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Rejoice, rejoice, believers!
Author: Laurentius Laurenti; Sarah B. Findlater Meter: 7.6.7.6 D Appears in 334 hymnals Topics: Advent II Evening Prayer Opening Lyrics: 1 Rejoice, rejoice, believers!
And let your lights appear;
The evening is advancing,
And darker night is near.
The Bridegroom is arising,
And soon he will draw nigh;
Up! watch in expectation!
At midnight comes the cry.
2 See that your lights are burning;
Replenish them with oil;
Look now for your salvation,
The end of sin and toil.
The watchers on the mountain
Proclaim the Bridegroom near,
Go meet him as he cometh,
With alleluias clear.
3 O wise and holy virgins,
Now raise your voices higher,
Until in songs of triumph
Ye meet the angel choir.
The marriage-feast is waiting,
The gates wide open stand;
Up, up, ye heirs of glory!
The Bridegroom is at hand.
4 Our hope and expectation,
O Jesus, now appear;
Arise, thou Sun so longed for,
O'er this benighted sphere!
With hearts and hands uplifted,
We plead, O Lord, to see
The days of earth's redemption,
And ever be with thee!
Amem. Used With Tune: GREENLAND
Rejoice, rejoice, believers!
Hark the glad sound! the Saviour comes
Author: Philip Doddridge, 1702-1751 Meter: 8.6.8.6 Appears in 838 hymnals Topics: Advent II Year A Lyrics: 1 Hark the glad sound! the Saviour comes,
the Saviour promised long:
let every heart prepare a throne,
and every voice a song.
2 He comes, the prisoners to release
in Satan's bondage held;
the gates of brass before him burst,
the iron fetters yield.
3 He comes, the broken heart to bind,
the bleeding soul to cure,
and with the treasures of his grace
to enrich the humble poor.
4 Our glad hosannas, Prince of peace,
thy welcome shall proclaim;
and heaven's eternal arches ring
with thy belovèd name. Scripture: Ephesians 1:7 Used With Tune: BRISTOL
Hark the glad sound! the Saviour comes
Father, we thank thee who hast planted
Author: F. Bland Tucker Meter: 9.8.9.8 D Appears in 67 hymnals Topics: Advent II The Holy Communion Communion Used With Tune: RENDEZ Á DIEU Text Sources: Greek, from the Didache, c. 110
Father, we thank thee who hast planted
ABERYSTWYTH
Meter: 7.7.7.7 D Appears in 289 hymnals Composer and/or Arranger: Joseph Parry, 1841-1903 Topics: Advent II A; Advent II C Tune Key: e minor Incipit: 11234 53213 21712 Used With Text: Wild and Lone the Prophet's Voice
ABERYSTWYTH
On Jordan's bank the Baptist's cry
Author: Charles Coffin, 1676-1749; John Chandler, 1808-1876 Hymnal: Common Praise #34 (2000) Meter: 8.8.8.8 Topics: Advent II Year A; Advent II Year B; Advent II Year C Lyrics: 1 On Jordan's bank the Baptist's cry
announces that the Lord is nigh;
awake and hearken, for he brings
glad tidings from the King of kings.
2 Then cleansed be every breast from sin;
make straight the way for God within;
prepare we in our hearts a home,
where such a mighty guest may come.
3 For thou art our salvation, Lord,
our refuge and our great reward;
without thy grace we waste away,
like flowers that wither and decay.
4 To heal the sick stretch out thine hand,
and bid the fallen sinner stand;
shine forth, and let thy light restore
earth's own true loveliness once more.
5 All praise, eternal Son, to thee
whose advent sets thy people free,
whom with the Father we adore,
and Holy Ghost for evermore. Scripture: Acts 4:30 Languages: English Tune Title: WINCHESTER NEW
On Jordan's bank the Baptist's cry
Hark, a thrilling voice is sounding
Author: Edward Caswall, 1814-1878 Hymnal: Common Praise #26 (2000) Meter: 8.7.8.7 Topics: Advent II Year A; Advent II Year B Lyrics: 1 Hark, a thrilling voice is sounding;
'Christ is nigh,' it seems to say;
'cast away the dreams of darkness,
O ye children of the day.'
