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Author: George Duffield Meter: 7.6.7.6 D Appears in 6 hymnals Topics: Helgelse Och Bevarande First Line: Stå upp, stå upp för Jesus Lyrics: 1 Stå upp, stå upp, för Jesus, Du korsets helga här! Och hans baner i spetsen Mot fienderna bär. Från seger och till seger Hans här framtåga skall, Tills hela vida världen Lagts till hans fotapall. 2 Stå upp, stå upp för Jesus, Hör krigstrumpetens ljud, Ryck fram, där striden rasar, Och slå ett slag för Gud, Drag manligt, oför färadt Framåt mot slutna led, Låt faran elda modet Och makt med makt slå ned. 3 Stå upp, sta upp för Jesus, Men i hans kraft allen. Ej köttslig arm här hj¨lper, Ej d¨dlig hjältes ben. Tag nådesordets rustning, Och vaka, bed med flit, Och hvarest faran, plikten Dig kallar, skynda dit. 4 Stå upp, stå upp för Jesus, Ej striden blifver lång; Snart ofredsåskor tystna, Snart ljuder segersång, Ty den, som öfvervinner, Skall lifvets krona få Och inför Gud och lammet, Med evig ära stå. Used With Tune: WEBB

Vår Gud är oss en väldig borg

Author: Martin Luther Meter: 8.7.8.7.7.5.6.6.7 Appears in 9 hymnals Topics: Helgelse Och Bevarande Lyrics: 1 Vår Gud är oss in väldig borg, Han är vårt vapen trygga; På honom i all nöd och sorg Vårt hopp vi vilja bygga. Mörkrets furste stiger ned Hotande och vred, Han rustar sig förvisst Med våld och arga list; Likväl vi oss ej frukta. 2 Vår egen kraft ej hjälpa kan, Vi vore snart förströdda; Men med oss står den rätte man, Vi stå af honom stödda. Frågar du hvad namn han bär? Jesus Krist det är; Han är den Herren Gud, Som, klädd i segerskrud, Sin tron för evigt grundat. 3 Och vore världen än så stor Och full af mörkrets härar, Dock, när ibland oss Herren bor, Platt intet oss förfärar. Världens furste är ju dömd Och hans kraft är tömd. Han på ett hufvudhår Oss skada ej förmår; Ett ord kan honom fälla. 4 Guds ord löfte skall bestå; Vi det i hjärtat bäre. För himmel, ej för jord vi gå Till strids och glade äre: Äro alltid väl till mods, Fast vi våga gods Och ära, lif och allt; Ske blott, som gud befallt Guds rike vi behålla. Used With Tune: EIN FESTE BURG IST UNSER GOTT

O, sök ej hjälp hos andra

Meter: 8.7.8.7 Appears in 1 hymnal Topics: Helgelse Och Bevarande Lyrics: 1 O, sök ej hjälp hos andra, Men blif i mina bud! Jag själf vill med dig vandra Din frälsare och Gud. 2 Jag ensam kan bevara I glädje och i sorg. I Känd och okänd fara Jag är din säkra borg. 3 Jag känner hvad dig felar, Jag vet, hvad verk du är. Jag tröstar, tuktar, helar Och i min famn dig bär. 4 Så lär att med mig vandra Och älska mina bud, Men sök ej hjälp hos andra: Jag ensam är din Gud. Used With Tune: VI MÅSTE BYTA HJÄRTAN

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HE LEADETH ME

Meter: 8.8.8.8 D Appears in 600 hymnals Composer and/or Arranger: W. B. Bradbury Topics: Helgelse Och Bevarande Tune Key: D Major Incipit: 53215 64465 33213 Used With Text: Han leder mig!

[Guds namn är ett fäste i nöden]

Meter: 9.8.9.8 Appears in 3 hymnals Topics: Helgelse Och Bevarande Tune Key: C Major Incipit: 55311 35523 44446 Used With Text: Guds namn är ett fäste

WEBB

Meter: 7.6.7.6 D Appears in 1,549 hymnals Composer and/or Arranger: George James Webb Topics: Helgelse Och Bevarande Tune Key: B Flat Major Incipit: 51131 16151 2325 Used With Text: Stå upp, stå upp för Jesus!

