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Godly sincerity
Author: Bernard Barton Appears in 476 hymnals Topics: Christians Graces First Line: Walk in the light! so shalt thou know Lyrics: 1 Walk in the light! so shalt thou know
That fellowship of love,
His Spirit only can bestow,
Who reigns in light above.
2 Walk in the light! and thou shalt find
Thy heart made truly his,
Who dwells in cloudless light enshrined,
In whom no darkness is.
3 Walk in the light! and ev'n the tomb
No fearful shade shall wear;
Glory shall chase away its gloom,
For Christ hath conquered there.
4 Walk in the light! and thou shalt see
Thy path, though thorny, bright,
For God by grace shall dwell in thee,
And God himself is light. Scripture: Ephesians 5:8 Used With Tune: VALENTIA
Godly sincerity
Humble Devotion
Author: Anne Steele Appears in 871 hymnals Topics: Christians Graces First Line: Father, whate'er of earthly bliss Lyrics: 1 Father! whate'er of earthly bliss
Thy sovereign will denies,
Accepted at thy throne of grace,
Let this petition rise;--
2 "Give me a calm, a thankful heart,
From every murmur free;
The blessings of thy grace impart,
And make me live to thee.
3 "Let the sweet hope that thou art mine
My life and death attend;
Thy presence through my journey shine,
And crown my journey's end." Used With Tune: NAOMI
Humble Devotion
NUN DANKET
Meter: 6.7.6.7.6.6.6.6 Appears in 541 hymnals Composer and/or Arranger: Johann Crüger; Felix Mendelssohn Topics: Table Graces Tune Key: E Flat Major Incipit: 55566 53432 32155 Used With Text: Now Thank We All Our God
NUN DANKET
CORONATION
Meter: 8.6.8.6 Appears in 1,258 hymnals Composer and/or Arranger: Oliver Holden Topics: The Grace of Jesus Christ In Praise of Christ Tune Key: F Major Incipit: 51133 21232 13212 Used With Text: All Hail the Power of Jesus' Name
CORONATION
Happy the heart, where graces reign
Hymnal: Hymns, Selected and Original #438 (1828) Meter: 8.6.8.6 Topics: Christian experience Sanctification and christian graces Lyrics: 1 Happy the heart, where graces reign,
Where love inspires the breast:
Love is the brightest of the train,
And strengthens all the rest.
2 Knowledge, alas! 'tis all in vain,
And all in vain our fear;
Our stubborn sins will fight and reign,
If love be absent there.
3 'Tis love, that makes our cheerful feet
In swift obedience move.
The devils know, and tremble too;
But devils do not love.
4 This is the grace, that lives and sings,
When faith and hope shall cease.
'Tis this shall strike our joyful strings
In the sweet realms of bliss.
Happy the heart, where graces reign
Happy the heart where graces reign
Author: Isaac Watts Hymnal: Book of Worship with Hymns and Tunes #454 (1899) Meter: 8.6.8.6 Topics: Love Chief of the Graces Lyrics: 1 Happy the heart where graces reign,
Where love inspires the breast;
Love is the brightest of the train,
And strengthens all the rest.
2 Knowledge, alas! 'tis all in vain,
And all in vain our fear;
Our stubborn sins will fight and reign,
If love be absent there.
3 'Tis love that makes our cheerful feet
In swift obedience move;
The devils know, and tremble too;
But devils do not love.
4 This is the grace that lives and sings
When faith and hope shall cease;
'Tis this shall strike our joyful strings
In the sweet, realms of bliss.
Amen.
Languages: English Tune Title: BOARDMAN
Happy the heart where graces reign
The Importance and Influence of Love
Hymnal: A Collection of Hymns and Prayers, for Public and Private Worship #282 (1845) Meter: 8.6.8.6 Topics: The Christain His Duty and Graces; Christian Graces First Line: Happy the heart, where graces reign Lyrics: 1 Happy the heart, where graces reign,
Where love inspires the breast:
Love is the brightest of the train,
And strengthens all the rest.
