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Nikolaus Herman

1500 - 1561 Person Name: Nicolaus Herman, c. 1480-1561 Meter: 8.8.8.8 with alleluias Composer of "ERSCHIENEN IST DER HERRLICH TAG" in Christian Worship Herman, Nicolaus, is always associated with Joachimsthal in Bohemia, just over the mountains from Saxony. The town was not of importance till the mines began to be extensively worked about 1516. Whether Herman was a native of this place is not known, but he was apparently there in 1518, and was certainly in office there in 1524. For many years he held the post of Master in the Latin School, and Cantor or Organist and Choirmaster in the church. Towards the end of his life he suffered greatly from gout, and had to resign even his post as Cantor a number of years before his death. He died at Joachimsthal, May 3, 1561. (Koch, i. 390-398; Allgemeine Deutsche Biographie, xii. 186-188, &c.) He was a great friend and helper of J. Mathesius (q.v.) (who in 1532 became rector of the school, but in 1541 diaconus and in 1545 pastor of the church), and it was said that whenever Mathesius preached a specially good sermon Herman straightway embodied its leading ideas in a hymn. His hymns, however, were not primarily written for use in church, but were intended for the boys and girls in the schools, to supplant profane songs in the mouths of the young men and women, or for the daily life of the “housefathers and housemothers" in Joachimsthal, at home, and in their work in the mines. He is a poet of the people, homely, earnest, and picturesque in style; by his naiveté reminding us of Hans Sachs. He was an ardent lover of music and a very good organist. The chorales which he published with his hymns are apparently all of his own composition, and are among the best of the Reformation period. Many of Herman's hymns soon passed into Church use in Germany, and a number are found in almost all books in present use. About 190 in all, they appeared principally in:— (1) Die Sontags Evangelia uber des gantze Jar, in Gesenge verfasset, für die Kinder und christlichen Haussvetter, &c, Wittenberg, 1560 (dedication by Herman dated Trinity Sunday, 1559), with 101 hymns and 17 melodies. The best are those interspersed specially meant for children and not directly founded on the Gospel for the day. (2) Die Historien von der Sindfludt, Joseph, Mose, Helia, Elisa und der Susanna, sampt etlichen Historien aus den Evangelisten, &c., Wittenberg, 1562 (preface by Herman dated St. Bartholomew's Day, 1560), with 73 hymns and 20 melodies. In this case also the general hymns are the best. A selection of 60 (really 61) of his hymns, with a memoir by K. F. Ledderhose, was published at Halle, 1855. One of Herman's hymns is noted under “Wenn mein Stündlein vorhanden ist." The others which have passed into English are:— i. Bescher uns, Herr, das täglioh Brod. Grace before Meat. 1562, as above, and thence in Wackernagel, iii. p. 1228, in 6 stanzas of 4 lines; in Ledderhose, p. 70; and in the Berlin Geistliche Lieder, ed. 1863, No. 1133. Translated as:— 1. Thou art our Father and our God. This, by P. H. Molther, a translation of stanza vi., as No. 180 in the Moravian Hymn Book, 1789 (1849, No. 220, st. v.). 2. As children we are owned by Thee, a translation of stanza vi., as st. iii. of No. 191 in the Moravian Hymn Book, 1801 (1849, No. 220, stanza iii.). ii. Die helle Sonn leucht jetzt herfür. Morning. 1560, as above, and thence in Wackernagel, iii. p. 1184, in 4 stanzas of 4 lines, in Ledderhose, p. 87; and in the Unverfälschter Liedersegen, 1851, No. 450. Translated as:— The morning beam revives our eyes, a good and full translation by. A. T. Russell, as No. 71 in the Dalston Hospital Hymn Book 1848. iii. Erschienen ist der herrliche Tag. Easter. 