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Delores Dufner

b. 1939 Person Name: Delores Dufner, OSB, b. 1939 Author of "What Feast of Love" in With One Voice Delores Dufner is a member of St. Benedict’s Monastery in St. Joseph, Minnesota, with Master's Degrees in Liturgical Music and Liturgical Studies. She is currently a member and a Fellow of The Hymn Society in the United States and Canada, the National Pastoral Musicians (NPM), the American Society of Composers, Authors, and Publishers (ASCAP), and the Monastic Worship Forum. Delores is a writer of liturgical, scripturally based hymn and song texts which have a broad ecumenical appeal and are contracted or licensed by 34 publishers in the United States, Canada, Great Britain, Australia, and China. She has received more than 50 commissions to write texts for special occasions or needs and has published over 200 hymns, many of which have several different musical settings and appear in several publications. She is the author of three hymn collections: Sing a New Church (1994, Oregon Catholic Press), The Glimmer of Glory in Song (2004, GIA Publications), and And Every Breath, a Song (2011, GIA Publications). Delores, the middle child of five, was born and raised on a farm in the Red River Valley of North Dakota. She attended a one-room country school in which she learned to read music and play the tonette, later studying piano and organ. Delores was a school music teacher, private piano and organ instructor, and parish organist/choir director for twelve years. She served as liturgy coordinator for her religious community of 775 members for six years and as Director of the Office of Worship for the Diocese of St. Cloud, Minnesota for fifteen years. She subsequently worked as a liturgical music consultant for the Diocese of Ballarat, Victoria in southeast Australia for fifteen months. At present, she is preparing a fourth hymn collection and assisting with liturgy planning and music leadership at the monastery. Delores Dufner

Jeremiah Clarke

1669 - 1707 Person Name: Jeremiah Clarke, 1670-1707 Composer of "ST. MAGNUS" in Hymns of the Kingdom of God

George J. Elvey

1816 - 1893 Person Name: George Job Elvey Composer of "ST. CRISPIN" in The Cyber Hymnal George Job Elvey (b. Canterbury, England, 1816; d. Windlesham, Surrey, England, 1893) As a young boy, Elvey was a chorister in Canterbury Cathedral. Living and studying with his brother Stephen, he was educated at Oxford and at the Royal Academy of Music. At age nineteen Elvey became organist and master of the boys' choir at St. George Chapel, Windsor, where he remained until his retirement in 1882. He was frequently called upon to provide music for royal ceremonies such as Princess Louise's wedding in 1871 (after which he was knighted). Elvey also composed hymn tunes, anthems, oratorios, and service music. Bert Polman

John Brownlie

1857 - 1925 Translator of "Because Thy mercy is so great" in Hymns from the East Brownlie, John, was born at Glasgow, Aug. 6, 1857, and was educated at Glasgow University, and at the Free Church College in the same city. In 1884 he was licensed by the Presbytery of Glasgow; in 1885 he became Assistant Minister of the Free Church, Portpatrick, and on the death of the Senior Minister in 1890 he entered upon the full charge of the Church there. He has interested himself in educational matters, became a Member of the local School Board in 1888, a governor of Stranraer High School in 1897, and Chairman of the governors in 1901. His hymnological works are:— 1. The Hymns and Hymnwriters of the [Scottish] Church Hymnary, 1899. This is a biographical, historical, and critical companion to that hymnal, and is well done and accurate. 2. Hymns of Our Pilgrimage, 1889; Zionward; Hymns of the Pilgrim Life, 1890; and Pilgrim Songs, 1892. These are original hymns. The Rest of God, 1894, a poem in three parts. 3. Hymns of the Early Church, Being Translations from the Poetry of the Latin Church, arranged in the Order of the Christian Year . . . 1896. 4. Hymns from East and West, Being Translations from the Poetry of the Latin and Greek Churches . . . 1898. 5. Hymns of the Greek Church, Translated with Introduction and Notes, 1900. Second Series: Hymns of the Holy Eastern Church, Translated from the Service Books, with Introductory Chapters on the History, Doctrine and Worship of the Church, 1902. Third Series: Hymns from the Greek Office Books, Together with Centos and Suggestions, 1904. Fourth Series: Hymns from the East, Being Centos and Suggestions from the Office Books of the Holy Eastern Church, 1906. Of Mr. Brownlie's original hymns the following have come into common use:— 1. Ever onward, ever upward. Aspiration. From Pilgrim Songs, 3rd Series, 1892, p. 11. 2. Girt with heavenly armour. The Armour of God. Pilgrim Songs, 3rd Series, 1892, p. 49. 3. Hark! the voice of angels. Praise. Pilgrim Songs, 3rd Series, 1892, p. 57. 4. O bind me with Thy bonds, my Lord. The Divine Yoke. From Hymns of our Pilgrimage, 1889, p. 27. 5. O God, Thy glory gilds the sun. Adoration. From Zionward, &c, 1890, p. 33. 6. Spake my heart by sorrow smitten. Seeking God. From Pilgrim Songs, 3rd series, 1892, p. 25. 7. The flowers have closed their eyes. Evening Pilgrim Songs, 3rd series, 1892, p. 6tf. 8. There is a song which the angels sing. The Angels' Song. A cento from the poem The Best of God, 1894, p. 36. 9. Thou art my Portion, saith my soul. God, the Portion of His People. From Pilgrim Songs, 1892, p. 45. 10. Close beside the heart that loves me. Resting in God. This is one of the author's "Suggestions " based upon the spirit rather than the words of portions of the Greek Offices. It was given in Hymns of the Holy Eastern Church, 1902, p. 128. Mr. Brownlie's translations from the Latin have been adopted in the hymnals to a limited extent only, mainly because the ground had been so extensively and successfully covered by former translators. With the translations from the Greek the case was different, as for popular use few translations were available in addition to the well known and widely used renderings by Dr. Neale. Mr. Brownlie's translations have all the beauty, simplicity, earnestness, and elevation of thought and feeling which characterise the originals. Their suitability for general use is evidenced in the fact that the number found in the most recently published hymn-books, including Church Hymns, 1903, The New Office Hymn Book, 1905, and The English Hymnal, 1906, almost equal in number those by Dr. Neale. --John Julian, Dictionary of Hymnology, New Supplement (1907)

