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Hymnals

Published hymn books and other collections

Kleines Gesang- und Gebetbuch

Publication Date: 1940 Publisher: Concordia Publishing House Publication Place: St. Louis, Mo.

Appears in 43 hymnals Lyrics: 1 Es ist ein Ros entsprungen aus einer Wurzel zart, Wie uns die Alten sungen, von Jesse kam die Art, Und hat ein Blümlein bracht, mitten im kalten Winter, wohl zu der halben Nacht. 2 Das Röslein, das ich meine, Davon Jesaias sagt, Hat uns gebracht alleine Marie, die reine Magd. Aus Gottes ewgem Rath, Hat sie ein Kind geboren, Wohl zu der halben Nacht. 3 Das Blümelein so kleine, das dustet uns so süß. Mit seinem hellen Schein Vertreibt die Finsterniß, Wahr'r Mensch und wahrer Gott, Hilft uns aus allen Leiden, Rettet von Sünd und Tod. Used With Tune: [Es ist ein Ros entsprungen]

Laßt mich gen, laßt mich gehn

Appears in 89 hymnals Lyrics: 1 Laßt mich gehn, laßt mich gehn, daß ich Jesum möge sehn! Meine Seel ist voll Verlangen, ihn auf ewig zu umfangen, und vor seinem Thron zu stehn. 2 Süßes Licht, süßes Licht, Sonne, die durch Wolken bricht: O, wann wird ich dahin kommen, Daß ich dort mit allen Frommen Schau dein holdes Angesicht! 3 Ach, wie schön, ach, wie schön, Ist der Engel Lobgetön! Hätt ich Flügel, hätt ich Flügel, Flög ich über Thal und Hügel Heute noch nach Zions Höhn! 4 Wie wird's sein, wie wird's sein, Wenn ich zieh in Salem ein, In die Stadt der goldnen Gassen– Herr, mein Gott, ich kann's nicht fassen, Was das wird für Wonne sein! 5 Paradies, Paradies, Wie ist deine Frucht so süß! Unter deinen Lebensbäumen Wird uns sein, als ob wir träumen: Bring uns, Herr ins Paradies! Used With Tune: [Laßt mich gen, laßt mich gehn]

Müde bin ich, geh zur Ruh

Appears in 72 hymnals Lyrics: 1 Müde bin ich, geh zur Ruh, schließe meine Aeuglein zu: Vater, laß die Augen dein über meinem Bette sein. 2 Hab ich Unrecht heut gethan, Sieh es lieber Gott nicht an, Deine Gnad und Christi Blut Macht so allen Schaden gut. 3 Alle, die mir sind verwandt, Gott, laß ruhn in deiner Hand; Alle Menschen groß und klein Sollen dir befohlen sein. 4 Kranken Herzen sende Ruh, Nasse Augen schließe zu, Laß uns fest im Glauben stehn, Bis wir ein zum Himmel gehn. Used With Tune: [Müde bin ich, geh zur Ruh]

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Tunes

Tune authorities

[Schönster Herr Jesu, Schöpfer aller Dinge]

Appears in 513 hymnals Tune Key: F Major or modal Incipit: 11127 13333 42351 Used With Text: Schönster Herr Jesu

[Hohes, heilges Marterbild]

Appears in 538 hymnals Tune Key: A Major Incipit: 17161 53142 17117 Used With Text: Hohes, heilges Marterbild

[Dort unten in der Mühle]

Appears in 39 hymnals Tune Key: G Major or modal Incipit: 51117 12755 11171 Used With Text: Dort unten in der Mühle

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Instances

Published text-tune combinations (hymns) from specific hymnals

Allein Gott in der Höh'