1560, as above, in 14 stanzas of 4 lines, entitled, "A new Spiritual Song of the Joyful Resurrection of our Saviour Jesus Christ; for the maidens of the girls' school in Joachimsthal”; and thence in Wackernagel, iii. p. 1175; in Ledderhose p. 23, and Unverfälschter Liedersegen, 1851, No. 134. It has reminiscences of the "Erstanden ist der heil'ge Christ". Translated as:— The day hath dawn'd—-the day of days, a good translation by A. T. Russell of stanzas i., ii., xiii., xiv., as No. 113 in his Psalms & Hymns, 1851. Another tr. is, "At length appears the glorious day," by Dr. G. Walker, 1860, p. 28. iv. Hinunter ist der Sonnen Schein. Evening. 1560, as above, and thence in Wackernagel, iii. p. 1184, in 4 stanzas of 4 lines; in Ledderhose, p. 88; and in the Unverfälschter Liedersegen1851, No. 523. Some of the phrases may have been suggested by the "Christe qui lux es et dies" (q. v.). Translated as:— 1. Sunk is the sun's last beam of light, a full and good translation by Miss Cox in her Sacred Hymns from the German, 1841, p. 57. Included in Alford's Psalms & Hymns, 1844, and Tear of Praise, 1867; in Dale's English Hymn Book, 1875; in the Pennsylvania Lutheran Church Book, 1868, and others. It is also given considerably altered and beginning, "Sunk is the Sun! the daylight gone," in W. J. Blew's Church Hymn and Tune Book, 1851-55. 2. The happy sunshine all is gone, in full, by Miss Winkworth in her Lyra Germanica, 1st Ser., 1855, p. 225; repeated in her Chorale Book for England, 1863, and the Ohio Lutheran Hymnal, 1880. Other translations are: (1) "Did I perhaps Thee somewhat grieve," a translation of stanza iii. in the Moravian Hymn Book, 1789, No. 756. In the 1801 and later eds. (1886, No. 1181, st. iii.), it begins, "Where'er I Thee this day did grieve." (2) "The sun’s fair sheen is past and gone," by H. J. Buckoll, 1842, p. 68. (3) "The sun hath run his daily race," by Lady E. Fortescue, 1843, p. 14. v. Lobt Gott, ihr Christen alle gleich. Christmas. Written c. 1554, but first published 1560 as above, as the first of "Three Spiritual Christmas Songs of the new-born child Jesus, for the children in Joachimsthal." Thence in Wackernagel iii. p. 1169, in 8 stanzas of 4 lines; in Ledderhose, p. 1; and in the Unverfälschter Liedersegen, 1851, No. 47. It is one of the most popular German Christmas hymns. The melody set to it in 1560 is also by Herman; in 1554 to his "Kommt her ihr liebsten Schwesterlein" [in the Hymnal Companioncalled "St. George's (old)"]. Translated as :— 1. Let all together praise our God, a good translation of stanzas i., iii., vi., viii., by A. T. Russell, as No. 52 in his Psalms & Hymns, 1851. Repeated in Kennedy, 1863, adding a translation of st. ii., and beginning, "Let all creation praise our God." 2. Praise ye the Lord, ye Christians I yea, in full, by E. Cronenwett, as No. 31 in the Ohio Lutheran Hymnal 1880. Other translations are: (1) "A wondrous change He with us makes," a tr. of stanza viii., ix. as No. 438 in pt. i. of the Moravian Hymn Book, 1754, repeated 1789-1826. (2) "Come, brethren, lets the song arise," by Dr. G. Walker, 1860, p. 26. (3) "Praise God, now Christians, all alike," by Miss Manington, 1864, p. 9. (4) "Praise God, upon His throne on high," in the Sunday Magazine, 1874, p. 384, signed "P. J." The hymn “Shepherds rejoice, lift up your eyes," given by J. C. Jacobi in his Psalmodia Germanica, 1722, p. 8, to Herman's melody (which was first published 1554) is, as stated in his Preface, taken from Bk. i. of Isaac Watts's Horse Lyricae vi. So wahr ich leb, spricht Gott der Herr. Absolution. 1560, as above, in 11 stanzas of 4 lines, entitled "A hymn on the power of the keys and the virtue of holy absolution; for the children in Joachimsthal." Thence in Wackernagel, iii. p. 1183; in Ledderhose, p. 47; and the Unverfälschter Liedersegen, 1851, No. 429. It probably suggested the better known hymn, "So wahr ich lebe," q. v., by Johann Heermann. Translated as:— Yea, as I live, Jehovah saith, I do not wish the sinner's death, in full, by Dr. M. Loy, as No. 245, in the Ohio Lutheran Hymnal, 1880. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology (1907)

