Evangelical Lutheran Hymnary Handbook

— Hymn Texts and Tunes —



Jerusalem the golden*  534

(See: The world is very evil)


Jerusalem, my happy home  539

This hymn has a most complicated history. There is a lengthy discussion of it in Julian’s Dictionary of Hymnology, to which we refer the reader. It seems that the hymn in its original form is based on a passage from a collection of the writings of Augustine of Hippo, known as The Meditations of St. Augustine (Liber Meditationum), in which the Church Father meditated on the joys of the heavenly Jerusalem. This passage begins: “Mater Hierusalem, Civitas Sancta Dei.” In the British Museum there is a manuscript of the late sixteenth or early seventeenth century, containing a poem of the twenty-six stanzas, entitled “A Song Mad(e) by F. B. P., to the Tune of Diana.” It is included in the English Hymnal, in modern English, as follows:


1. Jerusalem my happy home,

When shall I come to thee?

When shall my sorrows have an end?

Thy joys when shall I see?


2. O happy harbor of the saints!

O sweet and pleasant soil!

In thee no sorrow may be found,

No grief, no care, no toil.


3. In thee no sickness may be seen,

No hurt, no ache, no sore:

In thee there is no dread of death,

But life forevermore.


4. No dampish mist is seen in thee,

No cold nor darksome night:

There every soul shines as the sun;

There God himself gives light.


5. There lust and lucre cannot dwell;

There envy bears no sway;

There is no hunger, heat, nor cold,

But pleasure every way.


6. Jerusalem, Jerusalem,

God grant I once may see

Thy endless joys, and of the same

Partaker aye may be!


7. Thy walls are made of precious stones,

Thy bulwarks diamonds square;

Thy gates are of right orient pearl,

Exceeding rich and rare.


8. Thy turrets and thy pinnacles

With carbuncles do shine;

Thy very streets are paved with gold,

Surpassing clear and fine.


9. Thy houses are of ivory,

Thy windows crystal clear;

Thy tiles are made of beaten gold—

O God, that I were there!


10. Within thy gates no thing doth come

That is not passing clean,

No spider’s web, no dirt, no dust,

No filth may there be seen.


11. Ah, my sweet home, Jerusalem,

Would God I were in thee!

Would God my woes were at an end,

Thy joys that I might see!


12. Thy saints are crowned with glory great;

They see God face to face;

They triumph still, they still rejoice:

Most happy is their case.


13. We that are here in banishment

Continually do mourn;

We sigh and sob, we weep and wail,

Perpetually we groan.


14. Our sweet is mixed with bitter gall,

Our pleasure is but pain,

Our joys scarce last the looking on,

Our sorrows still remain.


15. But there they live in such delight,

Such pleasure, and such play

As that to them a thousand years

Doth seem as yesterday.


16. Thy vineyards and thy orchards are

Most beautiful and fair,

Full furnishŹd with trees and fruits

Most wonderful and rare.


17. Thy gardens and thy gallant walks

Continually are green;

There grow such sweet and pleasant flowers

As nowhere else are seen.


18. There’s nectar and ambrosia made,

There’s musk and civet sweet;

There many a fair and dainty drug

Is trodden under feet.


19. There cinnamon, there sugar grows,

There nard and balm abound;

What tongue can tell or heart conceive

The joys that there are found?


20. Quite through the streets with silver sound

The flood of life doth flow,

Upon whose banks on every side

The wood of life doth grow.


21. There trees forevermore bear fruit

And evermore do spring;

There evermore the angels sit

And evermore do sing;


22. There David stands with harp in hand

As master of the choir;

Ten thousand times that man were blest

That might this music hear.


23. Our Lady sings Magnificat

With tune surpassing sweet;

And all the virgins bear their parts,

Sitting about her feet.


24. Te Deum doth Saint Ambrose sing,

Saint Austin doth the like;

Old Simeon and Zachary

Have not their songs to seek.


25. There Magdalene hath left her moan

And cheerfully doth sing

With blessed saints whose harmony

In every street doth ring.


26. Jerusalem, my happy home,

Would God I were in thee!

Would God my woes were at an end

Thy joys that I might see!


The identity of F. B. P. has not been established. It may mean “Francis Baker, Presbyter,” a secular priest who is said to have been imprisoned in the Tower of London. The claim of the Roman Catholics that the author of the hymn is Father Laurence Anderton, alias John Brerely, S. J., who lived in the days of Charles I, is also unfounded.

A hymn published in 1585 at London by John Windet, entitled “The Glasse of Vaine-Glorie,” composed by W. P. (W. Prid), Doctor of Laws, in forty-four stanzas, bears in part a close resemblance to the “Song by F. B. P.” so that it is likely that he made some use of it. David Dickson (1583-1662), a Scotch Presbyterian minister, published a version, beginning “O Mother dear, Jerusalem,” based on the two foregoing texts. A still later form, published in 1795, in the Eckington Collection, has been attributed to James Montgomery but is very likely the work of the editor of the collection, Joseph Bromehead.

What has perhaps been the most popular form of the hymn appeared in Collection of Above Six Hundred Hymns, Doncaster, 1801, as a new supplement to the Psalms of Isaac Watts. This cento contained seven stanzas. Our text has five of these. We have been unable to trace the origin of Stanza 6. [Handbook to The Lutheran Hymnal]

THIS old hymn has been drawn from a poem found in a manuscript now kept in the British Museum, dating probably from the close of the 16th century. The poem contains 24 stanzas, thought to be based upon a certain portion of St. Augustine’s Meditations. The only mark of authorship is “F. B. P.”, which letters have been the object of many guesses. The cento, found in The Lutheran Hymnary, is claimed to have been rendered by Joseph Bromehead and was first printed in 1795. Bromehead was born in 1748 and was educated in Queen’s College, Oxford. He served as curate of Eckington, Derbyshire, where he died in 1826. He was the author of several psalm versions and the popular form of this hymn.

Our present hymn has a long history, which, however, would scarcely interest the majority of the readers of this work. The writings of the ancient church fathers have often been the source of inspiration to the older German and English hymn writers: It is thought that this hymn is based upon an old Latin hymn by Cardinal Damiani, “Ad perennis vitae fontem,” and, since this is found in the so-called Augustine’s Meditations, this Latin hymn has also been ascribed to Augustine. There are found two English variants of “Jerusalem, my happy home.” One is the above mentioned hymn marked “F. B. P.”, beginning thus:

Hierusalem my happie home,;

When shall I come to thee?

When shall my sorrows have an end,

The ioyes when shall I see?

The other, marked “W. Prid.”, has 44 stanzas and begins with the words:

O mother deare, Hierusalem, Jehoua’s throne on hie! O Sacred Cittie, Queen and Wife, O Christ eternally. (1585). [Dahle, Library of Christians Hymns]


Jerusalem, thou city fair and high  541

Jerusalem, du hochgebaute Stadt.

Wollt’ Gott, ich wär’ in dir!

Mein sehnlich Herz so gross Verlangehat

Und ist nicht mehr bei mir.

Weit über Berg und Tale,

Weit über blaches Feld

Schwingt es sich überalle

Und eilt aus dieser Welt.


O schöner Tag und noch viel schönre Stund’,

Wann wirst du kommen schier,

Da ich mit Lust, mit freiem Freudenmund

Die Seele geb’ von mir

In Gottes treue Hände

Zum auserwählten Pfand,

Dass sie mit Heil anlände

In jenem Vaterland!


Im Augenblick wird die erheben sich

Bis an das Firmament,

Wenn sie verlässt so sanft, so wunderlich

Die Stätt’ der Element’,

Fährt auf Eliä Wagen,

Mit engelischer Schar,

Die sie in Händen tragen,

Umgeben ganz und gar.


O Ehrenburg, sei nun gegrüsset mir,

Tu auf die Gnadenpfort’!

Wie grosse Zeit hat mich verlangt nach dir,

Eh’ ich gekommen fort

Aus jenem bösen Leben,

Aus jener Nichtigkeit,

Und mir Gott hat gegeben

Das Erb’ der Ewigkeit!


Was für ein Volk, waa für ein’ edle Schar

Kommt dort gezogen schon?

Was in der Welt von Auserwählten war,

Seh’ ich, die beste Kron’,

Die Jesus mir, der Herre,

Entgegen hat gesandt,

Da ich noch war so ferne

In meinem Tränenland.


Propheten gross und Patriarchen hoch,

Auch Christen insgemein,

Die weiland dort trugen des Kreuzes Joch

Und der Tyrannen Pein,

Schau’ ich in Ehren schweben,

In Freiheit überall,

Mit Klarheit heil umgeben.

Mit sonnenlichtem Strahl.


Wenn dann zuletzt ich angelanget bin

Im schönen Paradeis,

Von höchster Freud’ erfüllet wird der Sinn,

Der Mund von Lob und Preis.

Das Halleluja reine

Singt man in Heiligkeit,

Das Hosianna feine

Ohn’ End’ in Ewigkeit.


Mit Jubelklang, mit Instrumenten schön,

In Chören ohne Zahl,

Dass von dem Klang und von dem süssen Ton

Erbebt der Freudensaal;

Mit hundertausend Zungen,

Mit Stimmen noch viel mehr,

Wie von Anfang gesungen

Das himmelische Heer.


This was Dr. Francis Pieper’s favorite hymn and was sung at his funeral in Holy Cross Church, St. Louis, June 6, 1931. Johann Meyfart published this hymn in his Tuba Novissima, Coburg, 1626. This work contained four sermons preached by Meyfart at Coburg on Death, Judgment, Eternal Life, and Eternal Punishment. The hymn was the conclusion of the third sermon, based on Matt. 17:1-9, entitled “On the Joy and Glory which All the Elect are to Expect in the Life Everlasting.” Lauxmann says of the hymn:


The hymn is a precious gem in our Treasury of Song, in which one clearly sees that from it the whole heart of the poet shines out on us. Meyfart had his face turned wholly to the future, to the Last Things; and with a richly fanciful mysticism full of deep and strong faith he united a flaming zeal for the House of the Lord and against the abuses of his times.


The famous Chinese missionary pioneer Karl Gützlaff died with the words on his lips “Would God I were in Thee!” The noted painter Julius Schnorr von Carolsfeld’s last work was the illustration of this hymn, and this hymn was also sung at his funeral.

No doubt the popularity of this hymn has been aided by its tune “Jerusalem, du hochgebaute Stadt” from the pen of Melchior Frank, director of the choir at Coburg when Meyfart wrote the hymn. It was first printed at Erfurt, after the death of both, in the Christlich… Gesangbuch, 1663. Too much cannot be said of the beauty and effectiveness of this melody, which breathes the spirit of joyous triumph over death and the grave. It must not be played too slowly. It ranks with the best gems of our Evangelical hymnodical treasures.

The translation is by Catherine Winkworth, second series, Lyra Germanica, 1858. altered.

[Handbook to The Lutheran Hymnal]

THIS beautiful hymn was printed in Coburg, 1626, in the author’s Tuba Novissima, a book containing four sermons on The Last Things: Death, Judgment, Everlasting Life, and Everlasting Punishment. The hymn is appended at the close of the third sermon, which was based upon Matthew 17:1-9. It has the following title: Concerning the Joy and Glory awaiting the Elect in Eternal Life. The original has 8 stanzas. The hymnologist, Söderberg, says concerning this hymn: “The deep misery brought on by The Thirty Years’ War was, in a great measure, responsible for the turning of many minds away from earthly things toward heaven, where there shall be ‘no more sorrow, nor crying, nor any more pain.’ J. M. Meyfart gave a beautiful expression to this sentiment through his hymn of praise concerning the glory of the New Jerusalem. This hymn is based upon the 21st chapter of Revelation. It has also been given an exceptionally beautiful melody and has been included in the great majority of German hymn books. In a tone of joyful assurance Meyfart’s hymn expresses the glorious hope of the faithful, that those who persevere unto the end, those who have overcome the world, shall enter into the eternal Sabbath rest of God in the Land of the Living.” Lauxmann calls this hymn “a precious gem in our Treasury of Song, in which one clearly sees that from it the whole heart of the poet shines out on us. Meyfart had his face wholly turned to the Future, to the Last Things, and with a richly fanciful mysticism, full of deep and strong faith, he united a flaming zeal for the House of the Lord, and against the abuses of his times.” (Translation by J. Mearns). This hymn was the favorite hymn of the well known missionary to China, Charles Gützlaff. He died in Hong-Kong, August 9, 1851, and his last words were: “Would God, I were in Thee.” It may also be of interest to mention that the famous painter, Julius Schnorr, of Carolsfeld, made an illustration for this hymn as his last work, and this hymn was sung at his funeral. The English translation was rendered by Miss C. Winkworth, 1858, for her Lyra Germanica. There are at least ten other English versions. [Dahle, Library of Christians Hymns]


Jesus came, the heavens adoring  89

This hymn by Godfrey Thring appeared in Chope’s Hymnal, 1864. It beautifully emphasizes the advents of the Lord: in humility for redemption; in mercy to the sinner; and in glory. [Handbook to The Lutheran Hymnal]


Jesus Christ is risen today  352

This triumphant Easter hymn is based upon a Latin original, at least as to the theme and the first stanza. The Latin original, of which there are a number of texts dating from the fourteenth century upward, begins:


1. Surrexit Christus hodie

Humano pro solamine,


2. Mortem qui passus pridie

Miserrimo pro homine.


3. Mulieres, o tremulae,

In Galilaeam pergite, etc.


Some texts have four, some six, and some eleven stanzas. The Latin author is unknown.

The English version of the hymn became popular in English circles by its appearance in the Supplement to the New Version of Brady and Tate, edition c. 1816. The first English translation appeared in 1708 in Lyra Davidica, etc., London (J. Walsh). It was in three stanzas, of which the first was substantially our first above. In Arnold’s Compleat Psalmodist, 2d edition, 1749, the modern English version appeared. The first stanza of the first translation was slightly changed, and new Stanzas 2 and 3 were added. These are substantially as above. Then in Lord Selborne’s Book of Praise, 1862, and Thring’s Collection, 1882, the doxology, as above, was added. [Handbook to The Lutheran Hymnal]


Jesus Christ, my sure Defense  532

Jesus, meine Zuversicht

Und mein Heiland ist im Leben;

Dieses weiss ich, sollt’ ich nicht

Darum mich zufrieden geben,

Was die lange Todesnacht

Mir auch für Gedanken macht?


Jesus, er, mein Heiland, lebt;

Ich werd’ auch das Leben schauen,

Sein, wo mein Erlöser schwebt;

Warum sollte mir denn grauen?

Lässet auch ein Haupt sein Glied,

Welches es nicht nach sich zieht?


Ich bin durch der Hoffnung Band

Zu genau mit ihm verbunden;

Meine starke Glaubenshand

Wird in ihn gelegt befunden,

Dass mich auch kein Todesbann

Ewig von ihm trennen kann.


Ich bin Fleisch und muss daher

Auch einmal zu Asche werden;

Das gesteh’ ich, doch wird er

Mich erwecken aus der Erden,

Dass ich in der Herrlichkeit

Um ihn sein mög’ allezeit.


Dann wird eben diese Haut

Mich umgeben, wie ich gläube,

Gott wird werden angeschaut

Dann von mir in diesem Leibe,

Und in diesem Fleisch werd’ ich

Jesum sehen ewiglich.


Dieser meiner Augen Licht

Wird ihn, meinen Heiland, kennen;

Ich, ich selbst kein Fremder nicht,

Werd’ in seiner Liebe brennen;

Nur die Schwachheit um und an

Wird von mir sein abgetan.


Was hier kranket, seufzt und fleht,

Wird dort frisch und herrlich gehen;

Irdisch werd’ ich ausgesät,

Himmlisch werd’ ich auferstehen;

Hier geh’ ich natürlich ein,

Nachmals werd’ ich geistlich sein.


Seid getrost und hocherfreut,

Jesus trägt euch, meine Glieder!

Gebt nicht Raum der Traurigkeit!

Sterbt ihr, Christus ruft euch wider,

Wenn die letzt’ Drommet’ erklingt,

Die auch durch die Gräber dringt.


Lacht der finstern Erdenkluft,

Lacht des Todes und der Höllen;

Denn ihr sollt euch durch die Luft

Eurem Heiland zugesellen!

Dann wird Schwachheit und Verdruss

Liegen unter eurem Fuss.


Nur dass ihr den Geist erhebt

Von den Lüsten dieser Erden

Und euch dem schon jetzt ergebt,

Dem ihr beigefügt wollt werden

Schick das Herze da hinein,

Wo ihr ewig wünscht zu sein!


THIS beautiful hymn is based upon Job 19:25-27: “But as for me I know that my Redeemer liveth, and at last He will stand forth upon the earth: and after my skin, even this body, is destroyed, yet out from my flesh shall I see God.” Also upon 1 Cor. 15:35 and the following verses. The hymn appeared for the first time in Crüger-Runge’s Gesangbuch, 1653; it consisted of 10 stanzas and had no author’s name attached. Luise Henriette of Brandenburg, the wife of the elector, Friedrich Wilhelm, was for a long time considered by German writers as the author of this hymn.

Others have held that historical proof of authorship was lacking, and the question has not yet been definitely settled. Among the zealous workers for hymn singing in the Reformed Church during the first half of the 17th century, Luise Henriette (born Princess of Orange) was a forceful leader. This highly gifted princess (b. 1627, d. 1667, see Vol. I, No. 157) who, during the time of trial for Paul Gerhardt in Berlin, took his part and sought to help him, labored with great zeal to improve congregational singing. For this purpose she published a hymn book in which were included the best of Luther’s hymns and later productions. Four of the hymns in this book are accredited to Luise Henriette. But whether these hymns were written by her or dedicated to her by other authors, has always been a mooted question. She was only 26 years old when this book was published. It is| certain, that if these four hymns were not written by her they proceeded from the religious circles to which she belonged. Lauxmann is of the opinion that she did compose this hymn as she, at the age of 22, lost her first-born child. The hymnologist Rambach recognized in this hymn a masterpiece of Christian poetry. Winterfeld says that it is and will always remain a gem among the spiritual songs of the Evangelical Church. Our English translation was rendered by Miss Winkworth in her Chorale Book for England, 1863. An earlier translation by Miss Winkworth appeared in her Lyra Germanica, 1855, beginning with the words “Jesus, my Redeemer, lives!” This is the first line of the second stanza in the version found in The Lutheran Hymnary. In both versions the hymn is abbreviated. In The Lutheran Hymnary, stanzas 1, 2, 3, 6, 7, and 10 of the original have been included. The Danish translation of the entire hymn was rendered by Fredrik Rostgaard, 1742. Landstad’s hymn book contains all 10 stanzas. [Dahle, Library of Christians Hymns]


Jesus Christ, our blessed Savior  316-317

This hymn is from the Latin by John Huss, included in the Monumentorum Joannis Hus, altera pars, Nürnberg, 1558. His authorship is doubtful, however. Wackernagel gives the hymn in three forms, one of ten, a second of nine, and a third of seven stanzas. The last reads:


1. Iesus Christus, nostra salus,

Quod reclamat omnis malus,

Nobis in sui memoriam

Dedit hane panis hostiam.


2. O quam sanetus panis iste!

Tu solus es, Iesu Christe,

Caro, cibus, sacramentum,

Quo non maius est inventum.


3. Hoc donum suavitatis

Charitasque deitatis,

Virtutis eucharistia,

Communionis gratia.


4. Ave deitatis forma,

Dei unionis norma:

In te quisque delectatur,

Qui te fide speculatur.


5. Non es panis, sed es Deus,

Homo, liberator meus,

Qui in cruce pependisti

Et in carne defecisti.


6. Esca, digna angelorum,

Pietatis lux sanctorum:

Lex moderna approbavit,

Quod antiqua figuravit.


7. Salutare medicamen.

Peccatorum relevamen,

Pasce nos, a malis leva,

Duc nos, ubi est lux tua.


Martin Luther gave the hymn a German form in ten stanzas, in Eyn Enchiridion, Erfurt, 1524, as follows:


1. Jesus Christus, unser Heiland,

Der von uns den Gotteszorn wandt’,

Durch das bitter Leiden sein

Half er uns aus der Hölle Pein.


2. Dass wir nimmer des vergessen,

Gab er uns sein’n Leib zu essen,

Verborgen im Brot so klein,

Und zu trinken sein Blut im Wein.


3. Wer sich will zu dem Tisch machen,

Der hab’ wohl acht auf sein’ Sachen;

Wer unwürdig hinzugeht,

Für das Leben den Tod empfäht.


4. Du sollst Gott den Vater preisen,

Dass er dich so wohl wollt’ speisen

Und für deine Missetat

In den Tod sein’n Sohn geben hat.


5. Du sollst glauben und nicht wanken,

Dass es Speise sei den Kranken,

Den’n ihr Herz von Sünden schwer

Und vor Angst ist betrübet sehr.


6. Solch’ gross’ Gnad’ und Barmherzigkeit

Sucht ein Hen in grosser Arbeit.

Ist dir wohl, so bleib davon,

Dass du nicht kriegest bösen Lohn!


7. Er spricht selber: Kommt, ihr Armen.

Lasst mich über euch erbarmen!

Kein Arzt ist dem Starken not,

Sein’ Gunst wird an ihm gar ein Spott.


8. Hätt’st du dir was konnt erwerben,

Was dürft’ ich denn für dich sterben?

Dieser Tisch auch dir nicht gilt,

So du selber dir helfen willt.


9. Glaubst du das von Herzensgrunde

Und bekennest mit dem Munde,

So bist du recht wohl geschickt,

Und die Speis’ dein’ Seel’ erquickt.


10. Die Frucht soll auch nicht ausbleiben,

Deinen Nächsten sollst du lieben,

Dass er dein geniessen kann,

Wie dein Gott an dir hat getan.


The English text follows Luther, omitting Stanzas 6 and 10. The translator is unknown. [Handbook to The Lutheran Hymnal]


Jesus Christ, our Lord most holy  285

Jezu Kriste, Pane mily,

Beránku Bozi nevinny,

Vznesls, vznesls na kriz ruce svoje,

Pro ne-, pro nespraved’nosti moje.


