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John Ernest Bode

1816 - 1874 Person Name: John E. Bode, 1816-1874 Topics: Affirmation of Baptism; Affirmation of Baptism Author of "O Jesus, I Have Promised" in Evangelical Lutheran Worship John E. Bode (b. St. Pancras, England, 1816; d. Castle Camps, Cambridgeshire, England, 1874) A fine student at Christ Church, Oxford, England, and a prominent scholar who gave the famous Bampton Lectures ("for the exposition and defense of the Christian faith") at Oxford in 1855, was a rector in Westwell, Oxfordshire, and in Castle Camps. This gifted poet and hymn writer published Hymns for the Gospel of the Day, for Each Sunday and Festivals of Our Lord in 1860. Bert Polman ============== Bode, John Ernest, M.A., son of Mr. William Bode, late of the General Post Office, b. 1816, and educated at Eton, the Charter House, and at Christ Church, Oxford, graduating B.A. 1837, and M.A. in due course. Taking Holy Orders in 1841, he became Rector of Westwell, Oxfordshire, 1847; and then of Castle Camps, Cambridgeshire, 1860. He was also for a time Tutor of his College, and Classical Examiner. His Bampton Lectures were delivered in 1855. He d. at Castle Camps, Oct. 6, 1874. In addition to his Bampton Lectures, and Ballads from Herodotus, he published Hymns from the Gospel of the Day for each Sunday and Festivals of our Lord, 1860; and Short Occasional Poems, Lond., Longmans, 1858. In addition to his well-known hymn, “O Jesu, I have promised " (q. v.), the following from his Hys. from the Gospel are also in common use:— 1. God of heaven, enthroned in might. H. Trinity. 2. Spirit of Truth, indwelling Light. Whitsuntide. -John Julian, Dictionary of Hymnology (1907) ================= Bode, John E. , p. 151, ii. Additional pieces from his Hys.from the Gospel of the Day, &c, 1800, are in common use :— (1) "Sweetly the Sabbath bell" (Sunday); (2) "Thou Who hast called us by Thy word" (20th S. after Trinity). --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

Bland Tucker

1895 - 1984 Person Name: F. Bland Tucker, 1895-1984 Topics: Affirmation of Baptism; Affirmation of Baptism Author of "Christ, When for Us You Were Baptized" in Evangelical Lutheran Worship Francis Bland Tucker (born Norfolk, Virginia, January 6, 1895). The son of a bishop and brother of a Presiding bishop of the Episcopal Church, he was educated at the University of Virginia, B.A., 1914, and at Virginia Theological Seminary, B.D., 1920; D.D., 1944. He was ordained deacon in 1918, priest in 1920, after having served as a private in Evacuation Hospital No.15 of the American Expeditionary Forces in France during World War I. His first charge was as a rector of Grammer Parish, Brunswick County, in southern Virginia. From 1925 to 1945, he was rector of historic St. John's Church, Georgetown, Washington, D.C. Then until retirement in 1967 he was rector of John Wesley's parish in Georgia, old Christ Church, Savannah. In "Reflections of a Hymn Writer" (The Hymn 30.2, April 1979, pp.115–116), he speaks of never having a thought of writing a hymn until he was named a member of the Joint Commission on the Revision of the Hymnal in 1937 which prepared the Hymnal 1940

Samuel Sebastian Wesley

1810 - 1876 Person Name: Samuel S. Wesley, 1810-1876 Topics: Affirmation of Baptism Composer of "AURELIA" in Hymnal Supplement 1991 Samuel Sebastian Wesley (b. London, England, 1810; d. Gloucester, England, 1876) was an English organist and composer. The grandson of Charles Wesley, he was born in London, and sang in the choir of the Chapel Royal as a boy. He learned composition and organ from his father, Samuel, completed a doctorate in music at Oxford, and composed for piano, organ, and choir. He was organist at Hereford Cathedral (1832-1835), Exeter Cathedral (1835-1842), Leeds Parish Church (1842-1849), Winchester Cathedral (1849-1865), and Gloucester Cathedral (1865-1876). Wesley strove to improve the standards of church music and the status of church musicians; his observations and plans for reform were published as A Few Words on Cathedral Music and the Music System of the Church (1849). He was the musical editor of Charles Kemble's A Selection of Psalms and Hymns (1864) and of the Wellburn Appendix of Original Hymns and Tunes (1875) but is best known as the compiler of The European Psalmist (1872), in which some 130 of the 733 hymn tunes were written by him. Bert Polman

Timothy T'ingfang Lew

1891 - 1947 Person Name: Timothy T'ingfang Lew, 1891-1947 Topics: Affirmation of Baptism Author of "O Christ The Great Foundation" in Hymnal Supplement 1991 T'ingfang Lew was a leading Chinese educator, author, and editor. He was educated in China and at Columbia University in New York City (M.A.; Ph.D.). His Bachelor of Divinity degree was from Yale and he studied at Union Theological Seminary, New York City, where he also taught Christian education. Lew lectured throughout America at schools and colleges from 1926 to 1938 and received an S.T.D. degree from Oberlin College. In 1932, Lew began to chair the commission to prepare a Chinese Union hymnal. The resulting Hymns of Universal Praise was published in 1936. Its music editor was Bliss Wiant, a colleague of Lews's at Yenching University in Peking. Lew also edited the Union Book of Common Prayer which was used by four Protestant Chinese groups having approximately one-half million members. He represented China at the World Council of Churches meetings (1927-1939). He served as a member of the Chinese government's legislative body (1936-1941). Lew is remembered for his work with Chinese Christian organizations in China and America where he resided from 1941 to 1947. He died while teaching at the University of New Mexico. --The Presbyterian Hymnal Companion, 1993