Michael Praetorius

1571 - 1621 Person Name: Michael Praetorius, 1571-1621 Meter: 8.8.8.8 with alleluias Arranger of "ERSCHIENEN IST DER HERRLICH TAG" in Christian Worship Born into a staunchly Lutheran family, Michael Praetorius (b. Creuzburg, Germany, February 15, 1571; d. Wolfenbüttel, Germany, February 15, 1621) was educated at the University of Frankfort-an-der-Oder. In 1595 he began a long association with Duke Heinrich Julius of Brunswick, when he was appointed court organist and later music director and secretary. The duke resided in Wolfenbüttel, and Praetorius spent much of his time at the court there, eventually establishing his own residence in Wolfenbüttel as well. When the duke died, Praetorius officially retained his position, but he spent long periods of time engaged in various musical appointments in Dresden, Magdeburg, and Halle. Praetorius produced a prodigious amount of music and music theory. His church music consists of over one thousand titles, including the sixteen-volume Musae Sionae (1605-1612), which contains Lutheran hymns in settings ranging from two voices to multiple choirs. His Syntagma Musicum (1614-1619) is a veritable encyclopedia of music and includes valuable information about the musical instruments of his time. Bert Polman

Athelstan Riley

1858 - 1945 Person Name: John Athelstan Laurie Riley Meter: 8.8.8.8 with alleluias Author of "Ye Watchers and Ye Holy Ones" in The Presbyterian Hymnal Riley, John Athelstan Laurie, M.A., s. of John Riley, Mytholmroyd, Yorks, was born in London, Aug. 10, 1858, and educated at Eton and at Pembroke College, Oxford (B.A. 1881, M.A. 1883). He has been since 1892 a member of the House of Laymen of the Province of Canterbury. He was one of the compilers of The English Hymnal, 1906, and contributed to it seven translations from the Latin (34, 185, 193, 195, 213, 242, 321, with No. 97 previously published), and one from the Greek, beginning, "What sweet of life endureth," from Iiola rod fiiov, p. 899, i., and the following originals:— 1. Come, let us join the Church above. Martyrs. 2. Saints of God! Lo, Jesu’s people. St. Bartholomew. The initials of the lines form the acrostic Saint Bartholomew; it is really a general hymn for Apostles. 3. Ye watchers and ye holy ones. Universal Praise to God. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology, New Supplement (1907)

John L. Bell

b. 1949 Person Name: John L. Bell, b. 1949 Meter: 8.8.8.8 with alleluias Adapter of "Lift Up Your Heads" in Gather Comprehensive, Second Edition John Bell (b. 1949) was born in the Scottish town of Kilmarnock in Ayrshire, intending to be a music teacher when he felt the call to the ministry. But in frustration with his classes, he did volunteer work in a deprived neighborhood in London for a time and also served for two years as an associate pastor at the English Reformed Church in Amsterdam. After graduating he worked for five years as a youth pastor for the Church of Scotland, serving a large region that included about 500 churches. He then took a similar position with the Iona Community, and with his colleague Graham Maule, began to broaden the youth ministry to focus on renewal of the church’s worship. His approach soon turned to composing songs within the identifiable traditions of hymnody that began to address concerns missing from the current Scottish hymnal: "I discovered that seldom did our hymns represent the plight of poor people to God. There was nothing that dealt with unemployment, nothing that dealt with living in a multicultural society and feeling disenfranchised. There was nothing about child abuse…,that reflected concern for the developing world, nothing that helped see ourselves as brothers and sisters to those who are suffering from poverty or persecution." [from an interview in Reformed Worship (March 1993)] That concern not only led to writing many songs, but increasingly to introducing them internationally in many conferences, while also gathering songs from around the world. He was convener for the fourth edition of the Church of Scotland’s Church Hymnary (2005), a very different collection from the previous 1973 edition. His books, The Singing Thing and The Singing Thing Too, as well as the many collections of songs and worship resources produced by John Bell—some together with other members of the Iona Community’s “Wild Goose Resource Group,” —are available in North America from GIA Publications. Emily Brink