Plac Ho, clovece mizerny,

Pohled, jak jest milosrdny;

Jezís, Jezís na krízi umírá,

Slunce, slunce svou jasnost zahryvá.


Pán rekl ostatní slova,

Sklonila se jeho hlava;

Matka, matka pod Nim zalostivá

Stojí, stojí, sotva ze jest zivá.


Opona se iest roztrhla.

Zeme se ukrutne trásla,

Skály, skály tvrdé se pukaly,

Mrtví, mrtví z hrobu ven vstávali.


Naskrze mu bok probili,

Krev I vodu vycedili;

Smyj se, smyj se nasimi slzami

Jezu, Jezu smiluj se nad námi.


This excellent Good Friday hymn appeared about the middle of the 16th century and is attributed to Michal Grodzki. We have been unable to ascertain any particulars of the author’s life.

The translation by John Bajus was prepared in 1939 for The Lutheran Hymnal. [Handbook to The Lutheran Hymnal]


Jesus I will never leave  362

Meinen Jesum lass’ ich nicht.

Weil er sich für mich gegeben,

So erfordert meine Pflicht!

Klettenweis’ an ihm zu kleben;

Er ist meines Lebens Licht;

Meinen Jesum lass’ ich nicht.


Jesum lass’ ich nimmer nicht,

Weil ich soll auf Erden leben;

Ihm hab’ ich voll Zuversicht,

Was ich bin und hab’, ergeben;

Alles ist auf ihn gericht’t;

Meinen Jesum lass’ ich nicht.


Lass vergehen das Gesicht,

Hören, Schmecken, Fühlen weichen,

Lass das letzte Tageslicht

Mich auf dieser Welt erreichen,

Wenn der Lebenstaden bricht;

Meinen Jesum lass’ ich nicht.


Ich werd’ ihn auch lassen nicht,

Wenn ich nun dahin gelanget,

Wo vor seinem Angesicht

Frommer Christen Glaube pranget;

Mich erfreut sein Angesicht;

Meinen Jesum lass’ ich nicht.


Nicht nach Welt, nach Himmel nicht

Meine Seele wünscht und sehnet;

Jesum wünscht sie und sein Licht,

Der mich hat mit Gott versöhnit,

Der mich freiet vom Gericht;

Meinen Jesum lass’ ich nicht,


Jesum lass’ ich nicht von mir,

Geh’ ihm ewig an der Seiten;

Christus wird mich für und für

Zu dem Lebensbächlein leiten.

Selig, wer mit mir so spricht:

Meinen Jesum lass’ ich nicht!


Christian Keimann (Keymann) first published this hymn of love to Christ in A. Hammerschmidt’s Fest-, Buss- und Danklieder, Zittau and Leipzig, 1658, in six stanzas. It is founded on the words of Jacob in Gen. 32:26. The hymn is an acrostic on the dying words of Johann Georg, Elector of Saxony, October 8, 1656. The first word in each of the first five stanzas forms the sentence “Meinen Jesum lass’ ich nicht.” In Stanza 6 the first letters in each line form the initials J. G. C. Z. S., i. e., Johann Georg, Churfürst zu Sachsen, and in Line 6 the full motto is repeated as uttered by the Elector. Though Stanza 6 is omitted in the English text, it is given above for the purpose of showing the acrostic formation.

The translation is composite. [Handbook to The Lutheran Hymnal]


Jesus lives! The victory’s won  353

Jesus lebt, mit ihm auch ich;

Tod, wo sind nun deine Schrecken?

Jesus lebt und wird auch mich

Von den Toten auferwecken.

Er verklärt mich in sein Licht:

Dies ist meine Zuversicht.


Jesus lebt. Ihm ist das Reich

Über alle Welt gegeben.

Mit ihm werd’ ich auch zugleich

Ewig herrschen, ewig leben.

Gott erfüllt, was er verspricht:

Dies ist meine Zuversicht.


Jesus lebt. Sein Heil ist mein:

Sein sei auch mein ganzes Leben;

Reines Herzens will ich sein

Und den Lüsten widerstreben.

Er verlässt den Schwachen nicht:

Dies ist meine Zuversicht.


Jesus lebt. Ich bin gewiss;

Nichts soll mich von Jesu scheiden,

Keine Macht der Finsternis,

Keine Herrlichkeit, kein Leiden.

Er gibt Kraft zu jeder Pflicht:

Dies ist meine Zuversicht.


Jesus lebt. Nun ist der Tod

Mir der Eingang in das Leben.

Welchen Trost in Todesnot

Wird er meiner Seele geben,

Wenn sie gläubig zu ihm spricht:

Herr, Herr, meine Zuversicht!


AS first published in the author’s Geistliche Oden und Lieder, Leipzig, 1757, it contained six stanzas under the title Easter Hymn. This is one of Gellert’s most beautiful hymns. It is based on John 14:19: “Yet a little while, and the world seeth me no more: but ye see me: because I live, ye shall live also.” It has many characteristics in common with the hymn, “Jesus Christ, my sure defense” , also the same melody, but is in fact original throughout. It is found in a large number of German hymn books and is also extensively used in the English language. It is sometimes used as a funeral hymn. The present English translation was rendered by Miss Frances E. Cox, 1841. [Dahle, Library of Christians Hymns]


Jesus loves me  179


Jesus shall reign  193

WATTS’ Psalms of David, published 1719, contained this hymn, which makes up the second part of his metrical version of the 72nd Psalm. The original has eight stanzas. In later hymnals it has been considerably abbreviated. It came into general use during the 19th century. It has gained in favor and popularity as the missionary spirit has been aroused. It has been translated into many languages, even into Latin. This latter translation was furnished by R. Bingham, “Omnibus in terris, Dominus regnabit Jesus,” published in 1871.

On Pentecost Day, 1863, many thousand Christian natives of Tonga, Fiji, and Samoa islands gathered for divine services in the shade of their fig trees. The king of the Islands and his chiefs and warriors took a leading part. It must have stirred the souls of these Christians to hear the many thousand voices unite upon the occasion and sing for the first time as a Christian people, this glorious hymn, “Jesus shall reign.” [Dahle, Library of Christians Hymns]


Jesus sinners doth receive!  426

Jesus nimmt die Sünder an;

Saget doch dies Trostwort allen,

Welche von der rechten Bahn

Auf verkehrten Weg verfallen!

Hier ist, was sie retten kann:

Jesus nimmt die Sünder an.


Keiner Gnade sind wir wert,

Doch hat er in seinem Worte

Eidlich sich dazu erklärt.

Sehet nur, die Gnadenpforte

Ist hier völlig aufgetan:

Jesus nimmt die Sünder an.


Wenn ein Schaf verloren ist,

Suchet es ein treuer Hirte;

Jesus, der uns nie vergisst,

Suchet treulich das Verirrte,

Dass es nicht verderben kann:

Jesus nimmt die Sünder an.


Kommet alle, kommet her,

Kommet, ihr betrübten Sünder!

Jesus rufet euch, und er

Macht aus Sündern Gottes Kinder.

Glaubet’s doch und denket dran:

Jesus nimmt die Sünder an.


Ich Betrübter komme hier

Und bekenne meine Sünden.

Lass, mein Heiland, mich bei dir

Gnade zur Vergebung finden,

Dass dies Wort mich trösten kann:

Jesus nimmt die Sünder an.


Ich bin ganz getrostes Muts.

Ob die Sünden blutrot wären,

Müssten sie kraft deines Bluts

Dennoch sich in Schneeweiss kehren,

Da ich gläubig sprechen kann:

Jesus nimmt die Sünder an.


Mein Gewissen beisst mich nicht,

Moses darf mich nicht verklagen;

Der mich frei und ledig spricht,

Hat die Schulden abgetragen,

Dass mich nichts verdammen kann:

Jesus nimmt die Sünder an.


Jesus nimmt die Sünder an,

Mich hat er auch angenommen

Und den Himmel aufgetan,

Dass ich selig zu ihm kommen

Und auf den Trost sterben kann:

Jesus nimmt die Sünder an.


This is Neumeister’s best hymn. It was published in Evangelischer Nachklang, 1718, and is based upon the Gospel lesson for the Third Sunday after Trinity (Luke 15:1-10); see also Matt. 11: 28: “Come unto Me, all ye that labor and are heavy laden, and I will give you rest”; and Is. 1:18: “Come now, and let us reason together, saith Jehovah: though your sins be as scarlet, they shall be as white as snow; though they be red like crimson, they shall be as wool.” The hymn is extensively used in Germany and America, especially at mission festivals. There are six English translations. The version used in The Lutheran Hymnary follows in the main the edition of Henry Mills in his Horae Germanicae (1845-56).

This hymn must not be mistaken for

Jesus nimmt die Sünder an,

Drum so will ich nicht versagen,

by Ludwig Heinrich Schlosser (1663-1723). [Dahle, Library of Christians Hymns]


Jesus! and shall it ever be  471

It is not definitely known at what time this hymn was written. Grigg is said to have begun the writing of hymns at the age of 10 years. The hymn was published by the author in 1765 as one of his Four Hymns on Divine Subjects wherein the Patience and Love of our Divine Savior is displayed. It has later been revised by many, among whom may be mentioned Benjamin Francis in Rippon’s Baptist Selection, 1787. [Dahle, Library of Christians Hymns]


Jesus, Brightness of the Father  547

Tibi, Christe, splendor Patris,

Vita, virtus cordium,

In conspectu angelorum

Votis, voce psallimus;

Alternantes concrepando

Melos damus vocibus.


Quo custode procul pelle,

Rex, Christe piissime,

Omne nefas inimici

Mundo corde et corpore;

Paradiso redde tuo

Nos sola clementia.


Gloriam Patri melodis

Personem vocibus,

Gloriam Christo canamus,

Gloriam Paraclito,

Qui Deus trinus et unus

Extat ante saecula. Amen.


This hymn is ascribed to Rhabanus Maurus († 856), but his authorship is doubtful. The translation is an altered form of that by Edward Caswall in his Lyra Catholica, 1849. [Handbook to The Lutheran Hymnal]


Jesus, grant that balm and healing*  293

(See: O what precious balm and healing)


Jesus, I my cross have taken  424

“And he that doth not take his cross and follow after me, is not worthy of me” (Matt. 10:36).

“What things were gain to me, those I counted loss for Christ” (Phil. 3:7).

This hymn is found in Sacred Poetry, Edinburgh, Oliphant & Sons, 3rd edition, 1824, in 6 stanzas of 8 lines, and with the heading: Lo, we have left all and followed Thee (Matt. 19:27), and signed “G.” In 1825 it appeared in Montgomery’s Christian Psalmist with the same signature; in the Family Visitor, 1826, and in Hymns for Private Devotion, 1827, it appeared without signature; and 1833 in Lyte’s Poems, Chiefly Religious. In an abbreviated and sometimes altered form it has passed into numerous collections in most English speaking countries. [Dahle, Library of Christians Hymns]


Jesus, I will ponder now  287

Jesu deine Passion

Will ich jetzt bedenken;

Wollest mir vom Himmelsthron

Geist und Andacht schenken.

In dem Bild jetzund erschein,

Jesu, meinem Herzen,

Wie du, unser Heil zu sein,

Littest alle Schmerzen!


Meine Seele sehen mach

Deine Angst und Bande,

Deine Speichel, Schläg’ und Schmach,

Deine Kreuzesschande,

Deine Geissel, Dornenkron’,

Speer- und Nägelwunden,

Deinen Tod, o Gottessohn,

Und den Leib voll Schrunden!


Doch so lass mich nicht allein

Deine Marter sehen,

Lass mich auch die Ursach’ fein

Und die Frucht verstehen!

Ach, die Ursach’ war auch ich,

Ich und meine Sünde;

Diese hat gemartert dich,

Nicht das Heideng’sinde.


Jesu, lehr bedenken mich

Dies mit Buss’ und Reue;

Hilf, dass ich mit Sünden dich

Martre nicht aufs neue!

Sollt’ ich dazu haben Lust

Und nicht wollen meiden,

Was Gott selber büssen musst’

Mit so grossem Leiden?


Wenn mir meine Sünde will

Machen heiss die Hölle,

Jesu, mein Gewissen still,

Dich ins Mittel stelle!

Dich und deine Passion

Lass mich gläubig fassen:

Liebet mich sein lieber Sohn,

Wie kann Gott mich hassen?


Gib auch, Jesu, dass ich gern

Dir das Kreuz nachtrage,

Dass ich Demut von dir lern’

Und Geduld in Plage,

Dass ich dir geb’ Lieb’ um Lieb’!

Indes lass dies Lallen

(Bessern Dank ich dorten geb’),

Jesu, dir gefallen!


This hymn by Sigismund von Birken, like his hymn “Let Us Ever Walk with Jesus”, first appeared in Heilige Karwochen, Nürnberg, 1653. It is his finest hymn and a great favorite Lenten hymn in the Lutheran Church.

The translation is an altered form of that by August Crull. [Handbook to The Lutheran Hymnal]


Jesus, Jesus, only Jesus  379

Jesus, Jesus, nichts als Jesus

Sol mein Wunsch sein und mein Ziel.

Jetzund mach’ ich ein Verbündnis,

Dass ich will, was Jesus will;

Denn mein Herz, mit ihm erfüllt

Rufet nur: Herr, wie du willt!


Einer ist es, dem ich lebe,

Den ich liebe früh und spat.

Jesus ist es, dem ich gebe,

Was er mir gegeben hat.

Ich bin in dein Blut verhüllt;

Führe mich, Herr, wie du willt!


Scheinet was, es sei mein Glücke,

Und ist doch zuwider dir,

Ach so nimm es bald zurücke,

Jesu, gib, was nützet mir!

Gib dich mir, Herr Jesu, mild;

Nimm mich dir, Herr, wie du willt,


Und vollbringe deinen Willen

In, durch und an mir mein Gott.

Deinen Willen lass erfüllen

Mich im Leben, Freud’ und Not,

Sterben als dein Ebenbild,

Herr, wann, wo und wie du willt!


Sei auch, Jesu, stets gepriesen,

Dass du dich und viel dazu

Hast geschenkt und mir erwiesen,

Dass ich fröhlich singe nu:

Es geschehe mir, mein Schild,

Wie du willt, Herr, wie du willt!

In the original the initial letters of the stanzas spell the name Jesus. Elisabeth’s hymns, 206 in number, were edited by her cousin Emilie (perhaps assisted by A. Fritsch) and were published under the title Die Stimme der Freundin, das ist: Geistliche Lieder welche, aus brünstiger und biss ans Ende beharrter Jesus Liebe, verfertiget und gebraucht, Rudolstadt, 1687. This and a number of other hymns by Elisabeth had been published earlier (1673 and 1675). Skaar says concerning this hymn: “It is a true expression of the consecrated spiritual life of the poetess, for Jesus was to her the beginning and the end, her one and only love.” The English translation was rendered by August Crull and incorporated into the Evangelical Lutheran Hymnal of the Ohio Synod. [Dahle, Library of Christians Hymns]

Jesus, Lover of my soul  209

VERY few hymns have won such universal favor. From the time of its first publication in Wesley’s Hymns and Sacred Poems, 1740, it has steadily gained in recognition, until at the present time it is to be found in practically all hymnals in English-speaking countries. Originally it contained five stanzas. It has been translated into many languages.

Expressions in the first stanza have been subjected to alterations, “Lover” and “nearer waters” being particularly offensive to the critics. Without enlarging on the numerous “improvements,” we shall only state that most of the recent hymnals keep the original text unaltered. In the Book of Wisdom, 11:27, we read: “But Thou sparest all, for they are Thine, O Lord, Thou Lover of souls.” Concerning the expression “nearer waters,” it has been stated that a storm at sea is often of a local nature. It may rage fiercely where the vessel happens to be—and these “nearer waters” are the forces that threaten our destruction, while at some distance the sea may be comparatively quiet.—According to an old story, a seafowl, pursued by a hawk, once flew in through the open window of Wesley’s study. The bird thus saved its life, and Wesley wrote his hymn drawing inspiration from this scene. Both this story and many other incidents related in connection with this hymn lack historical foundation. But they bear witness to the great favor which this hymn has won; they show how these words have been instrumental in drawing many sinners unto God, and that they have been the source of comfort to many in the hour of death. Spurgeon relates concerning this hymn: “An ungodly stranger, stepping into one of our services at Exeter Hall, was brought to the Cross by the words of Wesley’s verse, ‘Jesus, lover of my soul.’ ‘Does Jesus love me?’ said he; ‘then why should I live in enmity to Him?’” Charles Trumbull White, engaged in religious work in the hospitals of New York, was once asked to visit a sick sailor in Bellevue Hospital. The man was near death and could not speak a word. The missionary leaned down and repeated the words, “Jesus, lover of my soul,” so that he might hear them. But the dying man gave no sign of response. About midnight, however, he seemed to rally, sat up, and with a clearly audible voice he spoke the words of Wesley’s hymn: “Jesus, lover of my soul, Let me to Thy bosom fly,” and continued until he had repeated the entire hymn. Then he added other verses of hymns, ceased suddenly, fell back, and was dead.—It is said that an excursion of Sunday-school teachers and scholars on a lake had a wonderful experience. A violent storm arose and threatened them with disaster. Panic arose among the passengers. From the deck came the words, “Jesus, lover of my soul.” The people were calmed, and before the hymn was sung to its close, the storm had subsided and the sun came forth. Henry Ward Beecher, the well-known preacher of Brooklyn, New York, writes concerning this hymn: “I would rather have written that hymn of Wesley’s, than have the fame of all the kings that ever sat on the earth. It is more glorious. It has more power in it. I would rather be the author of that hymn than to hold all the wealth of the richest man in New York. He will die. He is dead and does not know it. He will pass, after a little while, out of men’s thoughts. What will there be to speak of him? What will he have done that will stop trouble, or encourage hope? His money will go to his heirs, and they will divide it. It is like a stream divided and growing narrower by division. And they will die, and it will go to their heirs. In three or four generations everything comes to the ground again for redistribution. But that hymn will go on singing until the last trump brings forth the angel band; and then I think it will mount up on some lip to the very presence of God.” [Dahle, Library of Christians Hymns]

Jesus, my great High Priest*  289

(See: Join all the glorious names)

Jesus, name of wondrous love  156

HOW’S Psalms and Hymns, published in 1854, contained this hymn. The Biblical reference is as follows, by stanzas: 1. Phil. 2:10: “That in the name of Jesus every knee should bow, of things in heaven and things on earth and things under the earth.” See also Rom. 14: 11. 2. Luke 1:31: “And behold, thou shalt conceive in thy womb, and bring forth a Son, and shalt call His name Jesus.” 3. Matt. 1:21: “And she shall bring forth a Son; and thou shalt call His name Jesus; for it is He that shall save His people from their sins.” 4. Luke 2:21: “And when eight days were accomplished for the circumcising of the Child, His name was called Jesus, which was so named of the angel before He was conceived in the womb.” 5. Acts 4:12: ‘Neither is there salvation in any other: for there is none other name under heaven given among men, whereby we must be saved.” (Notes on W. W. How may be found in Vol. I, No. 134.) [Dahle, Library of Christians Hymns]

Jesus, priceless treasure  263-264

Jesu, meine Freude,

Meines Herzens Weide,

Jesu, meine Zier,

Ach, wie lang, ach lange

Ist dem Herzen bange

Und verlangt nach dir!

Gotteslamm, mein Bräutigam,

Ausser dir soll mir auf Erden

Nichts sonst Liebers werden!


Unter deinem Schirmen

Bin ich vor den Stürmen

Aller Feinde frei.

Lass den Satan wittern,

Lass die Welt erschüttern,

Mir steht Jesus bei.

Ob es jetzt gleich kracht und blitzt,

Obgleich Sünd’ und Hölle schrecken.

Jesus will mich decken.


Trotz dem alten Drachen,

Trotz dem Todesrachen,

Trotz der Furcht dazu!

Tobe, Welt und springe,

Ich steh’ hier und singe

In gar sichrer Ruh’;

Gottes Macht hält mich in acht;

Erd’ und Abgrund muss verstummen,

Ob sie noch so brummen.


Weg mit allen Schätzen,

Du bist mein Ergötzen,

Jesu, meine Lust!

Weg, ihr eitlen Ehren,

Ich mag euch nicht hören,

Bleibt mir unbewusst!

Elend, Not, Kreuz, Schmach und Tod

Soll mich, ob ich viel muss leiden,

Nicht von Jesu scheiden.


Gute Nacht, o Wesen,

Das die Welt erlesen,

Mir gefällst du nicht!

Gute Nacht, ihr Sünden,

Bleibet weit dahinten,

Kommt nicht mehr ans Licht!

Gute Nacht, du Stolz und Pracht,

Dir sei ganz, du Lasterleben,

Gute Nacht gegeben!


Weicht, ihr Trauergeister,

Denn mein Freudenmeister,

Jesus, tritt herein!

Denen, die Gott lieben,

Muss auch ihr Betrüben

Lauter Zucker sein.

Duld’ ich schon hier Spott und Hohn,

Dennoch bleibst du auch im Leide,

Jesu, meine Freude.


THIS hymn is modelled on a secular folk-song, “Flora meine Freude.” It appeared first in C. Peter’s Andacts Zymbeln, Freiberg, 1655, and later in J. Crüger’s Praxis Pietatis Melica, 1656, also in Franck’s Geistliches Zion, published in 1675. It entered into the greater number of Lutheran and Reformed hymn books. Peter the Great had it translated into Russian. It is marked by deep subjectivity, which with holy fervor praises the peace and joy of the children of God. Spener sang this hymn every Sunday and called it “heilige Jesus-Lust.”—Our translation was rendered by Miss Winkworth for her Chorale Book for England, 1863. It was rendered into Danish by SŅren Jonaesen. “Jesus, priceless treasure” found a place in Pontoppidan’s, Guldberg’s, Hauge’s, and many other hymn books. Grundtvig has given a very free rendering of the hymn. [Dahle, Library of Christians Hymns]


Jesus, refuge of the weary  240

THIS is Savonarola’s most popular hymn. Together with a collection of Savonarola’s spiritual songs it was published in Fra Serafino Razzi’s Laudi Spirituali, Venice, 1563. Three hundred years later, in 1862, a complete edition was published under the title: Poesi di Fra Girolamo Savonarola. Our English translation was made by Jane Francesca Wilde and was printed in R. R. Madden’s Life and Martyrdom of Savonarola, 1853. [Dahle, Library of Christians Hymns]


Jesus, still lead on  587

Jesu, geh voran

Auf der Lebensbahn,

Und wir wollen nicht verweilen.

