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Hymnals

Published hymn books and other collections

Christian Worship (2008)

Publication Date: 2008 Publisher: Northwestern Pub. House Publication Place: Milwaukee Editors: Wisconsin Evangelical Lutheran Synod

We Walk by Faith and Not by Sight

Author: Henry Alford, 1810-1871 Meter: 8.6.8.6 Appears in 72 hymnals Lyrics: 1 We walk by faith and not by sight; No gracious words we hear From him who spoke as none e’er spoke, But we believe him near. 2 We may not touch his hands and side Nor follow where he trod, But in his promise we rejoice And cry, “My Lord and God!” 3 Help then, O Lord, our unbelief, And may our faith abound To call on you when you are near And seek where you are found. 4 For you, O resurrected Lord, Are found in means divine: Beneath the water and the Word, Beneath the bread and wine. 5 Lord, when our life of faith is done, In realms of clearer light, We may behold you as you are With full and endless sight. Topics: Faith Used With Tune: SHANTI

Christ Jesus Lay in Death's Strong Bands

Author: Martin Luther, 1483-1546; Richard Massie, 1800-1887 Meter: 8.7.8.7.7.8.7.4.4 Appears in 55 hymnals First Line: Christ Jesus lay in death's strong bonds Lyrics: 1 Christ Jesus lay in death’s strong bands For our offenses given; But now at God’s right hand he stands And brings us life from heaven. Therefore let us joyful be And sing to God right thankfully Loud songs of alleluia! Alleluia! Alleluia! 2 No son of man could conquer death, Such ruin sin had wrought us. No innocence was found on earth, And therefore death had brought us Into bondage from of old And ever grew more strong and bold And held us as its captive. Alleluia! Alleluia! 3 Christ Jesus, God’s own Son, came down, His people to deliver; Destroying sin, he took the crown From death’s pale brow forever. Stripped of pow’r, no more it reigns; An empty form alone remains; Its sting is lost forever. Alleluia! Alleluia! 4 It was a strange and dreadful strife When life and death contended. The victory remained with life; The reign of death was ended. Holy Scripture plainly says That death is swallowed up by death; Its sting is lost forever. Alleluia! Alleluia! 5 Here the true Paschal Lamb we see, Whom God so freely gave us; He died on the accursed tree— So strong his love—to save us. See, his blood now marks our door; Faith points to it; death passes o’er, And Satan cannot harm us. Alleluia! Alleluia! 6 So let us keep the festival To which the Lord invites us; Christ is himself the joy of all, The sun that warms and lights us. Now his grace to us imparts Eternal sunshine to our hearts; The night of sin is ended. Alleluia! Alleluia! 7 Then let us feast this Easter Day On Christ, the bread of heaven; The Word of grace has purged away The old and evil leaven. Christ alone our souls will feed; He is our meat and drink indeed; Faith lives upon no other! Alleluia! Alleluia! Topics: Easter Used With Tune: NORTHRIDGE

Christ, the Lord of Hosts, Unshaken

Author: Peter M. Prange, b. 1972 Meter: 8.7.8.7.8.7 Appears in 3 hymnals First Line: Christ, the Lord of hosts unshaken Topics: St. Michael and All Angels Used With Tune: FORTUNATUS NEW

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Tunes

Tune authorities

FOUNDATION

Meter: 11.11.11.11 Appears in 412 hymnals Tune Sources: Traditional American melody; Caldwell's Union Harmony, 1837 Tune Key: G Major Incipit: 56161 51131 35561 Used With Text: How Firm a Foundation

HOUSTON

Meter: 10.7.10.8 with refrain Appears in 39 hymnals Composer and/or Arranger: Kathleen Thomerson, b. 1934 Tune Key: C Major Incipit: 13455 56545 1345 Used With Text: I Want to Walk as a Child of the Light

HELMSLEY

Meter: 8.7.8.7.12.7 Appears in 87 hymnals Composer and/or Arranger: Thomas Olivers, 1725-1799; Ralph Vaughan Williams, 1872-1958 Tune Key: G Major Incipit: 13517 65671 65435 Used With Text: Lo! He Comes with Clouds Descending