J. M. Neale

1818 - 1866 Person Name: John M. Neale, 1818-1866 Topics: Affirmation of Baptism Translator of "Christ Is Made The Sure Foundation" in Hymnal Supplement 1991 John M. Neale's life is a study in contrasts: born into an evangelical home, he had sympathies toward Rome; in perpetual ill health, he was incredibly productive; of scholarly temperament, he devoted much time to improving social conditions in his area; often ignored or despised by his contemporaries, he is lauded today for his contributions to the church and hymnody. Neale's gifts came to expression early–he won the Seatonian prize for religious poetry eleven times while a student at Trinity College, Cambridge, England. He was ordained in the Church of England in 1842, but ill health and his strong support of the Oxford Movement kept him from ordinary parish ministry. So Neale spent the years between 1846 and 1866 as a warden of Sackville College in East Grinstead, a retirement home for poor men. There he served the men faithfully and expanded Sackville's ministry to indigent women and orphans. He also founded the Sisterhood of St. Margaret, which became one of the finest English training orders for nurses. Laboring in relative obscurity, Neale turned out a prodigious number of books and artic1es on liturgy and church history, including A History of the So-Called Jansenist Church of Holland (1858); an account of the Roman Catholic Church of Utrecht and its break from Rome in the 1700s; and his scholarly Essays on Liturgiology and Church History (1863). Neale contributed to church music by writing original hymns, including two volumes of Hymns for Children (1842, 1846), but especially by translating Greek and Latin hymns into English. These translations appeared in Medieval Hymns and Sequences (1851, 1863, 1867), The Hymnal Noted (1852, 1854), Hymns of the Eastern Church (1862), and Hymns Chiefly Medieval (1865). Because a number of Neale's translations were judged unsingable, editors usually amended his work, as evident already in the 1861 edition of Hymns Ancient and Modern; Neale claimed no rights to his texts and was pleased that his translations could contribute to hymnody as the "common property of Christendom." Bert Polman ======================== Neale, John Mason, D.D., was born in Conduit Street, London, on Jan. 24, 1818. He inherited intellectual power on both sides: his father, the Rev. Cornelius Neale, having been Senior Wrangler, Second Chancellor's Medallist, and Fellow of St. John's College, Cambridge, and his mother being the daughter of John Mason Good, a man of considerable learning. Both father and mother are said to have been "very pronounced Evangelicals." The father died in 1823, and the boy's early training was entirely under the direction of his mother, his deep attachment for whom is shown by the fact that, not long before his death, he wrote of her as "a mother to whom I owe more than I can express." He was educated at Sherborne Grammar School, and was afterwards a private pupil, first of the Rev. William Russell, Rector of Shepperton, and then of Professor Challis. In 1836 he went up to Cambridge, where he gained a scholarship at Trinity College, and was considered the best man of his year. But he did not inherit his father's mathematical tastes, and had, in fact, the greatest antipathy to the study; and as the strange rule then prevailed that no one might aspire to Classical Honours unless his name had appeared in the Mathematical Tripos, he was forced to be content with an ordinary degree. This he took in 1840; had he been one year later, he might have taken a brilliant degree, for in 1841 the rule mentioned above was rescinded. He gained, however, what distinctions he could, winning the Members' Prize, and being elected Fellow and Tutor of Downing College; while, as a graduate, he won the Seatonian Prize no fewer than eleven times. At Cambridge he identified himself with the Church movement, which was spreading there in a quieter, but no less real, way than in the sister University. He became one of the founders of the Ecclesiological, or, as it was commonly called, the Cambridge Camden Society, in conjunction with Mr. E. J. Boyce, his future brother-in-law, and Mr. Benjamin Webb, afterwards the well-known Vicar of St. Andrew's, Wells Street, and editor of The Church Quarterly Review. In 1842 he married Miss Sarah Norman Webster, the daughter of an evangelical clergyman, and in 1843 he was presented to the small incumbency of Crawley in Sussex. Ill health, however, prevented him from being instituted to the living. His lungs were found to be badly affected; and, as the only chance of saving his life, he was obliged to go to Madeira, where he stayed until the summer of 1844. In 1846 he was presented by Lord Delaware to the Wardenship of Sackville College, East Grinstead. This can hardly be considered as an ecclesiastical preferment, for both his predecessor and his successor were laymen. In fact the only ecclesiastical preferment that ever was offered to him was the Provostship of St. Ninian's, Perth. This was an honourable office, for the Provostship is equivalent to a Deanery in England, but it was not a lucrative one, being worth only £100 a year. He was obliged to decline it, as the climate was thought too cold for his delicate health. In the quiet retreat of East Grinstead, therefore, Dr. Neale spent the remainder of his comparatively short life, dividing his time between literary work, which all tended, directly or indirectly, to the advancement of that great Church revival of which he was so able and courageous a champion, and the unremitting care of that sisterhood of which he was the founder. He commenced a sisterhood at Rotherfield on a very small scale, in conjunction with Miss S. A. Gream, daughter of the rector of the parish; but in 1856 he transferred it to East Grinstead, where, under the name of St. Margaret's, it has attained its present proportions. Various other institutions gradually arose in connection with this Sisterhood of St. Margaret's, viz., an Orphanage, a Middle Class School for girls, and a House at Aldershot for the reformation of fallen women. The blessing which the East Grinstead Sisters have been to thousands of the sick and suffering cannot here be told. But it must be mentioned that Dr. Neale met with many difficulties, and great opposition from the outside, which, on one occasion, if not more, culminated in actual violence. In 1857 he was attending the funeral of one of the Sisters at Lewes, when a report was spread that the deceased had been decoyed into St. Margaret's Home, persuaded to leave all her money to the sisterhood, and then purposely sent to a post in which she might catch the scarlet fever of which she died. To those who knew anything of the scrupulously delicate and honourable character of Dr. Neale, such a charge would seem absurd on the face of it; but mobs are not apt to reflect, and it was very easy to excite a mob against the unpopular practices and sentiments rife at East Grinstead; and Dr. Neale and some Sisters who were attending the funeral were attacked and roughly handled. He also found opponents in higher quarters; he was inhibited by the Bishop of the Diocese for fourteen years, and the Aldershot House was obliged to be abandoned, after having done useful work for some years, in consequence of the prejudice of officials against the religious system pursued. Dr. Neale's character, however, was a happy mixture of gentleness and firmness; he had in the highest degree the courage of his convictions, which were remarkably definite and strong; while at the same time he maintained the greatest charity towards, and forbearance with, others who did not agree with him. It is not surprising, therefore, that he lived all opposition down; and that, while from first to last his relations with the community at East Grinstead were of the happiest description, he was also, after a time, spared any molestation from without. The institution grew upon his hands, and he became anxious to provide it with a permanent and fitting home. His last public act was to lay the foundation of a new convent for the Sisters on St. Margaret's Day (July 20), 1865. He lived long enough to see the building progress, but not to see it completed. In the following spring his health, which had always been delicate, completely broke down, and after five months of acute suffering he passed away on the Feast of the Transfiguration (Aug. 6), 1866, to the bitter regret of the little community at East Grinstead and of numberless friends outside that circle. One trait of his singularly lovable character must not pass unnoticed. His charity, both in the popular and in the truer Christian sense of the word, was unbounded; he was liberal and almost lavish with his money, and his liberality extended to men of all creeds and opinions; while it is pleasing to record that his relations with his ecclesiastical superiors so much improved that he dedicated his volume of Seatonian Poems to the bishop of the diocese. If however success in life depended upon worldly advantages, Dr. Neale's life would have to be pronounced a failure; for, as his old friend, Dr. Littledale, justly complains, "he spent nearly half his life where he died, in the position of warden of an obscure Almshouse on a salary of £27 a year." But, measured by a different standard, his short life assumes very different proportions. Not only did he win the love and gratitude of those with whom he was immediately connected, but he acquired a world-wide reputation as a writer, and he lived to see that Church revival, to promote which was the great object of his whole career, already advancing to the position which it now occupies in the land of his birth. Dr. Neale was an industrious and voluminous writer both in prose and verse; it is of course with the latter class of his writings that this sketch is chiefly concerned; but a few words must first be said about the former. I.— Prose Writings.— His first compositions were in the form of contributions to The Ecclesiologist, and were written during his graduate career at Cambridge. Whilst he was in Madeira he began to write his Commentary on the Psalms, part of which was published in 1860. It was afterwards given to the world, partly written by him and partly by his friend, Dr. Littledale, in 4 vols., in 1874, under the title of A Commentary on the Psalms, from Primitive and Mediaeval Writers. This work has been criticised as pushing the mystical interpretation to an extravagant extent. But Dr. Neale has anticipated and disarmed such criticism by distinctly stating at the commencement that "not one single mystical interpretation throughout the present Commentary is original;" and surely such a collection has a special value as a wholesome correction of the materialistic and rationalistic tendencies of the age. His next great work, written at Sackville College, was The History of the Holy Eastern Church. The General Introduction was published in 1847; then followed part of the History itself, The Patriarchate of Alexandria, in 2 vols.; and after his death another fragment was published, The History of the Patriarchate of Antioch, to which was added, Constantius's Memoirs of the Patriarchs of Antioch, translated from the Greek, edited by the Rev. G. Williams, 1 vol. The whole fragment was published in 5 vols. (1847-1873). The work is spoken very highly of, and constantly referred to, by Dean Stanley in his Lectures on the History of the Eastern Church. Dr. Neale was naturally in strong sympathy with the struggling Episcopal Church of Scotland, and to show that sympathy he published, in 1856, The Life and Times of Patrick Torry, D.D., Bishop of St. Andrews, &c, with an Appendix on the Scottish Liturgy. In the same direction was his History of the so-called Jansenist Church in Holland, 1858. Next followed Essays on Liturgiology and Church History, with an Appendix on Liturgical Quotations from the Isapostolical Fathers by the Rev. G. Moultrie, 1863, a 2nd edition of which, with an interesting Preface by Dr. Littledale, was published in 1867. It would be foreign to the purpose of this article to dwell on his other prose works, such as his published sermons, preached in Sackville College Chapel, his admirable little devotional work, Readings for the Aged, which was a selection from these sermons; the various works he edited, such as the Tetralogia Liturgica, the Sequentiae ex Missalibus Germanicis, Anglicis, Gallicis, aliisque Medii Aevi Collectae; his edition of The Primitive Liturgies of S. Mark, S. Clement, S. James, S. Chrysostom and S. Basil, with a Preface by Dr. Littledale; his Translation of the same; his many stories from Church History, his Voices from the East, translated from the Russ, and his various articles contributed to the Ecclesiologist, The Christian Remembrance, The Morning Chronicle, and The Churchman's Companion. It is time to pass on to that with which we are directly concerned. II. —Poetical Writings.— As a sacred poet, Dr. Neale may be regarded under two aspects, as an original writer and as a translator. i. Original Writer.—Of his original poetry, the first specimen is Hymns for Children, published in 1842, which reached its 10th edition the year after his death. It consists of 33 short hymns, the first 19 for the different days of the week and different parts of the day, the last 14 for the different Church Seasons. This little volume was followed in 1844 by Hymns for the Young, which was intended to be a sequel to the former, its alternative title being A Second Series of Hymns for Children; but it is designed for an older class than the former, for young people rather than for children. The first 7 hymns are "for special occasions," as "on goiug to work," “leaving home” &c.; the next 8 on "Church Duties and Privileges," "Confirmation," "First Holy Communion," &c, the last 13 on "Church Festivals,” which, oddly enough, include the Four Ember Seasons, Rogation Days, and the Sundays in Advent. In both these works the severe and rigid style, copied, no doubt, from the old Latin hymns, is very observable. Perhaps this has prevented them from being such popular favourites as they otherwise might have been; but they are quite free from faults into which a writer of hymns for children is apt to fall. They never degenerate into mere prose in rhyme; and in every case the purity as well as the simplicity of their diction is very remarkable. In the same year (1844) he also published Songs and Ballads for Manufacturers, which were written during his sojourn in Madeira, and the aim of which (he tells us) was "to set forth good and sound principles in metaphors which might, from their familiarity, come home to the hearts of those to whom they were addressed." They are wonderfully spirited both in matter and manner, and their freedom of style is as remarkable as the rigidity of the former works. They were followed eleven years later (1855) by a similar little work entitled Songs and Ballads for the People. This is of a more aggressive and controversial character than the previous ones, dealing boldly with such burning questions as "The Teetotallers," "Why don't you go to Meeting?" &c. Passing over the Seatonian Poems, most of which were of course written before those noticed above, we next come to the Hymns for the Side, which is a fitting companion to the Readings for the Aged, and then to Sequences, Hymns, and other Ecclesiastical Verses, which was published just after the author's death (1866), and may be regarded as a sort of dying legacy to the world. In fact, the writer almost intimates as much in the preface, where he speaks of himself as "one who might soon be called to have done with earthly composition for ever." Many of the verses, indeed, were written earlier, "forty years ago," he says, which is evidently intended for twenty. The preface is dated "In the Octave of S. James, 1866," and within a fortnight, on the Feast of the Transfiguration, “the veil” (to use the touching words of his old friend, Dr. Littledale) "was withdrawn from before his eyes, and the song hushed on earth is now swelling the chorus of Paradise." Was it an accident that these verses dwell so much on death and the life beyond the grave? or did the coming event cast its shadow before? Not that there is any sadness of tone about them; quite the reverse. He contemplates death, but it is with the eye of a Christian from whom the sting of death has been removed. Most of the verses are on subjects connected with the Church Seasons, especially with what are called the "Minor Festivals:" but the first and last poems are on different subjects. The first, the "Prologue," is "in dear memory of John Keble, who departed on Maundy Thursday, 1866, "and is a most touching tribute from one sacred poet to another whom he was about to follow within a few months to the "land that is very far off." The last is a poetical version of the legend of "the Seven Sleepers of Ephesus," and is, the writer thinks, "the first attempt to apply to primitive Christianity that which is, to his mind, the noblest of our measures." That measure is the hexameter, and undoubtedly Dr. Neale employed it, as he did all his measures, with great skill and effect; but it may be doubted whether the English language, in which the quantities of syllables are not so clearly defined as in Latin and Greek, is quite adapted for that measure. Throughout this volume, Dr. Neale rises to a far higher strain than he had ever reached before. ii. Translations.— It is in this species of composition that Dr. Neale's success was pre-eminent, one might almost say unique. He had all the qualifications of a good translator. He was not only an excellent classical scholar in the ordinary sense of the term, but he was also positively steeped in mediaeval Latin. An anecdote given in an appreciative notice by "G. M." [Moultrie] happily illustrates this:— Dr. Neale "was invited by Mr. Keble and the Bishop of Salisbury to assist them with their new hymnal, and for this purpose he paid a visit to Hursley Parsonage." On one occasion Mr. Keble "having to go to another room to find some papers was detained a short time. On his return Dr. Neale said, ‘Why, Keble, I thought you told me that the "Christian Year" was entirely original.' ‘Yes,' he answered, 'it certainly is.' ‘Then how comes this?' and Dr. Neale placed before him the Latin of one of Keble's hymns. Keble professed himself utterly confounded. He protested that he had never seen this 'original,' no, not in all his life. After a few minutes Neale relieved him by owning that he had just turned it into Latin in his absence." Again, Dr. Neale's exquisite ear for melody prevented him from spoiling the rhythm by too servile an imitation of the original; while the spiritedness which is a marked feature of all his poetry preserved that spring and dash which is so often wanting in a translation. (i.) Latin.— Dr. Neale's translations from the Latin include (1.) Mediaeval Hymns and Sequences (1851). He was the, first to introduce to the English reader Sequences, that is, as he himself describes them, " hymns sung between the Epistle and Gospel in the Mass," or, as he explains more definitely, "hymns whose origin is to be looked for in the Alleluia of the Gradual sung between the Epistle and the Gospel." He was quite an enthusiast about this subject:— "It is a magnificent thing,” he says, "to pass along the far-stretching vista of hymns, from the sublime self-containedness of S. Ambrose to the more fervid inspiration of S. Gregory, the exquisite typology of Venantius Fortunatus, the lovely painting of St. Peter Damiani, the crystal-like simplicity of S. Notker, the scriptural calm of Godescalcus, the subjective loveliness of St. Bernard, till all culminate in the full blaze of glory which surrounds Adam of S. Victor, the greatest of them all." Feeling thus what a noble task he had before him, it is no wonder that he spared no pains over it, or that he felt it his duty to adopt "the exact measure and rhyme of the original, at whatever inconvenience and cramping." That he succeeded in his difficult work, the verdict of the public has sufficiently proved. Of all the translations in the English language no one has ever been so popular as that of the Hora Novissima, in this volume, afterwards (1858) published separately, under the title of the Rhythm of Bernard de Morlaix, Monk of Cluny. Some original hymns may be as well known as "Jerusalem the Golden," "For thee, O dear, dear country," or "Brief life is here our portion,” but it would be hard to find any translations which come near them for extensive use. A second edition of the Mediaeval Hymns, much improved, came out in 1863, and a third, "with very numerous additions and corrections," in 1867. (2.) We next come to the Hymnal Noted, in which 94 out of the 105 hymns are the work of Dr. Neale. These are all translations from the Latin. The first part appeared in 1852, the second in 1854. Dr. Neale has himself given us an interesting account of his connection with this work:— "Some," he writes, "of the happiest and most instructive hours of my life were spent in the Sub-Committee of the Ecclesiological Society, appointed for the purpose of bringing out the Second Part of the Hymnal Noted It was my business to lay before them the translations I had prepared, and theirs to correct. The study which this required drew out the beauties of the original in a way which nothing else could have done, and the friendly collisions of various minds elicited ideas which a single translator would in all probability have missed." Preface, Mediaeval Hymns & Sequences (3.) The last volume of translations from the Latin published by Dr. Neale appeared in 1865, under the title of Hymns, chiefly Mediaeval, on the Joys and Glories of Paradise. It was intended to be a companion volume to the Rhythm of Bernard of Cluny. In this work the writer gives the general reader an opportunity of comparing the translation with the original by printing the two together in parallel pages. Before quitting the subject of Dr. Neale's translations from the Latin, it is only fair to notice that while they have been almost universally accepted by the English Church, and some of them adopted by dissenting congregations, they called down upon the translator a storm of indignation from an opposite quarter. The Roman Catholics accused him of deliberate deception because he took no pains to point out that he had either softened down or entirely ignored the Roman doctrines in those hymns. So far, they said, as the originals were concerned, these translations were deliberate misrepresentations. As however the translations were intended for the use of the Anglican Church, it was only to be expected that Neale should omit such hymns or portions of hymns as would be at variance with her doctrines and discipline. (ii.) Greek.— Dr. Neale conferred even a greater boon upon the lovers of hymnology than by his translations from the Latin, when he published, in 1862, his Hymns of the Eastern Church. In his translations from the Latin he did what others had done before; but in his translations from the Greek he was opening entirely new ground. "It is," he says in his preface to the first edition, "a most remarkable fact, and one which shows how very little interest has been hitherto felt in the Eastern Church, that these are literally, I believe, the only English versions of any part of the treasures of Oriental Hymnology." As early as 1853 he had printed a few of his versions in The Ecclesiastic, but it was not till the appearance of the complete volume that the interest of the general public was awakened in them. Then they became wonderfully popular. His translations "Christian, dost thou see them?" "The day is past and over," "'Tis the day of Resurrection," and his Greek-inspired "Art thou weary," and "O happy band of pilgrims," are almost as great favourites as "Jerusalem the golden," and the first in his Hymns of the Eastern Church, "Fierce was the wild billow," deserves to be. Dr. Neale had a far more difficult task before him when he undertook these Greek hymns than he had with the Latin, and he appeals to the reader "not to forget the immense difficulty of an attempt so perfectly new as the present, when I have had no predecessors and therefore could have no master." That difficulty in comparison with the Latin cannot be better stated than in his own words:— "Though the superior terseness and brevity of the Latin hymns renders a translation which shall represent those qualities a work of great labour, yet still the versifier has the help of the same metre; his version may be line for line; and there is a great analogy between the collects and the hymns, most helpful to the translator. Above all, we have examples enough of former translation by which we may take pattern. But in attempting a Greek canon, from the fact of its being in prose (metrical hymns are unknown) one is all at sea. What measure shall we employ? Why this more than that? Might we attempt the rhythmical prose of the original, and design it to be chanted? Again, the great length of the canons renders them un suitable for our churches as wholes. Is it better simply to form centos of the more beautiful passages? or can separate odes, each necessarily imperfect, be employed as separate hymns? . . . My own belief is that the best way to employ Greek hymnology for the uses of the English Church would be by centos." That, in spite of these difficulties, Dr. Neale succeeded, is obvious. His Greek hymns are, indeed, adaptations rather than translations; but, besides their intrinsic beauty, they at any rate give some idea of what the Greek hymn-writers were. In this case, as in his translations from the Latin, he omitted what he held was not good from his Anglican point of view, e.g., the Doxologies to the Blessed Virgin Mary. One point strikes us as very remarkable in these hymns, and indeed in all Dr. Neale's poetry, viz., its thorough manliness of tone. Considering what his surroundings were, one might have expected a feminine tone in his writings. Dr. Littledale, in his most vivid and interesting sketch of Dr. Neale's life, to which the present writer is largely indebted, has remarked the same with regard to his teaching: "Instead of committing the grave error of feminising his sermons and counsels [at St. Margaret's] because he had only women to deal with, he aimed at showing them the masculine side of Christianity also, to teach them its strength as well as its beauty." In conclusion, it may be observed that no one had a higher opinion of the value of Dr. Neale's labours in the field of ancient and mediaeval hymnology than the one man whose competency to speak with authority on such a point Dr. Neale himself would assuredly have rated above that of all others. Over and over again Dr. Neale pays a tribute to the services rendered by Archbishop Trench in this domain; and the present sketch cannot more fitly close than with the testimony which Archbishop Trench has given of his sense of the services rendered by Dr. Neale. The last words of his preface to his Sacred Latin Poetry (ed. 1864) are:—" I will only, therefore, mention that by patient researches in almost all European lands, he [Dr. Neale] has brought to light a multitude of hymns unknown before: in a treatise on sequences, properly so-called, has for the first time explained their essential character; while to him the English reader owes versions of some of the best hymns, such as often successfully overcome the almost insuperable difficulties which many among them present to the translator." [Rev. J. H. Overton, D.D.] Dr. Neale's original hymns and translations appeared in the following works, most of which are referred to in the preceding article, and all of which are grouped together here to facilitate reference:— (1) Hymns for Children. Intended chiefly for Village Schools. London, Masters, 1842. (2) Hymns for the Sick. London, Masters, 1843, improved ed. 1849. (3) Hymns for the Young. A Second Series of Hymns for Children. London, Masters, 1844. (4) Songs and Ballads for Manufacturers. London, Masters, 1844. (5) Hymns for Children. A Third Series. London, Masters, 1846. (6) Mediaeval Hymns and Sequences. London, Masters. 1851; 2nd ed. 1861; 3rd. ed. 1863. (7) Hymnal Noted. London, Masters & Novello, 1852: enlarged 1854. Several of the translations were by other hands. Musical editions edited by the Rev. T. Helmore. It is from this work that a large number of Dr. Neale's translations from the Latin are taken. (8) Carols for Christmas and Eastertide. 1853. (9) Songs and Ballads for the People. 1855. (10) The Rhythm of Bernard de Morlaix, Monk of Cluny, on the Celestial Country. London, Hayes, 1st ed. 1858: 3rd ed., with revision of text, 1861. It contains both the Latin and the English translation. (11) Hymns of The Eastern Church, Translated with Notes and an Introduction. London, Hayes, 1862: 2nd ed. 1862: 3rd ed. 1866 : 4th ed., with Music and additional notes, edited by The Very Rev. S. G. Hatherly, Mus. B., Archpriest of the Patriarchal (Ecumenical Throne. London, Hayes, 1882. Several of these translations and notes appeared in The Ecclesiastic and Theologian, in 1853. (12) Hymns, Chiefly Mediaeval, on the Joys and Glories of Paradise. London, Hayes, 1865. This work contains notes on the hymns, and the Latin texts of the older amongst them. (13) Original Sequences, Hymns, and other Ecclesiastical Verses. London, Hayes, 1866. This collection of Original verse was published posthumously by Dr. Littledale. In addition to these works Dr. Neale published collections of Latin verse as:— 1.) Hymni Ecclesiae e Breviariis quibusdam et Missalibus Gallicanis, Germanis, Hispanis, Lusitanis, desumpti. Oxford & Lond. J. H. Parker, 1851: and (2) Sequentiae e Missalibus Germanicis, Anglicis, Gallicis, aliisque Medii Aevi collectae. Oxford & Lond. J. H. Parker, 1852. A few of his translations appeared from time to time in The Ecclesiastic; and a few of his original hymns in The Christian Remembrancer. In the collection compiled for use at St. Margaret's, East Grinstead, St. Margaret's Hymnal, Printed Privately for the use of the Community only, 1875, there are several of his hymns not traceable elsewhere. [Many of his translations and original compositions are not listed here]. Some of the original hymns in common use which remain to be noted are:— i. From Hymns for Children, 1842. 1. No more sadness now, nor fasting. Christmas. 2. 0 Thou, Who through this holy week. Passiontide. 3. The day, 0 Lord, is spent. Evening. 4. The grass so green, the trees so tall. Morning of the Third Day. 5. Thou art gone up, 0 Lord, on high. Evening. 6. Thou, Who earnest from above. Whitsuntide. 7. With Thee, 0 Lord, begins the year. Circumcision, or, the New Year. ii. From Hymns for the Sick, 1843. 8. By no new path untried before. Support in Sickness. 9. Count not, the Lord's Apostle saith. Communion of the Sick. 10. Lord, if he sleepeth, he shall sure do well. Watching. 11. 0 Thou, Who rising long before the day. In a sleepless Night. 12. The Lord hath given, the Lord hath taken away. Death and Burial. 13. There is a stream, whose waters rise. In dangerous Sickness or Fever. 14. They slumber not nor sleep. Guardian Angels. 15. Thy servants militant below. In Affliction. iii. From Hymns for the Young, 2nd series, 1844. 16. Lord Jesus, Who shalt come with power. Ember Week in Advent. 17. 0 God, in danger and distress. In time of Trouble. 18. 0 God, we raise our hearts to Thee. Ember-Week in Advent. From this, "0 Lord, we come before Thee now” is taken. 19. 0 God, Who lovest to abide. Dedication of a Church. 20. 0 our Father, hear us now. Rogation. The first of three hymns on The Lord's Prayer. 21. 0 Saviour, Who hast call'd away. Death of a Minister. 22. 0 Thou, Who lov'st to send relief. In Sickness. 23. 0 Thou, Who once didst bless the ground. Ember-Week in September. 24. 0 Thou, Who, when Thou hadst begun. On going to Work. 25. Still, 0 Lord of hosts, we share. Rogation. The Second of his hymns on The Lord's Prayer. 26. Strangers and pilgrims here below. On entering a new Dwelling to reside there. 27. They whose course on earth is o'er. Communion of Saints. From this, "Those whom many a land divides," is taken. 2S. Till its holy hours are past. Rogation. The third of his hymns on The Lord's Prayer. iv. Songs and Ballads for Manufacturers, 1844. 29. Work is over; God must speed it. Evening. v. Hymns for Children, 3rd series, 1846. 30. Before Thy Face, 0 God of old. St. John the Baptist. 31. By pain, and weariness, and doubt. St. Stephen. 32. First of the twelvefold band that trod. St. James. 33. Four streams through happy Eden flow'd. St. Mark. 34. Is there one who sets his face. St. Bartholomew. From this "He, for man who suffered woe," is taken. 35. Not a single sight we view. St. Matthias. 36. 0 Great Physician of the soul. St. Luke. 37. 0 Heavenly Wisdom, hear our cry. Christmas. “0 Sapientia." 38. 0 Key of David, hailed by those. Christmas. "0 Clavis David." 39. 0 Root of Jesse, Thou on Whom. Christmas. “O Radix Jesse." 40. 0 Thou, on Whom the nations [Gentiles] wait. Christmas. "0 Rex Gentium." 41. 0 Thou, Who earnest down of old [to call] . Christmas. "0 Adonai." 42. 0 Thou, Whose Name is God with us. Christmas. "0 Emmanuel." 43. 0 Very God of Very God. Christmas. "0 Oriens." 44. Saints of God, whom faith united. SS. Simon and Jude. 45. Since the time that first we came. St. Andrew. From this, "Every bird that upward springs," is taken. 46. That love is mighty love indeed. St. Barnabas. 47. We cannot plead, as others may. St. Matthew. 48. We have not seen, we cannot see. St. Thomas. 49. Would we go when life is o'er? St. Peter. v. Carols for Christmas and Eastertide. 1853. 50. Gabriel's message does away. Christmas. 51. Joy and gladness be to king and peasant. Christmas. 52. Joy to thee, joy to thee, Day of our victory. Easter. 53. Sing Alleluia, all ye lands. Easter. 54. The world itself keeps Easter Day. Easter. From this "There stood three Marys by the tomb," is taken. 55. With Christ we share a mystic grave. Easter or Holy Baptism. vi. From Sequences, Hymns, &c, 1866. 56. Can it, Master, can it be? Maundy Thursday. 57. Need it is we raise our eyes. All Saints. 58. Prostrate fell the Lord of all things. Maundy Thursday. 59. Rear the column, high and stately. All Saints. 60. The Paschal moonlight almost past. Easter. 61. Though the Octave-rainbow sometimes. Low Sunday. 62. When the earth was full of darkness. St. Margaret. 63. Young and old must raise the lay. Christmas Carol. vi. From the St. Margaret's Hymnal, 1875. 64. O gracious God, Who bid'st me now. On Leaving Some. 65. Thou Who came to save Thy people. For a School. 66. Thy praise the holy Infants shewed. Holy Innocents. These 66 hymns now in common use by no means represent Dr. Neale's position in modern hymnody. Many others must be added thereto. Even then, although the total is very large, it but feebly represents and emphasises the enormous influence which Di. Neale has exercised over modern hymnody. --John Julian, Dictionary of Hymnology (1907)