Dir getreulich nachzueilen.

Führ uns an der Hand

Bis ins Vaterland!


Soll’s uns hart ergehn,

Lass uns feste stehn

Und auch in den schwersten Tagen

Niemals über Lasten klagen;

Denn durch Trübsal hier

Geht der Weg zu dir.


Rühret eigner Schmerz

Irgend unser Herz,

Kümmert uns ein fremdes Leiden,

O so gib Geduld zu beiden;

Richte unsern Sinn

Auf das Ende hin!


Ordne unsern Gang,

Jesu, lebenslang!

Führst du uns durch rauhe Wege,

Gib uns auch die nöt’ge Pflege.

Tu uns nach dem Lauf

Deine Türe auf !


THE hymn first appeared in the Brüder Gesangbuch, 1778. It is a slightly altered cento from two hymns by Zinzendorf. Stanzas 1, 3, and 4 are stanzas 10, 4, and 11 of “Seelenbräutigam, O du Gottes-Lamm” (see Vol. II, No. 246), and stanza 2 is number eleven of “Glanz der Ewigkeit.” This cento became very popular in Germany. Our English translation by Miss Jane Borthwick was first published in the Free Church Magazine, 1846, and repeated, slightly altered, in Hymns from the Land of Luther, 1st series, 1854. It is a good, but free translation, which has passed into many hymnals. [Dahle, Library of Christians Hymns]


Jesus, Sun of righteousness  84

THIS is a free translation of the popular German hymn, “Morgenglanz der Ewigkeit,” [See the German text at: Come, Thou Bright and Morning Star] which appeared in seven six-lined stanzas in Geistliche Sittenlieder,” published by the author, 1684, in Nürnberg. The meter is different from that of the original. It is held that the hymn is based on a poem by Opitz. One writer describes this hymn as one of the heartiest, most original, and most spiritual morning hymns; it seems to have been “born like the dew out of the morning dawn.” This must have been the viewpoint also in England, as there are at least 14 English translations, of which number, 10 are in use by the various churches. … The English translation is by Miss Jane Borthwick of Edinburgh (1813- 1897). [Dahle, Library of Christians Hymns]


Jesus, tender Shepherd, hear me  568


Jesus, the very thought of Thee  315

Iesu dulcis memoria,

Dans vera cordis gaudia;

Sed super mel et omnia

Dulcis eius praesentia.


Nil canitur suavius,

Auditur nil iucundius,

Nil cogitatur dulcius.

Quam Iesus, Dei Filius.


Iesu, spes paenitentibus,

Quem pius es petentibus,

Quam Donus te quaerentibus!

Sed quid invenientibus


Nec lingua potest dicere,

Nec littera exprimere;

Experto potes credere,

Quid sit Iesum diligere.


Tu esto nostrum gaudium,

Qui es futurus praemium;

Sit nostra in te gloria

Per cuncta semper saecula.


This cento is from the famous medieval hymn “Iesu dulcis memoria,” usually attributed to Bernard of Clairvaux, whom Martin Luther called the most pious monk who ever lived. The hymn has been found in an eleventh-century manuscript, ascribed to a Benedictine abbess. The original is found in various forms, the fullest of which contains fifty stanzas.

The translation is by Edward Caswall, altered. It was published in his Lyra Catholica, 1849. The cento is Stanzas 1 to 5 of Caswall’s translation. Hymn 361 is made up of Stanzas 6 to 10. In order to give the reader Caswall’s full text, we add here Stanzas 11 to 15:


11. O Jesu! Thou the beauty art

Of angel worlds above;

Thy name is music to the heart

Enchanting it with love.


12. Celestial sweetness unalloyed!

Who eat Thee hunger still;

Who drink of Thee still feel a void,

Which naught but Thou can fill.


13. O my sweet Jesu! hear the sighs

Which unto Thee I send;

To Thee mine inmost spirit cries,

My being’s hope and end.


14. Stay with us, Lord, and with Thy light

Illume the soul’s abyss;

Scatter the darkness of our night

And fill the world with bliss.


15. O Jesu! spotless Virgin Flower,

Our Life and Joy, to Thee

Be praise, beatitude, and power

Through all eternity! [Handbook to The Lutheran Hymnal]

THROUGH many centuries this famous hymn has been ascribed to Bernard of Clairvaux. It has been called The Jubilus of St. Bernard or Jubilus St. Bernhardi de nomine Jesu. Many parallels to this hymn have been found in Bernard’s Canticles (Canticum Canticorum). It was possibly written about 1150, shortly after the Second Crusade. St. Bernard had been instrumental in organizing this crusade and was therefore largely blamed for its dismal failure. Tired of the world, he withdrew into solitude. When everything thus seemed dark around him, his thoughts were turned more and more fervently toward Jesus, the light of life. Dr. Schaff in his Christ in Song calls this hymn “the most delightful and the most evangelical of all the hymns of the Middle Ages; the finest and most characteristic sample of Bernard’s poetry; a reflection from his Christ-like personality.” “The hymn,” says Landstad, “is not really intended as a communion hymn; the holy communion is not even mentioned in it. It is a love-song to the heavenly bridegroom, whose name is so dear to the soul that we cannot sufficiently praise it or bless it.” Therefore the hymn has been called Jubilus in nomine Jesu, Praise to the Name of Jesus or a Hymn of Praise Concerning the Name of Jesus. The thought dwells upon the crucified, buried, risen, and ascended Savior and expresses the desire of the soul, its sorrow, its seeking and its searching, it expresses its joy upon having found the Savior, and hope and prayer in communion with Him. Hence, the hymn has indeed become the favorite song of the Lord’s yearning and heavenly-minded bride, the Church, and is therefore especially adapted for use at the Lord’s Supper, which is the soul’s “love-feast” with the Lord. The hymn has been criticized on account of the seemingly monotonous way in which the ideas circle around the central theme. And this is true. But the theme of the hymn is the Lord Jesus. We are reminded of the small winged insects that swarm about an electric light, making continually smaller and smaller circles. Their desire is to unite with the light. They try to enter into the light. It is the center of all their longing and yearning. Thus, rightly considered, the criticism advanced against this hymn rather brings out the most praiseworthy characteristic of this unique Jesus-hymn. Concerning Bernard of Clairvaux Luther says: “If there ever has lived a truly God-fearing and pious monk, then St. Bernard was such a one, whom I rank higher than all monks and popes in all the world, and I have never heard or read of anyone that can be compared with him.”

We do not like to deprive St. Bernard of this hymn. But the authenticity of his authorship has long been called in question. And now, lately, Dom Pathier has found it in a manuscript from the 11th century, where the hymn is ascribed to a Benedictine abbess. St. Bernard was born 1091. The oldest of the manuscripts found hitherto date from the close of the 12th century. One of these is kept in the Oxford library. This contains 42 stanzas and experts have accepted this version as the original of this famous hymn. It is found in almost the same form in the Bodleian and the Einsiedeln manuscripts from the 13th century; also in one manuscript from the 15th century kept in the National Museum of Paris. The number of stanzas varies from 42 to 56. The form containing 50 stanzas was presumably used as a rosary hymn. The hymn has also been divided into several lesser sections for the various groups of the altar service. Thus, in the Roman breviary from 1733 and later: “Jesu dulcis memoria,” etc., for evening worship; “Jesu Rex admirabilis,” etc., for morning worship; and “Jesu angelicum,” etc., for lauda. As early as in the 16th century it was customary to sing several sections of this hymn at the festival of the Holy Name. Thus Paris Breviary from 1499, and the Hereford and Aberdeen Breviaries from 1505 and 1509 have “Jesu dulcis memoria” for the morning worship and “Jesu, auctor clementiae” for the lauda. For use at the canonical periods the hymn was divided into seven sections of about equal length.

There are, indeed, other hymns of which we have several English translations, but this hymn is quite unique in this that it has furnished the source for a vast number of beautiful hymns, Jesus-hymns. Versions of this hymn are sung throughout all Christendom, and it has been translated into all leading languages. A list of the various centos in the English language alone would fill many pages. The oldest German version, “Nie wart gesungen süzer gesanc,” is from the 14th century and contains 11 stanzas. Among the later German translations may be mentioned that by Martin Rinkart: “An Jesum denken oft und viel,” and N. L. von Zinzendorf’s, “Jesu, deiner zu gedenken.” Johann Arndt’s Garden of Paradise, 1612, contains a German version of 18 stanzas beginning with: “O Jesu süss, wer dein gedenkt.” A later edition of this work has another translation of 52 stanzas. The first Danish translation, comprising 48 stanzas, is by Jens JensŅn Otthense, Copenhagen, 1625. This furnished the basis for Landstad’s Norwegian version (Landst. 66). [Dahle, Library of Christians Hymns]


Jesus, Thou joy of loving hearts  318


THIS hymn appeared first in The Sabbath Hymn Book, 1858. It is a translation of a cento from Jesu dulcis memoria, and has been named as the most popular cento—from this poem—in common use. It is found in a large number of the leading hymn books in England and America. [Dahle, Library of Christians Hymns]


Jesus, Thy blood and righteousness  432

Str.1 Christi Blut und Gerechtigkeit, das ist mein Schmuck und Ehrenkleid, damit will ich vor Gott bestehn, wenn ich zum Himmel werd eingehn.

Str.2 Drum soll auch dieses Blut allein mein Trost und meine Hoffnung sein. Ich bau im Leben und im Tod allein auf Jesu Wunden rot.

Str.3 Solang ich noch hienieden bin, so ist und bleibet das mein Sinn: Ich will die Gnad in Jesu Blut bezeugen mit getrostem Mut.

Str.4 Gelobet seist du, Jesu Christ, daß du ein Mensch geboren bist und hast für mich und alle Welt bezahlt ein ewig Lösegeld.

Str.5 Du Ehrenkönig Jesu Christ, des Vaters ein'ger Sohn du bist; erbarme dich der ganzen Welt und segne, was sich zu dir hält.

THIS hymn was written by Zinzendorf in 1739 after his return from St. Thomas, West Indies (Virgin Islands). The hymn is based on Is. 61:10: “I will greatly rejoice in the Lord, my soul shall be joyful in my God; for He hath clothed me with the garments of salvation, He hath covered me with the robe of righteousness, as a bridegroom decketh himself with a garland, and as a bride adorneth herself with her jewels.”

It was published in 1739 in the Herrnhut Gesangbuch. The original contained 33 stanzas, but later, when it was printed in the Moravian Hymnary, only 20 stanzas were retained.

John Wesley rendered a free translation in 24 stanzas. There are also other English translations in use. In the Pennsylvania Lutheran Hymnal it is entered as “Lord, I believe Thy precious blood,” and in the Ohio Lutheran Hymn Book still another version is used: “Christ’s crimson blood and righteousness.” This hymn is very extensively used. [Dahle, Library of Christians Hymns]


Jesus, Thy boundless love to me  372

O Jesu Christ, mein schönstes Licht,

Der du in deiner Seelen

So hoch mich liebst, dass ich es nicht

Aussprechen kann noch zählen:

Gib, dass mein Herz dich wiederum

Mit Lieben und Verlangen

Mög’ umfangen

Und als dein Eigentum

Nur einzig an dir hangen!


Gib, dass sonst nichts in meiner Seel’

Als deine Liebe wohne;

Gib dass ich deine Lieb’ erwähl’

Als meinen Schatz und Krone!

Stoss alles aus, nimm alles hin,

Was dich und mich will trennen

Und nicht gönnen,

Dass all mein Mut und Sinn

In deiner Liebe brennen!


Wie freundlich, selig, süss und schön

Ist, Jesu, deine Liebe!

Wo diese steht, kann nichts bestehn,

Das meinen Geist betrübe;

Drum lass nichts andres denken mich,

Nichts sehen, fühlen, hören,

Lieben, ehren

Als deine Lieb’ und dich,

Der du sie kannst vermehren!


O dass ich wie ein kleines Kind

Mit Weinen dir nachginge

So lange, bis dein Herz, entzünd’t

Mit Armen mich umfinge

Und deine Seel’ in mein Gemüt

In voller, süsser Liebe

Sich erhübe

Und also deiner Güt’

Ich stets vereinigt bliebe!


Ach zeuch, mein Liebster, mich nach dir,

So lauf’ ich mit den Füssen,

Ich lauf’ und will dich mit Begier

In meinem Herzen küssen!

Ich will aus deines Mundes Zier

Den süssen Trost empfinden,

Der die Sünden

Und alles Unglück hier

Kann leichtlich überwinden.


Lass meinen Stand, darin ich steh’,

Herr, deine Liebe zieren

Und, wo ich etwa irregeh’,

Alsbald zurechteführen;

Lass sie mich allzeit guten Rat

Und weise Werke lehren,

Steuern, wehren

Der Sünd’ und nach der Tat

Bald wieder mich bekehren!


Lass sie sein meine Freud’ in Leid,

In Schwachheit mein Vermögen,

Und wenn ich nach vollbrachter Zeit

Mich soll zur Ruhe legen,

Alsdann lass deine Liebestreu’,

Herr Jesu, bei mir stehen,

Luft zuwehen,

Dass ich getrost und frei

Mög’ in dein Reich eingehen!


Paul Gerhardt’s great hymn of love to Christ first appeared in Crüger’s Praxis Pietatis Melica, Berlin, 1653, in sixteen stanzas. It is based on a prayer in Arndt’s Paradiesgärtlein. John Wesley translated the entire hymn, changing the meter, and published it in Hymns and Sacred Poems, 1739, a very excellent production. The cento includes Stanzas 1, 2, 3, 8, 9, 15, and 16, with some alterations of Wesley’s text. [Handbook to The Lutheran Hymnal]

O JESU Christ, mein schönstes Licht” appeared first in Crüger’s Praxis Pietatis Melica, Berlin, 1653. It is based upon a prayer found in Johann Arndt’s Paradis-Urtegaard, “Um die Liebe Christi” (concerning the Savior’s love). The original contained 16 stanzas. It is one of Gerhardt’s most beautiful hymns. As J. A. Bengel, the theologian and hymn writer, received the Sacrament just before he expired, he requested those present to sing this hymn. The wife of the professor of theology at Halle, J. Lange, also found great comfort in this hymn during her last hours and exhorted her oldest daughter to “diligent exercise of love to the Savior.”

Our present English translation is by John Wesley (1739), who abbreviated it to nine stanzas. This version, however, is of a different meter than that of the original hymn and the Danish-Norwegian form, which is set to the melody, “Jeg raaber, Herre Jesus Krist” ([Ich ruf zu dir]). The complete hymn was translated into Danish by H. A. Brorson and appeared for the first time in 1731 or 1732. Landstad’s cento contains stanzas 1, 5, 10, 11, and 16. [Dahle, Library of Christians Hymns]


Join all the glorious names  289

This cento is taken from Isaac Watts’s hymn “on the names and titles of Jesus Christ” beginning “Join all the glorious names,” which was first published in his Hymns and Sacred Songs, 1709, in twelve stanzas. The cento includes 8, 7, 9, and 12 of the original. The omitted stanzas, 1 to 6,10 and 11, read:


1. Join all the glorious names

Of wisdom, love, and power

That ever mortals knew,

That angels ever bore;

All are too mean to speak His worth,

Too mean to set my Savior forth.


2. But, oh, what gentle terms,

What condescending ways.

Doth our Redeemer use

To teach His heavenly grace!

Mine eyes with joy and wonder see

What forms of love He bears for me.


3. Arrayed in mortal flesh,

He like an angel stands

And holds the promises

And pardons in His hands.

Commissioned from His Father’s throne

To make His grace to mortals known.


4. Great Prophet of my God

My tongue would bless my name;

By Thee the joyful news

Of our salvation came,

The joyful news of sins forgiven,

Of hell subdued, and peace with Heaven.


5. Be Thou my Counselor,

My Pattern, and my Guide,

And through this desert land

Still keep me near Thy side.

Oh, let my feet ne’er run astray

Nor rove nor seek the crooked way!


6. I love my Shepherd’s voice;

His watchful eyes shall keep

My wand’ring soul among

The thousands of His sheep;

He feeds His flock, He calls their names,

His bosom bears the tender lambs.


10. My dear almighty Lord,

My Conqueror and my King,

Thy scepter and my sword,

Thy reigning grace, I sing.

Thine is the power! Behold, I sit

In willing bonds beneath Thy feet.


11. Now let my soul arise

And tread the Tempter down;

My Captain leads me forth

To conquest and a crown.

A feeble saint shall win the day

Though death and hell obstruct the way.

[Handbook to The Lutheran Hymnal]


Joy to the world! the Lord is come  138

JOY to the world” forms the second part of J Watts’ paraphrase on the 98th Psalm. It was published in the author’s Psalms of David, 1719. This is one of the most popular Christmas hymns, and has been translated into many languages. A Latin version was made by R. Bingham: “Laetitia in mundo! Dominus nam venit Iesus.” [Dahle, Library of Christians Hymns]


Just as I am, without one plea  319

HIM that cometh to me I will in no wise cast out.” (John 6:37). Under this title this hymn was published in The Invalid’s Hymn Book, 1836, containing six stanzas. Later in the same year it was published in Miss Elliottt’s Hours of Sorrow, Cheered and Comforted, with one added stanza; “Just as I am, of that free love.” From that time the hymn has been given place in almost every hymnal in all English speaking countries, and it has been translated into many languages in Europe and other countries. Charlotte Elliott’s brother, the Rev. H. V. Elliott, who edited Psalms and Hymns, 1835, says concerning this hymn: “In the course of a long ministry, I hope I have been permitted to see some fruit of my labors; but I feel far more has been done by a single hymn of my sister’s.” It is one of the most beautiful and most popular hymns in the English language. Many songs written later have been modeled upon it. It has been rendered into Latin by R. Bingham, 1871: “Ut ego sum! Nec alia ratione utens,” and also by Macgill, 1876: “Tibi qualis sum, o Christe!”

A poor little girl came one day to a missionary in New York and brought a soiled and torn she of paper upon which this hymn had been printed. She said: “My father sent me to ask if we con a clean new paper.” The missionary then learned how her sister had been accustomed to sing this hymn, and that they had found this paper in her pocket after her death. Now they wished to have the hymn framed for their home. An Englishman, a son-in-law of the poet Wordsworth, sent a message to Miss Elliott and thanked her for the beautiful hymn and stated that it proved of great comfort to his wife when she lay upon her deathbed. Upon hearing the hymn for the first time she exclaimed: “This is something just for me!” Later she requested to hear the hymn several times every day and repeated stanzas line by line unto she died two months afterward. (For notes on Charlotte Elliott, see No. 238.) [Dahle, Library of Christians Hymns]


King of glory  442


Kyrie, God Father  34

Kyrie, Gott Vater in Ewigkeit,

Gross ist dein Barmherzigkeit,

Aller Ding ein Schöpfer und Regierer.

Eleison, eleison!

Christe, aller Welt Trost

Uns Sünder allein du hast erölst.

O Jesu, Gottes Sohn,

Unser Mittler bist in dem höchsten Thron;

Zu dir schreien wir aus Herzensbegier:

Eleison, eleison!

Kyrie, Gott Heiliger Geist,

Tröst, stärk uns im Glauben allermeist,

Dass wir am letzten End’

Fröhlich abscheiden aus diesem Elend.

Eleison, eleison!


This hymn is, in its original text, a paraphrase of the Latin sequence Kyrie summum: Kyrie, Fons bonitatis, Pater ingenite, of 12th-century origin, if not earlier.

Wackernagel (III, No. 250) gives the date and place of origin “perhaps Wittenberg, 1541.” It is sometimes ascribed to Johann Spangenberg (1484 to 1550), the first evangelical preacher at Nordhausen; later church superintendent at Eisleben, Martin Luther’s birthplace. He published Cantiones ecclesiasticae, etc. Kirchengesnge Deudtsch, etc. at Magdeburg in 1545; but this hymn is not included. In the hymn-book of Caspar Löner, Nördlingen, 1545, the superscription of this hymn is: “On other festivals and on Sundays one sings as follows. The Kyrie eleison for Sundays.” Another direction given in a later work was: “Kyrie summum is sung from Trinity until Christmas. This was in complete harmony with the use of the Latin original in the Middle Ages.

Our translation was prepared for The Lutheran Hymnal in 1939.

This custom was also transferred to the Lutheran Church in America, especially the congregations of German origin, in many of which it is still sung in the German-language services.

Zahn gives the setting of the tune “Kyrie, Gott Vater” as in Teutsch Kirchenamt, Erfurt, 1525, stating that the melody had only the text:


Herr, erbarm dich unser. (Lord. have mercy on us)

Christ erbarm dich unser. (Christ, have mercy on us)

Herr, erbarm dich unser. (Lord, have mercy on us) [Handbook to The Lutheran Hymnal]

THIS hymn is a translation of Landstad’s metrical version of the ancient “Kyrie Summum,” from the Latin “Kyrie, fons bonitatis,” found in a missal manuscript from the 12th century and rendered into Danish by Klaus MortensŅn in 1528. In The Holy Evangelical Office of the altar Service (Det hellige evangeliske Messeembede), the “Kyrie” has been assigned a place between the Introitus and the greater Gloria. ThomissŅn relates that it was sung on Pentecost Day and from then on until Christmas, and from Candlemas until Easter. The Latin “Kyrie” was, during the Middle Ages, sung from the Festival of the Trinity until Christmas. The English translation used in The Lutheran Hymnary is by Rev. Carl DŅving. The melody appeared first in Hans ThomissŅn’s Hymnal of 1569, in which the melodies were given together with the hymns. [Dahle, Library of Christian Hymns]


Lamb of God, pure and holy  41

O Lamm Gottes, unschuldig

Am Stamm des Kreuzes geschlachtet,

Allzeit funden geduldig,

Wiewohl du warest verachtet:

All’ Sünd’ hast du getragen,

Sonst müssten wir verzagen.