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Instances

Published text-tune combinations (hymns) from specific hymnals

Zion, at Your Shining Gates

Author: Benjamin H. Kennedy, 1804-1889; Michael Schultz, b. 1963 Hymnal: CWS2008 #701 (2008) Meter: 7.7.7.7 Lyrics: 1 Zion, at your shining gates, See, the King of glory waits; Haste your monarch now to greet, Spread your palms before his feet. 2 [Text copyrigthed] 3 Come and give us peace within, Loose us from the bands of sin, Take away the heavy weight Laid on us by greed and hate. 4 Give us grace your yoke to wear, Give us strength your cross to bear, Make us yours in deed and word, Yours in heart and life, O Lord. 5 So when you shall come again, Lord of angels and of men, We with all your saints shall sing Loud hosannas to our King. Topics: Advent Languages: English Tune Title: COVENANT CHURCH

Prepare the Royal Highway

Author: F. M. Franzen, 1772-1847 Hymnal: CWS2008 #702 (2008) Meter: 7.6.7.6.7.7 with refrain Topics: Advent Languages: English Tune Title: BEREDEN VÄG FÖR HERRAN

My Soul in Stillness Waits

Hymnal: CWS2008 #703 (2008) Meter: 11.10.11 with refrain First Line: O Lord, of Light, our only hope of glory Refrain First Line: For you, O Lord, my soul in stillness waits Topics: Advent Languages: English Tune Title: MY SOUL IN STILLNESS WAITS

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People

Authors, composers, editors, etc.

Bernard, of Cluny

1100 - 1199 Person Name: Bernard of Cluny, 12th century Hymnal Number: 728 Author of "Jerusalem the Golden" in Christian Worship (2008) Bernard of Morlaix, or of Cluny, for he is equally well known by both titles, was an Englishman by extraction, both his parents being natives of this country. He was b., however, in France very early in the 12th cent, at Morlaix, Bretagne. Little or nothing is known of his life, beyond the fact that he entered the Abbey of Cluny, of which at that time Peter the Venerable, who filled the post from 1122 to 1156, was the head. There, so far as we know, he spent his whole after-life, and there he probably died, though the exact date of his death, as well as of his birth is unrecorded. The Abbey of Cluny was at that period at the zenith of its wealth and fame. Its buildings, especially its church (which was unequalled by any in France); the services therein, renowned for the elaborate order of their ritual; and its community, the most numerous of any like institution, gave it a position and an influence, such as no other monastery, perhaps, ever reached. Everything about it was splendid, almost luxurious. It was amid such surroundings that Bernard of Cluny spent his leisure hours in composing that wondrous satire against the vices and follies of his age, which has supplied—and it is the only satire that ever did so—some of the most widely known and admired hymns to the Church of today. His poem De Contemptu Mundi remains as an imperishable monument of an author of whom we know little besides except his name, and that a name overshadowed in his own day and in ours by his more illustrious contemporary and namesake, the saintly Abbot of Clairvaux. The poem itself consists of about 3000 lines in a meter which is technically known as Leonini Cristati Trilices Dactylici, or more familiarly—to use Dr. Neale's description in his Mediaeval Hymns, p. 69—" it is a dactylic hexameter, divided into three parts, between which a caesura is inadmissible. The hexameter has a tailed rhyme, and feminine leonine rhyme between the two first clauses, thus :— " Tune nova gloria, pectora sobria, clarificabit: Solvit enigmata, veraque