Sylvia Rose Cobb

b. 1954 Author of "It's Jesus" Sylvia Rose Cobb (b. c.1954) attended Southwestern Christian College (Terrell, Tex.) and completed her undergraduate studies at Harding University (Searcy, Ark.). She taught music at Southwestern Christian College for three years and has lived most of her life in the Detroit, Michigan metropolitan area, teaching, writing, singing, and publishing music. Her Songs of Faith hymnal is a collection of fifty spiritual songs she authored and composed.

Shirley Erena Murray

1931 - 2020 Author of "When at This Table" in Glory to God Shirley Erena Murray (b. Invercargill, New Zealand, 1931) studied music as an undergraduate but received a master’s degree (with honors) in classics and French from Otago University. Her upbringing was Methodist, but she became a Presbyterian when she married the Reverend John Stewart Murray, who was a moderator of the Presbyterian Church of New Zealand. Shirley began her career as a teacher of languages, but she became more active in Amnesty International, and for eight years she served the Labor Party Research Unit of Parliament. Her involvement in these organizations has enriched her writing of hymns, which address human rights, women’s concerns, justice, peace, the integrity of creation, and the unity of the church. Many of her hymns have been performed in CCA and WCC assemblies. In recognition for her service as a writer of hymns, the New Zealand government honored her as a Member of the New Zealand Order of Merit on the Queen’s birthday on 3 June 2001. Through Hope Publishing House, Murray has published three collections of her hymns: In Every Corner Sing (eighty-four hymns, 1992), Everyday in Your Spirit (forty-one hymns, 1996), and Faith Makes the Song (fifty hymns, 2002). The New Zealand Hymnbook Trust, for which she worked for a long time, has also published many of her texts (cf. back cover, Faith Makes the Song). In 2009, Otaga University conferred on her an honorary doctorate in literature for her contribution to the art of hymn writing. I-to Loh, Hymnal Companion to “Sound the Bamboo”: Asian Hymns in Their Cultural and Liturgical Context, p. 468, ©2011 GIA Publications, Inc., Chicago

Daniel L. Schutte

b. 1947 Person Name: Dan Schutte Author of "Gather the People" in Breaking Bread (Vol. 39)