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Instances

Published text-tune combinations (hymns) from specific hymnals

Oss välsigna och bevara

Author: S. J. Hedborn Hymnal: Lutherförbundets Sångbok #S127 (1913) Meter: 8.9.8.8.9.8.6.6.4.4.4.8 Topics: Helgelse Och Bevarande Lyrics: Oss välsigna och bevara: Med nåd ditt ansikte förklara Och vänd det till ditt folk med frid! Här ditt namn vi vilja sjunga; Och sedan, med en helig tunga, Dig lofva, Gud, till evig tid! Med dina kerubim Och dina serafim. Hosianna! Helig är Gud, All världens gud, All krafts och nåds och visdoms Gud! Languages: Swedish Tune Title: WACHET AUF, RUFT UNS DIE STIMME

Tack, o Gud, att du mig tagit

Author: N. Forsander Hymnal: Lutherförbundets Sångbok #S128 (1913) Meter: 8.9.8.8.9.8.6.6.4.4.4.8 Topics: Helgelse Och Bevarande Lyrics: 1 Tack, o Gud, att du mig tagit Till barn och mi från synden tvagit I dopets bad och Jesu namn! Himlaarf mig då blef gifvet, I lifvets bok mitt namn blef skrifvet Och jesus slöt mig i sin famn. Som pilgrim styrkes jag Af denna högtidsdag. Käre Jesus, I salig stund, På dopets grund, Du mig upptog i ditt förbund. 2 Jesus Krist, från synder mina Och dom och död och evig pina Du löst mig med ditt dyra blod. Dig för denna dyra gåfva I tro jag tjäna vill och lofva, Därtill mig gif din Ande god. Mig Jesus sökt och fann, Och han mitt hjärta vann. Högtidsstunder Han nu beskär Och har mig kär, Ty han har köpt mig som jag är. 3 Världen är så full af strider, Af synden i mitt kött jag lider; Men Jesus du är mitt försvar. Tröst och kraft du ger i ordet Och möter mig vid nådebordet; För syndaren du offrat har Dig själf,Guds dyra lamm, Jag går till högtid fram. Frid och hälsa I dina sår Af nåd jag får, Om fast i tro och bönjag står. 4 Evig högtidsdag det blifver, Den Gud af idel nåd mig gifver, Då jag ingår i paradis Helt förlöst från synd och smärta. Jag sjunga skall med saligt hjärta Vid gyllne harpor Lammets pris I himlens bröllopssal, Bland kuara helgons tal: "Hosiana! I härlig skrud Är jag din brud; Du är minHerre och min Gud!" Languages: Swedish Tune Title: WACHET AUF, RUFT UNS DIE STIMME

Sann tro på Gud och på hans ord

Author: J. O. Wallin Hymnal: Lutherförbundets Sångbok #S55 (1913) Meter: 8.6.8.6 Topics: Helgelse Och Bevarande Lyrics: 1 Sann tro på Gud och på hans ord Och kraft att göra godt Och frid i himmel och på jord Är kristnas kall och lott. 2 Till denna lott, till detta kall, Mig nåd, o Jesu, gif: Då vet jeg, hvad jag göra skall Att få ett evigt lif. 3 I dig är Faderns välbehag, I dig vår salighet, O Jesu Krist, igår, i dag Och i all evighet! Languages: Swedish Tune Title: NUN DANKET ALL UND BRINGET EHR

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People

Authors, composers, editors, etc.