Benjamin Webb

1819 - 1885 Meter: 8.8.8.8 with alleluias Translator of "A Hymn of Glory Let Us Sing" in Trinity Hymnal (Rev. ed.) Benjamin Webb (b. London, England, 1819; d. Marylebone, London, 1885) originally translated the text in eight stanzas, although six only appear in Lift Up Your Hearts. It was published in The Hymnal Noted (1852), produced by his friend John Mason Neale. Webb received his education at Trinity College, Cambridge, England, and became a priest in the Church of England in 1843. Among the parishes he served was St. Andrews, Wells Street, London, where he worked from 1862 to 1881. Webb's years there coincided with the service of the talented choir director and organist Joseph Barnby, and the church became known for its excellent music program. Webb edited The Ecclesiologist, a periodical of the Cambridge Ecclesiological Society (1842-1868). A composer of anthems, Webb also wrote hymns and hymn translations and served as one of the editors of The Hymnary (1872). Bert Polman ================== Webb, Benjamin, M.A., was born in London in 1820, and was educated in St. Paul's School; whence he passed to Trinity College, Cambridge, in 1838, B.A. 1842, M.A. 1845. Ordained by the Bishop [Monk] of Gloucester and Bristol he was Assistant Curate of Kemeston in Gloucestershire, 1843-44; of Christ Church, St. Pancras, 1847-49; and of Brasted, Kent, 1849-51; at which date he was presented to the P. C. of Sheen in Staffordshire, which he held until 1862, when he became Vicar of St. Andrews, Wells Street, London. In 1881 the Bishop [Jackson] of London collated him to the Prebend of Portpool in St. Paul's Cathedral. Mr. Webb was one of the Founders of the Cambridge Camden, afterwards the Ecclesiological Society; and the Editor of the Ecclesiologist from 1842 to 1868, as well as the General Editor of the Society's publications. His first appearance in print was as joint editor of Bishop Montague's Articles of Inquiry in 184; in 1843 he was joined with Mr. J. M. Neale in An Essay on Symbolism, and A Translation of Durandus; in 1847 he put forth his valuable work on Continental Ecclesiology; in 1848 he was joint editor with Dr. Mill of Frank’s Sermons, for the Anglo-Catholic Library, and with the Rev. J. Fuller-Russell of Hierurgia Anglicana. After the decease of his father-in-law (Dr. Mill), he edited Dr. Mill's Catechetical Lectures, 1856; a second edition of Dr. Mill's Christian Advocates Publications on the Mythical Interpretation of the Gospels, 1861; and of Dr. Mill's Sermons on our Lord's Temptation, 1873. He was also one of the editors of the Burntisland reprint of the Sarum Missal. One of his most valuable works is Instructions and Prayers for Candidates for Confirmation, of which the third edition was published in 1882. Mr. Webb was one of the original editors of the Hymnal Noted, and of the sub-Committee of the Ecclesiological Society, appointed to arrange the words and the music of that book; and was also the translator of some of the hymns. In conjunction with the Rev. Canon W. Cooke he was editor of the Hymnary, 1872, for which office his habitual reconstruction and composition of the words of the anthems used at St. Andrew's, Wells Street, as well as his connection with the Hymnal Noted, eminently qualified him. His original hymns contributed to the Hymnary, 1871 and 1872, were:-- 1. Assessor to thy King. St. Bartholomew. In the Hymnary, 1872. 2. Behold He comes, thy King most holy. Advent. Originally written to be sung in St. Andrew's Church, Wells Street, as an anthem to the music of Schumann's Advent-lied, and afterwards published in the Hymnary, 1872. 3. Praise God, the Holy Trinity. Hymn of Faith. Originally written for use in St. Andrew's, Wells Street, and subsequently in the Hymnary, 1872. 4. Praise the Rock of our salvation. Dedication of a Church. Published in the Hymnary, 1872. Mr. Webb's authorised text is in the Westminster Abbey Hymn Book, 1883. 5. Ye angel hosts above. Universal Praise to God. In the Hymnary, 1872. He died in London, Nov. 27, 1885. [Rev. William Cooke, M.A.] -- John Julian, Dictionary of Hymnology (1907)

Randall Keith DeBruyn

b. 1947 Person Name: Randall DeBruyn, b. 1947 Meter: 8.8.8.8 with alleluias Arranger of "LASST UNS ERFREUEN" in Glory and Praise (3rd. ed.)

