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On this stone, now laid with prayer
Author: John Pierpont Appears in 40 hymnals Used With Tune: NUREMBERG
On this stone, now laid with prayer
Glory be to God above
Author: Charles Wesley Appears in 46 hymnals Lyrics: 1 Glory be to God above,
God from whom all blessings flow;
Make we mention of his love,
Publish we his praise below:
2 Called together by his grace,
We are met in Jesus' name;
See with joy each other's face,
Followers of the bleeding Lamb.
3 More and more let love abound;
Let us never, never rest,
Till we are in Jesus found,
And of paradise possessed. Topics: The Church Zeal and Union Used With Tune: NUREMBERG
Glory be to God above
For his mercies aye endure
Appears in 552 hymnals First Line: Let us, with a gladsome mind Used With Tune: [Let us, with a gladsome mind]
For his mercies aye endure
Blessed Jesus, At Thy Word
Author: H. Brueckner; T. Clausnitzer; Catherine Winkworth Hymnal: American Lutheran Hymnal #3 (1930) Meter: 7.8.7.8.8.8 Lyrics: 1 Blessed Jesus, at Thy word
We are gathered now to hear Thee;
Let our hearts and souls be stirred
Now to seek and love and fear Thee,
By Thy teachings sweet and holy
Drawn from earth to love Thee solely.
2 All our knowledge, sense and sight
Lie in deepest darkness shrouded
Till the Spirit breaks our night
With the beams of truth unclouded.
Thou alone to God canst win us,
Thou must work all good within us.
3 Glorious God, Thyself impart!
Light of light, from God proceeding,
Open Thou our ears and heart,
Help us by Thy Spirit’s pleading;
Hear the cry Thy people raises,
Hear and bless our prayers and praises.
4 Father, Son and Holy Ghost,
Praise to Thee and adoration!
Give us what our hearts need most,
Be Thy Word our consolation!
For Thy blessings we implore Thee
Till in heaven we adore Thee. Topics: Opening of Worship Languages: English Tune Title: NUREMBERG
Blessed Jesus, At Thy Word
In the morning I will pray
Author: William Henry Furness Hymnal: Jubilate Deo #11 (1900) Languages: English Tune Title: NUREMBERG
In the morning I will pray
Mighty God, the first, the last
Author: William Gaskell Hymnal: Jubilate Deo #12 (1900) Languages: English Tune Title: NUREMBERG
Mighty God, the first, the last
Catherine Winkworth
1827 - 1878 Translator (sts. 1-3) of "Blessed Jesus, At Thy Word" in American Lutheran Hymnal 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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See also in:
Hymn Writers of the Church
Catherine Winkworth
Mrs. Barbauld
1743 - 1825 Person Name: Anna L. Barbauld Author of "Praise to God, immortal praise" in The Hymnal Barbauld, Anna Laetitia, née Aikin, daughter of the Rev. John Ailrin, D.D., a dissenting minister, was b. at Kibworth-Harcourt, Leicestershire, June 20, 1743. In 1753 Dr. Aikin became classical tutor at a dissenting academy at Warrington. During her residence there she contributed five hymns to Dr. W. Enfield's Hymns for Public Worship, &c, Warrington, 1772. In the following year these were included in her Poems, Lond., J. Johnson, 1773. In May, 1774, Miss Aikin was married to the Rev. Rochemont Barbauld, a descendant of a French Protestant family, and a dissenting minister. For some years Mr. Barbauld conducted, in addition to his pastoral work, a boarding school at Palgrave, Suffolk. From this he retired in 1785. In 1786 he undertook the charge of a small congregation at Hampstead, and from thence he passed to the dissenting chapel (formerly Dr. Price's) at Newington Green, in 1802. He d. Nov. 11, 1808. Mrs. Barbauld continued to reside in the neighbourhood until her death, March 9, 1825. In the latter part of the same year her niece published The Works of Anna Laetitia Barbauld, with Memoir, by Lucy Aikin, 2 vols., Lond., Longman, 1825. As a writer of hymns Mrs. Barbauld was eminently successful. Their use, however, with the exception of five contributed to Dr. W. Enfield's collection, is almost exclusively confined to the Unitarian hymnals of Great Britain and America. Including these hymnals, the whole of her hymns are still in common use. These hymns appeared thus:—
i. In Dr. W. Enfield's Hymns, &c., 1772.