George Duffield

1818 - 1888 Topics: Helgelse Och Bevarande Author of "Stå upp, stå upp för Jesus!" in Lutherförbundets Sångbok Duffield, George, Jr., D.D., son of the Rev. Dr. Duffield, a Presbyterian Minister, was born at Carlisle, Pennsylvania, Sept. 12, 1818, and graduated at Yale College, and at the Union Theological Seminary, New York. From 1840 to 1847 he was a Presbyterian Pastor at Brooklyn; 1847 to 1852, at Bloomfield, New Jersey; 1852 to 1861, at Philadelphia; 1861 to 1865, at Adrian, Michigan; 1865 to 1869, at Galesburg, Illinois; 1869, at Saginaw City, Michigan; and from 1869 at Ann Arbor and Lansing, Michigan. His hymns include;— 1. Blessed Saviour, Thee I love. Jesus only. One of four hymns contributed by him to Darius E. Jones's Temple Melodies, 1851. It is in 6 stanzas of 6 lines. In Dr. Hatfield's Church Hymnbook it is given in 3 stanzas. The remaining three hymns of the same date are:— 2. Parted for some anxious days. Family Hymn. 3. Praise to our heavenly Father, God. Family Union. 4. Slowly in sadness and in tears. Burial. 5. Stand up, stand up for Jesus. Soldiers of the Cross. The origin of this hymn is given in Lyra Sac. Americana, 1868, p. 298, as follows:— "I caught its inspiration from the dying words of that noble young clergyman, Rev. Dudley Atkins Tyng, rector of the Epiphany Church, Philadelphia, who died about 1854. His last words were, ‘Tell them to stand up for Jesus: now let us sing a hymn.' As he had been much persecuted in those pro-slavery days for his persistent course in pleading the cause of the oppressed, it was thought that these words had a peculiar significance in his mind; as if he had said, ‘Stand up for Jesus in the person of the downtrodden slave.' (Luke v. 18.)" Dr. Duffield gave it, in 1858, in manuscript to his Sunday School Superintendent, who published it on a small handbill for the children. In 1858 it was included in The Psalmist, in 6 stanzas of 8 lines. It was repeated in several collections and in Lyra Sac. Amer., 1868, from whence it passed, sometimes in an abbreviated form, into many English collections. [Rev. F. M. Bird, M.A.] - John Julian, Dictionary of Hymnology (1907) See also in: Hymn Writers of the Church