sabbata, continuabit, Patria luminis, inscia turbinis, inscia litis, Cive replebitur, amplificabitur Israelitis." The difficulty of writing at all, much more of writing a poem of such length in a metre of this description, will be as apparent to all readers of it, as it was to the writer himself, who attributes his successful accomplishment of his task entirely to the direct inspiration of the Spirit of God. "Non ego arroganter," he says in his preface, "sed omnino humiliter, et ob id audenter affirmaverim, quia nisi spiritus sapicntiae et intellectus mihi affuisset et afftuxisset, tarn difficili metro tarn longum opus con-texere non sustinuissem." As to the character of the metre, on the other hand, opinions have widely differed, for while Dr. Neale, in his Mediaeval Hymns, speaks of its "majestic sweetness," and in his preface to the Rhythm of Bernard de Morlaix on the Celestial Country, says that it seems to him "one of the loveliest of mediaeval measures;" Archbishop Trench in his Sac. Lat. Poetry, 1873. p. 311, says "it must be confessed that" these dactylic hexameters "present as unattractive a garb for poetry to wear as can well be imagined;" and, a few lines further on, notes "the awkwardness and repulsiveness of the metre." The truth perhaps lies between these two very opposite criticisms. Without seeking to claim for the metre all that Dr. Neale is willing to attribute to it, it may be fairly said to be admirably adapted for the purpose to which it has been applied by Bernard, whose awe-stricken self-abasement as he contemplates in the spirit of the publican, “who would not so much as lift up his eyes unto heaven," the joys and the glory of the celestial country, or sorrowfully reviews the vices of his age, or solemnly denounces God's judgments on the reprobate, it eloquently pourtrays. So much is this the case, that the prevailing sentiment of the poem, that, viz., of an awful apprehension of the joys of heaven, the enormity of sin, and the terrors of hell, seems almost wholly lost in such translations as that of Dr. Neale. Beautiful as they are as hymns, "Brief life is here our portion," "Jerusalem the Golden," and their companion extracts from this great work, are far too jubilant to give any idea of the prevailing tone of the original. (See Hora Novissima.) In the original poem of Bernard it should be noted that the same fault has been remarked by Archbishop Trench, Dean Stanley, and Dr. Neale, which may be given in the Archbishop's words as excusing at the same time both the want, which still exists, of a very close translation of any part, and of a complete and continuous rendering of the whole poem. "The poet," observes Archbishop Trench, "instead of advancing, eddies round and round his object, recurring again and again to that which he seemed thoroughly to have discussed and dismissed." Sac. Lat. Poetry, 1873, p. 311. On other grounds also, more especially the character of the vices which the author lashes, it is alike impossible to expect, and undesirable to obtain, a literal translation of the whole. We may well be content with what we already owe to it as additions to our stores of church-hymns. -John Julian, Dictionary of Hymnology (1907) ================== Bernard of Cluny, p. 137, i., is best described thus: his place of origin is quite uncertain. See the Catalogue of the Additional MSS. of the B. M. under No. 35091, where it is said that he was perhaps of Morlas in the Basses-Pyrenees, or of Morval in the Jura, but that there is nothing to connect him with Morlaix in Brittany. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology, New Supplement (1907)