Paul Gerhardt

1607 - 1676 Author of "Twofold, Father! is my pray’r" in Paul Gerhardt's Spiritual Songs Paul Gerhardt (b. Gräfenheinichen, Saxony, Germany, 1607; d. Lubben, Germany, 1676), famous author of Lutheran evangelical hymns, studied theology and hymnody at the University of Wittenberg and then was a tutor in Berlin, where he became friends with Johann Crüger. He served the Lutheran parish of Mittenwalde near Berlin (1651-1657) and the great St. Nicholas' Church in Berlin (1657-1666). Friederich William, the Calvinist elector, had issued an edict that forbade the various Protestant groups to fight each other. Although Gerhardt did not want strife between the churches, he refused to comply with the edict because he thought it opposed the Lutheran "Formula of Concord," which condemned some Calvinist doctrines. Consequently, he was released from his position in Berlin in 1666. With the support of friends he became archdeacon at Lubben in 1669 and remained there until his death. Gerhardt experienced much suffering in his life; he and his parishioners lived in the era of the Thirty Years' War, and his family experienced incredible tragedy: four of his five children died young, and his wife died after a prolonged illness. In the history of hymnody Gerhardt is considered a transitional figure-he wrote at a time when hymns were changing from a more objective, confessional, and corporate focus to a pietistic, devotional, and personal one. Like other German hymns, Gerhardt's were lengthy and intended for use throughout a service, a group of stanzas at a time. More than 130 of his hymns were published in various editions of Cruger's Praxis Pietatis Melica, the Crüger-Runge Gesangbuch (1653), and Ebeling's Das andere Dutzeud geistliche Andachtslieder Herrn Paul Gerhardts (1666-1667). John Wesley and Catherine Winkworth both made famous English translations of Gerhardt's texts. Bert Polman ====================== Gerhardt, Paulus, son of Christian Gerhardt, burgomaster of Gräfenhaynichen, near Wittenberg, was born at Grafenhaynichen, Mar. 12, 1607. On January 2, 1628, he matriculated at the University of Wittenberg. In the registers of St. Mary's church, Wittenberg, his name appears as a godfather, on July 13, 1641, described still as "studiosus," and he seems to have remained in Wittenberg till at least the end of April, 1642. He appears to have gone to Berlin in 1642 or 1643, and was there for some time (certainly after 1648) a tutor in the house of the advocate Andreas Barthold, whose daughter (Anna Maria, b. May 19, 1622, d. March 5, 1668) became his wife in 1655. During this period he seems to have frequently preached in Berlin. He was appointed in 1651, at the recommendation of the Berlin clergy, Lutheran Probst (chief pastor) at Mittenwalde, near Berlin, and ordained to this post Nov. 18, 1651. In July, 1657, he returned to Berlin as third diaconus of St. Nicholas's church; but becoming involved in the contest between the Elector Friedrich Wilhelm (who was of the Reformed Church) and the Lutheran clergy of Berlin, he was deposed from his office in February, 1666, though he still remained in Berlin. In Nov. 1668, he accepted the post of archidiaconus at Lübben, on the Spree, was installed in June, 1669, and remained there till his death on June 7, 1676 (Koch, iii. 297-326; Allgemeine Deutsche Biographie, viii. 774-783, &c). The outward circumstances of Gerhardt's life were for the most part gloomy. His earlier years were spent amid the horrors of the Thirty Years' War. He did not obtain a settled position in life till he was 44 years of age. He was unable to marry till four years later; and his wife, after a long illness, died during the time that he was without office in Berlin; while of the five children of the marriage only one passed the period of childhood. The sunniest period of his life was during the early years of his Berlin ministry (i.e. 1657-1663), when he enjoyed universal love and esteem; while his latter years at Lübben as a widower with one surviving child were passed among a rough and unsympathising people. The motto on his portrait at Lübben not unjustly styles him "Theologus in cribro Satanae versatus." Gerhardt ranks, next to Luther, as the most gifted and popular hymnwriter of the Lutheran Church. Gervinus (ed. 1842, pt. iii. p. 366), the well-known historian of German literature, thus characterises him:— "He went back to Luther's most genuine type of hymn in such manner as no one else had done, only so far modified as the requirements of his time demanded. In Luther's time the belief in Free Grace and the work of the Atonement, in Redemption and the bursting of the gates of Hell was the inspiration of his joyful confidence; with Gerhardt it is the belief in the Love of God. With Luther the old wrathful God of the Romanists assumed the heavenly aspect of grace and mercy; with Gerhardt the merciful Righteous One is a gentle loving Man. Like the old poets of the people he is sincerely and unconstrainedly