John Dryden

1631 - 1700 Person Name: John Dryden, 1631-1700 Meter: 8.8.8.8 with alleluias Paraphraser of "Creator Spirit, by Whose Aid" in Journeysongs (3rd ed.) Dryden, John. The name of this great English poet has recently assumed a new importance to the students of hymns, from a claim made on his behalf in regard to a considerable body of translations from the Latin published after his death (1701), in a Primer of 1706. The discussion of this point will preclude us from giving more than an outline of his life. i. Biography.—John Dryden was the son of Erasmus, the third son of Sir Erasmus Dryden, and was born at Aid winkle, All Saints, Northants, Aug. 9, 1631. He was educated under Dr. Busby at Westminster, and entered Trip. College, Cambridge, in 1650. He took his B.A. in 1654, and resided nearly 7 years, though without a fellowship. He was of Puritan blood on both his father's and mother's side, and his training found expression in his first great poem, Heroic Stanzas on the death of Oliver Cromwell, 1658. In 1660, however, he turned, like the bulk of England, Royalist, and in his Astraea Redux, and in A Panegyric on the Coronation (1661), celebrated the Restoration. In 1663 he married Lady Elizabeth Howard. The marriage was apparently not a happy one; and there seems to be plain proof of Dryden's unfaithfulness. In 1670 he was made Poet Laureate and Historiographer Royal, and he retained these posts until the accession of William (1688). He had joined the Roman Church in 1685, and remained steadfast to it at the fall of James II. This change is of special significance, as will appear below, in regard to his translations from the Latin. It greatly straitened his means, and compelled him to great literary exertion in his closing years. He died May 18, 1701, and was buried in Westminster Abbey. The poems of Dryden show high excellence in fields widely different from another. He was for years the leader of the English stage, as a writer of tragedy, comedy, and tragi-comedy. The specialities of his plays were a large substitution of the heroic couplet for blank verse, in imitation of Corneille, plots full of exaggerated passion, intrigue, and rant, and a catchword dialogue. These features were caricatured by Buckingham and others in the Rehearsal (acted 1671). The gross immorality of his dramas has long made them unreadable; but his influence on poetry has been enduring. No metre so long dominated style as his heroic couplet, which, though inferior to Pope's in polish and precision, excels it in resonance, freedom and audacity, "The long resounding march and energy divine." He was the first to make poetry a lucid vehicle for political and religious discussion, in the Religio Laid (1682), and The Hind and Panther (1687). The finest satires in English are Absalom and Acnitophel (Part i., 1681; Part ii., 1682, to which he contributed only a portion, the rest being by Nahura Tate), The Medal, and Mac Flecknoe (1682). He gave a new energy and fulness of meaning to the work of translation through his classical reproductions, of which his Virgil is the finest specimen (published in 1697). Alexander's Feast remains one of the most brilliant English odes. His prefaces and dedications had a large influence on our prose style, and are the first material efforts in the province of poetical criticism. The salient points of his genius are a transcendent literary force continually exerting itself in fresh forms; and that narrowing of the work of poetry to matters of political, social, human interest, which ruled supreme in Pope and his followers. (See Dryden by Mr. G. Saintsbury, Men of Letters Series.) ii. Hymn Translations. — Until recently, Dryden's known contributions to hymnody consisted of only three pieces. The best known of these is the translation of “Veni Creator," published in vol. iii. of his Miscellanies, in 1693. Sir Walter Scott, in his Life of Dryden, 1808, published a translation of the "Te Deum " ("Thee Sovereign God our grateful accents praise"), and a translation of "Ut queant laxis," the hymn at Evensong for St. John the Baptist's Day (Scott calls it "St. John's Eve") ("O sylvan Prophet "). Mr. W. T. Brooke has pointed out one or two facts that slightly shake Scott's attribution of these two pieces to Dryden. He has discovered the translation of the "Te Deum” in Dodd's Christian's Magazine, 1760, contributed by J. Duncombe, and attributed to Pope. And Scott's account of the two pieces is confused. He received them from a Mrs. Jackson, who told him that they were mentioned in Butler's “Tour through Italy," and that after Butler's death they passed into the hands of the celebrated Dr. Alban, and so came to hers. They are not however mentioned in the published edition of Butler's Tour; and "Butler" and "Dr. Alban" are the same person—-Dr. Alban Butler, author of The Lives of the Saints. Alban Butler's Tour was edited and published by Charles Butler, his nephew, who also wrote a Life of Alban Butler. The confusion cannot now be unravelled: but is not enough to discredit Scott's decision, which may have rested on the handwriting. The translation of the "Te Deum" is not like Pope, and has a Drydenesque Alexandrine in it, and other marks of Dryden's manner. One great Roman Catholic poet was perhaps confused with the other. These three pieces, however, with slight variation of text, have been discovered independently by Mr. Orby Shipley and Mr. W. T. Brooke, in The Primer, or Office of the B. V. Mary, in English, 1706; and the discovery has led them to a strong conviction that the bulk of the 120 translations of Latin hymns in this book are