1. Erbarm dich unser, O Jesu!

2. Erbarm dich unser, O Jesu!

3. Gib uns dein’n Frieden, O Jesu!


This Agnus Dei is by Nikolaus Decius and first appeared in Gegstlyke leder, etc., Rostock, 1531, in Low German, entitled “Dat Agnus Dei,” and then in High German, in Valentin Schumann’s Gesang Buch, Leipzig, 1539. It is a general favorite in the Lutheran Church and is commonly sung in the midweek Lenten services and on Good Friday just before the sermon.

The translation is composite. [Handbook to The Lutheran Hymnal]

BEHOLD the Lamb of God, which taketh away the sin of the world” (John 1:29).

A fervent prayer based upon this Scripture passage was, in the ancient church, woven into the Greek liturgy as a part of the altar service. In the Western church it was also early made a part of the liturgy of the eucharist. Pope Gregory the Great included it in his Liber Sacramentorum of the sixth century. In the seventh century it became customary for the priest to chant this prayer. Under pope Sergius (687-701) it was ordained that it should be sung by the priest and the congregation and that it should be used at communion. Later it was decreed that it should be sung by the choir alone after the consecration of the elements and immediately before the distribution. In the twelfth century it became customary to repeat the prayer three times with different closing words, as follows:

Agnus Dei, qui tollis peccata mundi, parce nobis! Agnus Dei, qui tollis peccata mundi, miserere nobis! Agnus Dei, qui tollis peccata mundi, da pacem nobis!

Bishop Durandus (d. 1207) says in this connection: “No one has manifested greater patience under the most intense suffering, temptation, and anguish than our dear Savior, wherefore the Church marvels at this and sings three times the ‘Agnus Dei, qui tollis peccata mundi,’ etc. By this repetition we shall consider how our Lord Jesus (1) has taken our sins away, (2) taken upon Himself the punishment, (3) through the preaching of the Gospel and through the worthy sacrament He has brought His merits into our hearts” (Skaar).

In his first order for the communion service Luther retained the “Agnus Dei” to be sung in Latin, and he adds that, of all the various portions of the altar service, this is especially adapted for use with the holy sacrament. But in his Deutsche Messe of 1526 he prefers to have also the “Agnus Dei” sung in the German. Without doubt he then referred to the following version:

Christe, du Lamm Gottes, der du trägst die Sünde der Welt, erbarme dich unser! Christe, du Lamm Gottes, etc., erbarme dich unser! Christe, du Lamm Gottes, etc., gieb uns deinen Frieden!

In Klaus MortensŅn’s book of chants, printed in 1528, there is the following Danish version:

O Guds lam, som borttager alle verdzens synder, forbarme teg offver oss!

O Guds lam, … forbarme teg offver oss!

O Guds lam, … giv oss tin fred !

The hymn “Agnus Dei” in its extended form was written by Decius in the Low German. It consists of seven lines, which are sung three times, the only change occurring in the last line, third time, as follows:

1. O Lamm Gades vnschüldlich am stam des crützes geslachtet, all tydt gevunden düldich, wo wol du wordest vorachtet; all sünd heffstu gedragen syst moste wy vortzagen. Erbarm dy vnser, o Jesu!

2. O Lamm Gades vnschüldlich am stam des, u. s. w. Erbarm dy vnser, o Jesu!

3. O Lamm Gades vnschüldlich am stam des, u. s. w. Giff uns dynen frede, o Jesu.

This version appeared first in Dietz’ Geystlycke leder, 1531, but it must have been written at an earlier date, since a Danish translation by Klaus MortensŅn was printed in 1529. The High-German version of Decius’ hymn soon found a place in the hymnals of Germany and was generally used as a communion hymn. It was also sung on Good Friday. In Württemberg the church bells chimed while the “Agnus Dei” was sung as the closing hymn. Decius’ hymn, however, did not displace the old “Agnus Dei.” In Pontoppidan’s Hymnary the old version is included at the closing section of the litany. It holds the same place also in Landstad’s Hymnal (No. 33), and in our Luth. Hymnary, first part (page 44; see also Morning Service, page 31), while “O Lamb of God most holy” has been entered among the communion hymns. The English version is by A. T. Russell. This was first published in 1848. [Dahle, Library of Christian Hymns]


Let all the world in every corner sing  22


Let children hear the mighty deeds  180

This is Isasc Watts’s (Psalms of David, Imitated, 1719) version of the first part of Ps. 78, with a slight alteration in Stanza 2, Line, 1, where Watts has:


He bids us make His glories known.


A new stanza was inserted after the third. It is by Bernhard Schumacher and was written for The Lutheran Hymnal in 1938. [Handbook to The Lutheran Hymnal]


Let me be Thine forever  427

Lass mich dein sein und bleiben,

Du treuer Gott und Herr;

Von dir lass mich nichts treiben,

Halt mich bei reiner Lehr’;

Herr, lass mich nur nicht wanken,

Gib mir Beständigkeit!

Dafür will ich dir danken

In alle Ewigkeit.


Herr Jesu Christ, mein Leben,

Mein Heil und ein’ger Trost,

Dir tu’ ich mich ergeben,

Du hast mich teu’r erlöst

Mit deinem Blutvergiessen,

Mit grossem Weh und Leid;

Lass mich des auch geniessen

Zu meiner Seligkeit!


O Heil’ger Geist, mein Tröster,

Mein Licht und teures Pfand,

Lass mich Christ, mein’n Erlöser,

Den ich im Glaub’n erkannt,

Bis an mein End’ bekennen,

Stark mich in letzter Not,

Von dir lass mich nichts trennen,

Gib einen sel’gen Tod!


In Nikolaus Selnecker’s Passio, etc., Heinrichstadt, 1572, the author has the first stanza of this hymn as a “Prayer.” In his Psalter, Leipzig, 1578, he brings it again at the end of Ps. 119, with the heading “Summary of Prayer.” It seems that Selnecker used it as a daily prayer. In the Rudolstädter Gesangbuch, 1688, Stanzas 2 and 3 were added. The author of these is unknown. The hymn is a favorite hymn for confirmation in the Lutheran Church.

The translation is by Matthias Loy, somewhat altered. It appeared in the Ohio Lutheran Hymnal, 1880. [Handbook to The Lutheran Hymnal]

Lass mich dein sein und bleiben, du trewer Gott und Herr. Von dir lass mich nicht treiben, halt mich bey deiner lehr.

Herr, lass mich nur nicht wancken, gieb mir bestendigkeit.

Dafür wil ich dir dancken in alle ewigkeit.

(Wackernagel, Das d. Kirchenlied, IV, No. 355.)

THIS beautiful stanza is very frequently used in Germany at the close of divine services. It was first published in Selnecker’s Passio, 1572, and later, 1688, in the Rudolstadt Gesangbuch, with two additional stanzas by an unknown author. The translation was rendered by Dr. M. Loy for the Evangelical Lutheran Hymnal of the Ohio Synod, published in 1880. [Dahle, Library of Christians Hymns]


Let the earth now praise the Lord  165

Gott sei Dank durch alle Welt,

Der sein Wort beständig hält

Und der Sünder Trost und Rat

Zu uns hergesendet hat.


Was der alten Väter Schar

Höchster Wunsch und Sehnen war,

Und was sie geprophezeit,

Ist erfüllt nach Herrlichkeit.


Zions Hilf’ und Abrams Lohn,

Jakobs Heil, der Jumgfrau’n Sohn,

Der wohl zweigestammte Held,

Hat sich treulich eingestellt.


Sei willkommen, o mein Heil!

Hosianna, o mein Teil!

Richte du auch eine Bahn

Dir in meinem Herzen an.


Zeuch, du Ehrenkönig, ein,

Es gehöret dir allein;

Mach es, wie du gerne tust,

Rein von allem Sündenwust.


Und gleichwie dein’ Ankunft war

Voller Sanftmut, ohn’ Gefahr,

Also sei auch jederzeit

Deine Sanftmut mir bereit.


Tröste, tröste meinen Sinn,

Weil ich schwach und blöde bin

Und des Satans schlaue List

Sich zu hoch an mir vermisst.


Tritt der Schlange Kopf entzwei,

Dass ich, aller Ängste frei,

Dir im Glauben um und an

Selig bleibe zugetan.


Dass, wenn du, o Lebensfürst,

Prächtig wiederkommen wirst.

Ich dir mög’ entgegengehn

Und vor Gott gerecht bestehn.


This hymn by Heinrich Held first appeared in Johann Crüger’s Praxis Pietatis Melica, 1659. Since then it has become a general favorite in many lands, and deservedly so, as it is one of our best Advent and Christmas hymns.

The translation is by Catherine Winkworth (except Stanza 7), Chorale Book for England, 1863. The seventh stanza is by an umknown translator. [Handbook to The Lutheran Hymnal]


Let us all with gladsome voice  134

Lasst uns alle fröhlich sein,

Preisen Gott den Herren,

Der sein liebes Söhnelein

Uns selbst tut verehren!


Er kommt in das Jammertal,

Wird ein Knecht auf Erden,

Damit wir im Himmelssaal

Grosse Herren werden.


Er wird arm, wir werden reich,

Ist das nicht ein Wunder?

Drum lobt Gott im Himmelreieh

Allzeit wie jetzumder!


O Herr Christ, nimm unser wahr

Durch dein’n heil’gen Namen!

Gib uns ein gut neues Jahr!

Wer’s begehrt, sprech’: Amen.


This hymn and its tune have been ascribed to Urban Langhans, a Saxon choirmaster and “diaconus” who lived in the middle of the sixteenth century; but his authorship is doubtful. According to Mearns, in Julian, the first stanza was quoted in a printed sermon of Martin Hammer’s, Leipzig, 1620. The full text, with the tune, “Lasst uns alle,” first appeared in Dresdenisch Gesangbuch Christlicher Psalmen und Kirchenlieder, Ander Theil, Dresden, 1632.

The translation is an altered form of Catherine Winkworth’s Chorale-Book for England, 1863. Her translation of the second and fourth stanzas reads:


Down to this sad earth He comes,

Here to serve us deigning,

That with Him in yon fair homes

We may once be reigning.


Look on all who sorrow here,

Lord, in pity bending,

Grant us now a glad New Year

And a blessed ending. [Handbook to The Lutheran Hymnal]


Let us ever walk with Jesus  236

Lasset uns mit Jesu ziehen,

Seinem Vorbild folgen nach,

In der Welt der Welt entfliehen,

Auf der Bahn, die er uns brach,

Immer fort zum Himmel reisen,

Irdisch noch, schon himmlisch sein,

Glauben recht und leben fein,

In der Lieb’ den Glauben weisen!

Treuer Jesu, bleib bei mir;

Gehe vor, ich folge dir!


Lasset uns mit Jesu leiden,

Seinem Vorblid werden gleich!

Nach dem Leiden folgen Freuden,

Armut hier macht dorten reich.

Tränensaat, die erntet Lachen,

Hoffnung tröstet mit Geduld.

Es kann leichtlich Gottes Huld

Aus dem Regen Sonne machen.

Jesu, hier leid’ ich mit dir,

Dort teil deine Freud’ mit mir!


Lasset uns mit Jesu sterben!

Sein Tod uns vom andern Tod

Rettet und vom Seelverderben,

Von der ewiglichen Not.

Lasst uns töten, weil wir leben,

Unser Fleisch, ihm sterben ab,

So wird er uns aus dem Grab

In das Himmelsleben heben.

Jesu, sterb’ ich, sterb’ ich dir,

Dass ich lebe für und für.


Lasset uns mit Jesu leben!

Weil er auferstanden ist,

Muss das Grab uns wiedergeben.

Jesu, unser Haupt du bist,

Wir sind deines Leibes Glieder

Wo du lebst, da leben wir.

Ach, erkenn uns für und für,

Trauter Freund, für deine Brüder!

Jesu, dir ich lebe hier,

Dorten ewig auch bei dir.


Sigismund von Birken first publiseod this hymn in Neilige Karwochen Nürnberg, 1653. It was intended for the Passiontide and is based on the Gospel for Quinquagesima Sunday, Luke 18:31-43.

The translation is by J. Adam Rimbach, 1910, who relates the story of the translation as follows:


The first hymn I ever translated was “Lasset uns mit Jesu ziehen.” The inspiration to do it came as follows: At the convention of the Central District in La Porte, Ind., in 1900, Dr. F. Pieper preached the opening sermon and, after doing so, had that hymn sung. I had never heard it sung before, and I immediately fell in love with it. The next month I opened a school in my congregation in Ashland, Ky., and my wife taught that hymn to the children. They, too, were delighted with it and sang it lustily, and with their help we introduced it in the church, where it also met with great favor. But many of the people, including all the children, sang it much as a parrot will talk, without understanding what they were saying. For they did not understand German. So I thought to myself: “It is a pity we haven’t that hymn in English,” and one Sunday afternoon, having just finished memorizing my evening sermon, which was English, I tackled that hymn myself. And, lo! the heavenly Muse came to my assistance, and within an hour or two I had something like a translation completed. I sent a copy of it to Rev. F. W. Herzberger of St. Louis, who was the editor of a forerunner of the Yonng Lutherans’ Magazine, and he graciously printed it. From there it found its way into our hymn-book; first into a small book of 200 hymns and then into the larger book (The Evangelical Lutheran Hymn-Book, 1912).


A few slight changes were made in the translation for The Lutheran Hymnal with the consent of the translator. [Handbook to The Lutheran Hymnal]


Lift high the cross  194


Lift up your heads, ye mighty gates  91-92

Macht hoch die Tür, die Tor’ macht weit,

Es kommt der Herr der Herrlichkeit,

Ein König aller Königreich’,

Ein Heiland aller Welt zugleich,

Der Heil und Leben mit sich bringt;

Derhalben jauchzt, mit Freuden singt:

Gelobet sei mein Gott,

Mein Schöpfer, reich von Rat!


Er ist gerecht, ein Helfer wert,

Sanftmütigkeit ist sein Gefährt,

Sein Königskron’ ist Heiligkeit,

Sein Zepter ist Barmherzigkeit.

All unsre Not zum End’ er bringt.

Derhalben jauchzt, mit Freuden singt:

Gelobet sei mein Gott,

Mein Heiland, gross von Tat!


O wohl dem Land, o wohl der Stadt,

So diesen König bei sich hat!

Wohl allen Herzen insgemein,

Da dieser König ziehet ein!

Er ist die rechte Freudensonn’,

Bringt mit sich lauter Freud’ und Wonn’.

Gelobet sei mein Gott,

Mein Tröster, früh und spat!


Macht hoch die Tür, die Tor’ macht weit,

Eu’r Herz zum Tempel zubereit’t,

Die Zweiglein der Gottseligkeit

Steckt auf mit Andacht, Lust und Freud’!

So kommt der König auch zu euch,

Ja Heil und Leben mit zugleich.

Gelobet sei mein Gott,

Voll Rat, voll Tat, voll Gnad’!


Komm, o mein Heiland Jesu Christ,

Mein’s Herzens Tür dir offen ist!

Ach zeuch mit deiner Gnade ein,

Dein’ Freundlichkeit auch uns erscheln’,

Dein Heil’ger Geist uns führ’ und leit’

Den Weg zur ew’gen Seligkeit!

Dem Namen dein, o Herr,

Sei ewig Preis und Ehr’!


THIS hymn is one of the most beautiful of the Lutheran Advent hymns and is based upon Psalm 24:7-10. “Lift up your heads, O ye gates; and be ye lifted up, ye everlasting doors; and the King of Glory shall come in.” This hymn was first printed in Preussische Fest-Lieder, 1641, for the first Sunday in Advent. It was included in Crüger’s Praxis Pietatis, 1662, and has found a place in the leading hymn books up to our time. The English translation is rendered by Miss Winkworth in Lyra Germanica, 1855, and the Chorale Book for England, and has been taken up into many other English and American hymnals, though often in an abbreviated and somewhat revised form. The hymn was rendered into Norwegian in seven short verses by N. J. Holm, evidently following the hymn book of the Moravian Brethren, Barby, 1778, where the fourth verse of the original is omitted. Landstad made use of this translation, but revised and enlarged it into eight four-lined verses. [Dahle, Library of Christians Hymns]


Light of the minds  425



Like the golden sun ascending  354

Som den gyldne Sol frembryder

Gjennem den kulsorte Sky,

Og sin Straeleglans udstyder

Saa at MŅrk og Mulm maa fly,

Saa min Jesus af sin Grav

Og der dybe DŅdsens Hav

Opstod ĺrefuld af DŅde

Imod Paaske MorgenrŅde.


Tak, o store Seierherre,

Tak, o Livsens Himmel-Helt,

Som ei DŅden kunde sperre

I det helvedmŅrke Telt!

Tak, fordi at du opstod,

Og sik DŅden under Fod!

Ingen Tunge kan den Gĺde

Med tilhŅrlig Lov udtvŅde.


Ligger jeg i Syndens Veie,

Ligger jeg i Armod ned,

Ligger jeg i Sygdoms Leie,

Ligger jeg i Uselhed,

Ligger jeg fortrĺngt, forhadt

Og af Verden slet forladt,

Skal jeg Hus i Graven tage,

O, her er dog Haab tilbage!


Du for Synden een Gang dŅde,

Dermed er min Synd betalt,

Armod, Uselhad og MŅde,

Ja min Sygdom bar du alt.

Jeg ved dig opreises skal,

Og af DŅdsens dybe Dal

Skal jeg Hovedet oprette,

Al min NŅd kan det forlette.


SŅde Jesu, giv mig Naade

Ved din gede Helligaand,

At jeg saa min Gang kan raade,

Og veiledes ved din Haand,

At jeg ei skal falde hen

Udi DŅdsens Svelg igjen,

Hvoraf du mig engang rykte,

Der du DŅden undertrykte!


Tak for al din FŅdsels Glĺde,

Tak for dit det Guddoms Ord,

Tak for Daabens hellig’ Vĺde,

Tak for Naaden paa dit Bord,

Tak for DŅdsens bitre Ve,

Tak for din Opstandelse,

Tak for Himlen, du har inde,

Der skal jeg dig se og finde!


I KNOW that my Redeemer liveth” (Job 19:25). First published in En Ny Kirke-Psalmebog (Vinterparten), 1689. It was later included in Kingo’s Salmebog with a few minor changes. Compare the seventh stanza with Rom. 1:4, 6:5, and I Cor. 15:14 ff. The eighth stanza is often used at burials, and the last two stanzas are often sung as the closing hymn for the Sunday service. One hymnologist says: “Kingo is actually in love with the sun. Light is his proper element.” For that reason, also, his Easter songs are his most inspiring festival hymns. He is preeminently the Easter poet. “Like the golden sun ascending” is possibly his best production. Here his notes ring out loud and clear like the chiming peals of deep toned, resonant church bells, and his rejoicing in the glorious hope of Resurrection is hardly equaled by any other poet. Though the English translation is quite successful it is hardly equal to the original. Skaar says that the eighth stanza may be compared with the words of Luther: “Though I should die and a bear devour my head, and a fish my inward parts, or a wolf my hand, yea, though I should be torn in a thousand pieces, yet I know that I shall have eternal life. I have laid hold on Thee, O Christ; Thou art my life, and it is the Father’s will that all who believe on Thee shall be raised up from the dead and have eternal life. Let come what may, the block or the stake!” The present English translation was rendered by the Rev. G. T. Rygh, 1908. [Dahle, Library of Christians Hymns]


Lo! He comes with clouds descending  98

THIS hymn has come to us in three different versions. The oldest is by John Cennick, a preacher and hymn writer. This begins: “Lo, He cometh, countless trumpets, blow before His bloody sign.” This has six verses. The second version is that by C. Wesley, and this was first printed, 1758, in Hymns of Intercession for all Mankind, a tract consisting of forty hymns. The third version is a cento consisting of six verses by M. Madan in his Psalms and Hymns, 1760. This is a combination of Wesley’s and Cennick’s versions with a few changes. Verses 1, 2, and 4 are by Wesley, with the exception of a couple of changes in the first and the last verse. The third verse is by Cennick, following Madan’s redaction. The Cennick-Wesleyan hymn of Madan’s version has gained great favor in all English-speaking countries. [Dahle, Library of Christians Hymns]


Lo, God to heaven ascendeth!  391

Gott fähret auf gen Himmel

Mit frohem Jubelschall,

Mit prächtigem Getümmel

Und mit Posaunenhall.

Lobsingt, lobsinget Gott!

Lobsingt, lobsingt mit Freuden

Dem Könige der Heiden,

Dem Herren Zebaoth!


Der Herr wird aufgenommen,

Der ganze Himmel lacht;

Um ihn gehn alle Frommen,

Die er hat freigemacht.

Es holen Jesum ein

Die lautern Cherubinen,

Den hellen Seraphinen

Muss er willkommen sein.


Wir wissen nun die Stiege,

Die unser Haupt erhöht:

Wir wissen zur Genüge,

Wie man zum Himmel geht.

Der Heiland geht voran,

Will uns meht nach sich lassen,

Er zeiget uns die Strassen,

Er bricht uns sichre Bahn.


Wir sollen himmlisch werden,

Der Herre macht uns Platz.

Wir gehen von der Erden

Dorthin, wo unser Schatz.

Ihr Herzen, macht euch auf!

Wo Jesus hingegangen,

Dahin sei das Verlangen,

Dahin sei euer Lauf!


Lasst uns gen Himmel springen

Mit herzlicher Begier,

Lasst uns zugleich auch singen:

Dich, Jesu, suchen wir,

Dich, o du Gottessohn,

Dich Weg, dich wahres Leben,

Dem alle Macht gegeben,

Dich, unsers Hauptes Kron’!


This hymn, by Gottfried W. Sacer, founded on Ps. 47: 5-7, appeared in seven stanzas in Ander Theil des erneuerten Gesang-Buchs, Stralsund, 1665. It had been included, in 1661, in an anonymous collection of poems, which he had written between 1659 and 1660 during his stay at Greifswald.

The translation is an altered form of that by Frances E. Cox in her Sacred Hymns from the German, 1841. The omitted stanzas are:


6. Farewell with all thy treasures,

O world, to falsehood given!