Angelus Silesius

1624 - 1677 Person Name: Johann Scheffler, 1624-16577 Topics: Affirmation of Baptism; Affirmation of Baptism Author of "Come, Follow Me, the Savior Spake" in Evangelical Lutheran Worship Pen name of Johann Scheffler ======================================= Angelus Silesius, born in Selisia, in 1624, was the son of a Polish nobleman, and his true name was John Scheffler; but he adopted the name Angelus from a Spanish mystic of the 16th century--John ab Angelis--and added the name Silesius, because of his own country. He studied medicine, and obtained his degree of M.D. at Padua. While physician to the Duke Sylvius Nimrod--from 1649 to 1652--he had contention with the Lutheran clergy, and in 1653 entered the Romish Church. Subsequently he was physician to the Emperor Ferdinand III., but at length entered the priesthood and retired to the Jesuit monastery of S. Matthias, in Breslau, where he died in 1677. His hymns were mostly written before he joined the Romish Church, and were intended for private devotion; some, however, have been very acceptable for public use. "Several of them are among the deepest and most tender in the German language, and breathe a glowing love to the Saviour." --Annotations of the Hymnal, Charles Hutchins, M.A. 1872. ================================================= Scheffler, Johann (Angelus Silesius), was born in 1624 at Breslau in Silesia. His father, Stanislaus Scheffler, was a member of the Polish nobility, but had been forced to leave his fatherland on account of his adherence to Lutheranism, and had then settled in Breslau. The son was thus educated as a strict Lutheran. After passing through the St. Elisabeth's Gymnasium at Breslau, he matriculated at the University of Strassburg, on May 4, 1643, as a student of medicine. In the next year he went to Leyden, and in 1647 to Padua, where he graduated PH. D. and M.D. on July 9, 1648. Thereafter he returned to Silesia, and, on Nov. 3, 1649, was appointed private physician, at Oels, to Duke Sylvius Nimrod of Württemberg-Oels. The Duke was a staunch Lutheran, and his court preacher, Christoph Freitag, administered the ecclesiastical affairs of the district according to the strictest Lutheran churchly orthodoxy. Scheffler, who in Hollaud had become acquainted with the writings of Jakob Böhme, and had become a personal friend of Abraham von Frankenberg, the editor of Böhme's works, soon found that the spiritual atmosphere of Oels did not suit him. His own leanings at this time were distinctly to Mysticism and Separatism. He was at no pains to conceal his sentiments, and withdrew himself from public worship, from confession, and from the Holy Communion. When he wished to publish his poems, and submitted them for this purpose to Freitag, he was refused permission to print them on the ground of their mystical tendencies. He resigned his post in the end of 1652, and went to Breslau. Here he became acquainted with the Jesuits, who in that place were earnest students of the mystical works of Tauler (q.v.), and through them was introduced to the study of the mediaeval mystics of the Roman Catholic Church. On June 12, 1653, he was formally received into the Roman Catholic communion, and at his confirmation on that day at St. Matthias's Church in Breslau, he took the name of Angelus, probably after a Spanish mystic of the 16th cent, named John ab Angelis.* On March 24, 1654, the Emperor Ferdinand III. conferred on him the title of Imperial Court Physician, but this title was purely honorary, and Scheffler remained still at Breslau. On Feb. 27,1661, he entered the order of St. Francis; on May 21, 1661, was ordained priest at Neisse in Silesia, and in 1664 was appointed Rath and Hofmarschall to his friend Sebastian von Rostock, the newly created Prince Bishop of Breslau. After the Bishop's death in 1671 Scheffler retired to the monastery of St. Matthias in Breslau, where he died July 9, 1677, from a wasting sickness, during which he used this characteristic prayer, "Jesus and Christ, God and Man, Bridegroom and Brother, Peace and Joy, Sweetness and Pleasure, Refuge and Redemption, Heaven and Earth, Eternity and Time, Love and All, receive my soul." Of Scheffler, as a Convert and as a Controversialist, not much need be said. He certainly became more Roman than the Romans; and in his more than 50 controversial tractates, shows little of the sweetness and repose for which some have thought that he left the Lutheran church. In his Ecclesiologia, published at Glatz in 1677 [British Museum has the 2nd edition, published at Oberammergau and Kempten in 1735], he collected 39 of these treatises, of which e.g. No. 34 is entitled, "The Lutheran and Calvinistic Idol of the Understanding exhibited, laid bare, as well as the Likeness of the True God. In which also, at the same time, the attacks aud objections of adversaries are repelled. 1 Cor. viii. 4, Idolum nihil est, an idol is nothing." At an early age Scheffler had begun to write poems, and some of these occasional pieces were printed in 1641 and 1642. His most famous non-hymnological work is his Geistreiche Sinn- und Schlussreime, &c, published at Vienna in 1657, but better known by the title prefixed in the 2nd edition published at Glatz in 1675, viz. the Cherubinischer Wandersmann, [Both eds. in the British Museum]…. Scheffler's latest poetical work was the Sinnliche Beschreibung der vier letzten Dinge, zu heilsamen Schröken und Auffmunterung aller Menschen inn Druck gegeben. Mit der himmlischen Procession vermehrt, &c. Schweidnitz, 1675. [British Museum]… Scheffler's most important hymnological work is his Heilige Seelenlust, oder geistliche Hirten-Lieder, der in ihren Jesum verliebten Psyche, gesungen von Johann Angelo Silesio, und von Herrn Georgio Josepho mit aussbündig schönen Melodeyen geziert, &c. Of this the first edition appeared at Breslau, apparently in 1657, in three books, with Hymns 1-123, and a fourth—-separately paged—-book, with 32 hymns, apparently also at Breslau, 1657. In the 2nd ed., pub. at Breslau in 1668, the paging and numbering are consecutive; and a fifth book is added, with Hymns 166-205. [Both eds. in Royal Library, Breslau; 2nd ed. in British Museum] The first three books form a cycle of hymns, principally on the person and work of Our Lord, arranged according to the Christian Year, from Advent to Whitsuntide, and seem mostly to have been written before Scheffler left the Lutheran church. Those of the fourth book were probably written 1653 to 1656, and those of the fifth book between 1656 and 1668. In the first three books he is most clearly under the influence of his predecessors. That is, so far as the style and form are concerned, he was greatly influenced by the Pastorals of the Nürnberg Pegnitz Shepherds, and of Friedrich von Spee (q.v.) ; and in the substance of his poems—their longings for mystical union with Christ, and their clinging love to the Saviour—he was influenced on the one side by Böhme, and on the other by the earnest inner religious life which he had found in Holland. In his later hymns the tone is more manly, and the defects and excesses of his earlier style have, in great measure, disappeared. Scheffler's hymns were gladly received by the Lutheran Church as a welcome addition to the store of "Jesus Hymns," but many long passed current as anonymous; the I. A., for Johann Angelus, being often interpreted as Incerti Autoris, and vice versa. Through the Nürnberg Gesang-Buch, 1676; Freylinghausen's Gesang-Buch 1704 and 1714; Porst's Gesang-Buch, 1713; and Burg's Gesang-Buch, Breslau, 1746, a large number came into use among the Lutherans, more indeed than among the Roman Catholics. They were great favourites among the Moravians, after Zinzendorf had included 79 of them in his Christ-Catholisches Singe-und Bet-Büchlen, 1727 ; and, unfortunately, preciscly the worst were selected for imitation, so that Scheffler has the doubtful honour of being the model of tli8 spiritual-fleshly productions which disfigured the Moravian hymn-books between 1740 and 1755. Judging Scheffler's hymns as a whole one must give them a very high place in German hymnody. Only a small proportion of the hymns bear a distinctively Roman Catholic character. Of the rest, after setting on one side those in which Christ is set forth as the Bridegroom of the soul, with an excessive use of the imagery of Canticles; and those disfigured by the mannerisms of the Pastoral School, there remain a large number which are hymns of the first rank. These finer hymns are the work of a true poet, almost perfect in style and in beauty of rhythm, concise and profound; the fruits indeed it may be said of Mysticism, but of Mysticism chastened and kept in bounds by deep reverence and by a true and fervent love to the Saviour. Scheffler holds a high place in the first rank of German sacred poets, and is much the finest of the Post-Reformation Roman Catholic hymn-writers. A number of Scheffler's hymns are translations from the Latin…which have passed into English, are as follows. i. Ach Gott, was hat vor Herrlichkeit. God's Majesty. First published as No. 110 in Bk. iii., 1657, of his Heilige Seelenlust , in 6 st. of 8 1., entitled, "She [the soul] rejoices herself on the glory of Jesus." In the Herrnhut Gesang-Buch, 1735, No. 67. The translation in common use is:— Thy Majesty, how vast it is. This is a free translation of st. i.-iv. as part of No. 189 in the Moravian Hymn Book, 1789 (1886, No. 225). Another tr. is: "My God! how vast a Glory has," as No. 310 in the Moravian Hymn Book, pt. ii., 1743. ii. Der edle Schäfer, Gottes Sohn. The Good Shepherd . Translated as:— The true good Shepherd, God's own Son. This is a translation of st. i., v., by P. H. Molther, as No. 18 in the Moravian Hymn Book, 1789. In the 1826 and later eds. (1886, No. 22) it begins, "Christ the good Shepherd.” iii. Grosser König, dem ich diene. Love to God. First published as No. 161 in Bk. v., 1668, of his Heilige Seelenlust in 10 stanzas of 8 lines, entitled, "She presents to her Beloved her heart in diverse fashion as a morning gift." The translation in common use is:— Make my heart a garden fair. This is a tr. of st. viii., as st. ii. of No. 439 in the Moravian Hymn Book, 1789. Other trs. are: (1) "Lord, I come, Thy grace adoring," by J. D. Burns, 1869, p. 227. (2) "Almighty King, Eternal Sire," by G. Moultrie, in his Espousals of S. Dorothea, 1870, p. 69. iv. Jesus ist der schönste Nam'. Love to Christ. First published as No. 35 in Bk. i., 1657, of his Heilige Seelenlust in 9 stanzas of 6 lines, entitled, "She praises the excellency of the Name of Jesus." Tr. as:— Jesus is the highest name. This is a good tr. of st. i., ii., viii., ix., by A. T. Russell, as No. 69 in his Psalms & Hymns, 185. Another tr. is: "Jesus is the sweetest Name, Unto mortals," by J. C. Earle, in O. Shipley's Annus Sanctus, 1884, pt. ii. p. 43. v. Keine Schönheit hat die Welt. Love to Christ. A beautiful hymn on Christ in Nature. First published as No. 109 in Bk. iii., 1657, of his Heilige Seelenlust, in 16 stanzas of 4 lines, entitled, "She ponders His charmingness to the creatures." The trs. in common use are :— 1. Earth has nothing sweet or fair. This is a very good translation, omitting st. vi.—viii., x., xi., by Miss Cox in her Sacred Hymns from the German, 1841, p. 165 2. Nothing fair on earth I see. This is a somewhat free tr. of st. i.-v., ix., xii.-xiv., xvi., by Miss Winkworth in her Lyra Germanica, 1st Ser., 1855, p. 48; repeated, abridged and altered, in her Chorale Book for England, 1863, No. 158. Other translations are : (l) All the beauty we can find," as No. 457, in pt. i. of the Moravian Hymn Book 1754. (2) "Would you view the glorious face," in J. A. Latrobe's Psalms & Hymns ., 1841, No. 437. (3) "Whate'er of beauty I behold," by Lady E. Fortescue, 1843, p. 35. (4) " Earth has nothing bright for me," by Miss Manington, 1863, p. 168. (5) "The world with broadcast beauties sown," by E. Massie, 1867, p. 14. vi. Morgenstern der finstern Nacht. Love to Christ. First published as No. 26 in Bk. i., 1657, of his Heilige Seelenlust, in 6 st. of 5 1., entitled, "She wishes to have the little Jesus as the true Morning Star in the heaven of her heart." Another tr. is: "Morning Star in darksome night”, by Miss Winkworth, 1869, p. 250. vii. Nun nimm mein Herz, und alles was ich bin. Self-surrender to Christ. First published as No. 102 in Bk. iii., 1657, of his Heilige Seelenlust, in 4 stanzas of 6 lines, entitled, "She gives herself to her Bridegroom." The translation in common use is:— O take my heart, and whatsoe'er is mine. This is a tr. of st. i., iv., by F. W. Foster, as No. 267 in the Moravian Hymn Book, 1789. Another tr. is: "Now take my heart and all that is in me," by Miss Winkworth, 1858, p. 98. viii. Wollt ihr den Herren finden. Seeking of Christ. First published in Bk. iv., 1657, of his Heilige Seelenlust, entitled, "She gives notice where Jesus is to be found.” Translated as:— If you would find the Saviour. This is a free version, condensing st. iii., iv., as st. iii. in the Moravian Hymn Book, 1754, pt. i., No. 657. Included, greatly altered, and beginning, "Would you find the Saviour?" in J. A. Latrobe's Psalms & Hymns, 1841 and 1852. ix. Wo willt du hin, weils Abend ist. Evening. A beautiful hymn founded on the Narrative of Christ at Emmaus. The translation in common use is:— Where wilt Thou go! since night draws near. By A. Crull, in full, as No. 93 in the Ohio Lutheran Hymnal 1880. Another translation is: "Where wilt Thou go? the eve draws nigh," by Miss Manington; 1863, p. 154. Other hymns by Scheffler which have been rendered into English are:— x. Ach, sagt mir nicht von Gold und Schätzen. Love to Christ. The translations are (1) "Tell me no more of golden treasures," in the Supplement to German Psalmody, ed. 1765, p. 53; and Select Hymns from German Psalmody , Tranquebar, 1754, p. 84. (2) "0 tell me not of glitt'ring treasure," by Dr. H. Mills, 1845, p. 75. (3) "0 tell me not of gold and treasure," by Miss Burlingham, in the British Herald, August, 1865, p. 121, repeated as "Ah, tell me not," &c, in Reid's Praise Book, 1872. xi. Ach, was steh'st du auf der Au. Love to Christ. This form is tr. as "Jesus, end of my desires." xii. ‘Auf, auf, 0 Seel', auf, auf, zum Streit. Christian Warfare. The translations are (1) "Up! Christian man, and join the fight," by Miss Manington, 1863, p. 44. (2) "Up, Christian! gird thee to the strife," by Miss Burlingham, in the British Herald, July, 1865, p. 106. xiii, Dein' eigne Liebe zwinget mich. Love to Christ. Tr. as, "Thine own love doth me constrain," by J. Kelly, in the Family Treasury, 1878, p. 716. xiv. Die Sonne kommt heran. Morning. Translated as "The sun will soon appear," by J. Kelly, in the Family Trea¬sury, 1878, p. 716. xv. Ihr Engel, die das höchste Gut. Love to Christ. This form is tr. as, "Ye Seraphim, who prostrate fall," as No. 649 in pt. i. of the Moravian Hymn Book, 1754. xvi. Jesu, ew'ge Sonne. Love to Christ. Translated as "Christ the spring of endless joys," by J. Kelly, in the Family Treasury, 1878, p. 716. xvii. Kommt, meine Freund, und höret an. Eternal Life. Tr. as: "Come hither, friends, and hear me say," by J. Kelly, in the Family Treasury , 1879, p. 271. xviii. Meine Seele willt du ruh'n. Love to God. This form is tr. as "O my soul, desir'st thou rest." In the Supplement to German Psalmody, ed. 1765, p. 56. xix. Mein Lieb ist mir und ich bin ihm. Love to Christ. This is tr. as, "My Friend's to me, and I'm to Him," as No; 467 in pt. i. of the Moravian Hymn Book, 1754. xx. 0 du allerliebster Gott. Christ in Gethsemane. This form is tr. as "Jesus, O my Lord and God," by J. C. Earle, in O. Shipley's Annus Sanctus, 1884, p. 73. xxi. Schau', Braut, wie hängt dein Bräutigam. Passiontide. Tr. as, "O Bride! behold thy Bridegroom hangs," as No. 460 in pt. i. of the Moravian Hymn Book, 1754. xxii. Tritt hin, o Seel', und dank' dem Herrn. Thanksgiving. Tr. as "Come, O my soul, with thankful voice," by Dr. G. Walker, 1860, p. 70. xxiii. Weil ich schon seh' die gold'nen Wangen. Morning. The trs. are (1) "Because I see red tints adorning," by Miss Manington, 1863, p. 119. (2) "I see the golden light of morn," in the Family Treasury, 1877, p. 603. xxiv. Wie lieblich sind die Wohnungen. Eternal Life. Translated as "How lovely are the mansions fair," by J. Kelly, in the Family Treasury, 1879, p. 270. xxv. Zeuch mich nach dir, so laufen wir. Love to Christ. Translated as "Draw us to Thee, then will we flee," as No. 137 in pt. i. of the Moravian Hymn Book, 1754. It may be added that in some English books Scheffler appears as a composer of hymn-tunes. This is however a mistake, for the melodies in the Heilige Seelenlust are, as the title distinctly says, by Georg Joseph, a musician living at that time in Breslau. [Rev. James Mearns, M.A.] * In his later writings he styled himself Johann Angelus Silesius, adding this designation—the Silesian—in order to distinguish himself from the Lutheran theologian, Johann Angelus, of Darmstadt. --Excerpts from John Julian, Dictionary of Hymnology (1907)