pious, naive, and hearty; the bliss fulness of his faith makes him benign and amiable; in his way of writing he is as attractive, simple, and pleasing as in his way of thinking." With a firm grasp of the objective realities of the Christian Faith, and a loyal adherence to the doctrinal standpoint of the Lutheran Church, Gerhardt is yet genuinely human; he takes a fresh, healthful view both of nature and of mankind. In his hymns we see the transition to the modern subjective tone of religious poetry. Sixteen of his hymns begin with, “I." Yet with Gerhardt it is not so much the individual soul that lays bare its sometimes morbid moods, as it is the representative member of the Church speaking out the thoughts and feelings he shares with his fellow members; while in style Gerhardt is simple and graceful, with a considerable variety of verse form at his command, and often of bell-like purity in tone. From the first publication of Gerhardt's hymns they at once came into favour among all ranks and creeds; and a large proportion are among the hymns most cherished and most widely used by German-speaking Christians at the present day. They appeared principally in the various editions of Crüger's Praxis, and the Crüger-Runge Gesang-Buch, 1653. The first collected edition was prepared by J. G. Ebeling, and published in separate "Dozens" 1-4 in 1666, 5-10 in 1667, i.e. 120 in all. In the edition of J. H. Feustking, Zerbst, 1707, a few stanzas were intercalated (from manuscripts in the possession of Gerhardt's surviving son), but no new hymns were added. Among modern editions of Gerhardt's hymns (mostly following the text of Ebeling) may be mentioned those by Langbecker, 1842; Schultz, 1842; Wackernagel, 1843; Becker, 1851; Goedeke, 1877, and Gerok, 1878. The Historico-Critical edition of Dr. J. F. Bachmann, 1866, is the most complete (with 11 additional pieces hardly Church hymns), and reverts to the pre-Ebeling text. The length of many of Gerhardt's hymns ("Ein Lämmlein" is 10 stanzas of 10 lines; "Fröhlich soil," 15 stanzas of 8 lines, &c), and the somewhat intricate metres of others, have caused his hymns to be less used in English than otherwise might have been the case; but a considerable proportion have come in some form or other into English hymnbooks. A large selection, translated with scrupulous faithfulness but not retaining much of the lyric grace of the originals, was published by the Rev. John Kelly, in 1867, as Paul Gerhardt’s Spiritual Songs; while many individual hymns have been translated by John Wesley, Miss Winkworth, Miss Cox, Miss Borthwick, and many others. His translations from St. Bernard are noted under "O Haupt voll Blut." There are separate notes on 19 of his greater hymns. Besides these the following have passed into English:— I. Hymns in English common use: i. Auf den Nebel folgt die Sonn. Thanksgiving after great sorrow and affliction. In Crüger's Praxis, 1656, No. 249, in 15 stanzas of 7 1.; thence in Wackernagel’s ed. of his Geistliche Lieder, No. 87, and Bachmann's ed., No. 64. In the Unverfälschter Liedersegen, 1851, No. 402. Translated as:— Cometh sunshine after rain. A good translation, omitting stanzas iv.-vii., x., xi., by Miss Winkworth, in her Lyra Germanica, 1st Ser., 1855, p. 100 (translations of x., xi. added to 2nd ed., 1856). Repeated, omitting the translations of stanzas ii., x.-xii., as No. 4 in her Chorale Book for England, 1863. In the Christian Hymn Book, Cincinnati, 1865, No. 799, begins with st. xiii., "Now as long as here I roam." Another translation is:—"After clouds we see the sun," by J. Kelly, 1867, p. 261. ii. Die Zeit ist nunmehr nah. Day of Judgment—Second Advent. Founded on Acts iii. 20. In the Crüger-Runge Gesang-Buch 1653, No. 367, iii 18 stanzas of 6 lines, and thence in Wackernagel's edition of his Geistliche Lieder, 1843, No. 119 (1874, No. 124), and Bachmann's edition, No. 40. In the Berlin Geistliche Lieder S., ed. 1863, No. 1517. Translated as:— O Christ! how good and fair. Being a translation of stanzas iii., iv., vi., vii., x.-xiii., xvii., by Mrs. Charles, in her Voice of Christian Life in Song, 1858, p. 242. Her translations of stanzas iii., x., xii., are No. 150 in G. S. Jellicoe's Collection, 1867. Other trs. are:—(1) "May I when time is o'er," of stanzas vii., viii. as part of No. 831 in the Moravian Hymn Book, 1789; in the 1801 and later eds. (1886, No. 1229), beginning, "I shall, when time is o'er." (2) “The time is very near," by J. Kelly, 1867, p. 341. iii. Gottlob, nun ist erschollen. Peace. Thanksgiving for the Proclamation of the Peace of Westphalia, in 1648, after the Thirty Years’ War. In Crüger's Praxis 1656, No. 409, in 6 stanzas of 12 lines, and thence in Wackernagel's edition of his Geistliche Lieder, No. 64, and Bachmann's ed., No. 84; and in the Unverfälschter Liedersegen, 1851, No. 589. Translated as: — Thank God it hath resounded. A full and good tr. by Miss Winkworth, in her Lyra Germanica, 2nd Ser., 1858, p. 156, repeated, omitting stanza ii., in her Chorale Book for England, 1863. St. i., v., vi., form No. 49 in M. W. Stryker's Christian Chorals, 1885. Another tr. is: ”Praise God! for forth hath sounded," by J. Kelly, 1867, p. 251. iv. Ich, der ich oft in tiefes Leid. Ps. cxlv. First published in J. G. Ebeling's edition of his Geistliche Andachten Dritte Dutzet, 1666, No. 27, in 18 stanzas of 7 lines. Thence in Wackernagel's ed., No. 95, and Bachmann's ed., No. 103; also in the Berlin Geistliche LiederSchatz, ed. 1863, No. 1004. Translated as:— I who so oft in deep distress . A good translation, omitting stanzas ii.