & Dedication; Deliverance; Enemies & Persecution; Reformation; Redemption; Assurance; Commitment & Dedication; Deliverance; Enemies & Persecution; Kingdom; Pilgrimage & Conflct; Redemption; Reformation; Refuge; Victory; Word of God Tune Key: C Major Incipit: 11156 71765 17656 Used With Text: A Mighty Fortress Is Our God

HAMBURG

Meter: 8.8.8.8 Appears in 891 hymnals Composer and/or Arranger: Lowell Mason Topics: Benefit of afflictions; Help in Afflictions; Prayer in Afflictions; Comfort; Deliverance From Enemies; Spiritual Liberty; Persecution Of Believers; Prayer; God of Christ our Refuge Tune Sources: Gergorian Chant Tune Key: F Major or modal Incipit: 11232 34323 33343 Used With Text: To God My Earnest Voice I Raise

CARITAS

Meter: 11.11.11.11 Appears in 675 hymnals Composer and/or Arranger: Adoniram J. Gordon, 1836-1895 Topics: Help in Afflictions; Persecution Of Believers; Revival; God or Christ as Shepherd Tune Key: F Major or modal Incipit: 13443 21327 71134 Used With Text: Great Shepherd Who Leadest Thy People in Love

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Instances

Published text-tune combinations (hymns) from specific hymnals

The Perfections and Providecn of God; or, General Providence, and Special Grace

Hymnal: The Psalms of David #65a (1740) Topics: Persecutions of God First Line: High in the Heav'ns, eternal GOD Lyrics: 1 High in the Heav'ns, eternal GOD, Thy Goodness in full Glory shines; Thy Truth shall break thro' every Cloud That veils and darkens thy Designs. 2 For ever firm thy Justice stands, As Mountains their Foundations keep; Wise are the Wonders of thy Hands, Thy Judgments are a mighty Deep. 3 Thy Providence is kind and large, Both Man and Beast thy Bounty share; The whole Creation is thy Charge, But Saints are thy peculiar Care. 4 My GOD! how excellent thy Grace, Whence all our Hope and Comfort springs; The Sons of Adam in Distress Fly to the Shadow of thy Wings. 5 From the Provisions of thy House We shall be fed with sweet Repast; There Mercy like a River flows, And brings salvation to our Taste. 6 Life, like a Fountain rich and free, Springs from the Presence of the Lord; And in thy Light our Souls shall see The Glories promis'd in thy Word. Scripture: Psalm 36:5-9 Languages: English

Practical Atheism expos'd; or, The Being and Attributes of God asserted

Hymnal: The Psalms of David #65b (1740) Topics: Persecutions of God First Line: While Men grow bold in wicked Ways Lyrics: 1 While Men grow bold in wicked Ways, And yet a GOD they own, My Heart within me often says, "Their Thoughts believe there's none." 2 Their Thoughts and Ways at once declare, (Whate'er their Lips profess) GOD hath no Wrath for them to fear, Nor will they seek his Grace. 3 What strange Self-flatt'ry blinds their Eyes! But there's a hast'ning Hour, When they shall see with sore Surprize The Terrors of thy Pow'r. 4 Thy Justice shall maintain its Throne, Tho' Mountains melt away; Thy Judgments are a World unknown, A deep, unfathom'd Sea. 5 Above the Heav'n's created Rounds, Thy Mercies, Lord, extend; Thy Truth out-lives the narrow Bounds Where Time and Nature end. 6 Safety to Man thy Goodness brings, Nor overlooks the Beast; Beneath the Shadow of thy Wings Thy Children chuse to rest. 7 [From Thee, when Creature-Streams run low. And mortal Comforts die, Perpetual Springs of Life shall flow, And raise our Pleasures high. 8 Tho' all created Light decay, And Death close up our Eyes, Thy Presence makes eternal Day, Where Clouds can never rise.] Scripture: Psalm 36:1-9 Languages: English