also Dryden's. It is shown under Primers, that there are remarkable evidences of unity of hand in these translations. Is this hand Dryden's? The case for Dryden is a constructive one, and may be thus summarised:— The translation in Scott, "0 sylvan Prophet," is in a metre unknown to previous editions of the Primer; and there are altogether 11 translations generally representing Latin Sapphics, in the book in this metre. Five of these translations have a further internal link in having the same gloria, three in having another common gloria. The presumption is irresistible that they are all by the author of "0 sylvan Prophet." Again, the translation of the "Te Deum " (also in Scott) is one of 8 pieces in Dryden's great metre, which is also new to the Primers' heroic couplets. Though not linked by common glorias, the tone of all these is Drydenesque, especially the translation of "Sacris Solemniis," which has these characteristic lines, "They eat the Lamb with legal rites and gave Their mother synagogue a decent grave," and closes with an Alexandrine. The translation "Creator Spirit, by Whose aid" is followed by two others in the same metre, which have a variation (in a single word) of its gloria. The three known hymns of Dryden are thus heads of groups presumptively of the same parentage. Proceeding further in the book, the large group of 8-syllable hymns exhibits 35, which are curiously marked as by a single band through their glorias (see Primers). They have several Drydenesque phrases (e.g. "noon of night,” “gleamy white," a technical use of "yielding," “liquid," "equal"), turns of expression and cadences, and a significant link with the translation of the "Te Deum" in the term “vocal blood" (cf. "vocal tears" in 2 other translations) found in the translation of "Deus tuorum militum." This technical method of inquiry when applied still further to other groups linked by a single gloria certainly points in the same direction; Drydenisms, links with groups already named, an occasional appearance of layman freedom of expression, and in one case (“Audit tyrannus" tr.), an echo of the heroic plays, emerge. The least characteristic group is that containing translations of "Ave maris stella" and "Jesu dulcis memoria," in C.M.; and the latter translation ("Jesu, the only thought of Thee"), beautiful as it is, is in the main only the translation from the Primer of 1685 recast in C.M. But the adoption of C.M.—-a new metre in these Primers—-would be natural in one previously long familiar with the metrical Psalms; the translation of “Ave maris stella" has the recurrent use of "equal," which is a mannerism of Dryden: and the word "way " in the translation of "Jesu dulcis memoria" is used similarly in that of "Immense coeli conditor." The result of a minute investigation, purposely conducted on somewhat mechanical lines, is a presumption almost amounting to proof, that the bulk of these 120 translations are not only by the same hand, but by the hand of Dryden. A measure of doubt must however attach to the least characteristic pieces, from the following considerations:— (1) The translations of "Stabat Mater " and "Dies Irae" are reprinted from the Primer of 1687. This fact is of course not decisive against their parentage by Dryden, as it may be argued, that the Primer of 1687 also contains Dryden translations. But (2) the translation of the "Dies Irae "seems to be, notwithstanding some Drydenesque phrases, by Lord Roscommon. It is found in a text considerably varied from that of 1706 in Tate's Miscellanea Sacra 1696 and 1698); and is there attributed to Lord Roscommon. It appears also, but in a text identical with that of 1706, in Tonson's Poems by The Earl of Roscommon, 1717, which professes to give only the "truly genuine" poems of the Earl. If this translation is not Dryden's, others also may not be his. And (3) the Primer of B. V. M. in which these translations are found did not appear till five years after Dryden's death; and may have been edited by some one else. Mr. W. T. Brooke has drawn attention to variations in the text of Scott from that of the Primer; which may be accounted for by editorial revision; and the editor may have had blanks to fill in which Dryden had left. It would be most natural to suppose that the Primer would be edited by a priest; but the fact that it is difficult to say whether the text in Scott or in the Primer is the more characteristic of Dryden either points to the existence of two authentic texts of the poet, or a revision by someone thoroughly intimate with Dryden's manner, e.g. (as Mr. Brooke acutely conjectures), Charles Dryden, who may have taken his father's manuscripts with him to Rome. The argument in favour of Dryden is presented with great force and skill by Mr. Orby Shipley in the Dublin Review, October, 1884, and in the preface to his Annus Sanctus. In corroboration of the evidence given above, Mr. Shipley has collected some Roman Catholic traditions, which ascribe to Dryden "a considerable number" of Latin translations “Jesu dulcis memoria" and "Dies Irae" are said to have been translated as penances. These traditions are however very indefinite; in some cases they do not date earlier than the present century; and in some (see Preface to Annus Sanctus) they are mistaken. He seeks a further corroboration of the theory from the appearance of several of these translations in editions of The Manual of Prayers, 1750, and The Garden of the Soul, 1737. But it is shown under Primers that these books afford no real evidence on this subject. [Rev. H. Leigh Bennett, M.A.] - John Julian, Dictionary of Hymnology (1907)