Author: Nikolaus Decius, gest. 1546 Hymnal: KGUG1940 #1 (1940) Lyrics: 1 Allein Gott in der Höh' sei Ehr' und Dank für seine Gnade, darum daß nun und nimmermehr uns rühren kann ein Schade. Ein Wohlgeffal'n Gott an uns hat; nun ist groß' Fried' ohn' Unterlaß, all' Fehd' hat nun ein Ende. 2 Wir loben, preis'n, anbeten dich, für deine Ehr'; wir danken, daß du, Gott Vater, ewiglich regierst ohn' alles Wanken. Ganz ungemess'n ist deine Macht, fort g'schicht, was dein Will' hat bedacht; wohl uns des feinen Herren! 3 O Jesu Christ, Sohn eingebor'n deines himmlischen Vaters, Versöhner der'r, die war'n verlor'n, du Stiller unsers Haders, Lamm Gottes, heil'ger Herr und Gott, nimm an die Bitt' von unsrer Not, erbarm' dich unser aller! 4 O heil'ger Geist, du höchstes Gut, du allerheilsamst' Tröster; vor's Teufels G'walt fortan behüt', die Jesus Christ erlöset durch große Mart'r und bittern Tod, abwend' all unsern Jamm'r und Not! Daruaf wir uns verlassen. Languages: German

Herr, öffne mir die Herzenstür

Author: Johann Olearius, 1611-1684 Hymnal: KGUG1940 #2 (1940) Lyrics: 1 Herr, öffne mir die Herzenstür, zeuch mein Herz durch dein Wort zu dir, laß mich dein Wort bewahren rein, laß mich dein Kind und Erbe sein! 2 Dein Wort bewegt des Herzens Grund; dein Wort macht Leib und Seel' gesund; dein Wort ist, das mein Herz erfreut, dein Wort gibt Trost und Seligkeit. 3 Ehr' sei dem Vater und dem Sohn, dem Heil'gen Geist in Einem Thron; der heiligen Dreieinigkeit sei Lob und Preis in Ewigkeit. Languages: German

Liebster Jesu, wir sind hier

Author: Tobias Clausnitzer, 1619-1684 Hymnal: KGUG1940 #3 (1940) Lyrics: 1 Liebster Jesu, wir sind hier, dich und dein Wort anzuhören; lenke Sinnen und Begier auf die süßen Himmelslehren, daß die Herzen von der Erden ganz zu dir gezogen werden. 2 Unser Wissen und Verstand ist mit Finsterniß umhüllet, wo nicht deines Geistes Hand uns mit hellem Licht erfüllet. Gutes denken, Gutes dichten mußt du selbst in uns verrichten. 3 O du Glanz der Herrlichkeit, Licht vom Licht aus Gott geboren, mach' uns allesammt bereit, öffne Herzen, Mund und Ohren! Unser Bitten, Flehn und Singen laß, Herr Jesu, wohlgelingen. 4 Vater, Sohn, Heilger Geist, dir sei ewig Preis und Ehre! Tröst' die Herzen allermeist mit dem Wort der reinen Lehre hier in diesen Sterblichkeiten, bis wir dort dein Lob ausbreiten. Languages: German

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People

Authors, composers, editors, etc.

Hans G. Nägeli

1773 - 1836 Person Name: H. G. Nägeli Hymnal Number: 78 Composer of "[Lobt froh den Herrn]" in Kleines Gesang- und Gebetbuch Johann G. Nageli (b. Wetzikon, near Zurich, Switzerland, 1773; d. Wetzikon, 1836) was an influential music educator who lectured throughout Germany and France. Influenced by Johann Pestalozzi, he published his theories of music education in Gangbildungslehre (1810), a book that made a strong impact on Lowell Mason. Nageli composed mainly" choral works, including settings of Goethe's poetry. He received his early instruction from his father, then in Zurich, where he concentrated on the music of. S. Bach. In Zurich, he also established a lending library and a publishing house, which published first editions of Beethoven’s piano sonatas and music by Bach, Handel, and Frescobaldi. Bert Polman