The Wickedness of Man, and the Majesty of God; or, Practical Atheism exposed

Hymnal: The Psalms of David #66 (1740) Topics: Persecutions of God First Line: When Man grows bold in Sin Lyrics: 1 When Man grows bold in Sin, My Heart within me cries, "He hath no Faith of God within, Nor Fear before his Eyes." 2 [He walks a-while conceal'd In a Self-flatt'ring Dream, Till his dark Crimes at once reveal'd Expose his hateful Name.] 3 His Heart is false and foul, His Words are smooth and fair; Wisdom is banish'd from his Soul, And leaves no Goodness there. 4 He plots upon his Bed New Mischiefs to fulfil He sets his Heart, and Hand, and Head, To practise all that's ill. 5 But there's a dreadful GOD, Tho' Men renounce his Fear; His Justice, hid behind the Cloud, Shall one great Day appear. 6 His Truth transcends the Sky, In Heav'n his Mercies dwell; Deep as the Sea his Judgments lie, His Anger burns to Hell. 7 How excellent his Love, Whence all our Safety springs! O never let my Soul remove From underneath his Wings. Scripture: Psalm 36:1-7 Languages: English

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Martin Luther

1483 - 1546 Topics: Commitment & Dedication; Deliverance; Enemies & Persecution; Reformation; Redemption; Assurance; Commitment & Dedication; Deliverance; Enemies & Persecution; Kingdom; Pilgrimage & Conflct; Redemption; Reformation; Refuge; Victory; Word of God Author of "A Mighty Fortress Is Our God" in Psalter Hymnal (Gray) Luther, Martin, born at Eisleben, Nov. 10, 1483; entered the University of Erfurt, 1501 (B.A. 1502, M.A.. 1503); became an Augustinian monk, 1505; ordained priest, 1507; appointed Professor at the University of Wittenberg, 1508, and in 1512 D.D.; published his 95 Theses, 1517; and burnt the Papal Bull which had condemned them, 1520; attended the Diet of Worms, 1521; translated the Bible into German, 1521-34; and died at Eisleben, Feb. 18, 1546. The details of his life and of his work as a reformer are accessible to English readers in a great variety of forms. Luther had a huge influence on German hymnody. i. Hymn Books. 1. Ellich cristlich lider Lobgesang un Psalm. Wittenberg, 1524. [Hamburg Library.] This contains 8 German hymns, of which 4 are by Luther. 2. Eyn Enchiridion oder Handbuchlein. Erfurt, 1524 [Goslar Library], with 25 German hymns, of which 18 are by Luther. 3. Geystliche Gesangk Buchleyn. Wittenberg, 1524 [Munich Library], with 32 German hymns, of which 24 are by Luther. 4. Geistliche Lieder auffs new gebessert. Wittenberg. J. Klug, 1529. No copy of this book is now known, but there was one in 1788 in the possession of G. E. Waldau, pastor at Nürnberg, and from his description it is evident that the first part of the Rostock Gesang-Buch, 1531, is a reprint of it. The Rostock Gesang-Buch, 1531, was reprinted by C. M. Wiechmann-Kadow at Schwerin in 1858. The 1529 evidently contained 50 German hymns, of which 29 (including the Litany) were by Luther. 5. Geistliche Lieder auffs new gebessert. Erfurt. A. Rauscher, 1531 [Helmstädt, now Wolfenbüttel Library], a reprint of No. 4. 6. Geistliche Lieder. Wittenberg. J. Klug, 1535 [Munich Library. Titlepage lost], with 52 German hymns, of which 29 are by Luther. 7. Geistliche Lieder auffs new gebessert. Leipzig. V. Schumann, 1539 [Wernigerode Library], with 68 German hymns, of which 29 are by Luther. 8. Geistliche Lieder. Wittenberg. J. Klug, 1543 [Hamburg Library], with 61 German hymns, of which 35 are by Luther. 