Georg Weissel

1590 - 1635 Person Name: George Weissel, 1590-1635 Meter: 8.8.8.8 with alleluias Author of "Lift Up Your Heads" in Gather Comprehensive, Second Edition Weissel, Georg, son of Johann Weissel, judge and afterwards burgomaster at Doranau, near Königsberg, was born at Domnau in 1590. He studied at the University of Königsberg, from 1608 to 1611, and thereafter, for short periods, at Wittenberg, Leipzig, Jena, Strassburg, Basel and Marburg In 1614 he was appointed rector of the school at Friedland near Domnau, but resigned this post after three years, and returned to Königsberg to resume his studies in theology. Finally, in 1623, he became pastor of the newly erected Altrossgart church at Königsberg, where he remained till his death, on August 1, 1635. Weissel was one of the most important of the earlier hymn-writers of Prussia. His hymns, about 20 in all, are good in style, moderate in length, and varied in metre. The earliest seem to have been written for use at the consecration of the Altrossgart church on the 2nd Sunday in Advent, 1623. The majority are for the greater festivals of the Christian year. The best are No. ii. below, and those for the dying. They appeared mostly in the Königsberg hymn-books, 1639-1650, and in the Preussische Fest-Lieder, pt. i., Elbing, 1642; pt. ii., Königsberg, 1644 [Berlin Library]. Those of Weissel's hymns which have passed into English are:— i. Im finstern Stall, o W under gross. Christmas. First published in B. Derschau's Ausserlesene geistliche Lieder, Königsberg, 1639, p. 7, in 5 stanzas of 5 lines In the Preussische Fest-Lieder, pt. i., 1642, No. 14, it is entitled "On the Birth of Christ, Lux in tenebris lucet.” The translation in common use is:— 0 miracle of love and might This is a somewhat free translation, omitting stanza v., by Dr. Kennedy, as No. 104 in his Hymnologia Christiana, 1863. ii. Macht hoch die Thür, das Thor macht weit. Advent. This is a Hymn of Triumph for the Entry of the King of Glory, founded on Ps. xxiv.; and is one of the finest German Advent hymns. First published in the Preussische Fest-Lieder, pt. i., 1642, No. 2, in 5 stanzas of 8 lines, marked as "On the 1st Sunday of Advent." The translations in common use are:— 1. Lift up your heads, ye mighty gates. This is a good and full translation by Miss Winkworth, in herLyra Germanica, 1st Ser., 1855, p. 10, and her Chorale Book for England, 1863, No. 25. In the Congregational Church Hymnal, 1887, the Evangelical Hymnal, N. Y., 1880, and others, the original form is followed. Other forms are:— (1) Behold One cometh from afar (i. alt.). This (partly from Mercer) is in the Supplement to the New Congregational Hymn Book, and the 1874 Appendix. to the Leeds Hymn Book. (2) Behold He cometh from afar. In J. L. Porter's Collection, 1876, altered from No. l. (3) Oh! hallowed is the land and blest (iii. lines 1, alt.). In the American Sabbath Hymn Book, 1858, &c. (4) 0 blest the souls, for ever blest (iii. lines1, alt.). In Hymns of the Spirit, Boston, U.S., 1864. (5) Fling wide the portals of your heart (iv.). In the American Unitarian Hymn Book, 1868. 