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[Behold, behold the Lamb of God]
Appears in 122 hymnals Composer and/or Arranger: G. B. Incipit: 51112 33323 47211 Used With Text: On the Cross
[Behold, behold the Lamb of God]
O Tannenbaum, o Tannenbaum
Author: E. G. S. Anschütz; E. Fliebner Appears in 23 hymnals Used With Tune: [O Tannenbaum, o Tannenbaum]
O Tannenbaum, o Tannenbaum
Now let our voices gladly ring
Author: Jane Robbins Appears in 5 hymnals Used With Tune: TANNENBAUM
Now let our voices gladly ring
O Christmas Tree
Author: Bryan Jeffery Leech Appears in 2 hymnals First Line: O Christmas tree, O Christmas tree Topics: Jesus Christ Light of the World; Jesus Christ Birth Used With Tune: [O Christmas tree, O Christmas tree]
O Christmas Tree
O Tannenbaum
Hymnal: Kleines Gesang- und Gebetbuch #81 (1940) First Line: O Tannenbaum, o Tannenbaum! Lyrics: 1 O Tannenbaum, o Tannenbaum!
wie treu sind deine Blätter@
du grünst nicht nur zur Sommerzeit,
mein, auch im Winter, wenn es schneit.
O Tannenbaum, o Tannenbaum,
wie treu sind deine Blätter!
2 O Tannenbaum, o Tannenbaum!
Du kannst mir sehr gefallen;
Wie oft hat nicht zur Weihnachtszeit
Ein Baum von dir mich hoch erfreut!
O Tannenbaum, o Tannenbaum!
Du kannst mir sehr gefallen.
3 O Tannenbaum, o Tannenbaum!
Wie strahlest du so helle!
Vom Fuße bis zum Wipfel schön
Ist lauter Glanz an dir zu sehn.
O Tannenbaum, o Tannenbaum!
Wie strahlest du so helle!
4 O Tannenbaum, o Tannenbaum!
Dein Kleid will mich was lehren:
Die Hoffnung und Beständigkeit
Gibt Trost und Kraft zu jeder Zeit.
O Tannenbaum, o Tannenbaum!
Dein Kleid will mich was lehren. Languages: German Tune Title: [O Tannenbaum, o Tannenbaum!]
O Tannenbaum
O Tannenbaum, o Tannenbaum
Hymnal: Frohe Lieder und Brüder-Harfe #225 (1898) Languages: German Tune Title: [O Tannenbaum, o Tannenbaum]
O Tannenbaum, o Tannenbaum
O Tannenbaum, o Tannenbaum
Author: E. G. S. Anschütz Hymnal: Unser Liederbuch #11 (1893) Languages: German Tune Title: [O Tannenbaum, o Tannenbaum]
O Tannenbaum, o Tannenbaum
John Wesley
1703 - 1791 Translator of "Thou Hidden Love of God" in Prayer and Praise John Wesley, the son of Samuel, and brother of Charles Wesley, was born at Epworth, June 17, 1703. He was educated at the Charterhouse, London, and at Christ Church, Oxford. He became a Fellow of Lincoln College, Oxford, and graduated M.A. in 1726. At Oxford, he was one of the small band consisting of George Whitefield, Hames Hervey, Charles Wesley, and a few others, who were even then known for their piety; they were deridingly called "Methodists." After his ordination he went, in 1735, on a mission to Georgia. The mission was not successful, and he returned to England in 1738. From that time, his life was one of great labour, preaching the Gospel, and publishing his commentaries and other theological works. He died in London, in 1791, in his eighty-eighth year. His prose works are very numerous, but he did not write many useful hymns. It is to him, however, and not to his brother Charles, that we are indebted for the translations from the German.