9. Geystliche Lieder. Leipzig. V. Babst, 1545 [Gottingen Library]. This contains Luther's finally revised text, but adds no new hymns by himself. In pt. i. are 61 German hymns, in pt. ii. 40, of which 35 in all are by Luther. For these books Luther wrote three prefaces, first published respectively in Nos. 3, 4, 9. A fourth is found in his Christliche Geseng, Lateinisch und Deudsch, zum Begrebnis, Wittenberg, J. Klug, 1542. These four prefaces are reprinted in Wackernagel’s Bibliographie, 1855, pp. 543-583, and in the various editions of Luther's Hymns. Among modern editions of Luther's Geistliche Lieder may be mentioned the following:— Carl von Winterfeld, 1840; Dr. C. E. P. Wackernagel, 1848; Q. C. H. Stip, 1854; Wilhelm Schircks, 1854; Dr. Danneil, 1883; Dr. Karl Gerok, 1883; Dr. A. F. W. Fischer, 1883; A. Frommel, 1883; Karl Goedeke, 1883, &c. In The Hymns of Martin Luther. Set to their original melodies. With an English version. New York, 1883, ed. by Dr. Leonard Woolsey Bacon and Nathan H. Allen, there are the four prefaces, and English versions of all Luther's hymns, principally taken more or less altered, from the versions by A. T. Russell, R. Massie and Miss Winkworth [repub. in London, 1884]. Complete translations of Luther's hymns have been published by Dr. John Anderson, 1846 (2nd ed. 1847), Dr. John Hunt, 1853, Richard Massie, 1854, and Dr. G. Macdonald in the Sunday Magazine, 1867, and his Exotics, 1876. The other versions are given in detail in the notes on the individual hymns. ii. Classified List of Luther's Hymns. Of Luther's hymns no classification can be quite perfect, e.g. No. 3 (see below) takes hardly anything from the Latin, and No. 18 hardly anything from the Psalm. No. 29 is partly based on earlier hymns (see p. 225, i.). No. 30 is partly based on St. Mark i. 9-11, and xvi., 15, 16 (see p. 226, ii.). No. 35 is partly based on St. Luke ii. 10-16. The following arrangement, however, will answer all practical purposes. A. Translations from the Latin. i. From Latin Hymns: 1. Christum wir sollen loben schon. A solis ortus cardine 2. Der du bist drei in Einigkeit. O Lux beata Trinitas. 3. Jesus Christus unser Heiland, Der von. Jesus Christus nostra salus 4. Komm Gott Schopfer, heiliger Geist. Veni Creator Spiritus, Mentes. 5. Nun komm der Beidenheiland. Veni Redemptor gentium 6. Was flirchst du Feind Herodes sehr. A solis ortus cardine ii. From Latin Antiphons, &c.: 7. Herr Gott dich loben wir. Te Deum laudamus. 8. Verleih uns Frieden gnädiglich. Dapacem, Domine 9. Wir glauben all an einen Gott. iii. Partly from the Latin, the translated stanzas being adopted from Pre-Reformation Versions: 10. Komm, heiliger Geist, Herre Gott. 11. Mitten wir im Leben sind. Media vita in morte sumus. B. Hymns revised and enlarged from Pre-Reformation popular hymns. 12. Gelobet seist du Jesus Christ. 13. Gott der Vater wohn uns bei. 14. Gott sei gelobet und gebenedeiet. 15. Nun bitten wir den heiligen Geist. C. Psalm versions. 16. Ach Gott vom Himmel, sieh darein. 17. Aus tiefer Noth schrei ich zu dir. 18. Ein' feste Burg ist unser Gott. 19. Es spricht der Unweisen Mund wohl. 20. Es wollt uns Gott genädig sein. 21. War Gott nicht mit uns diese Zeit. 22. Wohl dem, der in Gotten Furcht steht. D. Paraphrases of other portions of Holy Scripture. 23. Diess sind die heilgen zehn Gebot. 24. Jesaia dem Propheten das geschah. 25. Mensch willt du leben seliglich. 26. Mit Fried und Freud ich fahr dahin. 27. Sie ist mir lieb die werthe Magd. 28. Vater unser im Himmelreich. E. Hymns mainly Original. 29. Christ lag in Todesbanden. 30. Christ unser Herr zum Jordan kam. 31. Ein neues Lied wir heben an. 32. Erhalt uns Herr bei deinem Wort. 33. Jesus Christus unser Heiland, Der den, 34. Nun freut euch lieben Christengemein. 35. Vom Himmel hoch da komm ich her. 36. Vom Himmel kam der Engel Schaar. In addition to these — 37. Fur alien Freuden auf Erden. 38. Kyrie eleison. In the Blätter fur Hymnologie, 1883, Dr. Daniel arranges Luther's hymns according to what he thinks their adaptation to modern German common use as follows:— i. Hymns which ought to be included in every good Evangelical hymn-book: Nos. 7-18, 20, 22, 28, 29, 30, 32, 34, 35, 36, 38. ii. Hymns the reception of which into a hymn-book might be contested: Nos. 2, 3, 4, 19, 21, 22, 23, 24, 25, 33. iii. Hymns not suited for a hymn-book: Nos. 1, 5, 6, 27, 31, 37. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology (1907)