2 Wakened by the solemn warning,
let the earth-bound soul arise;
Christ, her Sun, all ill dispelling,
shines upon the morning skies.
3 Lo, the Lamb, so long expected,
comes with pardon down from heaven;
let us haste, with tears of sorrow,
one and all to be forgiven;
4 That when next he comes with glory,
and the world is wrapped in fear,
with his mercy he may shield us,
and with words of love draw near.
5 Honour, glory, might, and blessing
to the Father and the Son,
with the everlasting Spirit,
while eternal ages run. Scripture: Ephesians 5:11 Languages: English Tune Title: MERTON
Hark, a thrilling voice is sounding
Psalm 85: Come, O Lord, and Set Us Free
Author: Mike Balhoff; Gary Daigle; Darryl Ducote Hymnal: Gather Comprehensive #80 (1994) Topics: Advent II First Line: Now I will hear what God proclaims Refrain First Line: I: Come, O Lord, and set us free; II: Lord, let us see your kindness Scripture: Psalm 85:8-13 Languages: English Tune Title: [Now I will hear what God proclaims]
Psalm 85: Come, O Lord, and Set Us Free
Johann Crüger
1598 - 1662 Person Name: Johann Crüger, 1598-1662 Topics: Advent II Year B; Advent II Year C Composer of "CRÜGER" in Common Praise Johann Crüger (b. Grossbriesen, near Guben, Prussia, Germany, 1598; d. Berlin, Germany, 1662) Crüger attended the Jesuit College at Olmutz and the Poets' School in Regensburg, and later studied theology at the University of Wittenberg. He moved to Berlin in 1615, where he published music for the rest of his life. In 1622 he became the Lutheran cantor at the St. Nicholas Church and a teacher for the Gray Cloister. He wrote music instruction manuals, the best known of which is Synopsis musica (1630), and tirelessly promoted congregational singing. With his tunes he often included elaborate accompaniment for various instruments. Crüger's hymn collection, Neues vollkomliches Gesangbuch (1640), was one of the first hymnals to include figured bass accompaniment (musical shorthand) with the chorale melody rather than full harmonization written out. It included eighteen of Crüger's tunes. His next publication, Praxis Pietatis Melica (1644), is considered one of the most important collections of German hymnody in the seventeenth century. It was reprinted forty-four times in the following hundred years. Another of his publications, Geistliche Kirchen Melodien (1649), is a collection arranged for four voices, two descanting instruments, and keyboard and bass accompaniment. Crüger also published a complete psalter, Psalmodia sacra (1657), which included the Lobwasser translation set to all the Genevan tunes.
Bert Polman
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Crüger, Johann, was born April 9, 1598, at Gross-Breese, near Guben, Brandenburg. After passing through the schools at Guben, Sorau and Breslau, the Jesuit College at Olmütz, and the Poets' school at Regensburg, he made a tour in Austria, and, in 1615, settled at Berlin. There, save for a short residence at the University of Wittenberg, in 1620, he employed himself as a private tutor till 1622. In 1622 he was appointed Cantor of St. Nicholas's Church at Berlin, and also one of the masters of the Greyfriars Gymnasium. He died at Berlin Feb. 23, 1662. Crüger wrote no hymns, although in some American hymnals he appears as "Johann Krüger, 1610,” as the author of the supposed original of C. Wesley's "Hearts of stone relent, relent" (q.v.). He was one of the most distinguished musicians of his time. Of his hymn tunes, which are generally noble and simple in style, some 20 are still in use, the best known probably being that to "Nun danket alle Gott" (q.v.), which is set to No. 379 in Hymns Ancient & Modern, ed. 1875. His claim to notice in this work is as editor and contributor to several of the most important German hymnological works of the 16th century, and these are most conveniently treated of under his name. (The principal authorities on his works are Dr. J. F. Bachmann's Zur Geschichte der Berliner Gesangbücher 1857; his Vortrag on P. Gerhard, 1863; and his edition of Gerhardt's Geistliche Lieder, 1866. Besides these there are the notices in Bode, and in R. Eitner's Monatshefte für Musik-Geschichte, 1873 and 1880). These works are:—
1. Newes vollkömmliches Gesangbuch, Augspur-gischer Confession, &c, Berlin, 1640 [Library of St. Nicholas's Church, Berlin], with 248 hymns, very few being published for the first time.