Thy dross gives no true pleasures;

We seek the joys of heaven.

The Savior is our Prize;

He comforts us in sadness

And fills our hearts with gladness;

To Him we lift our eyes.


7. When, on our vision dawning,

Will break the wished-for hour

Of that all-glorious morning

When Christ shall come with power?

Oh, come, thou welcome day,

When we, our Savior meeting,

His second advent greeting,

Shall hall the Heaven-sent ray. [Handbook to The Lutheran Hymnal]


God is gone up with a shout,

Jehovah with the sound of a trumpet.

Sing praises to God, sing praises:

Sing praises unto our King, sing praises.

Psalm 47:5, 6.

THIS is the Biblical basis for the hymn. It is found in the second part of a Stralsund Gesangbuch, 1665 (Ander Theil des erneuerten Gesang-Buchs), and in other contemporary hymn books. But it was possibly printed at an earlier date. The original contains seven stanzas. The present translation is by Miss Frances Cox, prepared for her Hymns from the German, 1864. [Dahle, Library of Christians Hymns]


Lo, how a rose e’er blooming*  121


Lo, many shall come*  200

(See: There many shall come from the east and the west)


Look, O look, the sight is glorious  390


Lord God, we all to Thee give praise  545

Herr Gott, dich loben alle wir

Und sollen billig danken dir

Für dein Geschöpf der Engel schön,

Die um dich schweb’n vor deinem Thron.


Sie glänzen hell und leuchten klar

Und sehen dich ganz offenbar,

Dein’ Stimm’ sie hören allezeit

Und sind voll göttlicher Weisheit.


Sie feiern auch und schlafen nicht,

Ihr Fleiss ist gar dahin gericht’t,

Dass sie, Herr Christe, um dich sei’n

Und um dein armes Häufelein.


Der alte Drach’ und böse Feind

Vor Neid, Hass und vor Zorne brennt;

Sein Dichten steht allein darauf,

Wie von ihm werd’ zertrennt dein Hauf’.


Und wie er vormals bracht’ in Not

Die Welt, führt er sie noch in Tod;

Kirch’, Wort, Gesetz, all’ Ehrbarkeit

Zu tilgen, ist er stets bereit.


Darum kein’ Rast noch Ruh’ er hat,

Brüllt wie ein Löw’, tracht’t früh und spat,

Legt Garn und Strick, braucht falsche List,

Dass er verderb’, was christlich ist.


Also schützt Gott noch heutzutag’

Vor Übel und gar mancher Plag’

Uns durch die lieben Engelein,

Die uns zu Wächtern geben sein.


Darum wir billig loben dich

Und danken dir, Gott, ewiglich,

Wie auch der lieben Engel Schar

Dich preiset heut’ und immerdar.


Philip Melanchthon’s hymn “Dicimus grates tibi” first appeared in ten stanzas in De Angelis Duo Hymni, Wittenberg, 1543. Later Wackernagel gives it in eleven stanzas as follows:


1. Dicimus grates tibi, summe rerum

Conditor, gnato tua quod ministros

flammeos finxit manus angelorum

agmina pura.


2. Qui tuae lucis radiis vibrantes

te vident laetis oculis, tuasque

hauriunt voces, sapientiaeque

fonte fruuntur.


3. Nos non ignavum finis esse vulgus,

nec per ingentes volitare frustra

aetheris tractus, temere nec inter

ludere ventos.


4. Sed iubes Christo comites adesse

et pios caetus hominum tueri,

qui tuas leges venerantur, atque

discere curant.


5. Impiis ardens odiis et ira

nam tuis castris draco semper infert

bella, qui primis scelus atque mortem

intulit orbi.


6. Hic domos, urbes, tua templa, gentes

et tuae legis monumenta tota

et bonos mores abolere tentat

funditus ommes.


7. Interim sed nos regit angelorum,

quae ducem Christum sequitur, caterva,

atque grassantis reprimit cruenta

arma draconis.


8. Angeli Lothon Sodomae tuentur,

inter infestos Clisaeus hostes,

angelis cinctus, nihil extimescit

bellica signa.


9. Tutus est inter medios leones,

angelis septus, Daniel propheta:

sic tegit semper Deus his ministris

omnia nostra.


10. Hoc tum munus celebramus una,

et tibi noster chorus angelique

gratias dicunt simul accinentes,

Conditor alme.


11. Et tuo templo vigiles ut addas

angelos semper, populoque, gnati,

qui tui verbum colit, obsceramus

pectore toto.


Paul Eber gave the hymn its German form. This version appeared in a separate print, c. 1554, at Nürnberg, in twelve stanzas. The cento, composed of Stanzas 1 to 6 and 11, is taken from the English translation by Emanuel Cronenwett. This translation appeared in the Ohio Lutheran Hymnal, 1880. [Handbook to The Lutheran Hymnal]

THIS hymn was first printed as No. 1 of De Angelis Duo Hymni, Wittenberg, 1543. It appeared in 10 four-lined stanzas. It was again published the following year in Psalterium Davidis, Wittenberg, 1544. In Corpus Reformatorum and in Wackernagel’s edition it has 11 stanzas. It was translated into German by Paul Eber and printed in Nürnberg, about 1554, Ein schön Geistlich Lobsang: Herr Gott, dich loben alle wir. Later it appeared in J. Eichhorns Gesangbuch, Frankfurt an der Oder, 1561. There are four English translations. Our English version is by Dr. Joseph A. Seiss, and was published in 1890, in the Sunday school book of the General Council. Melanchthon wrote a few Latin hymns, but did not produce anything further of importance in Lutheran hymnology [Dahle, Library of Christians Hymns]


Lord God, who art my Father  386


Lord Jesus Christ, be present now  23

Herr Jesu Christ, dich zu uns wend,

Dein’n Heil’gen Geist du zu uns send!

Mit Lieb’ und Gnad’, Herr, uns regier

Und uns den Weg zur Wahrheit führ.


Tu auf den Mund zum Lobe dein.

Bereit das Herz zur Andacht fein,

Den Glauben mehr, stärk den Verstand,

Dass uns dein Nam’ werd wohl bekannt,


Bis wir singen mit Gottes Heer:

Heilig, heilig ist Gott der Herz!

Und schauen dich von Angesicht

In ew’ger Freud’ und sel’gem Licht.


Ehr’ sei dem Vater und dem Sohn,

Dem Heil’gen Geist in einem Thron;

Der Heiligen Dreieinigkeit

Sei Lob und Preis in Ewigkeit!


This hymn is often ascribed to Wm. II, Duke of Saxe-Weimar, but this is doubtful. According to Koch the hymn was included in Johannes Niedling’s Lutherisch Handbüchlein (1st edition, Altenburg, 1638). However, this is uncertain. Niedling was instructor at the gelehrten Schule in Altenburg. The hymn is entitled “A heartfelt petition of pious Christians for grace and the help of the Holy Spirit during divine service, before the sermon,” in Niedling’s fourth edition, 1655. In the Cantionale Sacrum (Gotha, 2d ed., 1651) the hymn was entitled “To be sung before the sermon.” This is, as far as we know, the first time the hymn appeared in print. Duke William’s name was not attached to the hymn until 1676.

The translation is by Catherine Winkworth, with some alterations by the Committee. It was first published in her Chorale Book for England in 1863. [Handbook to The Lutheran Hymnal]

THIS hymn was first printed in the Cantionale Sacrum, second edition, Gotha, 1651, and later it appeared in Niedling’s Hand-Büchlein, fourth edition, Altenburg, 1655. In both these it appeared anonymously. In the latter book it had the following title: “Pious Christians’ Prayer for the grace of the Holy Ghost and help during the hours of worship; to be used before the sermon.” In the Altdorf Liederfreund, published 1676, the name of Duke Wilhelm is connected with the hymn. Koch relates that the duke composed this hymn at one time deeply moved by viewing a painting of the crucified Savior. The contents of the hymn, however, do not support this story (Skaar). B. K. Aegidius translated it into Danish from the edition of the Lüneburgisches Gesangbuch, 1686, and this version was made use of by Pontoppidan in his hymnal of 1740. TheEnglis htranslation adopted in our Lutheran Hymnary is by Miss Winkworth. [Dahle, Library of Christians Hymns]


Lord Jesus Christ, my Life, my Light  291

O Jesu Christ, mein’s Lebens Licht,

Mein Hort, mein Trost, mein’ Zuversicht,

Auf Erden bin ich nur ein Gast,

Und drückt mich sehr der Sünden Last.


Ich hab’ vor mir ein’ schwere Reis’

Zu dir in’s Himmels Paradeis;

Das ist mein rechtes Vaterland,

Darauf du hast dein Blut gewandt.


Zur Reis’ ist mir mein Herz sehr matt,

Der Leib gar wenig Kräfte hat;

Allein mein’ Seele schreit in mir:

Herr, hol mich heim, nimm mich zu dir!


Drum stärk mich durch das Leiden dein

In meiner letzten Todespein;

Dein Blutschweiss mich tröst’ und equick’,

Mach’ mich frei durch dein’ Band’ und Strick’!


Die heiligen fünf Wunden dein

Lass mir rechte Felslöcher sein,

Darein ich flieh’ als eine Taub’,

Dass mich der hölllsch’ Weih nicht raub’.


Dein letztes Wort lass sein mein Licht,

Wenn mir der Tod das Herz zerbricht;

Behüte mich vor Ungebärd’,

Wenn ich mein Haupt nun neigen werd’!


Lass mich durch deine Nägelmal’

Erblicken die Genadenwahl;

Durch deine aufgespaltne Seit’

Mein’ arme Seele heimgeleit!


Auf deinen Abschied, Herr, ich trau’,

Darauf mein’ letzte Heimfahrt bau’;

Tu mir die Himmelstür weit auf,

Wenn ich beschliess’ mein’s Lebens Lauf


Am Jüngsten Tag erweck mein’n Leib,

Hilf, dass ich dir zur Rechten bleib’,

Dass mich nicht treffe dein Gericht,

Welch’s das erschrecklich’ Urteil spricht.


Alsdann mein’n Leib erneure ganz,

Dass er leucht’ wie der Sonne Glanz

Und ähnlich sei dein’m klaren Leib,

Auch gleich den lieben Engeln bleib’.


Wie werd’ ich dann so fröhlich sein,

Werd’ singen mit den Engelein

Und mit der Auserwählten Schar

Ewig schauen dein Antlitz klar.


Martin Behm first published this hymn, in fourteen stanzas, in a collection entitled Christliche Gebet, 1610, and then in his Zehen Sterbegebet, etc., appended to his Centuria secunda, Wittenberg, 1611. It was headed “Prayer for a blessed journey home, based upon Christ’s Sufferings.” It is his best hymn. The cento omits Stanzas 5, 6, 8, and 10. Some German hymnals have inserted a stanza, the fifth above, which is not by Behm. It is of unknown origin and first appeared in the hymn in the collection, Kirchen- und Hausmusik, Breslau, 1644. The omitted stanzas read in translation:


5. The blows and stripes that fell on Thee

Heal up the wounds of sin in me;

Thy crown of thorns, Thy foes’ mad spite,

Let be my glory and delight.


6. That thirst and bitter draught of Thine

Cause me to bear with patience mine;

Thy piercing cry uphold my soul

When floods of anguish o’er me roll!


8. And when my lips grow white and chill,

Thy Spirit cry within me still

And help my soul Thy heaven to find

When these poor eyes grow dark and blind!


10. Thy cross shall be my staff in life,

Thy holy grave my rest from strife;

The winding-sheet that covered Thee,

Oh, let it be a shroud for me.


The translation is based on Catherine Winkworth’s versions in her Lyra Germanica, second series, 1858, and in her Chorale Book for England, 1863. [Handbook to The Lutheran Hymnal]

MARTIN BEHM’s best hymn, first published in Christliche Gebet, 1610; also in the author’s Zehen Sterbegebet, 1611, in a supplement to his Centuria secunda; 14 stanzas under the title Petition for a Blessed Departure, Based upon the Sufferings of Christ. First Danish version is found in Joachim Moltke’s Dansk Psalmebog, 1664.

The translator is unknown. In a somewhat altered form it entered into Kingo’s Hymnal for use at interments. Landstad rendered a new translation for his hymn book. Our present English version was made by Miss Winkworth in her Lyra Germanica, second series, 1858, later revised and changed for her Chorale Book for England, 1863. This translation has entered into many English and American hymnals, at times in an abbreviated form. [Dahle, Library of Christians Hymns]


Lord Jesus Christ, my Savior blest  258

Herre Jesu Krist!

Min Frelser du est,

Til dig haaber jeg alene;

Jeg tror paa dig,

Forlad ikke mig

Saa elendelig,

Mig trŅster dit Ord det rene.


Alt efter din Vilje,

O Herre mig stille,

At jeg dig trolig kan dyrke;

Du est min Gud,

Lĺr mig dine Bud,

Al min Tid ud

Du mig I Troen styrke!


Nu vil jeg vĺre,

O Jesu kjĺre,

Hvor du mig helst vil have,

Jeg lukker dig ind

I mit Hjerte og Sind,

O Herre min,

Med al din Naade og Gave!


Al min Tillid

Nu og al Tid

Har jeg til dig, o Herre!

Du est min TrŅst

Dit Ord og RŅst

I al min BrŅst

Min Hjertens Glĺde mon vĺre.


Naar Sorgen mig trĺnger,

Efter dig mig forlĺnger,

Du kan mig bedst husvale;

Den du vil bevare,

Han er uden Fare,

Du mig forsvare,

Dig monne ieg mig befale!


Nu veed ieg vist,

Herre Jesu Krist,

Du vil mig aldrig forlade;

Du siger jo saa;

Kald du mig paa,

Hjĺlp skal du faa

I al din Sorg og Vaade.


O give det Gud,

Vi efter dine Bud

Kunde os saa stikke tilsammen,

At vi med dig


I Himmerig

Kunde leve i Salighed! Amen.


The hymn, very popular in Scandinavian circles, is by Hans C. Sthen. It was published in Sthen’s Vandrebog, etc., c. 1578, in eight stanzas. It is an acrostic. The initial letters of the stanzas spell the words “Hans” and “Anno.” Stanza 4 is omitted.

The translation is by Harriet R. Spaeth, 1898. It was included in The Lutheran Hymnary, 1913. [Handbook to The Lutheran Hymnal]

EN Christelig Suplicatz til Guds SŅn. This popular hymn was published in Sthen’s Vandrebog, indeholdende adskillige BŅnner og Sange, etc. The title page has been lost. The initial letters of the stanzas spell the words “Hans” and “Anno,” but no date is given. [Dahle, Library of Christians Hymns]


Lord Jesus Christ, Thou living Bread  322

Du Lebensbrot, Herr Jesu Christ,

Mag dich ein Sünder haben,

Der nach dem Himmel hungrig ist

Und sich mit dir will laben,

So bitt’ ich dich demütiglich,

Du wollest so bereiten mich,

Dass ich recht würdig werde.


Auf grüner Aue wollest du

Mieh diesen Tag, Herr, leiten,

Den frischen Wassern führen zu,

Den Tisch für mich bereiten.

Ach, ich bin sündlich, matt und krank,

Lass, Herr, mich deinen Gnadentrank

Aus deinem Becher schmecken!


Du angenehmes Himmelsbrot,

Du wollest mir verzeihen,

Dass ich in meiner Seelennot

Zu dir muss kläglich schreien;

Dein Glaubensrock bedecke mich,

Auf dass ich möge würdiglich

An deiner Tafel sitzen!


Zwar ich bin deiner Gunst nicht wert,

Als der ich jetzt erscheine

Mit Sünden allzuviel beschwert,

Die sehmerzlich ich beweine.

In solcher Trübsal tröstet mich,

Herr Jesu, dass du gnädiglich

Der Sünder dich erbarmest.


Johann Rist published this hymn in his Hausmusik, 1654, in eight stanzas. It was headed “a devotional hymn which may be sung when the people are about to take their place at the Holy Communion of the Lord.” It is founded on Ps. 23. The cento includes Stanzas 1 to 3 and 5. The omitted stanzas read:


4. Tilg allen Hass und Bitterkeit,

O Herr, aus meinem Herzen,

Lass mich die Sünd’ in dieser Zeit

Bereuen ja mit Schmerzen;

Du heissgebratnes Osterlamm,

Du meiner Seele Bräutigam,

Lass mich dich recht geniessen!


6. Ich bin ein Mensch, krank von der Sünd’,

Lass deine Hand mich heilen!

Erleuchte mich, denn ich bin blind;

Du kannst mir Gnad’ erteilen.

Ich bin verdammt, erbarme dich;

Ich bin verloren, suche mich

Und hilf aus lauter Gnaden!


7. Mein Bräutigam, komm her zu mir

Und wohn in meiner Seelen;

Lass mich dich küssen für und für

Und mich mit dir vermählen!

Ach, lass doch deine Süssigkeit

Für meine Seele sein bereit

Und stille ihren Jammer!


8. Du Lebensbrot, Herr Jesu Christ,

Komm selbst, dich mir zu schenken!

O Blut, das du vergossen bist,

Komm eiligst, mich zu tränken!

Ieh bleib’ in dir und du in mir,

Drum wirst du, meiner Seele Zier,

Auch mich dort auferwecken.


The translation is an altered form of that by Arthur T. Russell in his Psalms and Hymns, 1851. [Handbook to The Lutheran Hymnal]


Lord Jesus Christ, true Man and God  238


BETLIEDLIN zu Christo umb ein seligen Abschied (A prayer to Christ for a blessed death). It is related concerning this hymn that Dr. Paul Eber wrote it for his daughters in 1557. The original contained 8 stanzas. It was first published in Low German in a Hamburg hymn book of 1565. This hymn has served as a source of comfort to many in their dying hour. The German ruler, Joachim of Anhalt, d. 1561 (according to others, Prince Wolfgang of Anhalt, d. 1566), memorized this hymn and used it as a daily prayer. It was the favorite hymn of the elector Christian I of Saxony. Hugo Grotius repeated this hymn a few minutes before he died, August 28, 1645. It also proved a great source of comfort to Eber himself as he was about to die, December 10, 1569. Our present English version was rendered by Miss Winkworth for her Lyra Germanica, 1855. The Lutheran Hymnary has employed stanzas 1, 2, 3, 5, and 8 of Miss Winkworth’s translation. Her translation contained all the stanzas of the original. [Dahle, Library of Christians Hymns]


Lord Jesus Christ, we humbly pray  311


Lord Jesus Christ, with us abide  511

Ach bleib bei uns, Herr Jesu Christ,

Weil es nun Abend worden ist;

Dein göttlich Wort, das helle Licht,

Lass ja bei uns auslöschen nicht!


In dieser, letzt’n, betrübten Zeit

Verleih uns, Herr, Beständigkeit,

Dass wir dein Wort und Sacrament

Rein b’halten bis an unser End’!


Herr Jesu, hilf, dein’ Kirch’ erhalt,

Wir sind gar sicher, faul und kalt!

Gib Glück und Heil zu deinem Wort,

Damit es schall’ an allem Ort!


Erhalt uns nur bei deinem Wort

Und wehr des Teufels Trug und Mord!

Gib deiner Kirche Gnad’ und Huld,

Fried’, Einigkeit, Mut und Geduld!


Ach Gott, es geht gar übel zu,

Auf dieser Er ‘ ist keine Ruh’,

Viel Sekten und viel Schwärmerei

Auf einen Haufen kommt herbei.


Den stolzen Geistern wehre doch,

Die sich mit G’walt erheben hoch

Und bringen stets was Neues her,

Zu fälschen deine rechte Lehr’.


Die Sach’ und Ehr’, Herr Jesu Christ,

Nicht unser, sondern dein ja ist;

Darum so steh du denen bei,

Die sich auf dich verlassen frei!


Dein Wort ist unsers Herzens Trutz

Und deiner Kirche wahrer Schutz;

Dabei erhalt uns, lieber Herr,

Dass wir nichts anders suchen mehr!


Gib, dass wir leb’n in deinem Wort

Und darauf ferner fahren fort

Von hinnen aus dem Jammertal

Zu dir in deinen Himmelssaal!


This hymn on the Word of God and the preservation of the Church appeared in the Nürnberger Gesangbuch, 1611, where it was attributed to Nikolaus Selnecker. It is based on Ps. 122. Selnecker is the author of Stanzas 3, 4, and 6 to 10. In this form the hymn appeared in Selnecker’s Psalmen, Leipzig, 1578. The Nürnberger Gesangbuch text accordingly has two new stanzas at the beginning by an unknown author or authors. The fifth stanza is taken from another of Selnecker’s hymns, beginning “Wir danken dir, Herr Jesu Christ.”

The translation is composite. [Handbook to The Lutheran Hymnal]

THE earliest source of this hymn is Der Psalter mit kurtzen Summarien und Gebetlein, 1572. But the entire hymn appeared for the first time in Geistliche Psalmen, Nürnberg, 1611, in nine stanzas. The first stanza was printed in 1579 along with a hymn by N. Hermann which is a translation of Melanchthon’s Latin hymn “Vespera jam venit nobiscum” and is based upon Luke 24:29. The second stanza appeared first in Christliche Gebet und Psalmen, Freiberg, 1602, and resembles a prayer in verse form attached to the twenty-ninth hymn in Der Psalter (see above). The fifth stanza is made up of the second stanza of a versified prayer attached to Psalm 149 in Der Psalter, 1572. Stanzas 3, 4, 6-9 make up the hymn “Herr Jesu, hilf, dein Kirch’ erhalt,” which is a versified prayer attached to Psalm 122 in the author’s Der Psalter, referred to above.

“The hymn,” says Skaar, “clearly refers to the struggle and the persecutions which Selnecker had to endure from the Crypto-Calvinists; at the same time it clearly emphasizes his own mission in life and that of every true Christian soldier, namely, to preserve the Word of God and the Sacraments pure and unadulterated unto the end.” Söderberg writes: “Selnecker, Melanchthon’s personal disciple and one of the authors of the Formula of Concord, was during the violent doctrinal controversies one of the ablest apologetes of the Lutheran faith and a powerful witness not only concerning his own dread of schism and factions, but also concerning his unflinching faith in the conquering power of the Gospel truth. This is clearly shown in his hymn, ‘Ack blif hos oss, o Jesu Krist,’ where he indeed bewails the character of his age, but also cheerfully draws comfort from the Divine Word which is ‘A trusty shield and weapon; Our stay, whate’er doth happen.’”