Johann Sebastian Bach

1685 - 1750 Person Name: Johann S. Bach, 1685-1750 Topics: Commitment & Dedication; Deliverance; Enemies & Persecution; Reformation; Redemption; Assurance; Commitment & Dedication; Deliverance; Enemies & Persecution; Kingdom; Pilgrimage & Conflct; Redemption; Reformation; Refuge; Victory; Word of God Harmonizer of "EIN FESTE BURG (ISORHYTHMIC)" in Psalter Hymnal (Gray) Johann Sebastian Bach was born at Eisenach into a musical family and in a town steeped in Reformation history, he received early musical training from his father and older brother, and elementary education in the classical school Luther had earlier attended. Throughout his life he made extraordinary efforts to learn from other musicians. At 15 he walked to Lüneburg to work as a chorister and study at the convent school of St. Michael. From there he walked 30 miles to Hamburg to hear Johann Reinken, and 60 miles to Celle to become familiar with French composition and performance traditions. Once he obtained a month's leave from his job to hear Buxtehude, but stayed nearly four months. He arranged compositions from Vivaldi and other Italian masters. His own compositions spanned almost every musical form then known (Opera was the notable exception). In his own time, Bach was highly regarded as organist and teacher, his compositions being circulated as models of contrapuntal technique. Four of his children achieved careers as composers; Haydn, Mozart, Beethoven, Mendelssohn, Schumann, Brahms, and Chopin are only a few of the best known of the musicians that confessed a major debt to Bach's work in their own musical development. Mendelssohn began re-introducing Bach's music into the concert repertoire, where it has come to attract admiration and even veneration for its own sake. After 20 years of successful work in several posts, Bach became cantor of the Thomas-schule in Leipzig, and remained there for the remaining 27 years of his life, concentrating on church music for the Lutheran service: over 200 cantatas, four passion settings, a Mass, and hundreds of chorale settings, harmonizations, preludes, and arrangements. He edited the tunes for Schemelli's Musicalisches Gesangbuch, contributing 16 original tunes. His choral harmonizations remain a staple for studies of composition and harmony. Additional melodies from his works have been adapted as hymn tunes. --John Julian, Dictionary of Hymnology (1907)