J. L. K. Allendorf

1693 - 1773 Person Name: Johann Ludwig Conrad Allendorf, 1693-1773 Hymnal Number: 711 Author of "Jesus Has Come and Brings Pleasure Eternal" in Christian Worship (2008) Allendorf, Johann Ludwig Konrad, b. Feb. 9, 1693, at Josbach, near Marburg, Hesse, where his father was pastor. He entered the University of Giessen in 1711, but in 1713 passed on to Halle to study under Francke, and then, in 1717, became tutor in the family of Count Henkel of Odersberg. In 1723 he became tutor to the family of Count Erdmann v. Promnitz at Sorau, and in 1724 was appointed Lutheran Court preacher at Cothen, when one of the Count's daughters was married to the Prince of Anhalt-Cothen. After the death of his first wife the Prince married her younger sister, but the latter, dying in 1750, the need for a Lutheran Court preacher ceased, he being of the Reformed Confession. Allendorf was then summoned by Count Christian Ernst v. Stolberg to Wernigerode, where a sister of his former patronesses was the wife of the Count's eldest son. There he was assistant in two churches till 1755, when he was appointed pastor of the Liebfrau Church, and a member of the Consistory. In 1760 he became pastor of St. Ulrich's Church in Halle, and successfully laboured there till, on June 3,1773, "As a Simeon of eighty years he received his peaceful summons home to rest in the arms of Jesus" (Koch, iv. 441-446; Allgemeine Deutsche Biographie., i. 349, &c). His hymns, which are "hymns of love to Christ, the Lamb of God, and the Bridegroom of the believing soul," appeared principally in the Einige gantz neue auserlesene Lieder, Halle, N.D. (c. 1733), and the Einige gantz neue Lieder zum Lobe des Dreijeinigen Gottes und zur gewunschteh reichen Erbauung vieler Menschen. The latter, known as the Cothnische Lieder, contains hymns of the Pietists of the younger Halle School, such as Lehr, Allendorf, Woltersdorf, Kunth, &c.; and to its first ed., 1736, Allendorf contributed 45 hymns, while the 4th edition, 1744, contains in its second pt. 46, and the 5th ed., 1768, in its third pt. 41 additional hymns by him-—in all 132. Four of his hymns have been translated, viz.:— 1. Das Brunnlein quillt,das Lebenswasser fiiesset. [Holy Communion] Founded on Ps. lxv. first published in 1733, p. 14, and included, in 1736, as above, in 9 stanzas of 8 lines, as a "Brunnenlied." Repeated as No. 1570 in the Berlin G. L. S. ed. 1863. The only translation in common use is:— The Fountain flows!—its waters—all are needing, omitting st. iv., vi., ix., by H. Mills in his Horac Germanicae, 1845 (ed. 1856, p. 43). The tr. of st. i.-iii., viii., altered to " The Fountain flows! waters of life bestowing," were included, as No. 819, in the Lutheran General Synod's Colletion 1850. 2. Die Seele ruht in Jesu Armen. [Eternal Life.] Founded on an anonymous hymn in 5 stanzas beginning, "Ich ruhe nun in Gottes Armen," included as No. 655, in pt. ii., 1714, of Freylinghausen's Gesang-Buch; but not in the Einhundert . . . Lieder, Dresden, 1694 [Leipzig Town Library]. According to Lauxmann in Koch, viii. 689, Allendorf's hymn was first printed separately. In pt. ii. of the 4th ed., 1744, of the Cothnische Lieder, as above, p. 264, in 13 st. of 101. entitled, "Of a soul blessed there with the beatific vision," Rev. xxii. 4. Written in the spirit of Canticles, it is included in full in the Neue Sammlung, Wernigerode, 1752, No. 92, but is generally abridged, Knapp, in his Evangelischer LiederSchatz., 1850, No. 3059.(ed. 1865, No. 3123) altering it and omitting stanzas vi., ix., x. Lauxmann relates that Diaconus Schlipalius, of the Holy Cross Church in Dresden, told his wife on Jan. 1,1764, while he was yet in perfect health, that he would die during the year. He comforted her apprehensions with stanzas vi.-xi. of this hymn, which consoled himself shortly before his death on April 6 of that year. The only translation in common use is:- Now rests her soul in Jesus' arms. A good translation of stanzas i., ii., viii., xii., xiii., in the 1st Ser., 1855, of Miss Winkworth's Lyra Germanica, p. 250 (later eds. p. 252). Thence, omitting st. xii., as No. 362 in E. H. Bickersteth's Psalms & Hymns, 1858. Another translation is, "In Jesus' arms her soul doth rest," by Mrs. Bevan, 1858, p. 42. 3. Jesus ist kommen, Grand ewiger Freude.[Advent] First pub. in 1736 as above (ed. 1738, p. 102), in 23 st. of 6 1., as a hymn of triumph on the Coming of the Saviour to our world, St. John iii. 31. In the Speier Gesang-Buch, 1859, 11 st. are selected, and in the Wurttemberg Gesang-Buch., 1842, 6 st. are given as No. 84. The only translation is, "Jesus is come, O joy heaven-lighted,” by Miss Warner, in her Hymns of the Church Militant, 1858 (ed. 1861, p. 433). 4. Unter Lilien jener Freuden. [Longing for Heaven.] A beautiful hymn on the Joys of Heaven, more suited for private than for Church use. It appeared as, "In den Auen jener Freuden," in the Sammlung Geist-und licblicher Lieder, Herrnhut, 1731, No. 1004, in 8 stanzas of 6 1ines. When repeated in 1733, p. 67, and in 1736, in the Cothnische Lieder, as above, Ps. lxxxiv. 3, was given as a motto, and the first line as Unter Lilien. Included in this form as No. 721 in the Berlin Geistliche Lieder ed. 1863. Lauxmann, in Koch, viii. 687-689, relates that it was repeated on her death-bed by the first wife of Jung-Stilling, and that it was a favourite hymn of Wilhelm Hofacker, a well-known Wurttemberg clergyman. The only translation is, "Glorious are the fields of heaven," by Mrs. Bevan, 1859, p. 131. -- John Julian, Dictionary of Hymnology (1907)