2 Knowledge, alas! 'tis all in vain,
And all in vain our fear;
Our stubborn sins will fight and reign,
If love be absent there.
3 'Tis love, that makes our cheerful feet
In swift obedience move.
The devils know, and tremble too;
But devils do not love.
4 This is the grace, that lives and sings,
When faith and hope shall cease.
'Tis this shall strike our joyful strings
In the sweet realms of bliss. Languages: English
The Importance and Influence of Love
Johann Crüger
1598 - 1662 Topics: Grace; Table Graces Composer of "NUN DANKET" in Voices United Johann Crüger (b. Grossbriesen, near Guben, Prussia, Germany, 1598; d. Berlin, Germany, 1662) Crüger attended the Jesuit College at Olmutz and the Poets' School in Regensburg, and later studied theology at the University of Wittenberg. He moved to Berlin in 1615, where he published music for the rest of his life. In 1622 he became the Lutheran cantor at the St. Nicholas Church and a teacher for the Gray Cloister. He wrote music instruction manuals, the best known of which is Synopsis musica (1630), and tirelessly promoted congregational singing. With his tunes he often included elaborate accompaniment for various instruments. Crüger's hymn collection, Neues vollkomliches Gesangbuch (1640), was one of the first hymnals to include figured bass accompaniment (musical shorthand) with the chorale melody rather than full harmonization written out. It included eighteen of Crüger's tunes. His next publication, Praxis Pietatis Melica (1644), is considered one of the most important collections of German hymnody in the seventeenth century. It was reprinted forty-four times in the following hundred years. Another of his publications, Geistliche Kirchen Melodien (1649), is a collection arranged for four voices, two descanting instruments, and keyboard and bass accompaniment. Crüger also published a complete psalter, Psalmodia sacra (1657), which included the Lobwasser translation set to all the Genevan tunes.
Bert Polman
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Crüger, Johann, was born April 9, 1598, at Gross-Breese, near Guben, Brandenburg. After passing through the schools at Guben, Sorau and Breslau, the Jesuit College at Olmütz, and the Poets' school at Regensburg, he made a tour in Austria, and, in 1615, settled at Berlin. There, save for a short residence at the University of Wittenberg, in 1620, he employed himself as a private tutor till 1622. In 1622 he was appointed Cantor of St. Nicholas's Church at Berlin, and also one of the masters of the Greyfriars Gymnasium. He died at Berlin Feb. 23, 1662. Crüger wrote no hymns, although in some American hymnals he appears as "Johann Krüger, 1610,” as the author of the supposed original of C. Wesley's "Hearts of stone relent, relent" (q.v.). He was one of the most distinguished musicians of his time. Of his hymn tunes, which are generally noble and simple in style, some 20 are still in use, the best known probably being that to "Nun danket alle Gott" (q.v.), which is set to No. 379 in Hymns Ancient & Modern, ed. 1875. His claim to notice in this work is as editor and contributor to several of the most important German hymnological works of the 16th century, and these are most conveniently treated of under his name. (The principal authorities on his works are Dr. J. F. Bachmann's Zur Geschichte der Berliner Gesangbücher 1857; his Vortrag on P. Gerhard, 1863; and his edition of Gerhardt's Geistliche Lieder, 1866. Besides these there are the notices in Bode, and in R. Eitner's Monatshefte für Musik-Geschichte, 1873 and 1880). These works are:—
1. Newes vollkömmliches Gesangbuch, Augspur-gischer Confession, &c, Berlin, 1640 [Library of St. Nicholas's Church, Berlin], with 248 hymns, very few being published for the first time.