Lowell Mason

1792 - 1872 Topics: Deliverance From Enemies; Liberty, Spiritual; Persecution Of Believers; Refuge, God, Christ, Our Arranger of "HAMBURG" in Psalter Hymnal (Blue) Dr. Lowell Mason (the degree was conferred by the University of New York) is justly called the father of American church music; and by his labors were founded the germinating principles of national musical intelligence and knowledge, which afforded a soil upon which all higher musical culture has been founded. To him we owe some of our best ideas in religious church music, elementary musical education, music in the schools, the popularization of classical chorus singing, and the art of teaching music upon the Inductive or Pestalozzian plan. More than that, we owe him no small share of the respect which the profession of music enjoys at the present time as contrasted with the contempt in which it was held a century or more ago. In fact, the entire art of music, as now understood and practiced in America, has derived advantage from the work of this great man. Lowell Mason was born in Medfield, Mass., January 8, 1792. From childhood he had manifested an intense love for music, and had devoted all his spare time and effort to improving himself according to such opportunities as were available to him. At the age of twenty he found himself filling a clerkship in a banking house in Savannah, Ga. Here he lost no opportunity of gratifying his passion for musical advancement, and was fortunate to meet for the first time a thoroughly qualified instructor, in the person of F. L. Abel. Applying his spare hours assiduously to the cultivation of the pursuit to which his passion inclined him, he soon acquired a proficiency that enabled him to enter the field of original composition, and his first work of this kind was embodied in the compilation of a collection of church music, which contained many of his own compositions. The manuscript was offered unavailingly to publishers in Philadelphia and in Boston. Fortunately for our musical advancement it finally secured the attention of the Boston Handel and Haydn Society, and by its committee was submitted to Dr. G. K. Jackson, the severest critic in Boston. Dr. Jackson approved most heartily of the work, and added a few of his own compositions to it. Thus enlarged, it was finally published in 1822 as The Handel and Haydn Society Collection of Church Music. Mason's name was omitted from the publication at his own request, which he thus explains, "I was then a bank officer in Savannah, and did not wish to be known as a musical man, as I had not the least thought of ever making music a profession." President Winchester, of the Handel and Haydn Society, sold the copyright for the young man. Mr. Mason went back to Savannah with probably $500 in his pocket as the preliminary result of his Boston visit. The book soon sprang into universal popularity, being at once adopted by the singing schools of New England, and through this means entering into the church choirs, to whom it opened up a higher field of harmonic beauty. Its career of success ran through some seventeen editions. On realizing this success, Mason determined to accept an invitation to come to Boston and enter upon a musical career. This was in 1826. He was made an honorary member of the Handel and Haydn Society, but declined to accept this, and entered the ranks as an active member. He had been invited to come to Boston by President Winchester and other musical friends and was guaranteed an income of $2,000 a year. He was also appointed, by the influence of these friends, director of music at the Hanover, Green, and Park Street churches, to alternate six months with each congregation. Finally he made a permanent arrangement with the Bowdoin Street Church, and gave up the guarantee, but again friendly influence stepped in and procured for him the position of teller at the American Bank. In 1827 Lowell Mason became president and conductor of the Handel and Haydn Society. It was the beginning of a career that was to win for him as has been already stated the title of "The Father of American Church Music." Although this may seem rather a bold claim it is not too much under the circumstances. Mr. Mason might have been in the average ranks of musicianship had he lived in Europe; in America he was well in advance of his surroundings. It was not too high praise (in spite of Mason's very simple style) when Dr. Jackson wrote of his song collection: "It is much the best book I have seen published in this country, and I do not hesitate to give it my most decided approbation," or that the great contrapuntist, Hauptmann, should say the harmonies of the tunes were dignified and churchlike and that the counterpoint was good, plain, singable and melodious. Charles C. Perkins gives a few of the reasons why Lowell Mason was the very man to lead American music as it then existed. He says, "First and foremost, he was not so very much superior to the members as to be unreasonably impatient at their shortcomings. Second, he was a born teacher, who, by hard work, had fitted himself to give instruction in singing. Third, he was one of themselves, a plain, self-made man, who could understand them and be understood of them." The personality of Dr. Mason was of great use to the art and appreciation of music in this country. He was of strong mind, dignified manners, sensitive, yet sweet and engaging. Prof. Horace Mann, one of the great educators of that day, said he would walk fifty miles to see and hear Mr. Mason teach if he could not otherwise have that advantage. Dr. Mason visited a number of the music schools in Europe, studied their methods, and incorporated the best things in his own work. He founded the Boston Academy of Music. The aim of this institution was to reach the masses and introduce music into the public schools. Dr. Mason resided in Boston from 1826 to 1851, when he removed to New York. Not only Boston benefited directly by this enthusiastic teacher's instruction, but he was constantly traveling to other societies in distant cities and helping their work. He had a notable class at North Reading, Mass., and he went in his later years as far as Rochester, where he trained a chorus of five hundred voices, many of them teachers, and some of them coming long distances to study under him. Before 1810 he had developed his idea of "Teachers' Conventions," and, as in these he had representatives from different states, he made musical missionaries for almost the entire country. He left behind him no less than fifty volumes of musical collections, instruction books, and manuals. As a composer of solid, enduring church music. Dr. Mason was one of the most successful this country has introduced. He was a deeply pious man, and was a communicant of the Presbyterian Church. Dr. Mason in 1817 married Miss Abigail Gregory, of Leesborough, Mass. The family consisted of four sons, Daniel Gregory, Lowell, William and Henry. The two former founded the publishing house of Mason Bros., dissolved by the death of the former in 19G9. Lowell and Henry were the founders of the great organ manufacturer of Mason & Hamlin. Dr. William Mason was one of the most eminent musicians that America has yet produced. Dr. Lowell Mason died at "Silverspring," a beautiful residence on the side of Orange Mountain, New Jersey, August 11, 1872, bequeathing his great musical library, much of which had been collected abroad, to Yale College. --Hall, J. H. (c1914). Biographies of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company.

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