The Scriptural basis for the hymn is as follows by stanzas, 1: Luke 24:29; Psalm 119: 105. 2: Eph. 5:16; 2 Tim. 3:1. 3: Rom. 10:8. 5: John 8:44; 6:2 Pet. 2:1 ff. 7:Psalm 115:1-2. 8:Eph. 6:16-17; Rev. 3:8-10. 9: Matt. 4:4.—The English translation is by L. Heyl, 1880, somewhat changed. Louis Heyl lived for a time in Columbus, Ohio, and was a prominent member of the Lutheran Church. Later he became a customs official in Philadelphia. This hymn was rendered into Danish by Grundtvig. [Dahle, Library of Christians Hymns]


Lord Jesus Christ, You have bestowed  320

Herr Jesu Christ, du hast bereit’t

Für unsre matten Seelen

Dein Leib und Blut zu ein’r Mahlzeit,

Tust uns zu Gästen wählen.

Wir tragen unsre Sündenlast,

Drum kommen wir zu dir zu Gast

Und suchen Rat und Hilfe.


Ob du schon aufgefahren bist

Von dieser Erde sichtig

Und bleibst nummehr zu dieser Frist

Von uns allhier umsichtig,

Bis dein Gericht dort wird angehn

Und wir vor dir all’ werden stehn

Und dich fröhlich ansehauen:


So bist du doch stets nach dein’m Wort

Bei uns und dein’r Gemeine

Und nicht gefang’n an einem Ort

Mit deinem Fleiseh und Beine.

Dein Wort steht wie ein’ Mauer fest’

Welch’s alch niemand verkehren lässt,

Er sei so klug er wolle.


Du sprichst: Nehmt hin, das ist mein Leib,

Den sollt ihr mündlich essen;

Trinkt all’ mein Blut, bei euch ich bleib’,

Mein sollt ihr nicht vergessen.

Du hast’s gered’t, drum ist es wahr;

Du bist allmächtig, drum ist gar

Kein Ding bei dir unmöglich.


Und ob mein Herz hier nicht versteht,

Wie dein Leib an viel Orten

Zugleich sein kann, und wie’s zugeht,

So trau’ ich doch dein’n Worten;

Wie das sein kann, befehl’ ich dir,

An deinem Worte g’nüget mir,

Dem stehet nur zu glauben.


Ich glaub’, o lieber Herr, ich glaub’,

Hilf meinem schwachen Glauben!

Ich bin doch nichts denn Asch’ und Staub,

Dein’s Worts mich nicht beraube!

Dein Wort, dein’ Tauf’ und dein Nachtmahl

Tröst’t mich in diesem Jammertal;

Da liegt mein Schatz begraben.


Ach Herr, hiff, dass wir würdiglich

Gehen zu deinem Tische,

Beweinen unsre Sünd’ herzlich,

Und uns wieder erfrische

Mit dein’m Verdienst und Wohltat gross,

Darauf wir traun ohn’ Unterlass

Und unser Leben bessern.


Für solch dein tröstlich Abendmahl,

Herr Christ, sei hochgelobet!

Erhalt uns das, weil überall

Die Welt dawider tobet!

Hilf, dass dein Leib und Blut allein

Mein Trost und Labsal möge sein

Im letzten Stündlein! Amen.


Samuel Kinner published this hymn in Jeremiah Weber’s Gesang Buch, Leipzig, 1638, entitled “A Beautiful Hymn on the Supper of Our Lord.”

The translation is adapted from that by Emanuel Cronenwett in the Ohio Lutheran Hymnal, 1880. [Handbook to The Lutheran Hymnal]


Lord Jesus, think on me  496

Mnweo, Criste,

uie Qeoio


oiketw Sou,

KhrĘ alitroio

Tade grayantoV:

Kai moi opasson

lusin paqewn

ta moi emfuh

yuja rupara:

doV de idesqai,

Swter Ihsou,

zaqean aiglan

San, enqa faneiV

melyw aoidan

paioni yucan,

paioni guiwn,

Patri sun megalw

Pneumati QĘ Agnw.


This Greek hymn is by Synesius, bishop of Cyrene († 430). The English paraphrase is by Allen W. Chatfield in his Songs and Hymns, etc., 1876, the complete form of which was in nine stanzas. Chatfield wrote: “In translating this ode, I gave my spirit more liberty. It may be considered as a paraphrase or amplification, rather than an exact translation, of the original. [Handbook to The Lutheran Hymnal]


Lord Jesus, Thou the Church’s head  212

O Jesu, einig wahres Haupt

Der heiligen Gemeine,

Die an dich, ihren Heiland, glaubt,

Und nur auf dir alleine

Als ihrem Felsen steht,

Der nie untergeht,

Wenngleich die ganze Welt

Zertrümmert und zerfällt:

Erhör, erhör uns, Jesu!


Lass uns, dein kleines Häufelein.

Das sich zu dir bekennet,

Dir ferner anbefohlen sein;

Erhalt uns ungetrennet.

Wort, Tauf’ und Abendmahl

Lass in seiner Zahl

Und ersten Reinigkeit

Bis an den Schluss der Zeit

Zu unserm Troste bleiben.


Hilf, dass wir dir zu aller Zeit

Mit reinem Herzen dienen.

Lass uns das Licht der Seligkeit,

Das uns bisher geschienen,

Zur Buss’ kräftig sein

Und zum hellen Schein,

Der unsem Glauben mehrt,

Der Sünden Macht zerstört

Und fromme Christen machet.


Lass uns beim Evangelio

Gut, Blut und Leben wagen;

Mach uns dadurch getrost und froh,

Das schwerste Kreuz zu tragen.

Gib Beständigkeit,

Dass uns Lust und Leid

Von dir nicht scheiden mag,

Bis wir den Jubeltag

Bei dir im Himmel halten.


Johann Mentzer wrote this hymn in seven stanzas. It appeared in the Reibersdorfer Gesang Buch, 1726. The cento includes Stanzas 1 to 4.

The translation by William J. Schaefer was prepared for The Lutheran Hymnal in 1938. [Handbook to The Lutheran Hymnal]


Lord Jesus, though but two or three  5



Lord Jesus, who art come  503

Herr Jesu, der du selbst

Von Gott als Lehrer kommen

Und, was du aus dem Schoss

Des Vaters hast genommen,

Den rechten Weg zu Gott

Mit Wort und Werk gelehrt,

Sei für dein Predigtamt

Gelobt von deiner Herd’!


Du bist zwar in die Höh’

Zum Vater aufgefahren,

Doch gibst du noch der Welt

Dein Wort mit grossen Scharen

Und baust durch diesen Dienst

Die Kirche, deinen Leib,

Dass er im Glauben wachs’

Und fest ans Ende bleib’.


Hab’ Dank für dieses Amt,

Durch das man dich selbst höret,

Das uns den Weg zu Gott

Und die Versöhnung lehret,

Durchs Evangelium

Ein Häuflein in der Welt

Berufet, sammelt, stärkt,

Lehrt, tröstet und erhält!


Erhalt uns diesen Dienst

Bis an das End’ der Erden,

Und weil die Ernte gross,

Gross’ Arbeit und Beschwerden,

Send selbst Arbeiter aus

Und mach sie klug und treu,

Dass Feld und Sä’mann gut,

Die Ernte reichlich sei!


Die du durch deinen Ruf

Der Kirche hast gegeben,

Erhalt bei reiner Lehr’

Und einem heil’gen Leben!

Leg deinen Geist ins Herz,

Das Wort in ihren Mund!

Was jeder reden soll,

Das gib du ihm zur Stund’!


Ach segne all dein Wort

Mit Kraft am umsern Seelen!

Lass deinen Schäflein nie

An guter Weid’ es fehlen;

Such das verirrte selbst,

Bind das verwund’te zu,

Das schlafende weck auf,

Das müde bring zur Ruh’!


Bring, was noch draussen ist,

Zu deiner kleinen Herde!

Was drinnen ist, erhalt,

Dass es gestärket werde!

Dring durch mit deinem Wort,

Bis einstens Hirt und Herd’

Im Glauben, Herr, an dich

Zusammen selig werd’!


Eberhard Ludwig Fischer published this hymn, originally in eight stanzas, in the Württemberger Landes-Gesangbuch, 1741, which Dr. Wilhelm Gottlieb Tafinger compiled with Fischer’s assistance. The omitted Stanza 7 reads as follows:


7. Bewahr vor Ketzerei,

Vor Menschenlehr’ und Dünkel!

Lehr uns nach deiner Art

Im Tempel, nicht im Winkel!

Behüt vor Ärgernis,

Vor Spaltung, die uns trennt;

Erhalte rein und ganz

Dein Wort und Sakrament!


The translation is composite. [Handbook to The Lutheran Hymnal]


Lord of all hopefulness  59



Lord of glory, who hast bought us  459

I HAVE shewed you all things, how that so laboring ye ought to support the weak, and to remember the words of the Lord Jesus, how He said, It is more blessed to give than to receive” (Acts 20:35). This hymn was written in 1864, and published in the appendix to the original edition of Hymns ancient and Modern, 1868. The hymn was sent to the committee with the simple request that if accepted Dr. Dykes might be permitted to write the tune for it. Sir Henry Baker told Dr. Dykes that such a request had been sent in with the hymn, and he was greatly surprised when he found that the hymn had been composed by his sister, who had told no one that she had written it. Dr. Dykes did not like the sad ending of the hymn, which originally concluded with stanza 4 (omitted in L. H.), so he suggested the closing stanza—a repetition of the first four lines of the hymn and the four closing lines which he wrote. Stanza 4 of the original hymn, “Yes, the sorrow and the suffering,” is omitted in The Lutheran Hymnary. [Dahle, Library of Christians Hymns]


Lord of our life and God of our salvation  439


THE English hymn by Pusey is written upon the basis of Löwenstern’s German hymn “Christe, du Beistand,” etc. The German hymn appeared in Löwenstern’s Symbola oder Gedenck-Sprüche, etc., 1644. Philip Pusey rendered his version of this hymn as a contribution to A. R. Reinagle’s Psalm and Hymn Tunes, Oxford, 1840. The hymn is found in all leading English and American hymnals.

“Mĺgtigste Kriste” in Landstad’s Hymnal is a very good rendering of Löwenstern’s German hymn. It is not known who made the Norwegian translation. It appeared first in Pontoppidan’s Hymnal of 1740. It bears marks of having been composed during the Thirty Years’ War (Skaar). [Dahle, Library of Christians Hymns]


Lord of the Church, we humbly pray  502

THIS hymn appeared first in Hall’s Mitre Hymn Book, 1836. It is listed there as a Pentecost hymn. The following year it was printed, slightly changed, in the author’s Church and King. It is really a paraphrase on C. Wesley’s hymn, “Thou Jesus, Thou my breast inspire,” but the similarity is noticeable mainly in the last stanza. Osler’s hymn is very widely used. [Dahle, Library of Christians Hymns]


Lord, as Thou wilt, deal Thou with me  219

Herr, wie du willst, so schick’s mit mir

Im Leben und im Sterben!

Allein zu dir steht mein’ Begier,

Lass mich, Herr, nicht verderben!

Erhalt mich nur in deiner Huld,

Sonst, wie du willst, gib mir Geduld,

Denn dein Will’ ist der beste.


Zucht, Ehr’ und Treu’ verleih mir, Herr,

Und Lieb’ zu deinem Worte!

Behüt mich, Herr, vor falscher Lehr’

Und gib mir hier und dorte,

Was dient zu meiner Seligkeit.

Wend ab all’ Ungerechtigkeit

In meinem ganzen Leben!


Soll ich einmal nach deinem Rat

Von dieser Welt abscheiden,

Verleih, o Herr, mir deine Gnad’,

Dass es gescheh’ mit Freuden.

Mein Leib und Seel’ befehl’ ich dir.

O Herr, ein selig End’ gib mir

Durch Jesum Christum! Amen.


Kaspar Bienemann wrote this hymn, acoording to Julian, under the following circumstances:


Written in 1574, while he was tutor to the children of Duke Johann Wilhelm of Sachsen-Weimar, in expectation of a coming pestilence. He taught it as a prayer to his pupil the Princess Maria, then three years old, the initial letters of the three stanzas (H. Z. S.) forming an acrostic on her title, Hertzogin zu Sachsen. The Princess afterwards adopted as her motto the words “Herr, wie du willt,” and this motto forms the refrain of “Jesus, Jesus, nichts als Jesus,” the best-known hymn of the Countess Ludämilia Elisabeth of Schwarzburg-Rudolstadt. It was first published in the author’s Betbüchlein, Leipzig, 1582.


The translation by Emanuel Cronenwett appeared in the Ohio Lutheran Hymnal, 1880. It has been somewhat altered. [Handbook to The Lutheran Hymnal]


Lord, dismiss us with Thy blessing  588

THIS hymn has entered into a large number of hymnals and is extensively used throughout the English speaking countries. It has been translated into many languages, among others, also into Latin. Many claim that Fawcett is not the author of this hymn, as it is not to be found in his own hymn book published in 1782. But there are also other hymns by Fawcett, printed in the Gospel Magazine, which he did not include in his hymnal. The fact that the hymn was published anonymously in several hymn books from 1773 to 1780 does not prove anything, since these hymnals, as a rule, did not give the names of the authors. In 1786 the first two stanzas were printed in a Unitarian hymnary, with “F.”, as mark of authorship, while in the register the full name is given, namely: “J. Fawcett, Non-Conformist preacher of Wainsgate.’ The ed. of the hymnal, however, admits that his data may not be altogether trustworthy. But the York Hymnal of 1791 and likewise a collection of hymns printed in Dublin, 1800, both give Fawcett as the author of this hymn. Again, G. J. Stevenson relates that this hymn bore Fawcett’s name in a collection of Hymns for Public Worship published in Hull, 1774, by John Harris, and likewise that it appeared with Fawcett’s name in a hymn book printed in 1785. There is, therefore, all reason to accept the claim that Fawcett is the author of this hymn. There are indeed three other hymns which have a similar beginning, namely:

1. Lord, dismiss us with Thy blessing, Bid us all depart in peace. —DR. ROBERT HAWKER.

2. Lord, dismiss us with Thy blessing, Thanks for mercies past received. —H. J. BUCKALL.

3. Lord, dismiss us with Thy blessing, Guide us in Thy holy ways. —UNKNOWN AUTHOR. [Dahle, Library of Christians Hymns]


Lord, hear the voice of my complaint  255

THE hymn books of the sixteenth century do not mention any author in the case of this remarkable hymn. It has been ascribed to Paul Speratus (first time: Rigaisches Gesangbuch, 1664), whose name is attached to it in several later books, but there is no reason for such ascription. The hymnologist, Wackernagel (1800-1877), found a separate copy of it from about the year 1530, in which J. Agricola is given as the author: “gemacht durch Jon Ayzleben, Herzoch Hans von Sachsen prediger.”—The hymn is full of spirit and power. The Strassburger Hymn Book gives it this title: A hymn of prayer to Christ, our Savior, for true faith (V. 1), firm hope (V. 2), true love (V. 3), grace for new life (V. 4), steadfastness and victory in all temptations (V. 5). Another author says: “In this hymn we have a prayer which can indeed be called a real prayer. It shows to whom we shall pray, namely, to Jesus Christ, our Mediator; and teaches us what we actually ought to pray for, namely, above everything else, for spiritual benefits, such as desire and love for the Word of God, faith, hope, steadfastness and faithfulness in Christianity, so that neither material desires nor tribulations can make us swerve from it.” Philip Jacob Spener asked to have this hymn sung for him when he lay on his deathbed.—The English translation is by Miss C Winkworth, 1863. The first Danish translation is found in the first supplement to Hans Tausen’s hymn-book, 1553. Landstad re-edited the old translation and brought out more clearly the original scope of the author.—It is not improbable that this hymn was purposely not ascribed to Agricola, even though it was known that he was the author.— [Dahle, Library of Christians Hymns]


Lord, help us ever to retain  551

Herr Gott, erhalt uns für und für

Die reine Katechismuslehr’,

Der jungen, einfältigen Welt

Durch deinen Luther vorgestellt:


Dass wir lernen die Zehn Gebot’,

Beweinen unsre Sünd’ und Not

Und doch an dich und deinen Sohn

Glauben, im Geist erleuchtet schon;


Dich, unsern Vater, rufen an,

Der allen helfen will und kann,

Dass wir als Kinder nach der Tauf’

Christlich vollbringen unsern Lauf;


So jemand fällt, nicht liegen bleib’,

Sondern zur Beichte komm’ und gläub’,

Zur Stärkung nehm’ das Sakrament.

Amen, Gott geb’ ein selig End’!


Ludwig Helmbold first published this children’s hymn in his Dregssig geistliche Lieder, etc., Mühlhausen, 1594. It was intended to emphasize the value of the catechetical instruction by means of Luther’s Smaller Catechism.

The translation is by Matthias Loy, somewhat altered. It appeared in the Ohio Lutheran Hymnal, 1880. [Handbook to The Lutheran Hymnal]


Lord, keep us steadfast in Thy Word  589

Erhalt uns, Herr, bei deinem Wort

Und steur des Papsts und Türken Mord,

Die Jesum Christum, deinen Sohn,

Wollen stürzen von deinem Thron!


Beweis dein’ Macht, Herr Jesu Christ,

Der du Herr aller Herren bist;

Beschirm’ dein’ arme Christenheit,

Dass sie dich lob’ in Ewigkeit!


Gott Heil’ger Geist, du Tröster wert,

Gib dein’m Volk ein’rlei Sinn auf Erd’,

Steh bei uns in der letzten Not,

G’leit uns ins Leben aus dem Tod!


This hymn, by Martin Luther, was first published in Joseph Klug’s Gesangbuch, Wittenberg, 1543, entitled “A children’s hymn, to be sung against the two arch-enemies of Christ and His holy Church, the Pope and the Turk.” It is thought that Luther wrote the hymn in 1541 for a special service arranged in Wittenberg for prayer against the threatening Turkish army. As the singing in this service was to be done chiefly by the boys’ choir, we have an explanation for the title of the hymn.

The translation is by Catherine Winkworth in her Chorale Book for England, 1863. [Handbook to The Lutheran Hymnal]

THIS hymn is found in a manuscript from 1530, the so-called Luther Codex, published by O. Kade, 1871, Dresden, under the title: Der neugefundene Luther Codex vom Jahr 1530. The hymn was printed in Wittenberg, 1541 or 1542 in pamphlet form. It was included in the Magdeburg Gesangbuch of 1542 and in Klug’s Geistliche Lieder, published in 1543. In the latter it bears the following title: A Song f or Children, against the pope and the Turk, the two arch-enemies of Christ and His Church.

Some have advanced the claim that Luther wrote this hymn in 1541, when Admonition to Prayer against the Turks appeared, containing many expressions found in the hymn. But it was chiefly during the years 1522-1529 that the Turks threatened Germany. The Sultan, Suleiman II, who ascended the throne in 1520, subdued a part of Hungary and conquered Rhodes in 1522. The Turkish hordes swept over the boundaries of Austria and laid the country waste to such an extent that it was said the grass did not grow where the Turks had passed. In 1529 they besieged Vienna and planted their standards outside the city walls. During that same year the pope made a determined effort to destroy the work of the Lutheran Reformation. There are, therefore, good reasons for assuming that Luther, at this time, 1528-1529, wrote the two hymns, “A mighty fortress is our God,” and this hymn (kinderlied) against these two dangerous opponents of the Reformation. “Anti-Christ,” says Luther in one of his Table Talks, “is the pope and the Turk. The living beast must have both soul and body. The spirit, or the soul, of anti-Christ, is the pope; the flesh, or the body, is the Turk. The latter attacks and tries to destroy the Church of God, bodily. The pope tries to do this spiritually, but also in a bodily sense, by hanging, burning, and murdering the witnesses of the Lord.”

In 1529, however, the Turks suffered their first serious defeat, their advance was halted, and after suffering great losses they withdrew from Vienna. Turkish bands continued yet for many years to plunder the German border states, so that they still for some time had to be reckoned with as a source of grave danger. Thus we find that even as late as 1565, in England, there was included in the general church prayer also a petition for the Christians harassed by the Turks. In a document of 1548 there is a recommendation to the effect that the words in Luther’s hymn concerning the outrages of the pope and the Turk be changed to “Satan’s wiles and might.”

It was natural that Luther’s hymn should arouse great indignation among the Catholics. In the districts under Catholic control, this hymn was strictly prohibited, in some places even the death penalty was ordered. On May 10, 1631, General Tilly entered Magdeburg and massacred the inhabitants. The streets were literally covered with the dead and dying. A group of school children, singing Luther’s hymn, came marching across the marketplace. They were promptly cut down and cast into the fire by Tilly’s soldiers. It has been said that Tilly later repented of this deed, and that success did not attend his campaign after the day of this massacre. The fall of Magdeburg was celebrated by the pope with great festivities.

The many later additions to this hymn show that it gave fitting expression to the desires and longings of evangelical Christianity. Two stanzas were added by Justus Jonas. Several others have also written additional stanzas to it. As mentioned above, a document of 1548 suggested a change in the text referring to the pope and the Turk. This change was not put through, however, before Freylinghausen’s Geistreiches Gesangbuch appeared, in 1714. The Danish-Norwegian hymnals of ThomissŅn, Kingo, and Pontoppidan follow the form of the original together with the stanzas added by Justus Jonas. Landstad revised the first stanza for his hymn book. Our English version of Luther’s original is by Miss Winkworth, 1863. The hymn was first translated into English by R. Wisdome and appeared in Daye’s Psalter, 1560, “Preserve us, Lorde, by Thy deare Worde.” This has one added stanza. There are at least fourteen English versions of this hymn. [Dahle, Library of Christians Hymns]


Lord, open Thou my heart to hear  24

Herr, öffne mir die Herzenstür

Zeuch mein Herz durch dein Wort zu dir,

Lass mich dein Wort bewahren rein.