-iv., by Miss Winkworth, in her Lyra Germanica, 2nd Ser., 1858, p. 149. Her translations of stanzas i., xiii.-xvi., xviii., were included as No. 224, and of stanzas vi., viii., ix., xi. altered, and beginning, "O God! how many thankful songs," as No. 168, in Holy Song, 1869. Another tr. is:—-"Who is so full of tenderness," of stanza viii. as stanza iv. of No. 1075 in the Supplement of 1808 to the Moravian Hymn Book, 1801 (1886, No. 537). v. Ich steh an deiner Krippen bier. Christmas. Included in Crüger's Praxis, 1656, No. 105, in 15 stanzas of 7 lines. Thence in Wackernagel's ed., No. 9, and Bachmann's ed., No. 45; and in the Berlin Geistliche LiederSchatz, ed. 1863, No. 167. A beautiful hymn, in which the poet puts himself in the place of the shepherds and the wise men visiting Bethlehem; and in praise and adoration tenders his devotion, his love and his all, to the Infant Saviour in the manger. Translated as:— My faith Thy lowly bed beholds. A translation of stanzas i., iv., vii., xv., by A. T. Russell, as No. 57 in his Psalms & Hymns, 1851. Other trs. are:— (1) "I stand beside Thy manger-bed," by Miss Manington, 1864, p. 38. (2) "Now at the manger here I stand," by J. Kelly, 1867, p. 32. vi. Ich weiss dass mein Erlöser lebt. Easter. Founded on Job xix. 25-27. First published in J. G. Ebeling's ed. of his Geistliche Andachten Zehende Dutzet, 1667, No. 119, in 9 stanzas of 7 lines; repeated in Wackernagel's ed., 1843, No. 118 (1874, No. 123); in Bachmann's ed., No. 119; and in the Berlin Geistliche Lieder S. ed. 1863, No. 301. Translated as:— I know that my Redeemer lives, In this my faith is fast. A full and spirited translation by J. Oxenford, in Lays of the Sanctuary, 1859, p. 122. His translations of stanzas i., iii., vii.-ix., were included, altered, as No. 779 in Kennedy, 1863. Another tr. is:— "I know that my Redeemer lives, This hope," &c, by Miss Manington, 1863, p. 78. vii. Ich weiss, mein Gott, dass all mein Thun. Supplication. A prayer for success in all Christian works and purpose; founded on Jeremiah x. 23, and Acts v. 38, 39. Included in Crüger's Praxis, 1656, No. 332, in 18 stanzas of 5 lines. In Wackernagel's ed., No. 40; Bachmann's ed., No. 71, and the Berlin Geistliche Lieder S., ed. 1863. Translated as:— I know, my God, and I rejoice. A good translation of stanzas i.-iii., viii., xi., ix., by Miss Winkworth, as No. 121 in her Chorale Book for England, 1863. Another translation is:— "My God! my works and all I do” by J. Kelly, 1867, p. 102. viii. Kommt, und lasst uns Christum ehren. Christmas. Founded on St. Luke ii. 15. First published in J. G. Ebeling's ed. of his Geistliche Andachten Fünffte Dutzet, 1667, No. 56, in 8 stanzas of 4 lines. Thence in Wackemagel's ed., No. 6; Bachmann's ed., No. 110; and the Unverfälschter Liedersegen, 1851, No. 43. Translated as:— 1. Come, unite in praise and singing. Omitting stanzas vi., vii., contributed by A. T. Russell to Maurice's Choral Hymnbook, 1861, No. 707. 2. Bring to Christ your best oblation. A full and good translation by P. Massie in his Lyra Domestica, 1864, p. 96; repeated in Snepp's Songs of Grace & Glory and Reid's Praise Book, 1872. Other translations are:— (1) "Come, and let us Christ revere now," by Miss Manington, 1864, p. 25. (2) "Come, and Christ the Lord be praising," by J. Kelly, 1867, p. 24. ix. Lobet den Herren, alle die ihn fürchten. Morning. Included in the Crüger-Runge Gesang-Buch 1653, No. 7, in 10 stanzas of 5 lines. In Wackernagel's ed., No. 100, and Bachmann's ed., No. 21, and in the Berlin Geistliche Lieder S. edition 1863, No. 1063. Translated as:— Praise God! revere Him! all ye men that fear Him! This is from the version in Bunsen's Allgemeine Gesangbücher, 1846, No. 167, stanza i. being from Gerhardt, and st. ii., iii., from "Lobet den Herren, denn er ist sehr freundlich" (q. v.); and appeared in the Dalston Hospital Hymnbook, 1848, No. 55, signed "A. G." Other translations are:— (1) "Our Lord be praising, All His glory raising," by H. J. Buckoll, 1842, p. 27. (2) "Praise ye Jehovah, all ye men who fear Him," by J. Kelly, 1867, p. 279. x. Micht so traurig, nicht so sehr. Christian Contentment. In the 3rd edition, 1648, of Crüger's Praxis, No. 251, in 15 stanzas of 6 1., repeated in Wackernagel's ed., No. 53; Bachmann's ed., No. 16, and the Berlin Geistliche Lieder S., ed. 1863, No. 851. It is founded on Ps. cxvi. 7; Ps. xlii. 6-12; 1 Tim. vi. 6. Translated as:— Ah! grieve not so, nor so lament. A free translation by Mrs. Findlater, of stanzas i., ii., vii.