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HOLY GHOST
Meter: 7.7.7 Appears in 23 hymnals Composer and/or Arranger: Johann Crüger Tune Key: e minor Incipit: 13234 32345 65435 Used With Text: Lord, in This Thy Mercy's Day
HOLY GHOST
Jesus, to Thy table led
Author: Robert Hall Baynes, 1831-1895 Meter: 7.7.7 Appears in 92 hymnals Topics: The Church The Sacraments - The Lord's Supper Used With Tune: PARACLETE
Jesus, to Thy table led
All is ready for the Feast!
Author: Frederick Pratt Green (1903-2000) Meter: 7.7.7 Appears in 2 hymnals Lyrics: 1 All is ready for the Feast!
Every Jew is wondering how
God will liberate them now.
2 Pilate, fearful of revolt
he, at all costs, must avert,
puts the Legion on alert.
3 Listen! Galilean crowds
hail the Man from Nazareth,
Jesus, riding to his death.
4 What authority he wields!
With a whip of cords he clears
temple courts of profiteers!
5 Watched by priests and pharisees,
all he says and all he does
fans the hatred of his foes.
6 Now he gathers those he loves
in a room where bread and wine
turn to sacrament and sign.
7 In that dark betrayal night,
moved by hope, or fear or greed,
Judas sets about his deed.
8 Jesus in the olive grove,
waiting for a traitor's kiss,
rises free from bitterness.
9 As he wakes his comrades up,
torches flicker in the glen:
shadows turn to marching men.
10 In that dawn of blows and lies
Church and State conspire to kill,
hang three rebels on a hill.
11 Innocent and guilty drown
in a flood of blood and sweat,
how much darker can it get?
12 How much darker must it be
for a God to see and care
that men perish in despair?
13 It is God himself who dies!
God in man shall set us free:
God as Man - and only he.
14 Let him claim us as his own,
we will serve as best we can
such a God and such a Man!
Final verse:
15 What does our salvation cost?
Jesus, we shall never know
all you gave and all we owe. Topics: Christ Incarnate Passion and Death; Christian Year Holy Week Scripture: 1 Corinthians 6:19-20 Used With Tune: HEILIGER GEIST
All is ready for the Feast!
All is ready for the Feast!
Author: Frederick Pratt Green (1903-2000) Hymnal: Church Hymnary (4th ed.) #373 (2005) Meter: 7.7.7 Lyrics: 1 All is ready for the Feast!
Every Jew is wondering how
God will liberate them now.
2 Pilate, fearful of revolt
he, at all costs, must avert,
puts the Legion on alert.
3 Listen! Galilean crowds
hail the Man from Nazareth,
Jesus, riding to his death.
4 What authority he wields!
With a whip of cords he clears
temple courts of profiteers!
5 Watched by priests and pharisees,
all he says and all he does
fans the hatred of his foes.
6 Now he gathers those he loves
in a room where bread and wine
turn to sacrament and sign.
7 In that dark betrayal night,
moved by hope, or fear or greed,
Judas sets about his deed.
8 Jesus in the olive grove,
waiting for a traitor's kiss,
rises free from bitterness.
9 As he wakes his comrades up
torches flicker in the glen,
shadows turn to marching men.
10 In that dawn of blows and lies
Church and State conspire to kill,
hang three rebels on a hill.
11 Innocent and guilty drown
in a flood of blood and sweat,
how much darker can it get?
12 How much darker must it be
for a God to see and care
that men perish in despair?
13 It is God himself who dies!
God in man shall set us free,
God as Man - and only he.
14 Let him claim us as his own,
we will serve as best we can
such a God and such a Man!
Final verse:
15 What does our salvation cost?
Jesus, we shall never know
all you gave and all we owe. Topics: Christ Incarnate Passion and Death; Christian Year Holy Week Scripture: 1 Corinthians 6:19-20 Languages: English Tune Title: HEILIGER GEIST
All is ready for the Feast!
All is ready for the Feast!