--Annotations of the Hymnal, Charles Hutchins, M.A., 1872
======================
John Wesley, M.A., was born at Epworth Rectory in 1703, and, like the rest of the family, received his early education from his mother. He narrowly escaped perishing in the fire which destroyed the rectory house in 1709, and his deliverance made a life-long impression upon him. In 1714 he was nominated on the foundation of Charterhouse by his father's patron, the Duke of Buckingham, and remained at that school until 1720, when he went up, with a scholarship, from Charterhouse to Christ Church, Oxford. Having taken his degree, he received Holy Orders from the Bishop of Oxford (Dr. Potter) in 1725. In 1726 he was elected Fellow of Lincoln College, and remained at Oxford until 1727, when he returned into Lincolnshire to assist his father as curate at Epworth and Wroot. In 1729 he was summoned back to Oxford by his firm friend, Dr. Morley, Rector of Lincoln, to assist in the College tuition. There he found already established the little band of "Oxford Methodists" who immediately placed themselves under his direction. In 1735 he went, as a Missionary of the Society for the Propagation of the Gospel, to Georgia, where a new colony had been founded under the governorship of General Oglethorpe. On his voyage out he was deeply impressed with the piety and Christian courage of some German fellow travellers, Moravians. During his short ministry in Georgia he met with many discouragements, and returned home saddened and dissatisfied both with himself and his work; but in London he again fell in with the Moravians, especially with Peter Bohler; and one memorable night (May 24, 1738) he went to a meeting in Aldersgate Street, where some one was reading Luther's preface to the Epistle to the Romans. There, "About a quarter before nine, while he was describing the change which God works in the heart through faith in Christ, I felt my heart strangely warmed. I felt I did trust in Christ, Christ alone, for salvation; and an assurance was given me, that He had taken away my sins, even mine, and saved me from the law of sin and death." From that moment his future course was sealed; and for more than half a century he laboured, through evil report and good report, to spread what he believed to be the everlasting Gospel, travelling more miles, preaching more sermons, publishing more books of a practical sort, and making more converts than any man of his day, or perhaps of any day, and dying at last, March 2, 1791, in harness, at the patriarchal age of 88.
The popular conception of the division of labour between the two brothers in the Revival, is that John was the preacher, and Charles the hymnwriter. But this is not strictly accurate. On the one hand Charles was also a great preacher, second only to his brother and George Whitefield in the effects which he produced. On the other hand, John by no means relegated to Charles the exclusive task of supplying the people with their hymns. John Wesley was not the sort of man to depute any part of his work entirely to another: and this part was, in his opinion, one of vital importance. With that wonderful instinct for gauging the popular mind, which was one element in his success, he saw at once that hymns might be utilized, not only for raising the devotion, but also for instructing, and establishing the faith of his disciples. He intended the hymns to be not merely a constituent part of public worship, but also a kind of creed in verse. They were to be "a body of experimental and practical divinity." "In what other publication," he asks in his Preface to the Wesleyan Hymn Book, 1780 (Preface, Oct. 20,1779), "have you so distinct and full an account of Scriptural Christianity; such a declaration of the heights and depths of religion, speculative and practical; so strong cautions against the most plausible errors, particularly those now most prevalent; and so clear directions for making your calling and election sure; for perfecting holiness in the fear of God?" The part which he actually took in writing the hymns, it is not easy to ascertain; but it is certain that more than thirty translations from the German, French and Spanish (chiefly from the German) were exclusively his; and there are some original hymns, admittedly his composition, which are not unworthy to stand by the side of his brother's. His translations from the German especially have had a wide circulation. Although somewhat free as translations they embody the fire and energy of the originals.
It has been the common practice, however for a hundred years or more to ascribe all translations from the German to John Wesley, as he only of the two brothers knew that language; and to assign to Charles Wesley all the original hymns except such as are traceable to John Wesley through his Journals and other works.
The list of 482 original hymns by John and Charles Wesley listed in this Dictionary of Hymnology have formed an important part of Methodist hymnody and show the enormous influence of the Wesleys on the English hymnody of the nineteenth century.