Martin Luther

1483 - 1546 Topics: Helgelse Och Bevarande Author of "Vår Gud är oss en väldig borg" in Lutherförbundets Sångbok Luther, Martin, born at Eisleben, Nov. 10, 1483; entered the University of Erfurt, 1501 (B.A. 1502, M.A.. 1503); became an Augustinian monk, 1505; ordained priest, 1507; appointed Professor at the University of Wittenberg, 1508, and in 1512 D.D.; published his 95 Theses, 1517; and burnt the Papal Bull which had condemned them, 1520; attended the Diet of Worms, 1521; translated the Bible into German, 1521-34; and died at Eisleben, Feb. 18, 1546. The details of his life and of his work as a reformer are accessible to English readers in a great variety of forms. Luther had a huge influence on German hymnody. i. Hymn Books. 1. Ellich cristlich lider Lobgesang un Psalm. Wittenberg, 1524. [Hamburg Library.] This contains 8 German hymns, of which 4 are by Luther. 2. Eyn Enchiridion oder Handbuchlein. Erfurt, 1524 [Goslar Library], with 25 German hymns, of which 18 are by Luther. 3. Geystliche Gesangk Buchleyn. Wittenberg, 1524 [Munich Library], with 32 German hymns, of which 24 are by Luther. 4. Geistliche Lieder auffs new gebessert. Wittenberg. J. Klug, 1529. No copy of this book is now known, but there was one in 1788 in the possession of G. E. Waldau, pastor at Nürnberg, and from his description it is evident that the first part of the Rostock Gesang-Buch, 1531, is a reprint of it. The Rostock Gesang-Buch, 1531, was reprinted by C. M. Wiechmann-Kadow at Schwerin in 1858. The 1529 evidently contained 50 German hymns, of which 29 (including the Litany) were by Luther. 5. Geistliche Lieder auffs new gebessert. Erfurt. A. Rauscher, 1531 [Helmstädt, now Wolfenbüttel Library], a reprint of No. 4. 6. Geistliche Lieder. Wittenberg. J. Klug, 1535 [Munich Library. Titlepage lost], with 52 German hymns, of which 29 are by Luther. 7. Geistliche Lieder auffs new gebessert. Leipzig. V. Schumann, 1539 [Wernigerode Library], with 68 German hymns, of which 29 are by Luther. 8. Geistliche Lieder. Wittenberg. J. Klug, 1543 [Hamburg Library], with 61 German hymns, of which 35 are by Luther. 9. Geystliche Lieder. Leipzig. V. Babst, 1545 [Gottingen Library]. This contains Luther's finally revised text, but adds no new hymns by himself. In pt. i. are 61 German hymns, in pt. ii. 40, of which 35 in all are by Luther. For these books Luther wrote three prefaces, first published respectively in Nos. 3, 4, 9. A fourth is found in his Christliche Geseng, Lateinisch und Deudsch, zum Begrebnis, Wittenberg, J. Klug, 1542. These four prefaces are reprinted in Wackernagel’s Bibliographie, 1855, pp. 543-583, and in the various editions of Luther's Hymns. Among modern editions of Luther's Geistliche Lieder may be mentioned the following:— Carl von Winterfeld, 1840; Dr. C. E. P. Wackernagel, 1848; Q. C. H. Stip, 1854; Wilhelm Schircks, 1854; Dr. Danneil, 1883; Dr. Karl Gerok, 1883; Dr. A. F. W. Fischer, 1883; A. Frommel, 1883; Karl Goedeke, 1883, &c. In The Hymns of Martin Luther. Set to their original melodies. With an English version. New York, 1883, ed. by Dr. Leonard Woolsey Bacon and Nathan H. Allen, there are the four prefaces, and English versions of all Luther's hymns, principally taken more or less altered, from the versions by