Lass mich dein Kind und Erbe sein!


Dein Wort bewegt des Herzens Grund

Dein Wort macht Leib und Seel gesund;

Dein Wort ist, das mein Herz erfreut;

Dein Wort gibt Trost und Seligkeit.


Ehr’ sei dem Vater und dem Sohn,

Dem Heil’gen Geist in einem Thron;

Der Heiligen Dreieinigkeit

Sei Lob und Preis in Ewigkeit!


This hymn, written by Johannes Olearius, was included in the 1671 edition of his Geistliche Singe-Kunst and entitled Holy Scripture. After the Sermon. The German text is accordingly a prayer that the Word which has been heard may be received and applied by the Christian. The English translation has changed the sense of the opening lines so as to make it more a hymn for the beginning of worship or one to be sung just before the sermon.

The translation is by Dr. Matthias Loy and appeared in the Evangelical Lutheran Hymnal (Ohio Synod) in 1880.



Lord, take my hand and lead me  210



Lord, teach us how to pray aright  382

TWO stanzas of the original have been omitted in this edition. The hymn was written in 1818. It was first published together with three other hymns written by Montgomery for the Sunday Schools of the Non-conformists of Sheffield. [Dahle, Library of Christians Hymns]


Lord, Thee I love with all my heart  406

Herzlich lieb hab’ ich dich, o Herr,

Ich bitt’ woll’st sein von mir nicht fern

Mit deiner Güt’ und Gnaden.

Die ganze Welt nicht freuet mich,

Nach Himmel und Erd’ nicht frag’ ich,

Wenn ich dich nur kann haben;

Und wenn mir gleich mein Herz zerbricht,

So bist doch du mein’ Zuversicht,

Mein Teil und meines Herzens Trost,

Der mich durch sein Blut hat erlöst.

Herr Jesu Christ,

Mein Gott und Herr, mein Gott und Herr,

In Schanden lass mich nimmermehr!


Es ist ja, Herr, dein G’schenk und Gab’

Mein Leib und Seel’ und was ich hab’

In diesem armen Leben.

Damit ich’s brauch’ zum Lobe dein,

Zu Nutz und Dienst des Nächsten mein,

Woll’st mir dein’ Gnade geben!

Behüt mich, Herr, vor falscher Lehr’,

Des Satans Mord und Lügen wehr,

In allem Kreuz erhalte mich,

Auf dass ich’s trag’ geduldiglich!

Herr Jesu Christ,

Mein Herr und Gott, mein Herr und Gott,

Tröst mir mein’ Seel’ in Todesnot!


Ach, Herr, lass dein’ lieb’ Engelein

Am letzten End’ die Seele mein

In Abrahams Schoss tragen!

Der Leib in sein’m Schlafkämmerlein

Gar sanft, ohn’ ein’ge Qual und Pein,

Ruh’ bis am Jüngsten Tage.

Alsdann vom Tod erwecke mich,

Dass meine Augen sehen dich

In aller Freud’, o Gottes Sohn,

Mein Heiland und mein Gnadenthron!

Herr Jesu Christ,

Erhöre mich, erhöre mich,

Ich will dich preisen ewiglich!


Martin Schalling wrote this hymn c. 1567. It first appeared in Kurtze und sonderliche Newe Symbola, etc., Nürnberg, 1571. This estimate of the hymn by Koch is fair: “This hymn, ‘a prayer to Christ, the Consolation of the soul in life and in death,’ after Pss. 18 and 73, is a treasure bequeathed to the Church from the heart of Schalling.”

The translation is an altered form of that by Catherine Winkworth in her Chorale Book for England, 1863. [Handbook to The Lutheran Hymnal]

THIS hymn was written about 1567. It was printed for the first time in Kurtze und sonderliche Newe Symbola etlicher Fürsten, etc., Nürnberg, 1571. Lauxmann says: “This hymn, ‘a prayer to Christ, the hope and comfort of the soul in life and in death,’ based upon the 18th and the 73rd Psalm, is a gem presented to the Church out of the depths of Schalling’s heart. It was one of the favorite hymns of Ph. J. Spener, who sang it every Sunday evening. It was also treasured highly by Duke Ernst III of Sachse-Gotha; by the poet Gellert (I, 102), and by many others.” The beautiful melody commonly used for this hymn appeared first in Bernhard Schmidt’s Zwey Bücher einer neuen Künstlichen Tabulatur auff Orgel und Instrument, Strassburg, 1577. It was harmonized by J. S. Bach and incorporated into his Passion According to St. John. There are seven English translations of this hymn. [Dahle, Library of Christians Hymns]



Lord, ‘tis not that I did choose Thee  222

This hymn by Josiah Conder was first publishod in Dr. John Leifchild’s Original Hymns, 1843, in this form under the title Chosen of God:


1. ’Tis not that I did choose Thee,

For, Lord, that could not be;

This heart would still refuse Thee;

But thou hast chosen me;—

Hast, from the sin that stained me

Washed me and set me free

And to this end ordained me,

That I should live to Thee.


2. ‘Twas sovereign mercy called me,

And taught my opening mind;

The world had else enthralled me,

To heavenly glories blind.

My heart owns none above Thee;

For Thy rich grace I thirst;

This knowing,—if I love Thee,

Thou must have loved me first.


In the Church Praise Book, New York, 1882, it was altered and the 7, 6 meter changed by an unknown hand to 8, 5, thus:


1. Lord, ‘tis not that I did choose Thee,

That could never be;

For this heart would still refuse Thee,

Thou hast chosen me:

Hast from all the sin that stained me

Washed and set me free

And unto this end ordained me,

That I live to Thee.


2.’Twas Thy sovereign mercy called me,

Taught my opening mind;

Else the world had yet enthralled me,

To Thy glories blind.

Now my heart owns none above Thee;

For Thy grace I thirst,

Knowing well that, if I leave Thee,

Thou didst love me first.


This Doxology was added later:


Praise the God of all creation

For His boundless love;

Praise the Lamb, our Expiation,

Priest enthroned above;

Praise the Spirit of salvation,

Him by whom we live;

Undivided adoration

To the Godhead give.


The present version is from the Australian Lutheran Hymn-Book, 1925. The editors of that book altered the text to eliminate the Calvinistic theology in Stanza 2 and to give the hymn a metrical form to which a familiar tune might be used.



Lord, to Thee I make confession  450

Herr, ich habe missgehandelt,

Ja mich drückt der Sünden Last;

Ich bin nicht den Weg gewandelt,

Den du mir gezeiget hast,

Und Jetzt wollt’ ich gern aus Schrecken

Mich vor deinem Zorn verstecken.


Drum ich muss es nur bekennen:

Herr, ich habe missgetan,

Darf mich nicht dein Kind mehr nennen.

Ach, nimm mich zu Gnaden an;

Lass die Menge meiner Sünden

Deinen Zorn nicht gar entzünden!


Aber, Christe, deine Wunden,

Ja ein einzigs Tröpflein Blut,

Das kann meine Wunden heilen,

Löschen meiner Sünden Glut;

Drum will ich, mein’ Angst zu stillen,

Mich in deine Wunden hüllen.


Dir will ich die Last aufbinden,

Wirf sie in die tiefe See;

Wasche mich von meinen Sünden,

Mache mich so weiss wie Schnee;

Lass dein’n guten Geist mich treiben,

Einzig stets bei dir zu bleiben!


This hymn by Johann Franck was written in 1649 or earlier. Its first stanza appeared in Johann Crüger’s Geistliche Kirchenmelodien, Leipzig, 1649, with the tune by Crüger himself. The full text of eight stanzes was printed in the Berlin Gesangbuch, 1653. The cento includes Stanzas 1, 3, 7, and 8.

The translation is an altered form of that by Catherine Winkworth in her Chorale Book for England, 1863. [Handbook to The Lutheran Hymnal]


Love divine, all love excelling  407

“Visit me with Thy salvation,” Ps. 106:4.

IN 1747 this hymn was included in Hymns for those that Seek, and those that Have Redemption. In Wesley’s Hymn Book of 1780 the second stanza is omitted. This is a very popular hymn and is extensively used both in the original and in the abbreviated form. It is found in all the leading English hymn books and is considered one of Wesley’s most beautiful hymns. [Dahle, Library of Christians Hymns]






ABER  496







The tune “Ach bleib bei uns” is from Geistliche Lieder, Leipzig, 1589.



The composer of the melody is not known. It appeared first in 1625 in connection with the hymn, “Ach Gott und Herr” (Ak Herre from, Landst. 389), by M. Rutilius and J. Grosz. It is found in minor in a collection by J. Schein of 1627, and in major in C. Peter’s edition, 1655. Later it was somewhat altered, and harmonized by J. S. Bach. [Dahle, Library of Christians Hymns]

The tune “Ach Gott und Herr” is from Christoph Peter’s Andachts-Zymbeln, Freyberg, 1655, where it was set to Martin Rutilius’s hymn “Ach Gott und Herr.” (See: Alas, My God, My Sins Are Great.) [Handbook to The Lutheran Hymnal]



Martin Luther wrote the hymn “O Lord, look down from heaven, behold” in 1523 and published it in the so-called Achtliederbuch, Wittenberg, 1524. It appeared in the same year in the Erfurt Enchiridion with the tune “Ach Gott vom Himmel,” to which it has since been wedded. The melody is is in transposed Phrygian mode. The composer is unknown. [Dahle, Library of Christians Hymns,and Handbook to the Lutheran Hymnal]



The tune “Ach Gott vom Himmelreiche” is from Michael Prätorius’s Musae Sioniae, VII, 1609. [Handbook to The Lutheran Hymnal]



The tune “Ach, was soll ich Sünder machen” is by an unknown composer. It appeared in the secular collection Schäfer-Belustigung, oder zur Lehr und Ergetzlichkeit angestimmter Hirthenlieder, etc., Altdorf, 1653, set to the song “Sylvius ging durch die Matten.” It came into church use in Angelus Silesius’s Heilige Seelenlust, 1657, where it was set to a Roman Catholic text, and in Johann Flitner’s Himmlische Lustgärtlein, 1661, where it was set to his hymn “Ach, was soll ich Sünder machen.” [Handbook to The Lutheran Hymnal]



In the Portuguese chapel of London, where Vincent Novello was the organist, “Adeste fideles” was sung as early as 1797, and Novello mentions John Reading, organist of Winchester College, as the composer of the melody. Novello arranged the melody for church choirs, and the hymn with this stately setting became very popular in a short time. It has been established, however, that Reading did not compose the melody. This has also been called the Portuguese Hymn, and it has been claimed that a Portuguese musician, Marcas Portugal, wrote the tune. This has never been proved. In England the melody has been called “Adeste Fideles” (or Torbay), and it has always been associated with this hymn. [Dahle, Library of Christians Hymns]

That a hymn as fine as this has not had its own tune is well known. Usually it is sung to “Adeste Fideles” or “Portuguese Hymn” (see Hymn No. 102); but this is so thoroughly wedded to that Christmas hymn, and its joyful note does not harmonize with the spirit of this hymn. The tune “Firm Foundation” by Bernhard Schumacher, 1931, has therefore been selected for it in the hope that it will in time replace the use of the “Portuguese Hymn,” which should be used exclusively for “Oh, Come, All Ye Faithful.” [Handbook to The Lutheran Hymnal]






The melody was composed by L. M. Lindeman, 1871. [Dahle, Library of Christians Hymns]



The melody (Alford) was composed by J. B. Dykes and is one of the most beautiful of the later English hymn tunes. [Dahle, Library of Christians Hymns]



The tune “All’ Ehr’ und Lob” is by an unknown composer and first appeared in the Kirchengesangbuch, Strassburg, 1541. [Handbook to The Lutheran Hymnal]






The melody (Salzburg) is by Jacob Hintze (1622-1700), “stadt-musikus” of Berlin. After Johann Crüger’s death, Hintze undertook to superintend further issues of the Praxis Pietatis Melica, and added a number of new tunes. [Dahle, Library of Christian Hymns]



The melody was first published in the above mentioned edition of Geistliche Lieder, by V. Schumann, Leipzig, 1539, but it is claimed to be much older. It is very probable that Decius himself composed the melody. He is referred to both as an eminent performer upon the harp, and as a composer. [Dahle, Library of Christians Hymns]

The tune “Allein Gott in der Höh’ sei Ehr’“ first appeared in Valentin Schumann’s Geistliche Lieder, Leipzig, 1539, coupled with Nikolaus Decius’s hymn beginning with the same line. (See Hymn No. 237.) It is generally ascribed to Nikolaus Decius. It is evidently an adaptation from an old liturgical tone to the words” et in terra pax hominibus bonae voluntatis” in the “Gloria ad Kyrie magnum dominicale.” (S. Kümmerle.) Johann Sebastian Bach uses this chorale in several of his cantatas, and Felix Mendelssohn uses it in his St. Paul. [Handbook to The Lutheran Hymnal]



The melody has also been ascribed to Schneesing, but it is more likely an adaptation of an older Roman Catholic melody. It was first printed in Valten Babst’s Geistliche Lieder and has ever since been used in connection with this hymn. [Dahle, Library of Christians Hymns]

The tune “Allein zu dir” is from a separate print (broadsheet), undated, c. 1540, as above, on which the text is also given.



The tune “Alles ist an Gottes Segen” is from Johann B. König’s Harmonischer Liederschatz, 1738. Perhaps it is by König himself. [Handbook to The Lutheran Hymnal]



The melody, by the Danish church musician, A. P. Berggreen, appeared in his choral book, of 1848, as a setting for the hymn, “Amen raabe hver en Tunge.” [Dahle, Library of Christians Hymns]



The tune “America” is also the tune of the British national anthem “God Save the King” and nothing definite can be said about its origin. This much is certain that it appeared in Thesaurus Musicus, 1740. It is ascribed to Henry Carey, whose son, George S. Carey, asserted the authorship for his father in 1795, fifty-two years after his father’s death. [Handbook to The Lutheran Hymnal]



The tune “An Wasserflüssen Babylon” is first found in the third part of the Strassburg Teutsch Kirchen ampt, 1525, where it is set to Wolfgang Dachstein’s hymn on Ps. 137, beginning:


An Wasserflüssen Babylon,

Da sassen wir mit Schmerzen;

Als wir gedachten an Zion,

Da weinten wir von Herzen.

Wir hingen auf mit schwerem Mut

Die Orgeln und die Harfen gut

An ihren Bäum’ und Weiden,

Die drinnen sind in ihrem Land,

Da mussten wir viel Schmach und Schand’

Täglich von ihnen leiden.


The tune is ascribed to Dachstein, although without any definite proof. [Handbook to The Lutheran Hymnal]



The tune “Angelus,” also called “Whitsun Hymn,” is based on a melody in Georg Joseph’s Heilige Seelenlust, Breslau, 1657, set to Scheffler’s hymn “Du meiner Seelen güldne Zier.” The original tune is likely by Joseph himself. [Handbook to The Lutheran Hymnal]



The tune “Anthes” is by Friedrich K. Anthes, 1847. [Handbook to The Lutheran Hymnal]



It has been claimed that the tune is an adaptation by L. Mason of a melody composed by G. F. Handel. [Dahle, Library of Christians Hymns]

There is some uncertainty about the origin of the tune “Antioch,” also called “Messiah.” It is given as an arrangement from Händel’s Messiah, taken from the opening phrase of the chorus “Lift up your heads” and from the tenor recitative, “Comfort ye My people.” James T. Lightwood holds that the tune is of American origin, and it has been ascribed to Lowell Mason. However the Handbook to the Hymnal casts doubt upon this theory, and we think rightly, since the arrangement “is too much after the pattern of the fugue tunes which he [Mason] so much abhorred and so much wished to replace with tunes more dignified in form.” We suggest that the congregation and choir sing the hymn antiphonally: the congregation Lines 1 and 2, the choir Lines 3 and 4, and both the refrain. In this way the most difficult parts, which few congregations ever sing well, are left to the choir. [Handbook to The Lutheran Hymnal]



The tune “Auf meinen lieben Gott” is first found in Kurtzweilige Teutsche Lieder, etc., Nürnberg, 1574, where it was set to a worldly song, “Venus, du und dein Kind seid alle beide blind.” It is first used with this hymn by Melchior Vulpius in his Ein schön geistlich Gesangbuch, Jena, 1609. The tune has erroneously been ascribed to Johann Hermann Schein. Johann Sebastian Bach often uses the melody as a closing chorale in his cantatas. [Handbook to The Lutheran Hymnal]


The tune “Auf, auf, mein Herz” is by Johann Crüger, 1648. [Handbook to The Lutheran Hymnal]



The melody (Aurelia) was first composed for the hymn, “Jerusalem the golden”, and printed in Selections of Psalms and Hymns, 1864. It was composed by S. S. Wesley (1810-1876), grandson of Charles Wesley. He was at his time one of the leading church musicians in England. [Dahle, Library of Christians Hymns]

The tune “Aurelia” was written by Samuel S. Wesley in 1864 as a setting for John Keble’s wedding hymn “The Voice that Breathed o’er Eden.” [Handbook to The Lutheran Hymnal]


AUS MEINES HERZENS GRUNDE  79, 105, 259, 391

The melody was first published in the Eisleben Gesangbuch, 1598, and in the New Catechismus Gesangbüchlein, published in Hamburg in the same year. It is set for the hymn, “Aus meines Herzens Grunde,” “Jeg vil din Pris udsjunge,” “My heart its incense burning” (Landst. 606, L. H. 542). [Dahle, Library of Christians Hymns]

The tune “Aus meines Herzens Grunde” was published in New Katechismus-Gesanganbüchlein, Hamburg, 1598, edited by David Wolder, who used it, however, with the text of Johann Walther’s hymn “Herzlich tut mich erfreuen.” [Handbook to The Lutheran Hymnal]



The Phrygian melody, which is one of the most popular church tunes, dates from the Middle Ages and was harmonized by Johann Walther for his Geistliche Gesangbuchlein, 1524. It has entered into the greater number of Lutheran choral collections and likewise into many English hymn books. It is known by the name “De Profundis” or “The Old 130th.” [Dahle, Library of Christians Hymns]

The fine tune:”Aus tiefer Not,” also called “De profundis,” “Luther’s 130th,” is possibly by Luther himself. It appeared with the five-stanza form in 1524. J. S. Bach built his cantata Aus tiefer Not schrei’ ich zu dir for the Twenty-first Sunday after Trinity on this hymn. [Handbook to The Lutheran Hymnal]





The melody, variously called “Austria,” “Haydn,” or “Vienna,” is by the famous Austrian composer Franz Joseph Haydn (1732-1809). He was far advanced in years when he wrote it upon a request to furnish a melody for the Austrian national anthem, “Gott erhalte Franz den Kaiser.” It was sung for the first time in all the theatres of Vienna on the occasion of the emperor’s birthday anniversary in 1797, and became immensely popular, not only throughout Austria, but also in other lands. It has been used with many national poems, and Haydn, who valued it very highly, later composed a number of variations upon it. He also made use of it in his Kaiser-Quartet. It is claimed that this tune was built upon the melody of an ancient Croatian folksong. [Dahle, Library of Christians Hymns]


AZMON  176

The melody (Azmon) was composed by Carl G. Gläser, born in 1784 at Weissenfels; died 1829, in Barmen, Germany. [Dahle, Library of Christians Hymns]

The tune “Azmon,” by Carl Gotthelf Gläser, also called “Denfield” and “Gaston,” was introduced from German sources into this country by Lowell Mason It appeared in his Modern Psalmist, Boston, 1839, where the source of this tune is given as follows: “Glaser, J. M., German, 1780.” It has become a very popular tune in our country. [Handbook to The Lutheran Hymnal]



The tune “Belmont” is an adaptation from a tune by William Gardiner. The original is an eight-line tune and is from his Sacred Melodies, 1812. [Handbook to The Lutheran Hymnal]



This melody is by Smart.