2. Praxis pietatis melica. Das ist: Ubung der Gottseligkeit in Christlichen und trostreichen Gesängen. The history of this, the most important work of the century, is still obscure. The 1st edition has been variously dated 1640 and 1644, while Crüger, in the preface to No. 3, says that the 3rd edition appeared in 1648. A considerable correspondence with German collectors and librarians has failed to bring to light any of the editions which Koch, iv. 102, 103, quotes as 1644, 1647, 1649, 1650, 1651, 1652, 1653. The imperfect edition noted below as probably that of 1648 is the earliest Berlin edition we have been able to find. The imperfect edition, probably ix. of 1659, formerly in the hands of Dr. Schneider of Schleswig [see Mützell, 1858, No. 264] was inaccessible. The earliest perfect Berlin edition we have found is 1653.
The edition printed at Frankfurt in 1656 by Caspar Röteln was probably a reprint of a Berlin edition, c. 1656. The editions printed at Frankfurt-am-Main by B. C. Wust (of which the 1666 is in the preface described as the 3rd) are in considerable measure independent works.
In the forty-five Berlin and over a dozen Frankfurt editions of this work many of the hymns of P. Gerhardt, J. Franck, P. J. Spener, and others, appear for the first time, and therein also appear many of the best melodies of the period.
3. Geistliche Kirchen-Melodien, &c, Leipzig, 1649 [Library of St. Katherine's Church, Brandenburg]. This contains the first stanzas only of 161 hymns, with music in four vocal and two instrumental parts. It is the earliest source of the first stanzas of various hymns by Gerhardt, Franck, &c.
4. D. M. Luther's und anderer vornehmen geisU reichen und gelehrten Manner Geistliche Lieder und Psalmen, &c, Berlin, 1653 [Hamburg Town Library], with 375 hymns. This was edited by C. Runge, the publisher, and to it Crüger contributed some 37 melodies. It was prepared at the request of Luise Henriette (q.v.), as a book for the joint use of the Lutherans and the Re¬formed, and is the earliest source of the hymns ascribed to her, and of the complete versions of many hymns by Gerhardt and Franck.
5. Psalmodia Sacra, &c, Berlin, 1658 [Royal Library, Berlin]. The first section of this work is in an ed. of A. Lobwasser's German Psalter; the second, with a similar title to No. 4, and the date 1657, is practically a recast of No. 4,146 of those in 1653 being omitted, and the rest of the 319 hymns principally taken from the Praxis of 1656 and the hymn-books of the Bohemian Brethren. New eds. appeared in 1676, 1700, 1704, 1711, and 1736.
[Rev. James Mearns, M.A.]
-- Excerpt from John Julian, Dictionary of Hymnology (1907)
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Crüger, Johann, p. 271, ii. Dr. J. Zahn, now of Neuendettelsau, in Bavaria, has recently acquired a copy of the 5th ed., Berlin, 1653, of the Praxis.
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
Johann Crüger
Martin Shaw
1875 - 1958 Person Name: Martin Shaw, 1875-1958 Topics: Advent II Year B; Advent II Year C Composer of "LITTLE CORNARD" in Common Praise Martin F. Shaw was educated at the Royal College of Music in London and was organist and choirmaster at St. Mary's, Primrose Hill (1908-1920), St. Martin's in the Fields (1920-1924), and the Eccleston Guild House (1924-1935). From 1935 to 1945 he served as music director for the diocese of Chelmsford. He established the Purcell Operatic Society and was a founder of the Plainsong and Medieval Society and what later became the Royal Society of Church Music.
Author of The Principles of English Church Music Composition (1921), Shaw was a notable reformer of English church music. He worked with Percy Dearmer (his rector at St. Mary's in Primrose Hill); Ralph Vaughan Williams, and his brother Geoffrey Shaw in publishing hymnals such as Songs of Praise (1925, 1931) and the Oxford Book of Carols (1928). A leader in the revival of English opera and folk music scholarship, Shaw composed some one hundred songs as well as anthems and service music; some of his best hymn tunes were published in his Additional Tunes in Use at St. Mary's (1915).