A. T. Russell, R. Massie and Miss Winkworth [repub. in London, 1884]. Complete translations of Luther's hymns have been published by Dr. John Anderson, 1846 (2nd ed. 1847), Dr. John Hunt, 1853, Richard Massie, 1854, and Dr. G. Macdonald in the Sunday Magazine, 1867, and his Exotics, 1876. The other versions are given in detail in the notes on the individual hymns. ii. Classified List of Luther's Hymns. Of Luther's hymns no classification can be quite perfect, e.g. No. 3 (see below) takes hardly anything from the Latin, and No. 18 hardly anything from the Psalm. No. 29 is partly based on earlier hymns (see p. 225, i.). No. 30 is partly based on St. Mark i. 9-11, and xvi., 15, 16 (see p. 226, ii.). No. 35 is partly based on St. Luke ii. 10-16. The following arrangement, however, will answer all practical purposes. A. Translations from the Latin. i. From Latin Hymns: 1. Christum wir sollen loben schon. A solis ortus cardine 2. Der du bist drei in Einigkeit. O Lux beata Trinitas. 3. Jesus Christus unser Heiland, Der von. Jesus Christus nostra salus 4. Komm Gott Schopfer, heiliger Geist. Veni Creator Spiritus, Mentes. 5. Nun komm der Beidenheiland. Veni Redemptor gentium 6. Was flirchst du Feind Herodes sehr. A solis ortus cardine ii. From Latin Antiphons, &c.: 7. Herr Gott dich loben wir. Te Deum laudamus. 8. Verleih uns Frieden gnädiglich. Dapacem, Domine 9. Wir glauben all an einen Gott. iii. Partly from the Latin, the translated stanzas being adopted from Pre-Reformation Versions: 10. Komm, heiliger Geist, Herre Gott. 11. Mitten wir im Leben sind. Media vita in morte sumus. B. Hymns revised and enlarged from Pre-Reformation popular hymns. 12. Gelobet seist du Jesus Christ. 13. Gott der Vater wohn uns bei. 14. Gott sei gelobet und gebenedeiet. 15. Nun bitten wir den heiligen Geist. C. Psalm versions. 16. Ach Gott vom Himmel, sieh darein. 17. Aus tiefer Noth schrei ich zu dir. 18. Ein' feste Burg ist unser Gott. 19. Es spricht der Unweisen Mund wohl. 20. Es wollt uns Gott genädig sein. 21. War Gott nicht mit uns diese Zeit. 22. Wohl dem, der in Gotten Furcht steht. D. Paraphrases of other portions of Holy Scripture. 23. Diess sind die heilgen zehn Gebot. 24. Jesaia dem Propheten das geschah. 25. Mensch willt du leben seliglich. 26. Mit Fried und Freud ich fahr dahin. 27. Sie ist mir lieb die werthe Magd. 28. Vater unser im Himmelreich. E. Hymns mainly Original. 29. Christ lag in Todesbanden. 30. Christ unser Herr zum Jordan kam. 31. Ein neues Lied wir heben an. 32. Erhalt uns Herr bei deinem Wort. 33. Jesus Christus unser Heiland, Der den, 34. Nun freut euch lieben Christengemein. 35. Vom Himmel hoch da komm ich her. 36. Vom Himmel kam der Engel Schaar. In addition to these — 37. Fur alien Freuden auf Erden. 38. Kyrie eleison. In the Blätter fur Hymnologie, 1883, Dr. Daniel arranges Luther's hymns according to what he thinks their adaptation to modern German common use as follows:— i. Hymns which ought to be included in every good Evangelical hymn-book: Nos. 7-18, 20, 22, 28, 29, 30, 32, 34, 35, 36, 38. ii. Hymns the reception of which into a hymn-book might be contested: Nos. 2, 3, 4, 19, 21, 22, 23, 24, 25, 33. iii. Hymns not suited for a hymn-book: Nos. 1, 5, 6, 27, 31, 37. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology (1907)