Henry Purcell

1659 - 1695 Person Name: Henry Purcell, 1659-1695 Topics: Affirmation of Baptism Composer of "WESTMINSTER ABBEY" in Hymnal Supplement 1991 Henry Purcell (b. Westminster, London, England, 1659; d. Westminster, 1695), was perhaps the greatest English composer who ever lived, though he only lived to the age of thirty-six. Purcell's first piece was published at age eight when he was also a chorister in the Chapel Royal. When his voice changed in 1673, he was appointed assistant to John Hingston, who built chamber organs and maintained the king's instruments. In 1674 Purcell began tuning the Westminster Abbey organ and was paid to copy organ music. Given the position of composer for the violins in 1677, he also became organist at Westminster Abbey in 1679 (at age twenty) and succeeded Hingston as maintainer of the king's instruments (1683). Purcell composed music for the theater (Dido and Aeneas, c. 1689) and for keyboards, provided music for royal coronations and other ceremonies, and wrote a substantial body of church music, including eighteen full anthems and fifty-six verse anthems. Bert Polman

Ralph Vaughan Williams

1872 - 1958 Person Name: Ralph Vaughan Williams, 1872-1958 Topics: Affirmation of Baptism Harmonizer of "AR HYD Y NOS" in Hymnal Supplement 1991 Through his composing, conducting, collecting, editing, and teaching, Ralph Vaughan Williams (b. Down Ampney, Gloucestershire, England, October 12, 1872; d. Westminster, London, England, August 26, 1958) became the chief figure in the realm of English music and church music in the first half of the twentieth century. His education included instruction at the Royal College of Music in London and Trinity College, Cambridge, as well as additional studies in Berlin and Paris. During World War I he served in the army medical corps in France. Vaughan Williams taught music at the Royal College of Music (1920-1940), conducted the Bach Choir in London (1920-1927), and directed the Leith Hill Music Festival in Dorking (1905-1953). A major influence in his life was the English folk song. A knowledgeable collector of folk songs, he was also a member of the Folksong Society and a supporter of the English Folk Dance Society. Vaughan Williams wrote various articles and books, including National Music (1935), and composed numerous arrangements of folk songs; many of his compositions show the impact of folk rhythms and melodic modes. His original compositions cover nearly all musical genres, from orchestral symphonies and concertos to choral works, from songs to operas, and from chamber music to music for films. Vaughan Williams's church music includes anthems; choral-orchestral works, such as Magnificat (1932), Dona Nobis Pacem (1936), and Hodie (1953); and hymn tune settings for organ. But most important to the history of hymnody, he was music editor of the most influential British hymnal at the beginning of the twentieth century, The English Hymnal (1906), and coeditor (with Martin Shaw) of Songs of Praise (1925, 1931) and the Oxford Book of Carols (1928). Bert Polman

Jaroslav J. Vajda

1919 - 2008 Person Name: Jaroslav J. Vajda, b. 1919 Topics: Affirmation of Baptism Author of "Go, My Children, with My Blessing" in This Far By Faith Jaroslav J. Vajda (b. Lorain, Ohio, 1919; d. 2008) Born of Czechoslovakian parents, Vajda was educated at Concordia College in Fort Wayne, Indiana, and Concordia Theological Seminary in St. Louis, Missouri. Ordained as a Lutheran pastor in 1944, he served congregations in Pennsylvania and Indiana until 1963. He was editor of the periodicals The Lutheran Beacon (1959-1963) and This Day (1963-1971) and book editor and developer for Concordia Publishing House in St. Louis from 1971 until his retirement in 1986. Working mainly with hymn texts, Vajda served on several Lutheran commissions of worship. A writer of original poetry since his teens, he was the author of They Followed the King (1965) and Follow the King (1977). His translations from Slovak include Bloody Sonnets (1950), Slovak Christmas (1960), An Anthology of Slovak Literature (1977), and contributions to the Lutheran Worship Supplement (1969) and the Lutheran Book of Worship (1978). A collection of his hymn texts, carols, and hymn translations was issued as Now the Joyful Celebration (1987); its sequel is So Much to Sing About (1991). Vajda's hymns are included in many modern hymnals, and he was honored as a Fellow of the Hymn Society in the United States and Canada in 1988. Bert Polman

Marty Haugen

b. 1950 Person Name: Marty Haugen, b. 1950 Topics: Affirmation of Baptism Author of "Gather Us In" in Hymnal Supplement 1991 Marty Haugen (b. 1950), is a prolific liturgical composer with many songs included in hymnals across the liturgical spectrum of North American hymnals and beyond, with many songs translated into different languages. He was raised in the American Lutheran Church, received a BA in psychology from Luther College, yet found his first position as a church musician in a Roman Catholic parish at a time when the Roman Catholic Church was undergoing profound liturgical and musical changes after Vatican II. Finding a vocation in that parish to provide accessible songs for worship, he continued to compose and to study, receiving an MA in pastoral studies at the University of St. Thomas in St. Paul Minnesota. A number of liturgical settings were prepared for the Evangelical Lutheran Church in America and more than 400 of his compositions are available from several publishers, especially GIA Publications, who also produced some 30 recordings of his songs. He is composer-in-residence at Mayflower Community Congregational Church in Minneapolis and continues to compose and travel to speak and teach at worship events around the world. Emily Brink

Christopher M. Idle

b. 1938 Person Name: Christopher Idle Topics: Affirmation of Baptism Paraphraser of "All Baptized Beneath the Cloud" in Singing the New Testament Christopher Martin Idle (b. Bromley, Kent, England, 1938) was educated at Elthan College, St. Peter's College, Oxford, and Clifton Theological College in Bristol, and was ordained in the Church of England. He served churches in Barrow-in-Furness, Cumbria; London; and Oakley, Suffolk; and recently returned to London, where he is involved in various hymnal projects. A prolific author of articles on the Christian's public responsibilities, Idle has also published The Lion Book of Favorite Hymns (1980) and at least one hundred of his own hymns and biblical paraphrases. Some of his texts first appeared in hymnals published by the Jubilate Group, with which he is associated. He was also editor of Anglican Praise (1987). In 1998 Hope Publishing released Light Upon the River, a collection of 279 of his psalm and hymn texts, along with suggested tunes, scripture references, and commentary. Bert Polman

Percy Dearmer

1867 - 1936 Person Name: Percy Dearmer, 1867-1936 Topics: Affirmation of Baptism Author of "Draw Us In The Spirit's Tether" in Hymnal Supplement 1991 Dearmer, Percy, M.A., son of Thomas Dearmer, was born in London, Feb. 27, 1867, and educated at Westminster School and at Christ Church, Oxford (B.A. 1890, M.A. 1896). He was ordained D. 1891, P. 1892, and has been since 1901 Vicar of S. Mary the Virgin, Primrose Hill, London. He has been Secretary of the London Branch of the Christian Social Union since 1891, and is the author of The Parson's Handbook, 1st edition, 1899, and other works. He was one of the compilers of the English Hymnal, 1906, acting as Secretary and Editor, and contributed to it ten translations (38, 95, 150, 160, 165, 180, 215, 237, 352, 628) and portions of two others (242, 329), with the following originals:— 1. A brighter dawn is breaking. Easter. Suggested by the Aurora lucis, p. 95, but practically original. 2. Father, Who on man dost shower. Temperance. 3. God, we thank Thee, not in vain. Burial. 4. Holy God, we offer here. Holy Communion. 5. Jesu, good above all other. For Children. 6. Lord, the wind and sea obey Thee. For those at Sea. 7. The winter's sleep was long and deep. St. Philip and St. James. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology, New Supplement (1907)