Author: Frederick Pratt Green (1903-2000) Hymnal: Hymns of Glory, Songs of Praise #373 (2008) Meter: 7.7.7 Lyrics: 1 All is ready for the Feast!
Every Jew is wondering how
God will liberate them now.
2 Pilate, fearful of revolt
he, at all costs, must avert,
puts the Legion on alert.
3 Listen! Galilean crowds
hail the Man from Nazareth,
Jesus, riding to his death.
4 What authority he wields!
With a whip of cords he clears
temple courts of profiteers!
5 Watched by priests and pharisees,
all he says and all he does
fans the hatred of his foes.
6 Now he gathers those he loves
in a room where bread and wine
turn to sacrament and sign.
7 In that dark betrayal night,
moved by hope, or fear or greed,
Judas sets about his deed.
8 Jesus in the olive grove,
waiting for a traitor's kiss,
rises free from bitterness.
9 As he wakes his comrades up,
torches flicker in the glen:
shadows turn to marching men.
10 In that dawn of blows and lies
Church and State conspire to kill,
hang three rebels on a hill.
11 Innocent and guilty drown
in a flood of blood and sweat,
how much darker can it get?
12 How much darker must it be
for a God to see and care
that men perish in despair?
13 It is God himself who dies!
God in man shall set us free:
God as Man - and only he.
14 Let him claim us as his own,
we will serve as best we can
such a God and such a Man!
Final verse:
15 What does our salvation cost?
Jesus, we shall never know
all you gave and all we owe. Topics: Christ Incarnate Passion and Death; Christian Year Holy Week Scripture: 1 Corinthians 6:19-20 Languages: English Tune Title: HEILIGER GEIST
All is ready for the Feast!
Lord, in this thy mercy's day
Author: Isaac Williams, 1802-65 Hymnal: The English Hymnal #76 (1906) Languages: English Tune Title: HEILIGER GEIST (BERLIN)
Lord, in this thy mercy's day
Johann Crüger
1598 - 1662 Person Name: J. Crüger, 1598-1662 Composer of "HEILIGER GEIST (BERLIN)" in The English Hymnal 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)
Johann Crüger
Anonymous
Person Name: and others Author of "Lord, in this Thy mercy's day" in The Hymnary for use in Baptist churches In some hymnals, the editors noted that a hymn's author is unknown to them, and so this artificial "person" entry is used to reflect that fact. Obviously, the hymns attributed to "Author Unknown" "Unknown" or "Anonymous" could have been written by many people over a span of many centuries.
Anonymous
Catherine Winkworth
1827 - 1878 Person Name: Catherine Winkworth, 1829-1878 Translator of "Holy Ghost, my Comforter" in The Hymnary of the United Church of Canada 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
========================
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)
============================
See also in:
Hymn Writers of the Church
Catherine Winkworth
Small Church Music
Description:
The SmallChurchMusic site was launched in 2006, growing out of the requests from those struggling
to provide suitable music for their services and meetings. Rev. Clyde McLennan was ordained in mid
1960’s and was a pastor in many small Australian country areas, and therefore was acutely aware of
this music problem. Having also been trained as a Pipe Organist, recordings on site (which are a subset
of the smallchurchmusic.com site) are all actually played by Clyde, and also include piano and piano
with organ versions. All recordings are in MP3 format.
Churches all around the world use the recordings, with downloads averaging over 60,000 per
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The recordings normally have an introduction, several verses and a slowdown on the last verse.
Users are encouraged to use software: Audacity (http://www.audacityteam.org) or Song Surgeon (http://songsurgeon.com) (see http://scm-audacity.weebly.com for more information) to adjust the MP3 number of verses, tempo
and pitch to suit their local needs.
Copyright notice: Rev. Clyde McLennan, performer in this collection, has assigned his performer rights in this collection to Hymnary.org. Non-commercial use of these recordings is permitted. For permission to use them for any other purposes, please contact manager@hymnary.org.
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