Lowell Mason

1792 - 1872 Topics: Helgelse Och Bevarande Composer of "BETHANY" in Lutherförbundets Sångbok Dr. Lowell Mason (the degree was conferred by the University of New York) is justly called the father of American church music; and by his labors were founded the germinating principles of national musical intelligence and knowledge, which afforded a soil upon which all higher musical culture has been founded. To him we owe some of our best ideas in religious church music, elementary musical education, music in the schools, the popularization of classical chorus singing, and the art of teaching music upon the Inductive or Pestalozzian plan. More than that, we owe him no small share of the respect which the profession of music enjoys at the present time as contrasted with the contempt in which it was held a century or more ago. In fact, the entire art of music, as now understood and practiced in America, has derived advantage from the work of this great man. Lowell Mason was born in Medfield, Mass., January 8, 1792. From childhood he had manifested an intense love for music, and had devoted all his spare time and effort to improving himself according to such opportunities as were available to him. At the age of twenty he found himself filling a clerkship in a banking house in Savannah, Ga. Here he lost no opportunity of gratifying his passion for musical advancement, and was fortunate to meet for the first time a thoroughly qualified instructor, in the person of F. L. Abel. Applying his spare hours assiduously to the cultivation of the pursuit to which his passion inclined him, he soon acquired a proficiency that enabled him to enter the field of original composition, and his first work of this kind was embodied in the compilation of a collection of church music, which contained many of his own compositions. The manuscript was offered unavailingly to publishers in Philadelphia and in Boston. Fortunately for our musical advancement it finally secured the attention of the Boston Handel and Haydn Society, and by its committee was submitted to Dr. G. K. Jackson, the severest critic in Boston. Dr. Jackson approved most heartily of the work, and added a few of his own compositions to it. Thus enlarged, it was finally published in 1822 as The Handel and Haydn Society Collection of Church Music. Mason's name was omitted from the publication at his own request, which he thus explains, "I was then a bank officer in Savannah, and did not wish to be known as a musical man, as I had not the least thought of ever making music a profession." President Winchester, of the Handel and Haydn Society, sold the copyright for the young man. Mr. Mason went back to Savannah with probably $500 in his pocket as the preliminary result of his Boston visit. The book soon sprang into universal popularity, being at once adopted by the singing schools of New England, and through this means entering into the church choirs, to whom it opened up a higher field of harmonic beauty. Its career of success ran through some seventeen editions. On realizing this success, Mason determined to accept an invitation to come to Boston and enter upon a musical career. This was in 1826. He was made an honorary member of the Handel and Haydn Society, but declined to accept this, and entered the ranks as an active member. He had been invited to come to Boston by President Winchester and other musical friends and was guaranteed an income of $2,000 a year. He was also appointed, by the influence of these friends, director of music at the Hanover, Green, and Park Street churches, to alternate six months with each congregation. Finally he made a permanent arrangement with the Bowdoin Street Church, and gave up the guarantee, but again friendly influence stepped in and procured for him the position of teller at the American Bank. In 1827 Lowell Mason became president and conductor of the Handel and Haydn Society. It was the beginning of a career that was to win for him as has been already stated the title of "The Father of American Church Music." Although this may seem rather a bold claim it is not too much under the circumstances. Mr. Mason might have been in the average ranks of musicianship had he lived in Europe; in America he was well in advance of his surroundings. It was not too high praise (in spite of Mason's very simple style) when Dr. Jackson wrote of his song collection: "It is much the best book I have seen published in this country, and I do not hesitate to give it my most decided approbation," or that the great contrapuntist, Hauptmann, should say the harmonies of the tunes were dignified and churchlike and that the counterpoint was good, plain, singable and melodious. Charles C. Perkins gives a few of the reasons why Lowell Mason was the very man to lead American music as it then existed. He says, "First and foremost, he was not so very much superior to the members as to be unreasonably impatient at their shortcomings. Second, he was a born teacher, who, by hard work, had fitted himself to give instruction in singing. Third, he was one of themselves, a plain, self-made man, who could understand them and be understood of them." The personality of Dr. Mason was of great use to the art and appreciation of music in this country. He was of strong mind, dignified manners, sensitive, yet sweet and engaging. Prof. Horace Mann, one of the great educators of that day, said he would walk fifty miles to see and hear Mr. Mason teach if he could not otherwise have that advantage. Dr. Mason visited a number of the music schools in Europe, studied their methods, and incorporated the best things in his own work. He founded the Boston Academy of Music. The aim of this institution was to reach the masses and introduce music into the public schools. Dr. Mason resided in Boston from 1826 to 1851, when he removed to New York. Not only Boston benefited directly by this enthusiastic teacher's instruction, but he was constantly traveling to other societies in distant cities and helping their work. He had a notable class at North Reading, Mass., and he went in his later years as far as Rochester, where he trained a chorus of five hundred voices, many of them teachers, and some of them coming long distances to study under him. Before 1810 he had developed his idea of "Teachers' Conventions," and, as in these he had representatives from different states, he made musical missionaries for almost the entire country. He left behind him no less than fifty volumes of musical collections, instruction books, and manuals. As a composer of solid, enduring church music. Dr. Mason was one of the most successful this country has introduced. He was a deeply pious man, and was a communicant of the Presbyterian Church. Dr. Mason in 1817 married Miss Abigail Gregory, of Leesborough, Mass. The family consisted of four sons, Daniel Gregory, Lowell, William and Henry. The two former founded the publishing house of Mason Bros., dissolved by the death of the former in 1869. Lowell and Henry were the founders of the great organ manufacturer of Mason & Hamlin. Dr. William Mason was one of the most eminent musicians that America has yet produced. Dr. Lowell Mason died at "Silverspring," a beautiful residence on the side of Orange Mountain, New Jersey, August 11, 1872, bequeathing his great musical library, much of which had been collected abroad, to Yale College. --Hall, J. H. (c1914). Biography of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company.

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