-x., xiii., xv., in the 1st Ser., 1854, of the Hymns from the Land of Luther, p. 48 (1884, p. 50). Repeated, abridged, in Holy Song, 1869, and Dale's English Hymnbook, 1875. Other translations are:- (l) "Why this sad and mournful guise," by Miss Dunn, 1857, p. 85. (2) "Not so darkly, not so deep," by Miss Warner, 1858 (1861, p. 58). (3) “0 my soul, why dost thou grieve," by J. Kelly, 1867. xi. Nun lasst uns gehn und treten. New Year. Included in the Crüger-Runge Gesang-Buch, 1653, No. 106, in 15 st. of 4 1. Thence in Wackernagel's ed., No. 12; Bachmann's ed., No. 24, and the Berlin Geistliche Lieder S., ed. 1863, No. 200. Evidently written during the Thirty Years' War. Translated as:— In pray'r your voices raise ye. In full, by J. Kelly, 1867, p. 45. From this, 8 st. are included as No. 48 in the Ohio Lutheran Hymnal, 1880. Other translations are:— (1) "Now let each humble Creature," in the Supplement to German Psalter, ed. 1765, p. 4, and Select Hymns from German Psalter, Tranquebar, 1754. p. 7. In the Moravian Hymnbook, 1789, No. 507 (1849, No. 1106), greatly altered, and beginning, “Year after year commenceth." (2) "0 come with prayer and singing," by R. Massie in the British Herald , Jan., 1865, p. 8. (3) “Christians all, with one accord," by E. Massie, 1867, p. 168. (4) "With notes of joy and songs of praise," by Dr. R. Maguire, 1883, p. 24. xii. Schaut! Schaut! was ist für Wunder dar? Christmas. First published in J. G. Ebeling's ed. of his Geistliche Andachten Fünffte Dutzet, 1667, No. 55, in 18 stanzas of 4 1. Thence in Wackernagel’s ed., No. 4; Bachmann's ed., No. 109. Translated as:— Behold! Behold! what wonders here. In full, by J. Kelly, 1867, p. 14. From this, 12 st. were included in the Ohio Lutheran Hymnal, 1880, as Nos. 25, 26: No. 26 beginning with the translation of st. xiii., "It is a time of joy today." xiii. Warum willt du draussen stehen. Advent. Suggested by Gen. xxiv. 31. Appeared in the Crüger-Runge Gesang-Buch, 1653, No. 78, in 9 stanzas of 8 lines; viz., stanzas i.—vii., xi., xii., of the full form; st. viii.-x. being added in Ebeling's Geistliche Andachten Fünffte Dutzet, 1667, No. 50. The full text, in 12 stanzas, is also in Wackernagel's ed., No. 2; Bachmann's ed., No. 23, and Geistliche Lieder S., 1851, No. 20. Translated as:— Wherefore dost Thou longer tarry. A good translation, omitting st. viii.-x., by Miss Winkworth, in her Lyrica Germanica, 2nd Ser., 1858, p. 6. In her Chorale Book for England, 1863, No. 153, the translations of st. iii., v., xi., are omitted. Other trs. are:- (l) “Wherefore dost Thou, blest of God," by R. Massie, in Lyra Domestica, 1864, p. 90. (2) “Why, without, then, art Thou staying," by J. Kelly, 1867, p. 5. xiv. Was alle Weisheit in der Welt. Trinity Sunday. In Crüger's Praxis, 1656, No. 212, in 8 stanzas of 9 lines. Thence in Wackernagel's ed., No. 1, and Bachmann's ed., No, 59, and the Berlin Geistliche Lieder S., ed. 1863, No. 50. Translated as:— Scarce tongue can speak, ne'er human ken. In full, by J. Kelly, 1867, p. 1, repeated as No. 111 in the Ohio Lutheran Hymnal, 1880. Another translation is:—"The mystery hidden from the eyes," by R. Massie, in Lyra Domestica, 1864, p. 87. xv. Was Gott gefällt, mein frommes Kind. Resignation. This beautiful hymn, on resignation to “what pleases God," first appeared in the Crüger-Runge Gesang-Buch, 1653, No. 290, in 20 stanzas of 5 lines. Thence in Wackernagel's ed., No. 60; Bachmann's ed., No. 37, and the Unverfälschter Liedersegen, 1851, No. 723. Translated as:—- What God decrees, child of His love. A good translation of stanzas i., ii., v., vi., viii., xii., xv., xviii., xx., by Mrs. Findlater, in the 3rd Ser., 1858, of the Hymns from the Land of Luther, p. 49 (1884, p. 170). Included, in full, in Bishop Ryle's Collection, 1860, No. 171; and abridged in Christian Hymns, Adelaide, 1872, and beginning, "What God decrees, take patiently," in Kennedy, 1863, No. 1344. Other translations are:— (1) "What pleaseth God with joy receive," by Miss Dunn, 1857, p. 94. (2) “What pleases God, 0 pious soul," by Miss Winkworth, 1858, p. 193, (3) ”What pleaseth God, my faithful child," by J. Kelly, 1867, p. 189. xvi. Wie schőn ists doch, Herr Jesu Christ. For Married Persons. Founded on Ps. cxxviii. First published in Ebeling's ed. of his Geistliche Andachten Vierte Dutzet, 1666, No. 38, in 8 st. of 12 1. Thence in Wackernagel's ed., 1843, No. 108 (1874, No. 109); Bachmann's ed., No. 105, and the Unverfälschter Liedersegen S., 1851, No. 680. Translated as:— Oh, Jesus Christ! how bright and fair. In full, by J. Kelly, 1867, p. 307, repeated, altered, and omitting st. iii.