2. Praxis pietatis melica. Das ist: Ubung der Gottseligkeit in Christlichen und trostreichen Gesängen. The history of this, the most important work of the century, is still obscure. The 1st edition has been variously dated 1640 and 1644, while Crüger, in the preface to No. 3, says that the 3rd edition appeared in 1648. A considerable correspondence with German collectors and librarians has failed to bring to light any of the editions which Koch, iv. 102, 103, quotes as 1644, 1647, 1649, 1650, 1651, 1652, 1653. The imperfect edition noted below as probably that of 1648 is the earliest Berlin edition we have been able to find. The imperfect edition, probably ix. of 1659, formerly in the hands of Dr. Schneider of Schleswig [see Mützell, 1858, No. 264] was inaccessible. The earliest perfect Berlin edition we have found is 1653.
The edition printed at Frankfurt in 1656 by Caspar Röteln was probably a reprint of a Berlin edition, c. 1656. The editions printed at Frankfurt-am-Main by B. C. Wust (of which the 1666 is in the preface described as the 3rd) are in considerable measure independent works.
In the forty-five Berlin and over a dozen Frankfurt editions of this work many of the hymns of P. Gerhardt, J. Franck, P. J. Spener, and others, appear for the first time, and therein also appear many of the best melodies of the period.
3. Geistliche Kirchen-Melodien, &c, Leipzig, 1649 [Library of St. Katherine's Church, Brandenburg]. This contains the first stanzas only of 161 hymns, with music in four vocal and two instrumental parts. It is the earliest source of the first stanzas of various hymns by Gerhardt, Franck, &c.
4. D. M. Luther's und anderer vornehmen geisU reichen und gelehrten Manner Geistliche Lieder und Psalmen, &c, Berlin, 1653 [Hamburg Town Library], with 375 hymns. This was edited by C. Runge, the publisher, and to it Crüger contributed some 37 melodies. It was prepared at the request of Luise Henriette (q.v.), as a book for the joint use of the Lutherans and the Re¬formed, and is the earliest source of the hymns ascribed to her, and of the complete versions of many hymns by Gerhardt and Franck.
5. Psalmodia Sacra, &c, Berlin, 1658 [Royal Library, Berlin]. The first section of this work is in an ed. of A. Lobwasser's German Psalter; the second, with a similar title to No. 4, and the date 1657, is practically a recast of No. 4,146 of those in 1653 being omitted, and the rest of the 319 hymns principally taken from the Praxis of 1656 and the hymn-books of the Bohemian Brethren. New eds. appeared in 1676, 1700, 1704, 1711, and 1736.
[Rev. James Mearns, M.A.]
-- Excerpt from John Julian, Dictionary of Hymnology (1907)
=======================
Crüger, Johann, p. 271, ii. Dr. J. Zahn, now of Neuendettelsau, in Bavaria, has recently acquired a copy of the 5th ed., Berlin, 1653, of the Praxis.
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
Johann Crüger
John Bacchus Dykes
1823 - 1876 Person Name: Rev. John Bacchus Dykes (1823-1876) Topics: Aspirations For Divine Grace; Christians Graces of; Growth in Grace Composer of "BEATITUDE" in Songs of Praise with Tunes As a young child John Bacchus Dykes (b. Kingston-upon-Hull' England, 1823; d. Ticehurst, Sussex, England, 1876) took violin and piano lessons. At the age of ten he became the organist of St. John's in Hull, where his grandfather was vicar. After receiving a classics degree from St. Catherine College, Cambridge, England, he was ordained in the Church of England in 1847. In 1849 he became the precentor and choir director at Durham Cathedral, where he introduced reforms in the choir by insisting on consistent attendance, increasing rehearsals, and initiating music festivals. He served the parish of St. Oswald in Durham from 1862 until the year of his death. To the chagrin of his bishop, Dykes favored the high church practices associated with the Oxford Movement (choir robes, incense, and the like). A number of his three hundred hymn tunes are still respected as durable examples of Victorian hymnody. Most of his tunes were first published in Chope's Congregational Hymn and Tune Book (1857) and in early editions of the famous British hymnal, Hymns Ancient and Modern.