1. Again the Lord of life and light. Easter.
2. Awake, my soul, lift up thine eyes. Conflict.
3. Behold, where breathing love divine. Christian Charity.
4. Jehovah reigns, let every nation hear. God's Dominion. A part of this was given in Collyer's Sel., 1812, No. 586, as:—
5. This earthly globe, the creature of a day.
6. Praise to God, Immortal praise. Harvest.
ii. Poems, 1773 (Preface dated Dec. 1, 1772). The whole of the above, and also:—
7. God of my life and author of my days. To God the Father. This is an “Address to the Deity," in 80 1. It is given in Martineau's Collection, 1840 and 1873. From it the following centos were given in Collyer's Selection> 1812:—
8. God, our kind Master, merciful as just.
9. If friendless in the vale of tears I stray.
iii. Poems revised 1792.
10. Come, said [says] Jesus' sacred voice. Invitation.
11. How blest the sacred tie that binds. Christian Fellowship.
12. Lo where a crowd of pilgrims toil. Pilgrimage of Life. From this is taken:—
13. Our country is Immanuel's ground [land].
iv. Leisure Hour Improved (Ironbridge), 1809.
14. Sweet is the scene when virtue dies. Death.
v. Supplement to the Unitarian Coll. of Kippis, Bees, and others, 1807.
15. When as returns the solemn day. Sunday.
16. Sleep, sleep to day, tormenting cares. Sunday.
17. How may earth and heaven unite. Worship.
vi. Works, with Memoir, 1825.
In vol. i. most of the above are reprinted, and the following are added :—
18. Joy to the followers of the Lord. Joy. (c. 1820.)
19. Pure spirit, O where art thou now. Bereavement. This is dated 1808.
20. Salt of the earth, ye virtuous few. Salt of the Earth.
21. When life as opening buds is sweet. Death. This is dated " November, 1814."
The more important of these hymns are annotated in this Dictionary under their first lines. Mrs. Barbauld's Hymns in Prose for Children, originally published in 1781, were long popular and have been translated into French, Italian, Spanish, and other languages.
-- John Julian, Dictionary of Hymnology (1907)
===================
Barbauld, Anna L., p. 113, ii. No. 18 on p. 114, i.,should be dated circa 1820. Another hymn in common use from Mrs. Barbauld's Works, &c, 1825, is, "O Father! though the anxious fear" (E. Taylor, p. 1117, in error).
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
See also in:
Hymn Writers of the Church
Mrs. Barbauld
Johann Sebastian Bach
1685 - 1750 Person Name: J. S. Bach Composer of "NUREMBURG" in The Coronation Hymnal Johann Sebastian Bach was born at Eisenach into a musical family and in a town steeped in Reformation history, he received early musical training from his father and older brother, and elementary education in the classical school Luther had earlier attended.
Throughout his life he made extraordinary efforts to learn from other musicians. At 15 he walked to Lüneburg to work as a chorister and study at the convent school of St. Michael. From there he walked 30 miles to Hamburg to hear Johann Reinken, and 60 miles to Celle to become familiar with French composition and performance traditions. Once he obtained a month's leave from his job to hear Buxtehude, but stayed nearly four months. He arranged compositions from Vivaldi and other Italian masters. His own compositions spanned almost every musical form then known (Opera was the notable exception).
In his own time, Bach was highly regarded as organist and teacher, his compositions being circulated as models of contrapuntal technique. Four of his children achieved careers as composers; Haydn, Mozart, Beethoven, Mendelssohn, Schumann, Brahms, and Chopin are only a few of the best known of the musicians that confessed a major debt to Bach's work in their own musical development. Mendelssohn began re-introducing Bach's music into the concert repertoire, where it has come to attract admiration and even veneration for its own sake.
After 20 years of successful work in several posts, Bach became cantor of the Thomas-schule in Leipzig, and remained there for the remaining 27 years of his life, concentrating on church music for the Lutheran service: over 200 cantatas, four passion settings, a Mass, and hundreds of chorale settings, harmonizations, preludes, and arrangements. He edited the tunes for Schemelli's Musicalisches Gesangbuch, contributing 16 original tunes. His choral harmonizations remain a staple for studies of composition and harmony. Additional melodies from his works have been adapted as hymn tunes.
--John Julian, Dictionary of Hymnology (1907)
Johann Sebastian Bach
Small Church Music
Editors: Anna Letitia Barbauld Description:
History
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.
About the Recordings All recordings are in MP3 format.
Churches all around the world use the recordings, with downloads averaging over 60,000 per
month.
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) to adjust the MP3 number of verses, tempo and pitch to suit their local needs.
Mobile App
We have partnered with the developer of the popular NetTracks mobile app to offer the Small Church Music collection as a convenient mobile app. Experience the beloved Small Church Music collection through this iOS app featuring nearly 10,000 high-quality hymn recordings that can be organized into custom setlists and downloaded for offline use—ideal for worship services without musicians, congregational practice, and personal devotion. The app requires a small fee to cover maintenance costs. Please note: While Hymnary.org hosts this music collection, technical support for the app is provided exclusively by the app developer, not by Hymnary.org staff.
LicensingCopyright 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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