Horatius Bonar

1808 - 1889 Person Name: Horatius Bonar, 1808-1889 Topics: Affirmation of Baptism; Affirmation of Baptism Author of "I Heard the Voice of Jesus Say" in Evangelical Lutheran Worship Horatius Bonar was born at Edinburgh, in 1808. His education was obtained at the High School, and the University of his native city. He was ordained to the ministry, in 1837, and since then has been pastor at Kelso. In 1843, he joined the Free Church of Scotland. His reputation as a religious writer was first gained on the publication of the "Kelso Tracts," of which he was the author. He has also written many other prose works, some of which have had a very large circulation. Nor is he less favorably known as a religious poet and hymn-writer. The three series of "Hymns of Faith and Hope," have passed through several editions. --Annotations of the Hymnal, Charles Hutchins, M.A. 1872 ================================ Bonar, Horatius, D.D. Dr. Bonar's family has had representatives among the clergy of the Church of Scotland during two centuries and more. His father, James Bonar, second Solicitor of Excise in Edinburgh, was a man of intellectual power, varied learning, and deop piety. Horatius Bonar was born in Edinburgh, Dec. 19th, 1808; and educated at the High School and the University of Edinburgh. After completing his studies, he was "licensed" to preach, and became assistant to the Rev. John Lewis, minister of St. James's, Leith. He was ordained minister of the North Parish, Kelso, on the 30th November, 1837, but left the Established Church at the "Disruption," in May, 1848, remaining in Kelso as a minister of the Free Church of Scotland. The University of Aberdeen conferred on him the doctorate of divinity in 1853. In 1866 he was translated to the Chalmers Memorial Church, the Grange, Edinburgh; and in 1883 he was chosen Moderator of the General Assembly of of the Free Church of Scotland. Dr. Bonar's hymns and poems were, he tells us, composed amid a great variety of circumstances; in many cases he cannot himself recall these circumstances; they also appeared in several publications, but nearly all have boen published or republished in the following:— (i) Songs for the Wilderness, 1843-4. (2) The Bible Hymn Book, 1845. (3) Hymns, Original and Selected, 1846. (4) Hymns of Faith and Hope, First Series, 1857; Second Series, 1861; Third Series, 1866. (5) The Song of the New Creation, 1872. (6) My Old Letters, a long poem, 1877. (7) Hymns of the Nativity, 1879. (8) Communion Hymns, 1881. In addition to numerous prose works, he has also edited The New Jerusalem; a Hymn of the Olden Time, 1852, &c. Dr. Bonar's poems—-including many beautiful lyrics, several psalm versions, and translations from the Greek and Latin, a large number of hymns, and a long meditative poem—-are very numerous, too numerous, perhaps, for their permanent fame as a whole. Dr. Bonar's scholarship is thorough and extensive; and his poems display the grace of style and wealth of allusion which are the fruit of ripe culture. Affected very slightly by current literary moods, still less by the influence of other religious poetry, they reveal extreme susceptibility to the emotional power which the phases of natural and of spiritual life exercise; the phases of natural life being recognised chiefly as conveying and fashioning spiritual life, used chiefly for depicting spiritual life, and handled for this purpose with greater delicacy of touch than in the Olney Hymns, and with less conscious purpose than in the Christian Year. As a result of this susceptibility, and from habitual contemplation of the Second Advent as the era of this world's true bliss, his hymns and poems are distinguished by a tone of pensive reflection, which some might call pessimism. But they are more than the record of emotion; another element is supplied by his intellectual and personal grasp of Divine truth, these truths particularly:—The gift of a Substitute, our Blessed Saviour; Divine grace, righteous, yet free and universal in offer; the duty of immediate reliance upon the privilege of immediate assurance through that grace; communion with God, especially in the Lord's Supper, respecting which he insists on the privilege of cherishing the highest conceptions which Scripture warrants; and finally, the Second Advent of our Lord: by his vigorous celebration of these and other truths as the source and strength of spiritual life, his hymns are protected from the blight of unhealthy, sentimental introspection. To sum up: Dr. Bonar's hymns satisfy the fastidious by their instinctive good taste; they mirror the life of Christ in the soul, partially, perhaps, but with vivid accuracy; they win the heart by their tone of tender sympathy; they sing the truth of God in ringing notes; and although, when taken as a whole, they are not perfect ; although, in reading them, we meet with feeble stanzas, halting rhythm, defective rhyme, meaningless Iteration; yet a singularly large number have been stamped with approval, both in literary circles and by the Church. In Great Britain and America nearly 100 of Dr. Bonar's hymns are in common use. They are found in almost all modern hymnals from four in Hymns Ancient & Modern to more than twenty in the American Songs for the Sanctuary, N. Y., 1865-72. The most widely known are, "A few more years shall roll;" "Come, Lord, and tarry not;" "Here, O my Lord, I see Thee face to face;" "I heard the Voice of Jesus say;" "The Church has waited long;" and "Thy way, not mine, O Lord." In addition to these and others which are annotated under their respective first lines, the following are also in common use:— From Songs for the Wilderness, No. 1, 1843. 1. For Thee we long and pray. Sunday Morning. 2. Holy Father, hear my cry. A Child's Prayer. 3. I thought upon my sins and I was sad. Christ our Peace. 4. Peace to the world, our Lord is come. A Millennial Song. 5. Spirit of everlasting grace. The Vision of Dry Bones. ii. From Songs for the Wilderness, No. 2,1844. 6. Ho, ye thirsty, parched and fainting. Invitation. 7. 0 'tis not what we fancied it. The world renounced. 8. Sing them, my children, sing them still. Children exhorted to Praise. 9. Time's sun is fast setting. Advent. 10. Weep, pilgrim, weep, yet 'tis not for the sorrow. Faith. 11. Yes, for me, for me He careth. Christ the Elder Brother . iii. From The Bible Hymn Book, 1845. 12. Jesus, my sorrow lies too deep. Jesus, the Great High Priest. 13. There is a Morning Star, my soul. The Morning Star. 14. This is not my place of resting. Pressing towards heaven. iv. From Hymns, Original and Selected, 1845. 15. Let there be light, Jehovah said. Creation. v. From Hymns of Faith and Hope, 1st series, 1857. 16. Be brave, my brother. The Fight of Faith. 17. Blessed be God, our God. Good Friday. 18. Everlasting praises. Doxology. 19. Go up, go up, my heart. Heavenly aspirations desired. 20. I close my heavy eye. Evening. Sometimes given as "We close our heavy eyes." 21. I see the crowd in Pilate's hall. Good Friday. 22. Jesus, while this rongh desert soil. Strength by the Way. 23. Jesus, Whom angel-hosts adore. The Word made Flesh. From "The Son of God, in mighty love." 24. Make haste, 0 man, to live. Exhortation to lay hold of Life. 25. No seas again shall sever. Heaven. 26. Oppressed with noonday's scorching heat. Shadow of the Cross. 27. Rest for the toiling hand. Burial. From "Lie down, frail body, here." 28. Shall this life of mine be wasted? Exhortation to Duty. 29. These are the crowns that we shall wear. Heaven. 30. Thy works, not mine, O Christ [Lord]. The Sin-bearer. 31. Where the faded flower shall freshen. Heaven. vi. From Hymns of Faith and Hope. 2nd series, 1861. 32. Be still, my soul, Jehovah loveth Thee. Rest in the Love of God. 33. Christ has done the mighty work. Good Friday. 34. Come, mighty Spirit, penetrate. Whitsuntide. 35. Deep down beneath the unresting surge. Burial at Sea. 36. Fear not the foe, thou flock of God [thou little flock]. Battle-Song of the Church. 37. For lack of love I languish. Lent. 38. From this bleak hill of storms. Eternal Rest desired. 39. He liveth long who liveth well. The True Life. 40. Here shall death's triumph end: the rock-barred door. Easter. From "The tomb is empty: wouldst thou have it full." 41. Jesus, Sun and Shield art Thou. Jesus the First and Last. 42. Jesus, the Christ of God. Praise to Christ. 43. Light of the world, for ever, ever shining. Christ the Light of the World. From "Why walk in darkness? Has the dear light vanished?" 44. Make use of me, my God. Duty desired. 45. Not what I am, 0 Lord, but what Thou art. The Love of God. 46. 0 Light of Light, shine in. Cry of the Weary. 47. 0 love of God, how strong and true. Love of God. 48. 0 love that casts out fear. Love of God. 49. 0 strong to save and bless. Lent. 50. 0 this soul, how dark and blind. Lent. 51. Safe across the waters. Thanksgiving at end of a journey. 52. Silent, like men in solemn haste. Pressing onwards. 53. Speak, lips of mine. Exhortation to Praise. 54. The Bridegroom comes. Advent. vii. From Hymns of Faith and Hope. 3rd series, 1866. 55. Bear Thou my burden, Thou Who bar'st my sin. Lent or Passiontide. 56. Done is the work that saves. Easter. 57. Father, our children keep. Prayer on behalf of Children. 58. Fill Thou my life, 0 Lord my God. Life's Praise. 59. Finish Thy work, the time is short. Earnest labour to the end. 60. From the Cross the blood is falling. Good Friday. 61. He called them, and they left. Obedience. 62. Help me, my [0] God to speak. Truth desired. 63. Holy Father, Mighty God. Holy Trinity. 64. How are my troubles multiplied. Ps. iii. 65. How sweetly doth He show His face Flower Service. 66. Light hath arisen, we walk in its brightness. Sustaining power of Faith. 67. Lo, God, our God has come. Christmas. 68. Lord, give me light to do Thy work. Divine guidance desired. 69. No, not despairingly. Lent. 70. Not to ourselves again. Life in Christ, or, Living unto God. 71. Now in parting, Father, bless us. Post Communion. 72. Sounds the trumpet from afar. Battle-Song of the Church. 73. Thee in the loving bloom of morn. God in all. 74. Through good report and evil, Lord. Faithfulness. 75. To Jehovah, God of might. Praise to the Father. 76. To the name of God on high. Doxology. 77. Upward, where the stars are burning. Heavenward Aspirations. 78. We take the peace which He hath won. The Gift of Peace. 79. When the weary, seeking rest. Intercession for all Conditions of Men. viii. From The Song of the New Creation,1872. 80. For the Bread and for the Wine. Holy Communion. 81. Light of life so softly shining. Light of Life. 82. Yet there is room. The Lamb's bright hall of song. Home Missions. ix. From Hymns of the Nativity, 1879. 83. Great Ruler of the land and sea. Sailors' Liturgy. From Communion Hymns, 1881. 84. Beloved, let us love. Brotherly Love. In several instances these hymns are given in an abbreviated form, and sometimes alterations are also introduced. In this latter respect however Dr. Bonar has suffered less than most modern hymn-writers. [Rev. James Mearns, M.A.] -- John Julian, Dictionary of Hymnology (1907) ==================== Bonar, Horatius, p. 161, i. He died at Edinburgh, July 31, 1889. In 1890 his son published a posthumous volume of his poetical pieces as Until the Day Break and other Hymns and Poems left behind. The following additional hymns are in common use:— 1. Almighty Comforter and Friend. (1866.) Whitsuntide. 2. Father, make use of me. An altered form of No. 44, p. 162, ii. 3. I ask a perfect creed. (1861.) Creed not Opinions. From this is also taken "O True One, give me truth." 4. Long, long deferred, now come at last. Marriage of the Lamb. Part of "Ascend, Beloved, to the joy." (1861.) 5. Nay 'tis not what we fancied it. (1857.) Vanity of the World. 6. No blood, no altar now. (1861.) The Finished Sacrifice. 7. No shadows yonder. (1857.) Heaven Anticipated. 8. Not with the light and vain. (1857.) Godly Companionship. 9. O Love invisible, yet infinite. (1866.) Divine Love. 10. On the great love of God I lean. (1866.) Love of God our Resting-place. 11. On Thee, O Jesus, strongly leaning. (1866.) Fellowship with Christ. 12. Peace upon peace, like wave on wave. (1866.) Divine Peace. 13. Sower divine, sow the good seed in me. (1857.) Heavenly Sowing. 14. Speaketh the sinner's sin within my heart. (1866.) Ps. xxxvi. 15. Still one in life and one in death. (1857.) Communion of Saints. Part of "'Tis thus they press the hand and part." 16. Surely, yon heaven, where angels see God's face. (1857.) Heaven Anticipated. 17. That city with the jewelled crest. (1857.) Heaven. Part of "These are the crowns that we shall wear." Another cento from the same is "Yon city, with the jewelled crest." 18. That clime is not like this dull clime of ours. (1843.) Heaven. 19. The Free One makes you free: He breaks the rod. (1857.) Freedom in Christ. From "Of old they sang the song of liberty." 20. There is a Morning-star, my soul. (1357.) Christ the Morning Star. 21. This is the day of toil. (1866.) Pressing Onwards. 22. Thy thoughts are here, my God. (1866.) Holy Scripture. 23. Till the day dawn. (1857.) Life's Journey. 24. To Him Who spread the skies. (1866.) Creation's Song. 25. Trustingly, trustingly. (1866.) Trust. 26. Unto th' eternal hills. (1866.) Ps. cxxi. The above dates are: 1843, Songs in the Wilderness; 1857, Hymns of Faith and Hope, 1st Series; 1861, same, 2nd Ser. (not 1864); 1866, same, 3rd Ser. (not 1867), The dates 1857, 1864,1867, were given by Dr. Bonar, but the British Museum copies are 1857, 1861, 1866 respectively. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) ============== Bonar, H., pp. 161, i.; 1554, i. The Rev. H. N. Bonar, Dr. Bonar's son, published in 1904, Hymns by Horatius Bonar, Selected and Arranged by his Son H. N. Bonar, With a brief History of some of the Hymns, &c. (London: H. Frowde). From this work we must correct the date of his Song of the New Creation to 1872. We have also enriched our pages by additional and expanded notes on several of Dr. Bonar's most widely used hymns. In his biographical notes, Mr. Bonar refers to Dr. Bonar's work as editor of the Quarterly Journal of Prophecy, begun in 1848, to which he contributed a hymn for each number. We find that the number of hymns contributed thereto is 101. With Dr. Bonar's poetical productions great difficulty has been encountered by the historian and annotator because of his absolute indifference to dates and details. It was enough for him that he had written, and that the Church of Christ approved and gladly used what, out of the fulness of his heart, he had given her. --Excerpt from John Julian, Dictionary of Hymnology, New Supplement (1907)

Johann Hermann Schein

1586 - 1630 Person Name: Johann Herman Schein, 1586-1630 Topics: Affirmation of Baptism; Affirmation of Baptism Adapter of "MACHS MIT MIR, GOTT" in Evangelical Lutheran Worship Schein, Johann Hermann, son of Hieronymus Schein, pastor at Griinhain, near Annaberg, in Saxony, was born at Grünhain, Jan. 20,1586. He matriculated at the University of Leipzig in 1607, and studied there for four years. Thereafter he acted for some time as a private tutor, including two years with a family at Weissenfels. On May 21, 1615, he was appointed Capellmeister, at the court of Duke Johann Ernst, of Sachse-Weimar; and in 1616 he became cantor of I3t. Thomas's Church, and music director at Leipzig, in succession to Seth Calvisius (d. Nov. 24, 1615). This post he held till his death, at Leipzig, Nov. 19, 1630. Schein was one of the most distinguished musicians of his time, both as an original composer, and as a harmoniser of the works of others. As a hymnwriter he was not so prolific, or so noteworthy. Most of his hymns were written on the deaths of his children or friends, e.g. on seven of his children, and on his first wife. They appeared mostly in broadsheet form, and were included, along with his original melodies, in his Cantional oder Gesang-Buch Augspurgischer Confession, Leipzig, 1627; 2nd ed., 1645. [Both in Wernigerode Library.] Those of Schein's hymns which have passed into English are:— i. Machs mit mir, Gott, nach deiner Güt. For the Dying. First published, as a broadsheet, at Leipzig, 1628, as a Trost-Liedlein á 5 (i.e. for 5 voices), &c. [Berlin Library.] The words, the melody, and the five-part setting, are all by Schein. It was written for, and first used at, the funeral, on Dec. 15, 1628, of Margarita, wife of Caspar Werner, a builder and town councillor at Leipzig, and a churchwarden of St. Thomas's. It is in 6 stanzas of 6 lines; the initial letters of 11. 1, 3, in st. i.-iv., forming the name Margarita; and the W of st. v. 1. 1 standing for Werner. In Schein's Cantional, 1645, No. 303 (marked as Trost-Liedlein, Joh. Herm. Scheins, á 5), and later hymn-books, as e.g. the Unverfäschter Liedersegen, 1851, No. 830, st. vi. was omitted. It is Schein's finest production, and one of the best German hymns for the sick and dying. Translated as:— Deal with me, God, in mercy now. This is a good and full translation by Miss Winkworth, in her Chorale Book for England, 1863, No. 191, set to Schein's melody of 1628. ii. Mein Gott und Herr, ach sei nicht fern. For the Dying. First published, with his name, in his Cantional, 1627, No. 262, in 9 stanzas of 6 lines. The initial letters of the stanzas give the name Margarita, probably one of the daughters who predeceased him. It is included, in 5 st., in the 164-8, and later eds., of Crüger's Praxis. The translation in common use is:— My Lord and God, go not away. A good tr. of st. i., ii., iv., v., vii., by A. T. Russell, as No. 254, in his Psalms & Hymns, 1851. [Rev. James Mearns, M.A.] --Excerpts from John Julian, Dictionary of Hymnology (1907)

David Haas

b. 1957 Person Name: David Haas, b. 1957 Topics: Affirmation of Baptism; Affirmation of Baptism Author of "We Are Called" in Evangelical Lutheran Worship

Jean Janzen

b. 1933 Person Name: Jean Janzen, b. 1933 Topics: Affirmation of Baptism; Affirmation of Baptism Paraphaser of "Mothering God, You Gave Me Birth" in Evangelical Lutheran Worship Jean Janzen was born on December 5, 1933, the seventh of Henry Peter Wiebe and Anna Schultz Wiebe's eventual eight children (Three Mennonite Poets 5). For the first five years of her life, Janzen lived in Dalmeny, Saskatchewan (A Cappella 25). In 1938, she moved to Mountain Lake, Minnesota when her schoolteacher father began his second ministry as a pastor (“Coming into Voice”). A year later, the family moved to Kansas (“Coming into Voice”). Janzen says she cannot remember when she wrote her first poem, but the first evidence of her work is a handwritten book of five poems that she made in third or fourth grade, which was saved by her mother through the family’s many moves (E-mail Interview). She had very little exposure to poetry and literature as a child, except for hymns and Bible stories. She values these elements of her childhood and “treasure[s] the artful rhythms of the King James [Bible]” (E-mail Interview). Janzen attended Meade Bible Academy, Tabor College, and Grace College (A Cappella 25). It was in college that she had her first real exposure to literature. She was “thrilled, and became a literature major.” She remembers being “enamored” with Emily Dickinson and writing papers about her whenever given the chance. However, she never considered writing poetry as a possible career (E-mail Interview). Janzen--then Jean Wiebe--married Louis Janzen, a medical student, and the couple moved to Chicago where she worked as a medical secretary while taking courses at Northwestern University (Hostetler, A Cappella 25). Janzen cites this period of her life as the beginning of her love for visual art, calling the Chicago Art Institute the “open gate” for her and her husband where they “became hooked” (Mennonite Life Interview). In 1961, they moved to Fresno, Cal., where Louis worked as a pediatrician in a private practice. Here they raised their two daughters and two sons. When her youngest child was in school, Janzen “joined a writer’s group at the encouragement of [her] husband and nephew after they read some poems [she] had written as a gift to [her] husband” (E-mail Interview). As her children became older, Janzen went back to college, earning a BA in English from Fresno Pacific College and an MA in Creative Writing and English from California State University at Fresno in 1982. There she studied with poets Peter Everwine, Philip Levine, and C.G. Hanzlicek. Janzen says that after one semester of writing poetry in college, she took the work “seriously” and “imagined the possibility of growing into a poet,” but it took her several years “to be willing to say that out loud” (E-mail Interview). Rudy Wiebe, a Mennonite novelist, served as a mentor who influenced Janzen's writing career. She received a grant from the National Endowment for the Arts in 1995 (“Coming into Voice”). Janzen grew up in the Evangelical Mennonite Brethren Church and many of her relatives, including her father, were pastors (“Coming into Voice”). This strong connection with the church has had a significant influence on her poetry. Music has also played an important role in Janzen’s life. Her mother loved music and music was an important part of worship in her church. She learned to play the piano when she was young, later studying music in college and teaching piano for many years (“Coming into Voice”). Janzen finds harmony between the religious and artistic elements of her life, integrating them in a way that enriches both. She also uses her gifts in the church, serving as a minister of worship at the College Community Mennonite Brethren Church in Clovis, Cal., as well as writing hymn texts, which have been set to music and are included in several hymn books. Other prominent themes in her work include art, history, family, the earth, and her Russian Mennonite ancestors (“Coming into Voice”). Janzen says that “the sensual and spiritual are inevitably intertwined” (Mennonite Life Interview) and it is this element of her work that has attracted the most attention from critics and readers. She emphasizes “the presence of spirit in the flesh,” using rich description of physical objects to reveal deeper emotions and truths. Janzen has taught poetry writing at Fresno Pacific University and Eastern Mennonite University in Virginia. --www.goshen.edu/mennonitepoetry/

Thomas Tallis

1505 - 1585 Person Name: Thomas Tallis, 1505-1585 Topics: Affirmation of Baptism; Affirmation of Baptism Composer of "THIRD MODE MELODY" in Evangelical Lutheran Worship Thomas Tallis (b. Leicestershire [?], England, c. 1505; d. Greenwich, Kent, England 1585) was one of the few Tudor musicians who served during the reigns of Henry VIII: Edward VI, Mary, and Elizabeth I and managed to remain in the good favor of both Catholic and Protestant monarchs. He was court organist and composer from 1543 until his death, composing music for Roman Catholic masses and Anglican liturgies (depending on the monarch). With William Byrd, Tallis also enjoyed a long-term monopoly on music printing. Prior to his court connections Tallis had served at Waltham Abbey and Canterbury Cathedral. He composed mostly church music, including Latin motets, English anthems, settings of the liturgy, magnificats, and two sets of lamentations. His most extensive contrapuntal work was the choral composition, "Spem in alium," a work in forty parts for eight five-voice choirs. He also provided nine modal psalm tunes for Matthew Parker's Psalter (c. 1561). Bert Polman

Cesáreo Gabarain

1936 - 1991 Person Name: Cesáreo Gabaraín, 1936-1991 Topics: Affirmation of Baptism Author of "You Have Come Down to the Lakeshore " in With One Voice Cesáreo Gabaráin, a Spanish priest involved in liturgical renewal following Vatican II. Bert Polman