2. The mighty gates of earth unbar. This is by W. Mercer, based on Miss Winkworth's translation, in his Church Psalm & Hymn Book, 1857, No. 14 (Ox. ed., 1864, No. 71), repeated in Kennedy, 1863. Another translation is: "Lift up, lift up your heads, ye gates," by G. Moultrie, in his Espousals of St. Dorothea, 1870. iii. Wo ist dein Stachel nun, o Tod? Easter. Founded on 1 Cor. xv., 55-58. First published as No. 3 in pt. ii., 1644, of the Preussische Fest-Lieder, in 5 stanzas of 8 lines, entitled "For the Easter festival." Thence in the Königsberg Gesang-Buch, 1650, p. 193, and others. The form which has passed into English is that in the Hannover Gesang-Buch, 1657, No. 74, in 10 stanzas. This, beginning "O Tod, wo ist dein Stachel nun," is entirely rewritten, probably by Justus Gesenius. Translated as:— O Death! where is thy cruel sting? This is a full and good version of the 1657 text, as No. 80 in the Ohio Lutheran Hymnal, 1880, marked as a compilation. [Rev. James Mearns, M.A.] -- Excerpts from John Julian, Dictionary of Hymnology (1907)

Mary Nelson Keithahn

b. 1934 Meter: 8.8.8.8 with alleluias Author of "They Built the Church" in Faith That Lets Us Sing Mary Nelson Keithahn, a retired United Church of Christ ordained pastor and church educator, has been a curriculum writer-editor, journalist, and lyricist for musical dramas and anthems. She still works out of her home in Rapid City, South Dakota, as a free-lance writer. In 2016 she published Elfie: Adventures on the Midwest Frontier, a chapter book for children, and Embracing the Light: Reflectioins on God’s Holy Word, a collection of meditations for individual or small group use. Augsburg Fortress also published Sing the Stories of God’s NEW People, the third in a trilogy of Bible story-based collections of songs for young children, written with her longtime colleague, John D. Horman. The two have written over a hundred hymns together, some of which are included in these hymnals and supplements: Community of Christ Sings, God’s Mission, God’s Song, Hymns of Heritage and Hope, Lift Up Your Hearts, Sing Justice! Do Justice, Sing the Faith, Singing Our Savior’s Story, Singing the New Testament, The Faith We Sing, Upper Room Worshipbook, Voices Found, Voices United, and Worship and Song. They have also published four collections of their hymns: Come Away with Me and Time Now to Gather (Abingdon, 1998), The Song Lingers On (Zimbel, 2003), and Faith That Lets Us Sing (Wayne Leupold Editions, 2017). Mary is a Life Member and former board member of Choristers Guild and a Life Member of the Hymn Society in the United States and Canada. She is also a member of ASCAP. In 2006 she received a Distinguished Achievement Award from her alma mater, Carleton College in Northfield, MN, in recognition of her work in composing text for religious music. Mary was married to the Rev. Richard K. Keithahn, a U.C.C. pastor, and widowed in 1986. She has three children, eight grandchildren, and one great-grandchild. --mnk