—v., in the Ohio Lutheran Hymnal, 1880, No. 339. II. Hymns not in English common use: xvii. Also hat Gott die Welt geliebt. Good Friday. On St. John iii. 16. In Crüger's Praxis, 1661, No. 372, in 17 stanzas. Translated as, "Be of good cheer in all your wants,” by P. H. Molther, of stanza 16, as No. 181 in the Moravian Hymnbook, 1789 (1886, No. 217). xviii. Auf, auf, mein Herz mit Freuden. Easter. In Crüger's Praxis, 1648, No. 141, in 9 stanzas. The translations are:-- (1) "Up! Up! my heart with gladness, See," by J. Kelly, 1867, p. 71. (2) "Up, up, my heart, with gladness; Receive," by N. L. Frothingham, 1870, p. 228. xix. Du bist zwar mein und bleibest mein. For the Bereaved. A beautiful hymn of consolation for parents on the loss of a son. Written on the death of Constantin Andreas, younger son of Johannes Berkov, pastor of St. Mary's Church, Berlin, and first printed as one of the "Dulcia amicorum solatia" at the end of the funeral sermon by Georg Lilius, Berlin, 1650. Included in Ebeline's ed. of Gerhardt's Geistliche Andachten Sechste Dutzet, Berlin, 1667, No. 72, in 12 stanzas. The translations are: (1) "Thou'rt mine, yes, still thou art mine own”, by Miss Winkworth, 1858, p. 123. (2) "Yes, thou art mine, still mine, my son," by J. D. Burns, in the Family Treasury, 1861, p. 8, and his Remains, 1869, p. 249. (3) "Mine art thou still, and mine shalt be," by J. Kelly, 1867, p. 333. (4) "Thou art mine own, art still mine own," by Dr. J. Guthrie, 1869, p. 100. xx. Du, meine Seele, singe. Ps. cxlvi. In the Crüger-Runge Gesang-Buch, Berlin, 1653, No. 183, in 10 stanzas. Translated as, “O come, my soul, with singing," by Miss Burlingham, in the British Herald, Jannary, 1866, p. 207, and as No. 423 in Reid's Praise Book, 1872. xxi. Gieb dich zufrieden, und sei stille. Cross and Consolation—-Ps. xxxvii. 7. In Ebeling Erstes Dutzet, 1666, No. 11, in 15 stanzas. Translated as: (1) “Be thou content: be still before," by Miss Winkworth, 1855, p. 156, and in Bishop Ryle's Collection, 1860, No. 269. (2) “Be thou contented! aye relying," by J. Kelly, 1867, p. 202. (3) “Tranquilly lead thee, peace possessing," by N. L. Frothingham, 1870, p. 246. xxii. Hőr an! mein Herz, die sieben Wort. Passiontide. On the Seven Words from the Cross. Founded on the hymn noted under Bőschenstein, J. (q.v.). In Crüger's Praxis, 1656, No. 137, in 15 stanzas. Translated as: (1) “Come now, my soul, thy thoughts engage," by Dr. H. Mills, 1845 (1856, p. 309). (2) "Seven times the Saviour spake my heart," by R. Massie, in the British Herald, Sept., 1865, p. 133. (3) "My heart! the seven words hear now," by J. Kelly, 1867, p. 63. xxiii. Ich hab in Gottes Herz und Sinn. Resignation. In Crüger's Praxis, 1648, No. 249, in 12 st. Translated as: (1) "I into God's own heart and mind," by J. Kelly, 1867, p. 219. (2) "To God's all-gracious heart and mind”, by Miss Winkworth, 1869, p. 213, repeated in Statham's Collection, Edinburgh, 1869 and 1870. xxiv. 0 Jesu Christ! dein Kripplein ist. Christmas. At the Manger of Bethlehem. In Crüger's Praxis, 1656, No. 101, in 15 stanzas. Translated as: (1) Be not dismay'd—-in time of need" (st. xi.) in the Moravian Hymnbook, 1789, No. 236. (2) "O blessed Jesus! This," by Miss Winkworth, 1858, p, 18. (3) "O Jesus Christ! Thy cradle is," by Miss Manington, 1864, p. 41. (4) "Thy manger is my paradise," by J. Kelly, 1867, p. 26. xxv. Voller Wunder, voller Kunst. Holy Matrimony. In Ebeling Vierte Dutzet, 1666, No. 40, in 17 st. Often used in Germany at marriages on the way to church. Translated as: (1) "Full of wonder, full of skill," by Dr. H. Mills, 1845 (1856, p. 215). (2) "Full of wonder, full of skill," in Mrs. Stanley Carr's translation of Wildenhahn's Paul Gerhardt, ed. 1856, p. 52. (3) "Full of wonder, full of art," by J. Kelly, 1867, p. 302. (4) "Full of wonder, full of art," by Miss Winkworth, 1869, p. 215. xxvi. Warum machet solche Schmerzen. New Year. On St. Luke ii. 21. In Crüger's Praxis, 1648, No. 97, in 4 stanzas. Bunsen, in his Versuch, 1833, No. 120, gives st. iii., iv. altered to "Freut euch, Sünder, allerwegen." Tr. as: (1) "Mortals, who have God offended," by Miss Cox, 1841, p. 21, from Bunsen. (2) "Why should they such pain e'er give Thee," by J. Kelly, 1867, p. 43. xxvii. Weg, mein Herz, mit den Gedanken. Lent. On St. Luke xv. In Crüger's Praxis, 1648, No. 36, in 12 stanzas. Translated as: (1) "Let not such a thought e'er pain thee," by J. Kelly, 1867, p. 83. (2) "Hence, my heart, with such a thought," by Miss Winkworth, 1869, p. 210. Besides the above, a considerable number of other hymns by Gerhardt have been translated by Mr. Kelly, and a few by Dr. Mills, Miss Manington, and others. The limits of our space forbid detailed notes on these versions. [Rev. James Mearns, M.A.] -- John Julian, Dictionary of Hymnology (1907) ============================= Gerhardt, Paulus, pp. 409, ii., 1565, i. The most recent edition of Gerhardt's hymns is in vol. iii. of the Fischer-Tümpel Deutsche evangelische Kirchenlied des Siebzehnten Jahr-hunderts, 1906, Nos. 389-495. In fixing the text the compilers have been enabled to use the recently discovered 1647, 1653 and 1657 Berlin editions of Cruger's Praxis Pietatis Melica. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology, New Supplement (1907)

