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Hymnals

Published hymn books and other collections

Kirkesalmebog

Publication Date: 1893 Publisher: Ed. B. Giertsen Publication Place: Bergen Editors: M. B. Landstad

Drag Helligaand, du Lysets Tolk

Appears in 4 hymnals Lyrics: 1 Drag Helligaand, du Lysets Tolk, Med Ordet ud til alle Folk, Som bo i Dødens Skygge! Een Hjord, een Hyrde vorde skal, Kald Hedninger i Tusindtal I Guds Paulun at bygge! Din Røst Hvert Bryst Gjennemklinge, Lys du bringe Over Jorden Længst i Syd og høist i Norden! 2 Nu Skillevæggen ned er brudt, Fra Naaden ud er ingen skudt, Guds Søns Blod alle gjeldte; Nu Kam skal reises af sit Fald, Og Jafet bo og bygge skal I Sems, sin Broders, Telte. Mødes, Glødes Skal Udskilte, Det Forspildte Atter vindes, Hvor for Ordet Indgang findes. 3 Du gode Aand, forlad os ei! Udret din Gjerning, bryd dig Vei, Vor Salighed udvirke! Bær frem det Ord, som ei kan dø; Paa Hedning-Strand, paa hver en Ø Byg Jesu Kristi Kirke! Vor Daab, Vort Haab, Troen, Ordet Naadebordet Du ledsage Med Guds Draft i alle Dage! Topics: Anden Pintesedag Til Aftensang; Second Pentecost Day For Evening; Særlige Salmer Missionen; Special Hymns Mission

Jeg veed mig en Søvn i Jesu Navn

Appears in 4 hymnals Lyrics: 1 Jeg veed mig en Søvn i Jesu Navn, Den kvæger de trætte Lemmer, Der redes en Seng i Jordens Favn, Saa moderlig hun mig gjemmer, Min Sjæl er hos Gud i Himmerig, Og Sorgerne sine glemmer. 2 Jeg ved mig en Aften-Time god, Og længes vel somme Tider, Naar jeg er af Reisen træt og mod, Og Dagen saa tungsom skrider: Jeg vilde til Sengs saa gjerne gaa, Og sovne ind sødt omsider. 3 Jeg veed mig en Morgen lys og skjøn, Der synges i Livsens Lunde, Da kommer han, Guds velsigned' Søn, Med lystelig' Ord i Munde, Da vækker han os af Søvne op Alt udi saa sæle Stunde. 4 Jeg haver den Morgen mig saa kjær, Og drager den tidt til Minde, Da synge jeg maa, og se den nær, Den Sol, som strør guld paa Tinde, Som Smaafuglen ud mod Morgenstund Op under de høie Linde. 5 Da træder Guds Søn til Gravens Hus, Hans Røst i al Verden høres, Da brydes alt Stængsel ned i Grus, De dybe Havsgrunde røres, Han raaber: Du Døde, kom herud! Og frem vi forklaret føres. 6 Da aabnes den Dør til Himlens Stad, Der nævnes de Kaarnes Navne. Gud lade os alle mødes glad, Og ingen af Vore savne! Det unde os gud for Kristi Blod, Vi maatte i Himlen havne! 7 O Jesu, træd du min Dødsseng til, Rek Haanden med Miskund over, Og siig: Denne Dreng, den Pigelil Hun er ikke død men sover! Og slip mig ei før, at op jeg staar, I Levendes Land dig lover! Topics: 24 Søndag efter Trefoldigheds Fest Til Høimesse; Twenty-fourth Sunday after Trinity Sunday High Mass; Haab og Længsel efter det Himmelske; Hope and Longing for the Heavenly; Herliggjørelsen; Glorification; Twenty-fourth Sunday after Trinity Sunday For Evening; Særlige Salmer Graven; Special Hymns The Grave

Salig er den Mand, som ikke

Appears in 5 hymnals Lyrics: 1 Salig er den Mand, som ikke Vanker i de Ondes Sag, Gaar ei efter Synde-Skikke, Sidder ei i Spotter-Lag, Men hvis Lyst er Herrens Ord, Herrens Lov og Ret paa Jord, Og som alt sit Liv til Ende Grunder paa Guds Vei at kjende! 2 Som et Træ, der stander plantet Ved en Bæk i fagre Dal, Grønnes op fra Aar til andet, Og bær Frugter uden Tal, Saa den Fromme hos sin Gud Staar i Aanden frisk og prud, Med Velsignelser han smykkes, Hvad han gjør, da skal det lykkes. 3 Men, o Kristne! anderledes Vorder med de Onde gjort, De er Avner lig, som spredes, Og af Veieret blæses bort. Derfor ei, naar Dommen gaar Over Jorden, de bestaar, Men, hvor Fromme frelste mødes, Alle Syndere udstødes. 4 Thi de Godes Verk og Veie Kjendes Gud af Naade ved, Den Velsignelse, de eie, Vare skal i Evighed, Men de Ondes Agt og Id Skal forgaa til evig Tid. Hjælpe Gud da os i Naade Til ret Vei og Vandringsmaade! Topics: 9 Søndag efter Trefoldigheds Fest Til Høimesse; Ninth Sunday after Trinity Sunday High Mass; Helliggjørelse og Fornyelse; Sanctification and Renewal; 15 Søndag efter Trefoldigheds Fest Til Aftensang; Fifteenth Sunday after Trinity Sunday For Evening; 23 Søndag efter Trefoldigheds Fest Til Hoimesse; Twenty-third Sunday after Trinity Sunday High Mass Scripture: Psalm 1

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Tunes

Tune authorities

[Apostlerne sad i Jerusalem]