Carl Schalk

1929 - 2021 Person Name: Carl F. Schalk, 1929- Topics: Affirmation of Baptism Composer of "DONATA" in Lutheran Book of Worship Carl F. Schalk (b. Des Plaines, IL, 1929; d. 2021) is professor of music emeritus at Concordia University, River Forest, Illinois, where he taught church music since 1965. He completed graduate work at the Eastman School of Music in Rochester, New York, and at Concordia Seminary, St. Louis, Missouri. From 1952 to 1956 he taught and directed music at Zion Lutheran Church in Wausau, Wisconsin, and from 1958 to 1965 served as director of music for the International Lutheran Hour. Honored as a Fellow of the Hymn Society in the United States and Canada in 1992, Schalk was editor of the Church Music journal (1966-1980), a member of the committee that prepared the Lutheran Book of Worship (1978), and a widely published composer of church music. Included in his publications are The Roots of Hymnody in The Lutheran Church-Missouri Synod (1965), Key Words in Church Music (1978), and Luther on Music: Paradigms of Praise (1988). His numerous hymn tunes and carols are collected in the Carl Schalk Hymnary (1989) and its 1991 Supplement. Bert Polman

Sylvia G. Dunstan

1955 - 1993 Person Name: Sylvia G. Dunstan, 1955-1993 Topics: Affirmation of Baptism; Affirmation of Baptism Author of "Bless Now, O God, the Journey" in Evangelical Lutheran Worship After a brief, arduous battle with liver cancer, Canadian Sylvia Dunstan died in 1993 at the age of 38. For thirteen years, Dunstan had served the United Church of Canada as a parish minister and prison chaplain. She is remembered by those who knew her for her passion for those in need, her gift of writing, and her love of liturgy. Sing! A New Creation

Catherine Winkworth

1827 - 1878 Person Name: Catherine Winkworth, 1827-1878 Topics: Affirmation of Baptism Translator of "Baptized into Your Name Most Holy" in Lutheran Book of Worship 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

Henry Thomas Smart

1813 - 1879 Person Name: Henry T. Smart Topics: The Church at Worship Affirmation of Faith; God's Church The Church at Worship: Affirmation of Faith; Affirmation of Faith; Baptism; Justice; Lord's Supper; Mission Composer of "LANCASHIRE" in Chalice Hymnal Henry Smart (b. Marylebone, London, England, 1813; d. Hampstead, London, 1879), a capable composer of church music who wrote some very fine hymn tunes (REGENT SQUARE, 354, is the best-known). Smart gave up a career in the legal profession for one in music. Although largely self taught, he became proficient in organ playing and composition, and he was a music teacher and critic. Organist in a number of London churches, including St. Luke's, Old Street (1844-1864), and St. Pancras (1864-1869), Smart was famous for his extemporizations and for his accompaniment of congregational singing. He became completely blind at the age of fifty-two, but his remarkable memory enabled him to continue playing the organ. Fascinated by organs as a youth, Smart designed organs for important places such as St. Andrew Hall in Glasgow and the Town Hall in Leeds. He composed an opera, oratorios, part-songs, some instrumental music, and many hymn tunes, as well as a large number of works for organ and choir. He edited the Choralebook (1858), the English Presbyterian Psalms and Hymns for Divine Worship (1867), and the Scottish Presbyterian Hymnal (1875). Some of his hymn tunes were first published in Hymns Ancient and Modern (1861). Bert Polman

William Knapp

1698 - 1768 Person Name: William Knapp, 1698-1768 Topics: Affirmation of Baptism Composer of "WAREHAM" in Lutheran Book of Worship Born: 1698, Wareham, Dorsetshire, England. Died: September 26, 1768, Poole, Dorsetshire, England. Buried: Poole, Dorsetshire, England.

Richard Smallwood

b. 1948 Topics: Affirmation of Baptism Harmonizer of "[I am weak and I need thy strength and pow'r]" in Hymnal Supplement 1991 Richard Smallwood (b. Washington, D.C., 1948), a composer, arranger, pianist, and innovator in the African American gospel style. Many of his arrangements of gospel hymns appear in Lift Every Voice and Sing (1981). Organized by Smallwood in 1967, the Richard Smallwood Singers have sung and recorded many of his arrangements. He remains their current director. Smallwood has a BM degree from Howard University, Washington, DC. Bert Polman

Harold W. Friedell

1905 - 1958 Person Name: Harold Friedell, 1905-1958 Topics: Affirmation of Baptism Composer of "UNION SEMINARY " in Hymnal Supplement 1991 Harold Friedell (May 11, 1905, Jamaica, Queens, NY- February 17, 1958, Hasting-On-Hudson, NY) was an American organist, choirmaster, teacher, and composer. At an early age, he served as organist at First Methodist Episcopal Church (Jamaica, Queens) and studied organ with Clement Gale and David McK. Williams. He later served as organist at Calvary Church (New York), organist and choirmaster at Saint John’s Church (Jersey City, N.J.), organist and choirmaster at Calvary Church (New York), and finally organist and master of the choir at Saint Bartholomew’s Church (New York). Friedell also taught on the faculty of the Union Theological Seminary School of Sacred Music (New York). As a composer, Friedell composed works for organ, orchestra, and choir, as well as hymn tunes, descants, and music for solo voice. Friedell composed the choral anthem "Draw us in the Spirit's Tether" in 1949, from which the hymn tune "Union Seminary" was taken." Jimmy Thompson

Nikolaus Herman

1500 - 1561 Person Name: Nikolaus Herman, 1480-1561 Topics: Affirmation of Baptism; Affirmation of Baptism Composer of "LOBT GOTT, IHR CHRISTEN" in Evangelical Lutheran Worship 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)

Joseph Gelineau

1920 - 2008 Person Name: Joseph Gelineau, b. 1920 Topics: Affirmation of Baptism Composer (Verses) of "[I will sing and make music for the Lord]" in Hymnal Supplement 1991 Joseph Gelineau (1920-2008) Gelineau's translation and musical settings of the psalms have achieved nearly universal usage in the Christian church of the Western world. These psalms faithfully recapture the Hebrew poetic structure and images. To accommodate this structure his psalm tones were designed to express the asymmetrical three-line/four-line design of the psalm texts. He collaborated with R. Tournay and R. Schwab and reworked the Jerusalem Bible Psalter. Their joint effort produced the Psautier de la Bible de Jerusalem and recording Psaumes, which won the Gran Prix de L' Academie Charles Cros in 1953. The musical settings followed four years later. Shortly after, the Gregorian Institute of America published Twenty-four Psalms and Canticles, which was the premier issue of his psalms in the United States. Certainly, his text and his settings have provided a feasible and beautiful solution to the singing of the psalms that the 1963 reforms envisioned. Parishes, their cantors, and choirs were well-equipped to sing the psalms when they embarked on the Gelineau psalmody. Gelineau was active in liturgical development from the very time of his ordination in 1951. He taught at the Institut Catholique de Paris and was active in several movements leading toward Vatican II. His influence in the United States as well in Europe (he was one of the founding organizers of Universa Laus, the international church music association) is as far reaching as it is broad. Proof of that is the number of times "My shepherd is the Lord" has been reprinted and reprinted in numerous funeral worship leaflets, collections, and hymnals. His prolific career includes hundreds of compositions ranging from litanies to responsories. His setting of Psalm 106/107, "The Love of the Lord," for assembly, organ, and orchestra premiéred at the 1989 National Association of Pastoral Musicians convention in Long Beach, California. --www.giamusic.com

John L. Bell

b. 1949 Person Name: John L. Bell, b. 1949 Topics: Affirmation of Baptism; Affirmation of Baptism Author of "Take, Oh, Take Me As I Am" in Evangelical Lutheran Worship John Bell (b. 1949) was born in the Scottish town of Kilmarnock in Ayrshire, intending to be a music teacher when he felt the call to the ministry. But in frustration with his classes, he did volunteer work in a deprived neighborhood in London for a time and also served for two years as an associate pastor at the English Reformed Church in Amsterdam. After graduating he worked for five years as a youth pastor for the Church of Scotland, serving a large region that included about 500 churches. He then took a similar position with the Iona Community, and with his colleague Graham Maule, began to broaden the youth ministry to focus on renewal of the church’s worship. His approach soon turned to composing songs within the identifiable traditions of hymnody that began to address concerns missing from the current Scottish hymnal: "I discovered that seldom did our hymns represent the plight of poor people to God. There was nothing that dealt with unemployment, nothing that dealt with living in a multicultural society and feeling disenfranchised. There was nothing about child abuse…,that reflected concern for the developing world, nothing that helped see ourselves as brothers and sisters to those who are suffering from poverty or persecution." [from an interview in Reformed Worship (March 1993)] That concern not only led to writing many songs, but increasingly to introducing them internationally in many conferences, while also gathering songs from around the world. He was convener for the fourth edition of the Church of Scotland’s Church Hymnary (2005), a very different collection from the previous 1973 edition. His books, The Singing Thing and The Singing Thing Too, as well as the many collections of songs and worship resources produced by John Bell—some together with other members of the Iona Community’s “Wild Goose Resource Group,” —are available in North America from GIA Publications. Emily Brink

Simon Browne

1680 - 1732 Person Name: Simon Browne, 1680-1732 Topics: Affirmation of Baptism; Affirmation of Baptism Author of "Come, Gracious Spirit, Heavenly Dove" in Evangelical Lutheran Worship Simon Browne was born at Shepton Mallet, Somersetshire, about 1680. He began to preach as an "Independent" before he was twenty years of age, and was soon after settled at Portsmouth. In 1716, he became pastor in London. In 1723, he met with some misfortunes, which preyed upon his mind, and produced that singular case of monomania, recorded in the text-books of Mental Philosophy; he thought that God had "annihilated in him the thinking substance, and utterly divested him of consciousness." "Notwithstanding," says Toplady, "instead of having no soul, he wrote, reasoned, and prayed as if he had two." He died in 1732. His publications number twenty-three, of which some are still in repute. --Annotations of the Hymnal, Charles Hutchins, M.A., 1872. ================== Browne, Simon. A contemporary of Dr. Watts, born at Shepton Mallet, Somersetshire, cir. 1680, and died in 1732. After studying for the Independent Ministry under the Rev. John Moore, of Bridgewater, he became pastor of an Independent charge in Portsmouth, and then, in 1716, of the Independent-Chapel in Old Jewry, London. His lateryears were clouded by a peculiar malady, under the influence of which "he imagined that God had in a gradual manner annihilated in him the thinking substance, and utterly divested him of consciousness." It is supposed that the death of a highwayman at his hands during a violent struggle, followed by that of his wife and son a short time after, had much to do in producing this sad result. Whilst thus contending that he had no power to think, he produced a work in defence of Christianity, another in defence of the Trinity, a third as an Exposition of the 1st Epistle to the Corinthians, and a fourth in the form of a Dictionary. His publications number over 20. Of these works, he is known to hymnology through his:— Hymns and Spiritual Songs, in Three Books, designed as a Supplement to Dr. Watts, &c, 1720, 2nd edition 1741, 3rd edition 1760. It contains 166 hymns, 7 doxologies, and a Preface of some historical interest. In the old collections Simon Browne's hymns (all of which are from the above collection) held a prominent position, but in modern hymnals they are fast passing out of use. The best known and most widely used are "Come, Holy [gracious] Spirit, Heavenly Dove," "O God, on Thee we all depend," and "Lord, at Thy feet we sinners lie." In addition the following are also in common use:— 1. Eternal God, Almighty Cause. Unity of God. 2. Eternal God, of beings First. God all in all . 3. Frequent the day of God returns. Sunday. 4. Great First of beings, Mighty Lord. Creation. 5. Great God, my joyful thanks to Thee. Thanksgiving. 6. Great God, Thy peerless excellence. Imitation of God. 7. Great Lord of earth and seas and skies. Providence. 8. Great Ruler of the earth and sky. Providence. 9. Hail, Holy Spirit, bright, immortal, Dove. Whitsuntide. 10. Hail, happy day, the [thou] day of holy rest. Sunday. 11. I cannot shun the stroke of death. Death. 12. Lord, Thou art good; all nature shows. Divine Goodness. 13. Lord, what a feeble frame is ours. Frailty of Life. 14. O God, on Thee we all depend. Confidence in God. -- John Julian, Dictionary of Hymnology (1907)

Howard Hughes

b. 1930 Person Name: Howard Hughes, b. 1930 Topics: Affirmation of Baptism Composer of "BAPTIZED IN CHRIST" in With One Voice In his letter of invitation to Brother Howard Hughes, the President of NPM, J. Michael McMahon, declared, “Board Members agreed unanimously that you have created compositions for the liturgy that are beautiful, delightful, and spirited, and that have fostered strong participation by the worshiping assembly as they pray the texts you have set to music.” The Marianist composer’s first published work was “Mass for Peace” which appeared in Peoples Mass Book, 1964 edition, released by World Library Publications. As liturgical celebration developed in the English vernacular following the Second Vatican Council, Brother Howard produced a wide range of liturgical compositions published by WLP, GIA, ICEL, OCP, LTP, CFCW, FDLC, USCC, RP, NPM, Presbyterian Church USA, and The United Methodist Hymnal Companion. And at the age of 81 he is still composing and accepting commissions for special events. A Marianist religious for 64 years, this distinguished liturgical musician and composer began as a high teacher of French and director of high school choral groups. In addition Brother Howard also sang in symphonic choruses in New York and in Baltimore. He commented that “conducting high school choral concerts and singing with adult symphonic choruses have been a great help in learning to write music.” The National Association of Pastoral Musicians will honor Brother Howard Hughes, S.M., as Pastoral Musician of the Year when it gathers for its national convention in Washington, DC, July 29 – August 2, 2012. Currently the awardee serves as organist and music director for the Marianist Center in Cupertino, CA. --http://www.dsj.org/being-catholic/worship

Randall K. Sensmeier

b. 1948 Person Name: Randall Sensmeier, b. 1948 Topics: Affirmation of Baptism Harmonizer of "BUNESSAN" in Hymnal Supplement 1991