Wolfgang Amadeus Mozart

1756 - 1791 Person Name: W. A. Mozart Hymnal Number: 84 Composer of "[Sei uns mit Jubelschalle]" in Kleines Gesang- und Gebetbuch Wolfgang Amadeus Mozart Austria 1756-1791. Born at Salzburg, Austria, the son of Leopold Mozart, a minor composer and violinist, and youngest of seven children, he showed amazing ability on violin and keyboard from earliest childhood, even starting to compose music at age four when his father would play a piece and Mozart would play it exactly as did his father. At five, he composed some of his own music, which he played to his father, who wrote it down. When Mozart was eight, he wrote his first symphony, probably transcribed by his father. In his early years his father was his only teacher, teaching his children languages and academic subjects, as well as fundamentals of their strict Catholic faith. Some of his early compositions came as a surprise to his father, who eventually gave up composing himself when he realized how talented his son was. His family made several European journeys and he and his sister, Nanneri, performed as child prodigies, at the court of Prince-elector Maximillian II of Bavaria in Munich, and at the Imperial Courts in Vienna and Prague. A long concert tour followed, for 3.5 years, taking the family to courts in Munich, Mannheim, Paris, London, Dover, The Hague, Amsterdam, Utrecht, Mechelen, and again to Paris, and back home via Zurich, Donaueschingen, and Munich. During these trips Mozart met many musicians, acquainting himself with the works of other composers. He met Johann Christian Bach in London in 1764. Family trips were challenging, and travel conditions were primitive. They had to wait for invitations and reimbursements from nobility, and they endured long, near-fatal illnesses far from home. First Leopold (1764) got sick, then both children (1765). They traveled again to Vienna in 1767 and stayed there over a year. After a year back in Salzburg, Leopold and Wolfgang went to Italy (1769-1771), Leopold wished to display his son’s abilities as a performer and maturing composer. In Bologna, Italy, Wolfgang was accepted as a member of the famous Academia Filamonica. In Rome he heard Gregorio Allegri’s Miserere twice in performance. Back in the Sistine Chapel, Mozart wrote the whole performance out from memory, thus producing the first unauthorized copy of this closely guarded property of the Vatican. In the next few years Mozart wrote several operas performed with success in Italy, but his father’s hopes of securing a professional appointment for his son were not realized. At age 17 he was engaged as a musician at the Salzburg court, but grew restless and traveled in search of a better position. After returning to Salzburg, Mozart was employed as a court musician by the ruler of Salzburg, Prince Archbishop Hieronymus Colloredo. This gave Mozart ample opportunity to develop relationships with other musicians and his admirers, resulting in his development of new symphonies, sonatas, string quartets, masses, serenades, and some minor operas. In 1775 he wrote his only violin concertos, five in all. Again, he was discontent with work in Salzburg and traveled to find more opportunity to write operas. He and his father again visited Munich and Vienna, but neither visit was successful with the exception of his opera ‘La finta giardiniera’ in Munich. In 1777 he resigned his Salzburg position and went to Augsburg, Mannheim, Paris, and Munich again. In Mannheim he met and fell in love with Aloysia Weber, one of four daughters of a musical family. He could find no real employment there and left for Paris in 1778. He might have had a position as organist at Versailles, but he was not interested in that. He fell into debt and started pawning valuables. During these events his mother died. Meanwhile his father was still trying to find him a position in Salzburg. After checking out several other European cities and Munich, he again encountered Aloysia, but she was no longer interested in him, so he returned to Salzburg, having written another symphony, concerto, and piano sonata, and took the new appointment his father had found. However, he was still in discontent. Visiting Vienna in 1781, he was dismissed from his Salzburg position. He wrote another opera, ‘Idomeneo’, in 1781, that was successful in Munich. Two months later he was summoned to Vienna, where his employer, Archbishop Colloredo, wanted him around due to his notoriety. Mozart wished to meet the emperor and perform for him, and finally got that opportunity. It resulted in a part-time position and substantial commissions. Colloredo became a