Claude Goudimel

1514 - 1572 Person Name: C. Goudimel Arranger of "TO THEE, O GOD, I CRY" in Christian Hymns The music of Claude Goudimel (b. Besançon, France, c. 1505; d. Lyons, France, 1572) was first published in Paris, and by 1551 he was composing harmonizations for some Genevan psalm tunes-initially for use by both Roman Catholics and Protestants. He became a Calvinist in 1557 while living in the Huguenot community in Metz. When the complete Genevan Psalter with its unison melodies was published in 1562, Goudimel began to compose various polyphonic settings of all the Genevan tunes. He actually composed three complete harmonizations of the Genevan Psalter, usually with the tune in the tenor part: simple hymn-style settings (1564), slightly more complicated harmonizations (1565), and quite elaborate, motet-like settings (1565-1566). The various Goudimel settings became popular throughout Calvinist Europe, both for domestic singing and later for use as organ harmonizations in church. Goudimel was one of the victims of the St. Bartholomew's Day massacre of Huguenots, which occurred throughout France. Bert Polman

Arthur Sullivan

1842 - 1900 Person Name: Arthur Seymour Sullivan Composer of "LUX EOI" in The Cyber Hymnal Arthur Seymour Sullivan (b Lambeth, London. England. 1842; d. Westminster, London, 1900) was born of an Italian mother and an Irish father who was an army bandmaster and a professor of music. Sullivan entered the Chapel Royal as a chorister in 1854. He was elected as the first Mendelssohn scholar in 1856, when he began his studies at the Royal Academy of Music in London. He also studied at the Leipzig Conservatory (1858-1861) and in 1866 was appointed professor of composition at the Royal Academy of Music. Early in his career Sullivan composed oratorios and music for some Shakespeare plays. However, he is best known for writing the music for lyrics by William S. Gilbert, which produced popular operettas such as H.M.S. Pinafore (1878), The Pirates of Penzance (1879), The Mikado (1884), and Yeomen of the Guard (1888). These operettas satirized the court and everyday life in Victorian times. Although he composed some anthems, in the area of church music Sullivan is best remembered for his hymn tunes, written between 1867 and 1874 and published in The Hymnary (1872) and Church Hymns (1874), both of which he edited. He contributed hymns to A Hymnal Chiefly from The Book of Praise (1867) and to the Presbyterian collection Psalms and Hymns for Divine Worship (1867). A complete collection of his hymns and arrangements was published posthumously as Hymn Tunes by Arthur Sullivan (1902). Sullivan steadfastly refused to grant permission to those who wished to make hymn tunes from the popular melodies in his operettas. Bert Polman