Bert Polman
John Bacchus Dykes
Catherine Winkworth
1827 - 1878 Topics: Grace; Table Graces Translator (into English) of "Now Thank We All Our God" in Voices United Catherine Winkworth (b. Holborn, London, England, 1827; d. Monnetier, Savoy, France, 1878) is well known for her English translations of German hymns; her translations were polished and yet remained close to the original. Educated initially by her mother, she lived with relatives in Dresden, Germany, in 1845, where she acquired her knowledge of German and interest in German hymnody. After residing near Manchester until 1862, she moved to Clifton, near Bristol. A pioneer in promoting women's rights, Winkworth put much of her energy into the encouragement of higher education for women. She translated a large number of German hymn texts from hymnals owned by a friend, Baron Bunsen. Though often altered, these translations continue to be used in many modern hymnals. Her work was published in two series of Lyra Germanica (1855, 1858) and in The Chorale Book for England (1863), which included the appropriate German tune with each text as provided by Sterndale Bennett and Otto Goldschmidt. Winkworth also translated biographies of German Christians who promoted ministries to the poor and sick and compiled a handbook of biographies of German hymn authors, Christian Singers of Germany (1869).
Bert Polman
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Winkworth, Catherine, daughter of Henry Winkworth, of Alderley Edge, Cheshire, was born in London, Sep. 13, 1829. Most of her early life was spent in the neighbourhood of Manchester. Subsequently she removed with the family to Clifton, near Bristol. She died suddenly of heart disease, at Monnetier, in Savoy, in July, 1878. Miss Winkworth published:—
Translations from the German of the Life of Pastor Fliedner, the Founder of the Sisterhood of Protestant Deaconesses at Kaiserworth, 1861; and of the Life of Amelia Sieveking, 1863.
Her sympathy with practical efforts for the benefit of women, and with a pure devotional life, as seen in these translations, received from her the most practical illustration possible in the deep and active interest which she took in educational work in connection with the Clifton Association for the Higher Education of Women, and kindred societies there and elsewhere. Our interest, however, is mainly centred in her hymnological work as embodied in her:—
(1) Lyra Germanica, 1st Ser., 1855. (2) Lyra Germanica, 2nd Ser., 1858. (3) The Chorale Book for England (containing translations from the German, together with music), 1863; and (4) her charming biographical work, the Christian Singers of Germany, 1869.
In a sympathetic article on Miss Winkworth in the Inquirer of July 20, 1878, Dr. Martineau says:—
"The translations contained in these volumes are invariably faithful, and for the most part both terse and delicate; and an admirable art is applied to the management of complex and difficult versification. They have not quite the fire of John Wesley's versions of Moravian hymns, or the wonderful fusion and reproduction of thought which may be found in Coleridge. But if less flowing they are more conscientious than either, and attain a result as poetical as severe exactitude admits, being only a little short of ‘native music'"
Dr. Percival, then Principal of Clifton College, also wrote concerning her (in the Bristol Times and Mirror), in July, 1878:—
"She was a person of remarkable intellectual and social gifts, and very unusual attainments; but what specially distinguished her was her combination of rare ability and great knowledge with a certain tender and sympathetic refinement which constitutes the special charm of the true womanly character."
Dr. Martineau (as above) says her religious life afforded "a happy example of the piety which the Church of England discipline may implant.....The fast hold she retained of her discipleship of Christ was no example of ‘feminine simplicity,' carrying on the childish mind into maturer years, but the clear allegiance of a firm mind, familiar with the pretensions of non-Christian schools, well able to test them, and undiverted by them from her first love."
Miss Winkworth, although not the earliest of modern translators from the German into English, is certainly the foremost in rank and popularity. Her translations are the most widely used of any from that language, and have had more to do with the modern revival of the English use of German hymns than the versions of any other writer.
-- John Julian, Dictionary of Hymnology (1907)
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Hymn Writers of the Church
Catherine Winkworth