nemesis to Mozart’s career, finally releasing Mozart from his employ with a literal kick in the pants, much against his father’s wishes. However, he was now independent. Mozart then decided to settle in Vienna as a free lance performer and composer. He lived with the Fridolin Weber family, who had moved from Mannheim to Vienna. Fridolin, the father, had died, and they were taking in lodgers to make ends meet. His career there went well, and he performed as a pianist before the Emperor, establishing himself as the finest keyboard player in Vienna. He wrote another opera in 1782, again achieving success. Mozart had now become a prolific and influential composer of the Classical period and was known throughout Europe. Aloysia was now married to actor, Joseph Lange, and Mozart’s interest shifted to her sister, Constanze. In 1782 he married Constanze Weber Mozart Nissen. The marriage started out with a brief separation, and there was a problem getting Mozart’s father’s permission, which finally came. They had six children, but only two survived infancy: Carl and Franz. He lived in Vienna and achieved some notoriety, composing many of his best-known symphonies, concertos, and operas. In 1782-83 he became intimately acquainted with Johann Sebastian Bach and George Friederic Handel, as his friend, Gottfried van Swieten, owned many manuscripts of the Baroque masters, which Mozart studied intently. He altered his style of composition as a result. That year Mozart and his wife visited his father and sister, and he composed a liturgical piece, a Mass, with a singing part for his wife. He also met Joseph Hadyn in Vienna in 1784 and they became friends. They even played together in a string quartet from time to time. Mozart wrote six quartets dedicated to Hadyn. In 1785 Hadyn told Leopold Mozart, “Your son is the greatest composer known to me by person and repute, he has taste, and what is more, the greatest skill in composition”. Over the next several years Mozart booked several piano concertos in various places as a sole performer to delighted audiences, making substantial remuneration for his work. He and his wife then adopted a more luxurious lifestyle. They moved to an expensive apartment and he bought a fine fortepiano and billiard table. They sent their son, Karl, to an expensive boarding school and also kept servants. In 1784 Mozart became a Freemason and even composed Masonic music. Over the next several years he did little operatic writing and focused on his career as a piano soloist and writer of concertos. He again began operatic collaboration in 1785, creating ‘The marriage of Figaro’, then ‘Don Giovanni’ in 1787. That year his father died. Also that year he obtained a steady post under Emperor Joseph II as his chamber composer. This was part-time employment that was important when hard times arrived. However, Joseph aimed at keeping Mozart from leaving Vienna for better work. The Austrio-Turkish War made life difficult for musicians, and his aristocracy support had declined. He moved to save on expenses, but that did not help much, and he was reduced to borrowing funds from his friends, and pleading for loans. During this period he produced his last three symphonies. In 1789 he then set up on a journey to Leipzig, Dresden, and Berlin hoping to improve his fortunes. In 1790 he was highly productive, producing concertos, an opera, ‘The magic flute’, a series of string quintets, a motet, and an (unfinished) Requiem. Finances began to improve and he begin paying back his debts. Public reaction to his works also brought him great satisfaction. In 1791, while in Prague for the premiere of his opera, ‘La clemenza di Tito’, he fell ill. He continued professional functions for a short time, but had to go home and be nursed by his wife over the next couple of months. He died at Vienna, Austria, at the age of 35, a small thin man with undistinguishing characteristics. He was buried in a modest grave, having had a small funeral. Beethoven composed his early works in the shadow of Mozart, and Joseph Hadyn wrote “posterity will not see such a talent (as Mozart) again in 100 years”. 600+ works. Side note: Mozart enjoyed billiards, dancing, and had a pet canary, a starling, a dog, and a horse for recreational riding. He liked off-color humor. He wore elegant clothing when performing and had a modest tenor voice. John Perry

Nikolaus Herman

1500 - 1561 Person Name: Nikolaus Herman, d. 1561 Hymnal Number: 7 Author of "Lobt Gott, ihr Christen allzugleich" in Kleines Gesang- und Gebetbuch 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)

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