J. J. Rambach

1693 - 1735 Person Name: Johann J. Rambach, 1693-1735 Topics: Affirmation of Baptism Author of "Baptized into Your Name Most Holy" in Lutheran Book of Worship Rambach, Johann Jakob, D.D., son of Hans Jakob Rambach, cabinet maker at Halle on the Saale, was born at Halle, Feb. 24, 1693. In 1706 he left school and entered his father's workshop, but, in the autumn of 1707, he dislocated his ankle. During his illness he turned again to his schoolbooks; the desire for learning reawoke; and on his recovery, early in 1708, he entered the Latin school of the Orphanage at Halle (Glaucha). On Oct. 27, 1712, he matriculated at the University of Halle as a student of medicine, but soon turned his attention to theology. He became specially interested in the study of the Old Testament under J. H. Michaelis. In May 1715 he became one of Michaelis's assistants in preparing his edition of the Hebrew Bible, for which he wrote the commentary on Ruth, Esther, Nehemiah, &c. His health began to suffer in the spring of 1719, and he gladly accepted the invitation of Count von Heukel to stay at Polzig, near Ronneburg, where he spent several months. By August he had quite recovered, and went to pay a visit to Jena, where a number of the students asked him to lecture to them. For this purpose he settled at Jena in Oct., 1719, and lived in the house of Professor Buddeus (J. F. Budde). He graduated M.A. in March 1720. In 1723 he was appointed adjunct of the Theological Faculty at Halle, as also inspector of the Orphanage; in 1726 extraordinary professor of theology; and in 1727, after A. H. Francke's death, ordinary professor as well as preacher at the Schulkirche. Here he was very popular, both as preacher and professor, but the jealousy of his colleagues induced him to accept an offer from the Landgrave Ernst Ludwig of Hesse, who, in 1731, invited him to Giessen as superintendent and first professor of theology (before leaving Halle he graduated D.D., June 28, 1731), and in Aug., 1732, appointed him also director of the Paedagogium at Giessen. In 1734 he was, for various reasons, greatly inclined to accept the offer of the first professorship of theology in the newly-founded University of Göttingen, but eventually, at the earnest request of the Landgrave, remained in Giessen, where he died of fever, April 19, 1735 (Die Familie Rambach. By Dr. T. Hansen, Gotha, 1875: Allgemeine Deutsche Biographie, xxvii. 196; Blätter fur Hymnologie, 1883, pp. 113, 129, 145, 163, 186; 1884, p. 20; 1885, p. 13, &c.) Rambach was a voluminous author in various departments of practical theology, e.g. his Institutiones hermeneuticae sacrae, Jena, 1724, which passed through four editions in his lifetime; hisErbauliches Handbüchlein fur Kinder, 1734 (see below), which reached an eighth edition in 1736, and a 14th in 1766; his various volumes of sermons, &c. He justly earned his popularity by the thoroughness of his researches, and the clear and concise way in which he set forth the results of his investigations. It is however as a hymnwriter that his name is likely to be best known. While not entitled to rank with the best hymn-writers of the 16th and 17th centuries, he yet takes a high place among his contemporaries, and deserves to be remembered as much as almost any of the 18th cent, hymnwriters. His style is good and dignified; his thought is profound yet clearly expressed. While his hymns are often sufficiently didactic, they are generally scriptural and churchly in tone, and are characterised by lyric force, lively imagination, and earnest, sober piety. Of hymns, in the strict sense, he wrote over 180, a large number of which passed into the German hymn-books of the 18th cent. (e.g. the Hannover Gesang-Buch, 1740, and Lüneburg Gesang-Buch, 1767, contains 52 by him), and a good many are still found in modern hymn-books. Of these Dr. J. L. Pasig gives 165 in his edition of Rambach's Geistliche Lieder, Leipzig, 1844, and the rest are printed by Hansen as above, while the first lines of the whole are given in the Blätter as above. Four are recasts (practically originals), made for the 11th edition, 1719, of Freylinghausen's Gesang-Buch, to replace similar hymns in the ed. of 1705. The rest principally appeared in the following works by Rambach, viz.: (1) Geistliche Poesien, Halle. 1720 [British Museum] The first part contains 72 cantatas on the Gospels for Sundays and festivals; the second part includes 20 hymns, mostly written at Polzig in 1719. (2) Poetische Fest-Gedancken. Jena and Leipzig, 1723 [Royal Library, Berlin]. Included are 15 pieces which may be called hymns. The second edition of 1727 [Brit. Mus.] has 28 new hymns; and the 3rd ed., 1729 [Gottingen Library], has 22 more. (3) Erbauliches Handbuchlein für Kinder, Giessen, 1734 [Hamburg Library]. The 3rd part contains 8 new hymns. (4) Geistreiches Haus-Gesang-Buch, Frankfurt and Leipzig, 1735 [Hamburg Library], with a preface dated April 10, 1735. This contains 112 hymns by Rambach, of which 58 are practically new, 11 of these, however, being recasts of his own earlier hymns. (5) Wander der bis zum Tode des Kreutzes erniedrigten Liebe, Giessen, 1750 [Berlin Library]. This includes 27 new hymns. Rambach's hymns …which have passed into English are:— i. Auf! Seele, schicke dich. Holy Communion. Written, by request for the eleventh edition, 1719, of Freylinghausen's Gesang-Buch, 1704, as No. 229, in 16 stanzas of 6 lines in order to replace the hymn "Auf, Seele, sey gerüst." This hymn, by George Heine, was included in the Geistreiches Gesang-Buch, Halle, 1697, p. 433. In the second ed., 1771, of the complete book formed by the fusion of pt. i., 1704, and its supplement of 1705 with pt. ii., 1714, of Freylinghausen's Gesang-Buch, both hymns are given, Heine's as No. 524, and Rambach's as No. 522, both marked as being No. 229 in pt. i., 1704. Rambach's hymn is in his Haus Gesang-Buch, 1735, No. 369; the Berlin Geistliche Lieder, ed. 1863, No. 471, &c. In Pasig's edition of his Geistliche Lieder, 1844, p. 112, entitled "Before the reception of Holy Communion." It has been translated as:— My soul prepare to meet. Omitting st. i., 11. 4-6 ; ii., 11. 4-6; vii., xiv., as No. 570 in the Moravian Hymn Book, 1789 (1849, No. 966). In the edition of 1886, No. 979 begins with st. iv., "How should I, slaughtered Lamb"; and No. 1012 with st. xi., "Lord, of Thy wondrous love." ii. Mein Jesu, der du vor dem Scheiden. Holy Communion. Appeared in Freylinghausen's Gesang-Buch, 11th ed., 1719, as No. 238, in 9 st. of 6 1. It was written to replace the hymn "Mein Jesn, hier sind deine Brüder" (Geistreiches Gesang-Buch, Halle, 1697, p. 363), in the first edition of Freylinghausen's Gesang-Buch. It is in his Haus Gesang-Buch, 1735, No. 365; the Berlin Geistliche Lieder, ed. 1863, No. 1601; and in Pasig, 1844, p. 110, entitled, "On the treasures of Grace in Holy Communion." The translations are:— 1. Lord Jesus, Who before Thy passion. Omitting st. ix., this is No. 1181 in the Supplement of 1808 to the Moravian Hymn Book, 1801 (1886, No. 963). 2. 0 Lord, Who on that last sad eve. A good translation omitting st. ix., by Miss Cox, contributed to Lyra Eucharistica, 1863, p. 15, and repeated in her Hymns from the German, 1864, p. 75. Included, omitting st. iii., in G. S. Jellicoe's Collection, 1867. iii. 0 Lehrer, dem kein Andrer gleich. Christ our Prophet. In his Haus Gesang-Buch1735, No. 107, in 8 st. of 6 1., entitled, "On the prophetical office of Jesus Christ." Repeated in the Berlin Geistliche Lieder, ed. 1863, No. 118, and in Pasig, 1844, p. 51. Translated as:— Surely none like Thee can teach. By Miss Fry, in 102 lines, in her Hymns of the Reformation,1845, p. 126. A recast in 3 st. of 8 1., beginning, "Saviour, none like Thee can teach," was included in J. Whittemore's Supplement to all Hymn Books, 1860, No. 263, and repeated in the Methodist New Congregational Hymn Book, 1863, No. 62. iv. Wie herrlich ists ein Schäflein Christi werden. Joy in Believing. In his Poetiche Fest-Gedancken, 2nd ed. 1727, p. 131, in 6 st. of 6 l., entitled, "The Blessedness of the Sheep of Christ. John x. 28, ‘I give my sheep eternal life.'" In his Haus Gesang-Buch 1735, No. 325; the Berlin Geistliche Lieder, ed. 1863, No. 645; and Pasig, 1844, p. 139. Translated as:— How great the bliss to be a sheep of Jesus. A translation of st. i., ii., v., by C. J. Latrobe, as No. 293, in the Moravian Hymn Book, 1789 (1886, No. 385). Hymns not in English common use:— v. Allwissender, vollkommner Geist. The Omniscient One. In his Haus Gesang-Buch, 1735, No. 12, in 6 stanzas; the Berlin Geistliche Lieder, ed. 1863; and in Pasig, p. 8. Translated as, "Thou Spirit, perfect and allwise." By Dr. H. Mills, 1856, p. 11. vi. Frommes Lamm, von was für Hunden. Passiontide. In his Poetische Fest-Gedancken, 2nd ed., 1727, p. 49, in 8 st. In his Haus Gesang-Buch, 1735, No. 151, it begins, "Frommes Lamm, durch dessen Wunden." Also in Pasig, p. 67. Translated as, "Great Thy sorrows, injur'd Jesus." By Dr. H. Mills, 1845 (1856, p. 297). vii. Gesetz und Evangelium, Law and Gospel. In his Haus Gesang-Buch, 1735, No. 356, in 10 st.; the Berlin Geistliche Lieder, ed. 1863; and Pasig, p. 105. Translated as, "The holy law and gospel, both." By Dr. II. Mills, 1845 (1856, p. 27.) viii. Herr, du hast nach dem Fall. Before Work. In his Haus Gesang-Buch, 1735, No. 565, in 4 st.; and Pasig, p. 150. In the Berlin Gesang-Buch, 1765, No. 206, it is altered (probably by J. S. Diterich), and begins "Du hast uns, Heir die Pflicht." This is translated as, “Lord, Thou hast bid us labour, bid us toil." By Miss Warner, 1858, p. 230. ix. Hier bin ich Herr, du rufest mir. Christian Work. In his Haus Gesang-Buch, 1735, No. 269, in 6 st.; the Württemberg Gesang-Buch, 1842, No. 306; and Pasig, p. 119. The translations are (1) "Here am I, Lord, Thou callest me, Thou drawest me." By Miss Warner, 1858, p. 209. (2) "Here am I, Lord, Thou callest me, Thou drawest and." By Mrs. Findlater, in Hymns from the Land of Luther, 4th series, 1862. x. Höchste Vollkommenheit, reineste Sonne. God's Majesty . Written for the 11th ed., 1719, of Freylinghausen's Gesang-Buch, No. 170 (in 20 st.), to replace an anonymous hymn in the first edition, 1704, which began "Höchste Vollkommenheit, alles in Einem." In his Haus Gesang-Buch 1735, No. 8, Rambach reduced it to 12 st., and rewrote it to an easier metre, so as to begin "Höchstes Wesen, reinste Sonne." Both forms are in Pasig, pp. 3-6. Translated as "If Heav'ns and Earths there were innumerable," a tr. of st. iii., viii., xi., xv., xvii., xix., xx., as No. 672, in pt. i. of the Moravian Hymn Book, 1754. xi. O grosser Geist, dess Wesen Alles füllet. The Omnipresent One. In his Geistliche Poesien, 1720, p. 330, in 9 st.; his Haus Gesang-Buch, 1735, No. 13; the Württemberg Gesang-Buch, 1842, No. 44 ; and Pasig, p. 7. Translated as, “Eternal God, Thy dwelling-place." By Dr. G. Walker, 1860, p. 73. xii. 0 grosser Geist! O Ursprung aller Dinge. God's Holiness. In his Geistliche Poesien, 1729, p. 327, in 9 st.; his Haus Gesang-Buch, 1735, No. 19; and Pasig, p. 15. Translated as, "O mighty Spirit! Source whence all things sprung." By Miss Winkworth, 1858, p. 153. xiii. Verklärte Majestät, anbetungs-würdigst Wesen. God's Majesty. Founded on 1 Tim. vi. 15, 16. In his Geistliche Poesien, 1720, p. 303, in 11 st.; his Haus Gesang-Buch, 1735, No. 7; and Pasig, p. 2. The form translation is "Anbetungswürdger Gott," a recast (probablv by J. S. Diterich), which is No. l in the Berlin Gesang-Buch 1765, and No. 5 in the Berlin Geistliche Lieder, ed. 1863. Translated as, "Dread Majesty above." By Dr. H. Mills, 1845 (1856, p. 8). xiv. Wirf, blöder Sinn, den Kummer hin. Christmas. In his Haus Gesang-Buch, 1735, No. 129, in 6 st. (founded on Rom. viii. 31, 32). In Pasig, p. 6, and the Unverfälschter Liedersegen 1851, No. 60. Translated as, "Throw, soul, I say, thy fears away." By Miss Manington, 1864, p. 28. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology (1907

Friedrich Silcher

1789 - 1860 Person Name: Friedrich Silcher, 1789-1860 Topics: Affirmation of Baptism; Affirmation of Baptism Composer of "SO NIMM DENN MEINE HÄNDE" in Evangelical Lutheran Worship

Heinrich Held

1620 - 1659 Person Name: Heinrich Held, d. c. 1659 Topics: Affirmation of Baptism Author of "Come, Oh, Come, O Quickening Spirit" in Lutheran Book of Worship Held, Heinrich, was son of Valentin Held of Guhrau, Silesia. He studied at the Universities of Königsberg (c. 1637-40), Frankfurt a. Oder (1643), and Leyden. He was also in residence at Rostock in 1647. He became a licentiate of law, and settled as a lawyer in his native place, where he died about 1659, or at least before Michaelmas, 1661 (Koch, iii. 55-56; Allgemeine Deutsche Biographie., xi. 680; Bode, p. 87, &c). One of the best Silesian hymnwriters, he was taught in the school of affliction, having many trials to suffer in those times of war. His only extant poetical work is his Deutscher Gedichte Vortrab, Frankfurt a. Oder, 1643. Only one hymn from that volume came into German use. Much more important are his other hymns, which are known to us through Crüger's Praxis, and other hymnbooks of the period. Mützell, 1858, includes Nos. 254-272 under his name. Two of his hymns have been translated into English:— i. Gott sei Dank durch alle Welt. Advent. Mützell, 1858, No. 263, quotes this in 9 st. of 4 1. from a defective ed. of Crüger's Praxis, c. 1659. In the ed. of 1661 it is No. 85, marked Henr. Helt. Since then it has appeared in almost all German hymnbooks (as in the Berlin Geistliche Lieder, ed. 1863, No. 132), and takes rank as one of the finest Advent Hymns. Translated as :— 1. All the World exalt the Lord, omitting st. vi. in Select Hymns from German Psalter, Tranquebar, 1754, p. 4, and the Supplement to German Psalter, ed. 1765, p. 1. In 1789, the translations of st. i., ii., iv., vii., ix. (altered) were included as No. 34 in the Moravian Hymn Book In the ed. of 1801 it was altered to "All the world give praises due" (ed. 1886, No. 44), and this text has been repeated in Dr. Pagenstecher's Collection, 1864, and Willing's Book of Common Praise, 1872. 2. Be our God with thanks adored. A translation of st. i.-iv. by A. T. Russell in his Psalms & Hymns, 1851. 3. Let the earth now praise the Lord. A good translation, omitting st. vii., by Miss Winkworth in her Chorale Book for England, 1863. Repeated in full in Schaff's Christ in Song, 1869, and, abridged, in the American Pennsylvania Lutheran Ch. Book, 1868, and Baptist Service of Song, 1871. ii. Komm, o Komm, du Geist des Lebens. Whitsuntide. A fine hymn of Invocation to the Holy Spirit. Mützell, 1858, No. 267, quotes it in 9 st. of 6 1. from a defective edition of Crüger's Praxis published at Stettin c. 1664. In J. Niedling's Geistliche Wasserquelle, Frankfurt a. Oder, 1667, it is at p. 372 marked "H. Held" (not in Niedling's ed. 1663). In Luppius's Andächtig singender Christen Mund, 1692, p. 71, it is entitled "Devout Prayer and Hymn to God the Holy Ghost." Repeated in Freylinghausen's Gesang-Buch, 1704, and many subsequent hymnbooks, as in the Berlin Geistliche Lieder, ed. 1863, No. 363. It is sometimes erroneously ascribed to Joachim Neander. The translations in common use are:— 1. Holy Spirit, once again. A full and good translation by Miss Winkworth in the 2nd Ser., 1858, of her Lyra Germanica, p. 53. Included in full in the Cantate Domino, Boston, U.S.A., 1859. In Miss Wink worth's Chorale Book for England, 1863, st. ii., vi., vii. are omitted. This form of the text is repeated in W. F. Stevenson's Hymns for Church & Home, 1873, Hatfield's Church Hymn Book, 1872, &c. In the Hymnal for St. John's, Aberdeen, 1865, it begins "Holy Spirit, in us reign." 2. Come, oh come, Thou quickening Spirit, True, &c. A translation of st. i., ii., iv., vii., ix. in Dr. Pagenstecher's Collection, 1864, No. 98, signed E. T. L. 3. Come, 0 come, Thou quickening Spirit, Thou for ever. A good tr., omitting st. iv.-vi. in the Pennsylvania Lutheran Church Book, 1868, and marked as tr. by "Charles William Schaeffer, 1866." [Lutheran Pastor at Germantown.] 4. Come, 0 come, Thou quickening Spirit, God from all eternity, omitting st. iii., by E. Cronenwett, in the Ohio Lutheran Hymnal, 1880. Another translation is, "Come, Thou Spirit ever living," by R. Massie in the British Herald, Dec, 1865, p. 179. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology (1907) ======================= Held, Heinrich , p. 507, ii. The account given in the Fischer-Tumpel Deutsche evangelische Kirchenlied des siebzehnten Jahrhun-derts , vol. i., 1904, p. 360, states that Held was born July 21, 1620, at Guhrau, in Silesia, settled as advocate at Fraustadt in Posen, became in 1657 town clerk at Altdamm, near Stettin, and died Aug. 16, 1659, at Stettin. This, if correct, explains why so many of his hymns are first traceable in Pomeranian books, and explains why his posthumous work on Prosody should have been prepared for publication in 1661 by a Stargard bookseller. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology, New Supplement (1907)