-- Excerpts from John Julian, Dictionary of Hymnology (1907)
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See also in:
Hymn Writers of the Church
John Wesley
Herman H. Brueckner
1866 - 1942 Person Name: H. Brueckner Translator of "O Christmas Tree" in American Lutheran Hymnal Born: March 11, 1866, Grundy County, Iowa (birth name: Herman Heinrich Moritz Brueckner).
Died: January 25, 1942, Hebron, Nebraska (funeral held in Beatrice, Nebraska).
Buried: St. Paul’s Lutheran Cemetery, Waverly, Iowa.
After ordination in 1888, Brueckner pastored in Illinois, Michigan, Kentucky, and Wisconsin. He later moved to Iowa City, Iowa, and received his Bachelor of Arts degree from Iowa State University in 1917. In 1926, he joined the faculty of Hebron College in Nebraska. In 1938, Wartburg Seminary, Dubuque, Iowa, conferred an honorary Doctor of Divinity degree on him. He retired as professor emeritus from Hebron College in 1941.
Sources:
Erickson, p. 254
Findagrave, accessed 14 Nov 2016
Hustad, p. 213
Stulken, p. 325
© The Cyber Hymnal™. Used by permission. (www.hymntime.com)
Herman H. Brueckner
Edward Mote
1797 - 1874 Person Name: Rev. E. Mote Author of "Christ, the Solid Rock" in Songs of Salvation Mote, Edward, was born in Upper Thames Street, London, Jan. 21, 1797. Through the preaching of the Rev. J. Hyatt, of Tottenham Court Road Chapel, he underwent a great spiritual change; and ultimately he became a Baptist minister. For the last 26 years of his life he was pastor at Horsham, Sussex, where he died Nov. 13, 1874. Mr. Mote published several small pamphlets; and also:-
Hymns of Praise. A New Selection of Gospel Hymns, combining all the Excellencies of our spiritual Poets, with many Originals. By E. Mote. London. J. Nichols, 1836. The Originals number nearly 100.
Concerning the authorship of one of these original hymns much uncertainty has existed. The hymn is:—
1. Nor earth, nor hell my soul can move. [Jesus All in All.] In 6 stanzas of 4 lines, with a refrain. Mr. Mote's explanation, communicated to the Gospel Herald, is:—
"One morning it came into my mind as I went to labour, to write an hymn on the ‘Gracious Experience of a Christian.' As I went up Holborn I had the chorus,
‘On Christ the solid Rock I stand,
All other ground is sinking sand.’
In the day I had four first verses complete, and wrote them off. On the Sabbath following I met brother King as I came out of Lisle Street Meeting . . . who informed me that his wife was very ill, and asked me to call and see her. I had an early tea, and called afterwards. He said that it was his usual custom to sing a hymn, read a portion, and engage in prayer, before he went to meeting. He looked for his hymnbook but could find it nowhere. I said, ‘I have some verses in my pocket; if he liked, we would sing them.' We did; and his wife enjoyed them so much, that after service he asked me, as a favour, to leave a copy of them for his wife. 1 went home, and by the fireside composed the last two verses, wrote the whole off, and took them to sister King. . . As these verses so met the dying woman's case, my attention to them was the more arrested, and I had a thousand printed for distribution. I sent one to the Spiritual Magazine, without my initials, which appeared some time after this. Brother Rees, of Crown Street, Soho, brought out an edition of hymns [1836], and this hymn was in it. David Denham introduced it [1837] with Rees's name, and others after... . Your inserting this brief outline may in future shield me from the charge of stealth, and be a vindication of truthfulness in my connection with the Church of God."
The form in which the hymn is usually found is:—
2. My hope is built on nothing less (st. ii.), sometimes in 4 stanzas, and at others in 5 st., and usually without the refrain. The original in the author's Hymns of Praise, 1836, is No. 465, and entitled, "The immutable Basis of a Sinner's hope." Bishop Bickersteth calls it a "grand hymn of faith." It dates circa 1834, and is in extensive use. [Rev. W. R. Stevenson, M.A.]
--John Julian, Dictionary of Hymnology (1907)
Edward Mote