Appears in 3 hymnals Composer and/or Arranger: Ludv. M. Lindeman Tune Key: E Flat Major Incipit: 53321 23423 33567 Used With Text: Apostlerne sad i Jerusalem

[Med Straale-Krans om Tinde]

Appears in 1 hymnal Composer and/or Arranger: Ludv. M. Lindeman Tune Key: G Major or modal Incipit: 11231 55653 13254 Used With Text: Med Straale-Krans om Tinde

[Det koster meer, end man fra først betænker]

Appears in 2 hymnals Tune Sources: Zincks Koralb. 1801 Tune Key: C Major Incipit: 53455 67176 55677 Used With Text: Det koster meer, end man fra først betænker

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Instances

Published text-tune combinations (hymns) from specific hymnals

I Jesu Navn

Hymnal: K1893 #1 (1893) Lyrics: 1 I Jesu Navn Skal al vor Gjerning ske, Om det skal komme os till noget Gavn, Endes ei med Spot og Ve. Al den Idræt, Som begyndes i det, God Lykke og Fremgang faar, Indtil den Maalet naar, At det Gud til Ære sker, Og dernæst til os henser, Hvori al vor Velfærd staar. 2 I Jesu Navn Vi ville prise Gud, Han Lykke give vil dertil og Gavn, Efterdi det er hans Bud, Han haver gjort Store Ting ved sit Ord, Og ved sin Arm saa stærk Høipriselige Værk, Thi hør os i allen Tid Hannem prise med stor Flid; Hvo, sam frygter Gud, det merk! 3 I Jesu Navn Vi leve vil og dø. Om vi da leve, vorder det vort Gavn, Om vi dø, vort Gavn maa ske. I Jesu Navn, Ham till Ær' og os til Gavn, Skal vi igjen opstaa, Og i Guds Rige gaa, Hvor vi da med Lyst og Fryd Skulle se Guds Aasyn blid, Og den evig' Ære faa. Topics: Til Indgang; Entrance; Kirken; The Church; Bønnen; Prayer; Ved Konfirmation; By Confirmation; Nyarsdag Til Hoimesse; New Years Day High Mass; Femte Søndag efter Hellig Tre-Kongers Dag Til Aftensang; Fifth Sunday after Holy Three Kings Day For Evening; Særlige Salmer Brude-Vielse; Special Hymns Marriage Languages: Norwegian

Herre, Gud Fader, du vor høi'ste Trøst!

Hymnal: K1893 #2 (1893) Lyrics: 1 Herre, Gud Fader, du vor høi'ste Trøst! Du er vor Glæde og vor Lyst; Vor Bøn lad komme for dig ind: O, spar os og forlad os al vor Synd! Miskunde dig ovr os! 2 Kriste, Guds Søn, vor Vei og sande Lys, Du Hyrde god til Himlens Hus, Du alle Kristnes Liv og Raad, Til Salighed os given, men forsmaad! Miskunde dig aver os! 3 Herre, Gud Helligaand! i Evighed Vær hos os, og vor Sjæl bered At Gud vi søge, Naade faa, I vore Synder lad os ei forgaa! MisKunde dig over os! Topics: Til Indgang; Entrance; Troens Bekjendelse; Confession of Faith; Omvendelsen; Repentance; Almindelig Bededag Til Ottesang og Høimesse; Ordinary Prayer Day High Mass Languages: Norwegian

Nu bede vi den Helligaand

Hymnal: K1893 #3 (1893) Lyrics: 1 Nu bede vi den Helligaand Frem for alt om Troen ret og sand! At vi den bevare Til vor sidste Ende, Naar vi skulle fare Hjem fra al Elende. Kyrie eleison! 2 Du vœrdig' Lys, giv os dit Skin, Led os ret til Jesum Kristum ind! At vi maatte trygge Hos vor Frelser kjære Blive, bo og bygge, Og i Raaden være. Kyrie eleison! 3 Du søde Aand, send Kjærlighed Brændende i vore Hjerte ned! At vi med hverandre, Udi Kristo fundne, Maa i et Sind vandre, Kjærlig sammenbundne. Kyrie eleison! 4 Du Trøster bedst i al vor Nød, Hjælp, vi frygte Djævel ei og Død! At ei Modet brister Og vor Sjæl forsager, Naar den onde Frister Alt vort Liv anklager! Kyrie eleison! Topics: Til Indgang; Entrance; Første Pintsedag Til Ottesang og Høimesse; First Pentecost Day High Mass Languages: Norwegian

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People

Authors, composers, editors, etc.

Nikolaus Herman

1500 - 1561 Person Name: Nicolaus Hermann Hymnal Number: 493 Author of "O Herre Gud! din Sol saa skjøn" in Kirkesalmebog 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)

Johann Crüger

1598 - 1662 Person Name: J. Crüger Hymnal Number: 490 Composer of "[Gud skal al Ting mage]" in Kirkesalmebog 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 =============================== 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)

Ludvig Mathias Lindeman

1812 - 1887 Person Name: Ludv. M. Lindeman Hymnal Number: 435 Composer of "[Apostlerne sad i Jerusalem]" in Kirkesalmebog Ludvig M. Lindeman (b. 1812; d. 1887) was a Norwegian composer and organist. Born in Trondheim, he studied theology in Oslo where he remained the rest of his life. In 1839 he succeeded his brother as the organist and cantor of Oslo Cathedral, a position he held for 48 years up until his death. Lindeman was appointed Knight of the Royal Norwegian Order of St. Olav, and was invited to both help christen the new organ in Royal Albert Hall in London, as well as compose for the coronation of King Oscar II and Queen Sophie of Sweden. In 1883, he and his son started the Organist School in Oslo. Lindeman is perhaps best known for his arrangements of Norwegiam folk tales; over the course of his life he collected over 3000 folk melodies and tunes. Laura de Jong

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