Richard Hillert

1923 - 2010 Person Name: Richard Hillert, b. 1923 Topics: Affirmation of Baptism Composer of "[Lord Jesus, from your wounded side]" in Hymnal Supplement 1991 Richard Hillert was born in Granton, Clark County, Wis., on March 14, 1923. There he attended parochial and public schools and later enrolled at Concordia Teachers College (now Concordia University Chicago), River Forest, where he received the Bachelor of Science degree in Education. He served as teacher and music director for parishes in St. Louis, Mo., Wausau, Wis., and Chicago and Westchester, Ill. He received both the Master of Music and the Doctor of Music degrees in composition from Northwestern University, Evanston, Ill. His teachers included Matthew Nathaniel Lundquist, Anthony Donato, Alan Stout, Arrand Parsons, Emil Nolte, and John Ohl. He studied composition with the Italian composer, Goffredo Petrassi, at Aaron Copland’s Berkshire Music Center, Tanglewood, Mass. Richard Hillert was a noted Lutheran composer. He was Distinguished Professor of Music Emeritus at Concordia University Chicago, River Forest, Ill. He was best known for his work as a composer and teacher of composition. Among his most frequently performed liturgical works for congregation is Worthy Is Christ, with its antiphon, “This is the Feast of Victory” which was written as an alternate Song of Praise for inclusion in Setting One of the Holy Communion in Lutheran Book of Worship (1978) and Lutheran Worship (1982). "This is the Feast" is now widely published in more than 20 recent worship books of many denominations, most recently in Lutheran Service Book (2006) and Evangelical Lutheran Worship (2006). Other major liturgical works include a setting of Evening Prayer (1984) and a Eucharistic Festival Liturgy (1983), which was first performed at Holy Name Cathedral in Chicago. He wrote liturgical pieces and hymns and served as music editor for Worship Supplement(1969) and Lutheran Book of Worship (1978). His compositions and publications include an array of pieces of liturgical music for congregation, choral motets, hymns and hymn anthems, psalm settings and organ works, concertatos, and cantatas, including settings of The Christmas Story According to Saint Luke and The Passion According to Saint John. He edited eleven volumes of the Concordia Hymn Prelude Series. Hillert's career as Professor of Music at Concordia (now Concordia University Chicago) spanned four decades, from 1959 to 1993. During this time he taught classes in music theory and composition, music literature, 20th century music, orchestration, keyboard instruction, comparative arts and liturgical worship. He served in various capacities in the music department, as chair in 1964-65 and from 1986–89, as coordinator of the Master of Church Music program, and as associate editor of the journal Church Music (1966–80). Non-liturgical compositions include symphonic works for orchestra (Symphony in Three Movements, Variations for Orchestra, Suite for Strings), chamber works for small orchestra and ensembles (Alternations for Seven Instruments, Divertimento I and II) as well as many works for keyboard, instrumental solos and songs. The latter include Sonata for Piano (1961), a violin sonata, and two sonatas for flute and keyboard. Major organ works include Prelude and Toccata, Ricercata, Passacaglia on Innocent Sounds, Partita on Picardy, and Partita on Atkinson. There are also concert works with sacred texts, such as Five Canticles from the Exodus (1958), Te Deum for two pianos, percussion, and wind instruments (1962), The Alleluiatic Sequence (1980), and Seven Psalms of Grace for baritone solo and chamber orchestra (1998). Extended choral works, many written for Concordia’s Kapelle conducted by Thomas Gieschen, include the Cantata: "May God Bestow on Us His Grace" (1964), "Motet for the Day of Pentecost" for choir, vibraphone, and prepared electronic tape (written for the round-the-world tour in 1969), "Motet for the Time of Easter" for double choir, percussion, and harp (1971), and "Agnus Dei" for three choirs and percussion instruments (1974). Richard Hillert authored numerous scholarly articles and reviews for the periodicals such as Church Music, CrossAccent, and Currents in Theology and Mission, and other professional books and journals. He received an honorary Doctor of Sacred Music degree from Valparaiso University, and honorary Doctor of Letters degrees from Concordia University at Seward, Nebraska, and Concordia Seminary, St. Louis. He was an honorary life member of the Association of Lutheran Church Musicians. His former students throughout the land have careers as practicing church musicians, elementary and secondary school teachers, teachers in higher education, music editors and publishers, and composers. Richard Hillert was married to Gloria Bonnin Hillert. They had three children: Kathryn Brewer, Virginia and Jonathan Hillert. --en.wikipedia.org

Julie von Hausmann

1825 - 1901 Person Name: Julie von Hausmann, 1825-1901 Topics: Affirmation of Baptism; Affirmation of Baptism Author of "Lord, Take My Hand and Lead Me" in Evangelical Lutheran Worship Julie Katharina von Hausmann (born 7 March [O.S. 19 March] 1826 in Riga; died 2 August [O.S. 15 August] 1901 in Võsu, Estonia) was a Baltic German poet, known for the hymn Lord, Take My Hand and Lead Me (German: So nimm denn meine Hände) with a melody by Friedrich Silcher. Earlier translations had been made by Herman Brueckner as "O take my hand, dear Father" and Elmer Leon Jorgenson as "Take Thou My Hand, and Lead Me." The hymn has also been translated by Martha D. Lange, whose version appears in the Great Songs of the Church Revised (1986). Julie Hausmann was the daughter of a teacher. She worked for a while as a governess, but due to her ill health she lived with and cared for her father, who had gone blind. After his death in 1864, she lived with her sisters in Germany, Southern France and St. Petersburg, Russia. She died during a summer vacation in Estonia. A legend circulates that Hausmann wrote her most famous poem "So nimm denn meine Hände" after journeying to see her fiancé at a mission and, on arriving, finding that he had just died. Various explorations of her biography have yet to confirm or deny the rumor. She never married. Her poetry was published by others, including Gustav Knak without mentioning her name, at her request. Maiblumen. Lieder einer Stillen im Lande.(May flowers) 2 volumes, 1862 (6th edition around 1880: Front cover Vol. 1) Bilder aus dem Leben der Nacht im Lichte des Evangeliums. 1868 Hausbrot. Schlichte Morgen- und Abend-Andachten. 1899 Blumen aus Gottes Garten. Lieder und Gedichte. 1902 (posthumous collection) --en.wikipedia.org/wiki/

Michael Saward

1932 - 2015 Person Name: Michael Saward, b. 1932 Topics: Affirmation of Baptism Author of "Baptized in Water" in With One Voice Michael John Saward (b. Blackheath, Kent, England, 1932) was residentiary Canon of St. Paul's Cathedral, London, and a church commissioner and member of the general synod of the Church of England. Educated at Eltham College, Bristol University, and Tyndale Hall, he was ordained in the Church of England in 1956. Saward served in several congregations and was radio and television officer for the Church Information Office (1967-1972). His publications include Leisure (1963), Couldn’t Care Less (1966), Don't Miss the Party (1974), and All Change (1983). Associated with the Jubilate Group for a number of years, he has written some sixty hymns and served as text editor for Hymns for Today's Church (1982). Bert Polman

Communauté de Taizé

Person Name: Taizé Community Topics: Affirmation of Baptism Author of "Veni Sancte Spiritus" in Hymnal Supplement 1991

Bartholomäus Gesius

1555 - 1613 Person Name: Bartholomäus Gesius, 1555-1613 Topics: Affirmation of Baptism; Affirmation of Baptism Composer of "MACHS MIT MIR, GOTT" in Evangelical Lutheran Worship Bartholomaeus Gesius; b. 1555, Muencheberg, near Frankfort; d. 1613 or 14, Wittenberg Evangelical Lutheran Hymnal, 1908

Doris Akers

1923 - 1995 Person Name: Doris M. Akers, b. 1922 Topics: Affirmation of Baptism Author of "Lead Me, Guide Me" in Hymnal Supplement 1991 Doris Mae Akers USA 1923-1995. Born at Brookfield, MO, one of nine siblings, her (inter-racial) parents divorced when she was age three. She then lived with her mother, who remarried when she was age six. They lived in Kirksville, MO. Some of her brothers lived with her father after the divorce. The family attended the Bethel AME Church in Kirksville, where she learned to play piano by ear at age six. She wrote her first song at age 10. In the 1930s she formed a singing gospel group with siblings, Edward, Marian, and Donald, who went by the name ‘Dot and the Swingsters’. Early in her career (1938) she moved to Los Angeles, CA. There she became known for her work with the ‘Sky Pilot Choir’, an integrated group that made recordings and appeared on Radio and TV across the country. Her fresh, modern arrangements of traditional negro spirituals drew large crowds from far and near, and increased her church’s attendance dramatically. Her choir group released three record albums. She recorded solos in 1963 and also collaborated with the Statemen Quartet in 1964. She ended working with the choir in 1965, but reunited with it again in 1974 to make a 4th recording for RCA Victor. In 1970 she moved to Columbus, OH, where she continued composing, recording, and traveling. In the 1980s she released a new gospel album each year on a regional Midwest label. She also released a few albums in Canada (not distributed in the U S). In the 1990s she began recording for the Gaither label and appeared in some of their TV productions and concerts. She was affectionately known as ‘Miss Gospel Music’, respected and admired by everyone in the gospel music business. By this time, she had mastered vocalization, keyboards, choir directing, arranging, composing, and publishing. She worked with many of the early pioneers in gospel music and authored gospel compositions, some selling millions of records for other performers and evangelists. In her final years she was Minister of Music at Grace Temple Deliverance Center, Minneapolis, MN. In 1994 she broke her ankle, and also discovered she had spinal cancer. She died at Edina, MN. She never married. She wrote 500+ songs. She received many awards over the years, including ‘Gospel Music Composer of the Year’ (for both years 1960 and 1961). In 1976, the city of Kirksville, MO, held “Doris Akers’ Day’, featuring her as the headline act, as part of the bicentennial celebration. Over 20,000 attended the celebration there. In 1992 she was honored by the Smithsonian Institution as ‘The Foremost Gospel Writer in the U S’. Her works include eight collections of music. In 2001 she was inducted into the Gospel Music Hall of Fame. In 2011 she was inducted into the Southern Gospel Music Hall of Fame. John Perry

John Ylvisaker

1937 - 2017 Person Name: John Ylvisaker, b. 1937 Topics: Affirmation of Baptism Author of "We Were Baptized in Christ Jesus" in With One Voice

Jacques Berthier

1923 - 1994 Person Name: Jacques Berthier, b. 1923 Topics: Affirmation of Baptism Composer of "[Veni, Sancte Spiritus]" in Hymnal Supplement 1991 Jacques Berthier (b. Auxerre, Burgundy, June 27, 1923; d. June 27, 1994) A son of musical parents, Berthier studied music at the Ecole Cesar Franck in Paris. From 1961 until his death he served as organist at St. Ignace Church, Paris. Although his published works include numerous compositions for organ, voice, and instruments, Berthier is best known as the composer of service music for the Taizé community near Cluny, Burgundy. Influenced by the French liturgist and church musician Joseph Gelineau, Berthier began writing songs for equal voices in 1955 for the services of the then nascent community of twenty brothers at Taizé. As the Taizé community grew, Berthier continued to compose most of the mini-hymns, canons, and various associated instrumental arrangements, which are now universally known as the Taizé repertoire. In the past two decades this repertoire has become widely used in North American church music in both Roman Catholic and Protestant traditions. Bert Polman

Charles William Schaeffer

1813 - 1896 Person Name: Charles W. Schaeffer, 1813-1896 Topics: Affirmation of Baptism; Affirmation of Baptism Translator of "Come, Follow Me, the Savior Spake" in Evangelical Lutheran Worship

Richard Webb

b. 1958 Person Name: Richard Webb, b. 1958 Topics: Affirmation of Baptism Arranger (alt. arr.) of "BUNESSAN" in With One Voice

Dan Damon

b. 1955 Person Name: Daniel Charles Damon Topics: Response; Baptism; Celebration of Ministries; Christian Year Epiphany; Christian Year Pentecost; Confirmation; Covenanting; Discernment; Discipleship; Justice; Renewal of Baptismal Vows; Service Music Response / Affirmation; Service Music Sending Forth; Trinity; Trust Author of "I Have Called You by Your Name (Te sais...je t'ai appelé(e) par ton nom)" in More Voices Daniel Charles Damon (b. 1955) is an internationally published writer of hymn texts and tunes and is Associate Editor of Hymnody for Hope Publishing Company, Carol Stream, Illinois. Damon is also a jazz pianist and has played in many hotels and clubs in the San Francisco Bay area. He holds degrees from Greenville College, Greenville, Illinois (BME, 1977) and Pacific School of Religion, Berkeley, California (MDiv, 1987). He is an ordained Elder in the United Methodist Church in the San Francisco Bay area and a life member of the Hymn Society in the United States and Canada. Several single-author collections of Damon's hymns have been published: Faith Will Sing (Carol Stream, 1993), The Sound of Welcome (Carol Stream, 1998), To the Thirsty World (Nashville, 2002), Fields of Mercy (Carol Stream, 2007), and Garden of Joy (Carol Stream, 2011). He collaborated with text writer Gracia Grindal in A Treasury of Faith: Lectionary Hymns Series A (Colfax. 2012). Damon's hymns have been included in several major hymnals and supplements. He has also written hymn translations from Vietnamese, Portuguese, and Shona languages, and, with Patrick Matsikenyiri, edited Njalo, A Collection of 16 Hymns in the African Tradition (Nashville, 1996). He has released three recordings of hymns, carols, and traditional songs, and a solo piano recording of jazz standards (available at www.damonstuneshop.com). Damon has presented his work at national conferences of the Hymn Society in the United States and Canada and the Fellowship of United Methodists in Music and Worship Arts. He is a contributor to the Canterbury Dictionary of Hymnology. In 2016, Damon was made a Fellow of the hymn Society, the highest honor The Hymn Society can confer. Dan Damon

B. Wayne Bisbee

b. 1934 Person Name: B. Wayne Bisbee, b. 1934 Topics: Affirmation of Baptism Arranger of "BUNESSAN" in With One Voice

John W. Arthur

1922 - 1980 Person Name: John W. Arthur, 1922-1980 Topics: Affirmation of Baptism Author of "Spirit of God, Unleashed on Earth" in Lutheran Book of Worship

Carolyn Jennings

b. 1936 Person Name: Carolyn Jennings, b. 1936 Topics: Affirmation of Baptism; Affirmation of Baptism Composer of "NORWICH" in Evangelical Lutheran Worship Carolyn Jennings (born August 16, 1936) is a Professor Emerita of Music at St. Olaf College where she taught for many years and also served in administrative roles, including Chair of the Music Department and Associate Dean for the Fine Arts. Carolyn Jennings is a graduate of the University of Iowa with a Bachelor of Arts degree in music magna cum laude and the University of Michigan where she received her Master of Music degree as a Woodrow Wilson Fellow. She also served as a church musician for over thirty years, at St. John's Lutheran Church in Northfield, Minnesota. Over many years she has served on arts advisory panels, as a workshop presenter, and in leadership roles in several professional organizations. She has been active in promoting the use of inclusive language in texts for singing, and has worked to heighten awareness of how language shapes as well as expresses thought. Her compositions and arrangements include works for voices, orchestra, and piano. She particularly enjoys composing for voices. Among her many commissioned works are a children's musical, a choral song cycle, a composition for the Minnesota Aids Quilt Songbook, and many compositions for church, school and community choirs. She has received major grants from the Composers Commissioning Program through the Minnesota Composers Forum. Choral compositions and arrangements by Carolyn Jennings are widely sung by church, community, college and school choirs. Her publications include over a hundred choral compositions and arrangements, a number of text translations, contributions to several hymnals, and articles for professional journals. She has been active in the American Choral Directors Association, the Music Teachers National Association, the Minnesota Composers Forum, the Association of Lutheran Church Musicians, and as a guest conductor and workshop leader. --apimusic.org/composers

Madeleine Forell Marshall

b. 1946 Person Name: Madeleine Forell Marshall, b. 1946 Topics: Affirmation of Baptism Translator of "You Have Come Down to the Lakeshore " in With One Voice

Ernest Edwin Ryden

1886 - 1981 Person Name: Ernest E. Ryden, 1886-1981 Topics: Affirmation of Baptism Author of "Eternal God, before Your Thone" in Lutheran Book of Worship Ernest Edwin Ryden is a distinguished Lutheran clergyman who has been a life-long student of hymns. At present he is pastor of Emanuel Lutheran Church in North Grosvenordale, Connecticut. This is the latest of a long series of services he has rendered in the Lutheran Church. For twenty-seven years he was editor of "The Lutheran Companion," the official organ of the former Augustana Lutheran Church. His contributions to hymnody were many. He was a member of the Committee which created the Augustana Hymnal of 1925 to which he contributed eight original hymns and translations. He was co-editor of the Junior Hymnal for which he wrote a number of hymns. He was secretary of the committee which prepared the Service Book and Hymnal. Here again he has contributed new hymns and translations. He is the author of two volumes, "The Story of Our Hymns," and "The Story of Christian Hymnody." In 1949 he was made a Knight of the Royal Order of the North Star by the King of Sweden for his work in the field of hymnological research. He is the author of one of the Children's Hymns published by the Hymn Society. ----Twelve New Lord’s Day Hymns, 1968. Used by permission. ============================== In 1948 [Ryden] was one of the official representatives of his Church at the constituting Assembly of the World Council of Churches in Amsterdam. --Twelve New Hymns for Children, 1965. Used by permission.

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