Bert Polman
Martin Shaw
Catherine Winkworth
1827 - 1878 Person Name: Catherine Winkworth, 1827-1878 Topics: Advent II B Translator of "Comfort, Comfort, O my People" in Worship (4th ed.) Catherine Winkworth (b. Holborn, London, England, 1827; d. Monnetier, Savoy, France, 1878) is well known for her English translations of German hymns; her translations were polished and yet remained close to the original. Educated initially by her mother, she lived with relatives in Dresden, Germany, in 1845, where she acquired her knowledge of German and interest in German hymnody. After residing near Manchester until 1862, she moved to Clifton, near Bristol. A pioneer in promoting women's rights, Winkworth put much of her energy into the encouragement of higher education for women. She translated a large number of German hymn texts from hymnals owned by a friend, Baron Bunsen. Though often altered, these translations continue to be used in many modern hymnals. Her work was published in two series of Lyra Germanica (1855, 1858) and in The Chorale Book for England (1863), which included the appropriate German tune with each text as provided by Sterndale Bennett and Otto Goldschmidt. Winkworth also translated biographies of German Christians who promoted ministries to the poor and sick and compiled a handbook of biographies of German hymn authors, Christian Singers of Germany (1869).
Bert Polman
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Winkworth, Catherine, daughter of Henry Winkworth, of Alderley Edge, Cheshire, was born in London, Sep. 13, 1829. Most of her early life was spent in the neighbourhood of Manchester. Subsequently she removed with the family to Clifton, near Bristol. She died suddenly of heart disease, at Monnetier, in Savoy, in July, 1878. Miss Winkworth published:—
Translations from the German of the Life of Pastor Fliedner, the Founder of the Sisterhood of Protestant Deaconesses at Kaiserworth, 1861; and of the Life of Amelia Sieveking, 1863.
Her sympathy with practical efforts for the benefit of women, and with a pure devotional life, as seen in these translations, received from her the most practical illustration possible in the deep and active interest which she took in educational work in connection with the Clifton Association for the Higher Education of Women, and kindred societies there and elsewhere. Our interest, however, is mainly centred in her hymnological work as embodied in her:—
(1) Lyra Germanica, 1st Ser., 1855. (2) Lyra Germanica, 2nd Ser., 1858. (3) The Chorale Book for England (containing translations from the German, together with music), 1863; and (4) her charming biographical work, the Christian Singers of Germany, 1869.
In a sympathetic article on Miss Winkworth in the Inquirer of July 20, 1878, Dr. Martineau says:—
"The translations contained in these volumes are invariably faithful, and for the most part both terse and delicate; and an admirable art is applied to the management of complex and difficult versification. They have not quite the fire of John Wesley's versions of Moravian hymns, or the wonderful fusion and reproduction of thought which may be found in Coleridge. But if less flowing they are more conscientious than either, and attain a result as poetical as severe exactitude admits, being only a little short of ‘native music'"
Dr. Percival, then Principal of Clifton College, also wrote concerning her (in the Bristol Times and Mirror), in July, 1878:—
"She was a person of remarkable intellectual and social gifts, and very unusual attainments; but what specially distinguished her was her combination of rare ability and great knowledge with a certain tender and sympathetic refinement which constitutes the special charm of the true womanly character."
Dr. Martineau (as above) says her religious life afforded "a happy example of the piety which the Church of England discipline may implant.....The fast hold she retained of her discipleship of Christ was no example of ‘feminine simplicity,' carrying on the childish mind into maturer years, but the clear allegiance of a firm mind, familiar with the pretensions of non-Christian schools, well able to test them, and undiverted by them from her first love."
Miss Winkworth, although not the earliest of modern translators from the German into English, is certainly the foremost in rank and popularity. Her translations are the most widely used of any from that language, and have had more to do with the modern revival of the English use of German hymns than the versions of any other writer.
-- John Julian, Dictionary of Hymnology (1907)
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Hymn Writers of the Church
Catherine Winkworth