The tune “Boylston,” by Lowell Mason, was published in The Choir, in 1832. It was named for a town by that name in Massachusetts, his native State. In America it appears to be the indispensable tune for this hymn. [Handbook to The Lutheran Hymnal]


The melody (Brocklesbury) was composed by Mrs. Charlotte A. Barnard (1830-1869). [Dahle, Library of Christians Hymns]



The melody (Carlisle) was composed by Charles Lockhart, an English musician, b. 1745, d. 1815. [Dahle, Library of Christians Hymns]



The melody (Chesterfield) is by Rev. Dr. Thomas Haweis, an English preacher and musician (b. 1732; d. 1820). [Dahle, Library of Christians Hymns]

The tune “Chesterfield,” also called “Richmond,” but which must not be confused with the tune “Richmond” by Asa Brooks Everett, is by Thomas Haweis and was first published in his Carmina Christi, 1792, adapted to the text of his hymn “O Thou from Whom All Goodness Flows.” (See Hymn No. 515.) [Handbook to The Lutheran Hymnal]



The melody, which dates from the Middle Ages, was evidently worked over by Johann Walther, based upon the old version, “Christ ist erstanden.” It was first printed in the Erfurt Enchiridion, 1524. [Dahle, Library of Christians Hymns]

The tune “Christ lag in Todesbanden” is based on the medieval melody for “Christ ist erstanden, “ which in turn is based on the Gregorian Chant for the Latin Easter sequence, “Victimae paschali.” [Handbook to The Lutheran Hymnal]










The tune “Christe, der du bist Tag und Licht” is from a Latin melody of the seventh century. [Handbook to The Lutheran Hymnal]



The tune “Christum wir sollen loben schon” is based on the ancient plainsong melody used with the text. Its first appearance in a hymn-book was in the Erfurt Enchiridion of 1524 with the text. It has been called “a most elegant example of the Phrygian tone.” It has been associated with this hymn in England since Anglo-Saxon times. [Handbook to The Lutheran Hymnal]



The tune “Christ ist erstanden” is as old as the hymn and is based on the Gregorian Chant for the Latin Easter sequence, “Victimae paschali.” It also becomes the basis for “Christ lag in Todesbanden.” [Handbook to The Lutheran Hymnal]



The melody by Melchior Vulpius, 1560-1615, a German church musician, appeared first in Ein schön geistlich Gesangbuch, Jena, 1609. [Dahle, Library of Christians Hymns]

The tune “Christus, der ist mein Leben” is by Melchior Vulpius, first published in Ein schön geistlich Gesangbuch, etc., Jena, 1609. Johann Sebastian Bach uses this melody in his chorale cantata Christus, der ist mein Leben. [Handbook to The Lutheran Hymnal]


The tune “Clairvaux” was written for this hymn by Herman A. Polack in 1910 for inclusion in the Evangelical Lutheran Hymn-Book, 1912. It was sung to this hymn by the Cleveland Lutheran Teachers’ Choir at the funeral of the composer in Pilgrim Lutheran Church, Lakewood, Ohio, in 1930. [Handbook to The Lutheran Hymnal]












In America the melody “Coronation” is used very extensively. This was composed by the American composer, Oliver Holden (b. 1765) of Massachusetts. He was a dealer in music and also served as director of music. He published The American Harmony in 1792, and the Worcester Collection in 1797. Holden died in Charleston, Mass., Sept. 4th, 1844. The English melody is the best and is especially effective with the three-fold, “Crown Him.” But it requires a greater range of voice (from low B to F). Holden’s melody is used most extensively in this country, both because it is “ours” and because it is melodious and very singable. [Dahle, Library of Christians Hymns]

The tune “Coronation,” by Oliver Holden, appeared in the composer’s The Union Harmony, 1793, set to this hymn. The organ upon which Holden composed this tune is preserved in the rooms of the Bostonian Society in the Old State House, Boston. [Handbook to The Lutheran Hymnal]















The tune “Da Jesus an des Kreuzes” is from an old German melody very likely not of secular origin. It first appeared in the Babst Gesangbuch 1545, set to the hymn “In dich hab’ ich gehoffet, Herr,” by Adam Reusner. [Handbook to The Lutheran Hymnal]


DARWALL’S 148TH ◊ 376

The melody (Darwall) was composed in 1770 by Rev. John Darwall (b. 1731, England, d. 1789). [Dahle, Library of Christians Hymns]

The tune “Darwall’s 148th,” also called “Darwall,” by John Darwall, appeared in Aaron Williams’s New Universal Psalmodist, 1770, where it was set to a new version of Ps. 148. [Handbook to The Lutheran Hymnal]




DEN SIGNEDE DAG  46, 401, 525

The melody, which is one of the most beautiful of Northern tunes, was composed by C. E. F. Weyse, 1826, a Danish church musician.— … Among Weyse’s hymn tunes, his melody for Grundtvig’s Dagvise, “Den signede Dag, som vi nu ser,” is not only his best, but it ranks as one of the grandest church melodies that have come to us from the Northern countries. [Dahle, Library of Christians Hymns]

The tune “Den signede Dag” is by Christoph E.F.Weyse and was composed for Grundtvig’s hymn “Den signede Dag med Fryd vi ser,” in 1826, for the millennial celebration commemorating the introduction of Christianity into Denmark. The tune is not only Weyse’s best, but it ranks as one of the finest church melodies that have come to us from the Norse countries. [Handbook to The Lutheran Hymnal]



“What is it that touches us so wondrously in this and other swan songs by Brorson? It is the folktune, the spirit of the language and the rhythm, of the imagery and thought, something incomparable and unexplainable, an element of power everlasting: That is, this plain, pious, emotional lyric passion which gives birth to sadness and longing, power and triumphant joy. Therefore so many of Brorson’s swan songs in particular have received their tunes —mellow and sonorous at the same time—from the inmost life of the common people living in the valleys and forests, along the hillsides and among the mountains of Norway; and perhaps no more beautiful melody than that of ‘Den store, hvide flok’ has welled forth from the religious craving of the heart of the Norwegian people for an expression in song—spontaneously and sweetly, as a multitudinous reverberation, a hallelujah to the poet’s inspired words in his beautiful anthem.”

By means of Edvard Grieg’s classical setting of the folk-tune, this hymn has become the best known and most popular Scandinavian hymn in the English speaking countries. [Dahle, Library of Christians Hymns]

The tune is a Norwegian folk-tune of the early seventeenth century, arranged by Edvard H. Grieg. It has helped to make this the most widely known Scandinavian hymn in English-speaking countries. The singing of this hymn by Christiansen’s choir of St. Olaf’s College has popularized it with the American public. [Handbook to The Lutheran Hymnal]






The tune “Der am Kreuz” is a composition of Johann B. König. It first appeared in his Harmonischer Liederschatz, Frankfurt, 1738. It has its name from the Lenten hymn, ascribed to Johann Mentzer, “Der am Kreuz ist meine Liebe.” [Handbook to The Lutheran Hymnal]



The melody is taken from Freylinghausen’s Gesangbuch, 1704. It was first used for Christian Scriver’s hymn: “Der lieben Sonne Licht und Pracht.” It is related that Scriver one night heard a frivolous folk-song rendered to this melody, and, being shocked at hearing this beautiful music used in dishonoring the name of God, he wrote his evening hymn: “Se Solens skjŅnne Lys og Pragt” (Landst. 613), following the meter and the melody of the secular song. [Dahle, Library of Christians Hymns]

The tune “Der lieben Sonne Licht und Pracht” is from Freylinghausen’s Geistreiches Gesangbuch, Halle, 1704. It is said that Christian Scriver one night heard a frivolous folk-song sung to this melody, and, being shocked at hearing this fine tune used in dishonoring God’s name, he wrote his evening hymn beginning with the line “Der lieben Sonne Licht und Pracht.” [Handbook to The Lutheran Hymnal]



The tune “Der mange skal komme” is from Jesper Svedberg’s Then Swenska Psalmboken, Stockholm, 1695, where it is set to the hymn “Himmelriket liknas widt tijo jungfruer.” [Handbook to The Lutheran Hymnal]






The melody was used originally for the Latin hymn, “Dies est laetitiae,” and is most likely a German tune dating from the Middle Ages. [Dahle, Library of Christians Hymns]

The tune “Der Tag, der ist” is also at least of fifteenth-century origin. It is found in M. Vehe’s Ein neues Gesangbüchlein, Geistliche Lieder, Strassburg, 1537. It had previously appeared in the hymnbook of the Bohemian Brethren by Michael Weisse, 1531. The tune has also been set to a harvest hymn by Eleanor Farieon, in Songs of Praise, and is called “Cornfields.” [Handbook to The Lutheran Hymnal]



The melody was composed by C. Balle (Danish), 1850.









The tune “Diademata” is by George J. Elvey and was written for the hymn. It appeared in the Appendix of the original edition of Hymus Ancient and Modern, 1868. [Handbook to The Lutheran Hymnal]









The tune “Dies Irae” is a Latin melody of the 13th century. [Handbook to The Lutheran Hymnal]












The plainsong tune “Divinum mysterium,” also called “Corde natus,” found in manuscripts of the 12th century, has reached us by an interesting route. In 1580 Didrick Pedersen (Petri), a young Finlander, attended college at Rostock. In 1582 he published a collection of school and sacred songs gathered there, among them this tune. A rare copy of this old book, Piae Cantiones (Greifswald), came in 1853 into the hands of Thomas Helmore, master of the Children of the Chapels Royal in England and editor of the Hymnal Noted. He edited the tune with the present words. The earlier rhythm has been restored in the present form of the tune. The melody was in use during the 13th century, set to the hymn “Divinum mysterium.” [Handbook to The Lutheran Hymnal]


DIX  168

The melody, called “Dix,” from its association with this hymn, has been arranged upon a tune composed by Conrad Kocher for the hymn, “Treuer Heiland, wir sind hier,” in his collection, Stimmen aus dem Reiche Gottes, Stuttgart, 1838. [Dahle, Library of Christians Hymns]

The tune “Dix,” so called because of its association with this hymn, is also named “Treuer Heiland, wir sind hier.” It is based on a melody by Konrad Kocher, set to a German hymn, beginning with that line in Kocher’s Stimmen aus dem Reiche Gottes, Stuttgart, 1838. It was abridged and altered, and then coupled with Dix’s hymn for Hymns Ancient and Modern, 1861. Mr. Dix did not like Kocher’s tune, but the union of text and tune has nevertheless proved effective and popular. [Handbook to The Lutheran Hymnal]



The tune “Domine, clamavi” is by Justin H. Knecht, 1797. [Handbook to The Lutheran Hymnal]


DONNE  498










The melody is by Johann Crüger, and appeared for the first time in 1649, being used for the hymn, “Du, o schönes Weltgebäude.” [Dahle, Library of Christians Hymns]


DUKE STREET  193, 351

The melody (Duke Street) is the only melody ascribed to John Hatton of Warington and St. Helen’s (d. 1793). It was first published during the same year in Boyd’s Select Collection of Psalms and Hymn Tunes. Hatton’s name is attached to this hymn only in later editions. [Dahle, Library of Christians Hymns]

The tune “Duke Street” first appeared in A Select Collection of Psalm and Hymn Tunes, Glasgow, 1793. It was composed by John Hatton. [Handbook to The Lutheran Hymnal]



The melody (Bithynia) is by Samuel Webbe (b. 1740; d. 1816), an English organist and teacher of music. His songs, Glees, Canons and Motets, make up several volumes. This melody is the same as “Dulce Carmen.”

The melody (Alleluia, Dulce Carmen) has been ascribed to J. M. Haydn (b. 1737; d. 1806). It is possibly by S. Webbe. [Dahle, Library of Christians Hymns]



The melody (Dundee) appeared first in 1615, in the Scottish Psalter. In that edition it is called “The French Tune.” In 1621 it was printed in Ravencroft’s Psalmes and was there set to the 36th Psalm, under the name of “The Dundy Tune.” It must not be mistaken for the tune which in Scotland is called “Dundee,” but which is called “Windsor” in England (L. H. 314). [Dahle, Library of Christians Hymns]

The tune “Dundee” is from the Scottish Psalter, 1615. It appeared in Psalms of Danid, Edinburgh, 1615. [Handbook to The Lutheran Hymnal]






The melody is of German origin and dates from the year 1525. [Dahle, Library of Christians Hymns]



The melody (Easter Hymn) appeared first in a small anonymous hymn book, Lyra Davidica, published 1808. In the preface to this book the hope is expressed that the melodies written in more free meter and rhythm might also be found useful. As an example of this type, the present melody was employed. In this collection there are also found translations from the German set to the so-called “rhythmic” melodies: “Wake, awake”; “A mighty fortress is our God”; “The Morning Star”; “Now sing we, now rejoice” (In dulci jubilo). [Dahle, Library of Christians Hymns]

The tune “Easter Hymn” is based on the melody in J. Walsh’s Lyra Davidica, etc., 1708. [Handbook to The Lutheran Hymnal]






The tune “Ecce Agnus,” or “Munich,” is an adaptation of the melody “Wir Christenleut”’ from the Dresden Neues Gesangbuch, 1593, where it was set to the famous Christmas hymn by Caspar Füger. (See Hymn No. 107.) [Handbook to The Lutheran Hymnal]


EIN FESTE BURG  250, 251, 583

The melody (Ein’ feste Burg) is by Luther. Even though there may be found one or more snatches of melody somewhat similar in Graduale Romanum, this does not rob Luther of the honor of having produced this thoroughly classical composition, “which fits the text just like the coat of mail fits the knight.” The text and the melody are inseparable. The melody has accompanied this hymn on its march to victory throughout the world.

… The melody (Ein’ feste Burg), by Martin Luther, was first published together with Luther’s hymn “A mighty fortress is our God,” the first edition published, 1529, in Geistliche Lieder, edited by J. Klug, Wittenberg. Since no copies are extant of this collection, the oldest known source is Johann Walther’s manuscript book of voice parts for hymns dating from 1530. [Dahle, Library of Christians Hymns]

The tune “Ein’ feste Burg” is also Luther’s composition. It appeared in Klug’s Geistliche Lieder, Wittenberg, 1529, first edition (not extant), and in Kirchen Gesenge, Nürnberg, 1531. [Handbook to The Lutheran Hymnal]






The melody used for this in The Lutheran Hymnary was composed by Luther’s friend and assistant in music, Johann Walther. Walther wrote the melody as a setting for Luther’s first hymn, “Ein neues Lied wir heben an,” where the glorious death of the two Dutch martyrs is described (see below). The committee for The Lutheran Hymnary selected this melody for “May God bestow on us His grace,” as being best adapted for use in our congregations. The old melody commonly used for this hymn appeared first in Teutsch Kirchenampt, Strassburg, 1524, and has since that time been connected with this hymn (see Lindeman’s Koralbog, the United Church edition, 122). [Dahle, Library of Christians Hymns]



The melody is a free rendering of Neander’s setting for the hymn, “Store Profet med den himmelske Läre.” [Dahle, Library of Christians Hymns]


ELLACOMBE  279, 485

The tune “Ellacombe” is found in a collection known as Gesang Buch der Herzogl. Württembergischen Catholischen Hofkapelle, 1784. The tune found its way into English hymnody after its appearance in a collection entitled Vollsätndige Sammlung der gewhönlichen Melodien zum Mainzer Gesangbuche by Xavier Ludwig Hartig in 1833, set to the hymn “Der du im heilgen Sakrament.” [Handbook to The Lutheran Hymnal]



The tune “Ellers” is by Edward John Hopkins and was composed for this hymn in 1869. [Handbook to The Lutheran Hymnal]



ERHALT UNS, HERR  24, 492, 589

The melody appeared first in Babst’s Geistliche Lieder, 1543, a free rendering of the melody for the ancient Latin hymn, “Veni, Redemptor gentium” (Kom, du Folkefrelser sand, Come, Thou Savior of our race, L. H. 186). This hymn and its melody have in England received the name, The Pope and Turk Hymn and Tune. [Dahle, Library of Christians Hymns]

The composer of the tune “Erhalt uns, Herr, bei deinem Wort” is unknown. It appeared in Joseph Klug’s Geistliche Lieder zu Wittenberg, 1543. According to Winterfeld, the tune was written by Luther himself for his hymn “Erhalt uns, Herr, bei deinem Wort,” a children’s hymn against the two arch-enemies of Christ, the Pope and the Turk, hence often called the Pope-and-Turk Tune. (See: Lord, keep us steadfast.) The tune is found in many hymnals and is also called “Preserve us, Lord,” “Reading,” “Spires,” “Wittenberg.” It is based on a plainsong melody. [Handbook to The Lutheran Hymnal]



The tune “Erschienen ist” is by Nikolaus Herman. It was composed in 1559 and published in the following year in his collection Sonntags Euangelia, etc., Wittenberg, where it was set to his Easter hymn “Erschienen ist der herrlich’ Tag.” [Handbook to The Lutheran Hymnal]


ES IST DAS HEIL ◊ 227, 241

The melody is said to have been used as a German folk-tune before the Reformation. It was printed for the first time in 1524, both in Walther’s Hymnal and in the so-called Achtliederbuch, in the Mixo-Lydian mode. It is there used as a setting for Paul Sperati’s hymn, “Es ist das Heil uns kommen her” (Guds sŅn er kommen til os ned, Landst. 190). In Kingo’s Hymnal, and later, the melody is transposed to the major mode. [Dahle, Library of Christians Hymns]

The tune “Es ist das Heil,” wedded to this text, appeared in the Etlich christlich lider, 1524. While some authorities think the tune was originally used with a German folk-song, others, like Erk, maintain that it was a church-tune, because of the note attached to the tune in the Erfurt Enchiridion, 1524, which states that it was used with the Easter hymn “Frewt euch, yhr frawen und yhr man, das Christ ist auferstanden.” [Handbook to The Lutheran Hymnal]


ES IST EIN ROS ◊ 113, 121

The tune “Es ist ein’ Ros’,” also called “Rosa Mystica,” is a traditional carol melody of Germany (Alte Catholische Geistliche Kirchengesäng, Cologne, 1599, published by A. Quental). [Handbook to The Lutheran Hymnal]




The tune “Es ist genug” is from Johann R. Ahle’s collection, Drittes Zehr neuer geistlicher Arien, Mühlhausen, 1672, where it is set to the hymn “Es is genug, so nimm, Herr, meinen Geist” by Franz J. Burmeister. [Handbook to The Lutheran Hymnal]


ES IST GEWISSLICH  25, 225, 368, 538

The melody, known in England as “Luther” or “Altdorf,” was very likely first printed in the Gesangbuch, 1529, but no copy is extant of this first edition. It is known first through a later edition, printed by J. Klug of Wittenberg, 1535, where it was used as a setting for Luther’s first hymn, “Nun freut euch, lieben Christen g’mein.” We are told that Luther heard it sung by “a traveller” and copied it. It has been used several times at music festivals in England in connection with William Collier’s hymn of Doomsday (See under 604). [Dahle, Library of Christians Hymns]

The tune “Es ist gewisslich” first appeared in Joseph Klug’s Geistliche Lieder, Wittenberg, 1535, where it was set to the hymn “Nun freut euch, liebe Christen g’mein.” (See Hymn No. 387.) [Handbook to The Lutheran Hymnal]



The melody, “Es wolle uns Gott genädig sein” was first coupled with the text “May God bestow on us His grace” in Teutsch Kirchenamt, Strassburg, 1525. The composer is unknown. [Handbook to The Lutheran Hymnal]



The melody, by Lindeman, was written for Landstad’s Easter hymn, “Opstanden er den Herre Krist” (Landst. 349). The older tune from the sixteenth century has a more churchly spirit. [Dahle, Library of Christians Hymns]


EVAN  441, 512

The melody (Evan) was written by the hymnwriter and composer, Rev. W. H. Havergal (1792-1842), who was a minister in the Episcopal Church of England and the father of Miss Frances Ridley Havergal. [Dahle, Library of Christians Hymns]



The tune, “Evening Hymn,” is based on a melody by Charles F. Gounod, died 1893. [Handbook to The Lutheran Hymnal]



The melody (Eventide), by W. H. Monk, is said to have been composed for H. F. Lyte’s hymn, “Abide with me”, at the closing session of the meeting of the committee which prepared the original edition of Hymns Ancient and Modern. Others claim that it was written during a few minutes, while he was giving a music lesson. But the composer’s wife relates that the melody was written during a period of sorrow, while she and her husband were out in the open, viewing an exceptionally beautiful sunset. [Dahle, Library of Christians Hymns]

The tune “Eventide” was composed for this hymn by William H. Monk and included in Hymns Ancient and Modern, 1861. It was composed, according to his widow, “at a time of great sorrow.” [Handbook to The Lutheran Hymnal]


EWING  534

The melody (Ewing) is composed by Lieut.-Colonel Alexander Ewing, born 1830, Scotland; died 1895. [Dahle, Library of Christians Hymns]

The tune “Ewing” is dated 1853. The composer is Alexander Ewing. It was composed for the hymn “For thee, O dear, dear country”. It is also called “Argyle,” “St. Bride’s,” and “Bernard.” It was originally written in triple time and published in Grey, Manual of Psalms and Hymn Tunes, 1857. The tune was included in the original edition of Hymns Ancient and Modern, 1861, and altered to common time. This was done without consulting the composer, who was away from England at the time. Mr. Ewing later stated: “In my opinion the alteration of the rhythm has very much vulgarized my little tune. It now seems to me a good deal like a polka. I hate to hear it.” [Handbook to The Lutheran Hymnal]



The tune “Fang dein Werk” is by Peter Frank and appeared in Geistliches Harpffenspiel, Koburg, 1657, where it was set to his hymn “Christus, Christus, Christus ist, dem ich mich ergebe.” [Handbook to The Lutheran Hymnal]



The melody is very likely a Norwegian folk-tune which has been arranged for church use by Erik Hoff, an organist in Christiania (Oslo). It was first published in his Koralbok. [Dahle, Library of Christians Hymns]









The melody (Franconia) is of German origin and dates from 1720. It has been ascribed to J. G. Ebeling. (1620-1676.) [Dahle, Library of Christians Hymns]

The tune “Franconia” was adapted by William H. Havergal, 1847, from the melody in Johann B. König’s Harmonischer Liederschatz, Frankfurt a. M., 1738, where it was set to Georg W. Wedel’s hymn “Was ist, das mich betrübt.” König himself may be the composer. [Handbook to The Lutheran Hymnal]



This melody was composed by the Danish organist and composer, Johan Peter Emilius Hartmann, of Copenhagen. It was first published as the setting for Grundtvig’s hymn, “Fred til Bod for bittert Savn” (Peace to soothe our bitter woes, ELH 595). [Dahle, Library of Christians Hymns]



The composer of the tune FRED TIL BOD (LINDEMAN) is Ludvig Mathias Lindeman. In 1871 he published his Koralbog for den Norske Kirke. This tune was included in this work. Though some of his melodies are based on older chorale tunes, many are original. They breathe a spirit of deep piety and often partake of the character of the folk-song. The full title of the tune “Fred til Bod for bittert Savn” (Peace to soothe our bitter woes, ELH 595) shows that it was composed by Lindeman as a setting for the hymn by N. F. S. Grundtvig, which begins with those words. [Handbook to The Lutheran Hymnal]


FREU DICH SEHR  102, 256, 593, 596, 598

The melody was either composed or arranged by Louis Bourgeois. [Others say Guillaume Franc.] It was later arranged for church use by the famous church musician, Claude Goudimel, 1573. It has been claimed that the melody was used for a French hunting song. It was set to the 42nd Psalm, because the Dauphin, the later Henry II, valued Marot’s metrical version of the 42nd Psalm so very highly and sang it to the above mentioned melody of the hunting song. Through Lobwasser’s translation of the French Psalter, it entered the hymn treasury of the Lutheran Church, where it has held its rank until our days as one of the grandest and most commonly sung of all the melodies of church music. It was early connected with Heermann’s “O what precious balm and healing, Jesus, in Thy wounds I find” (L. H. 297). It has also been used as a setting for a great number of other hymns in the church. [Dahle, Library of Christians Hymns]

The tune “Freu dich sehr,” also called Psalm 42, is from the Genevan Psalter of 1551, either composed or arranged by Louis Bourgeois, set to the metrical version of Psalm 42. The melody appeared set to the text of the anonymous burial hymn “Freu dich sehr, o meine Seele” in the Threnodiac of Christopher Demantius, Freiberg, 1620. The tune has had its widest use in the German evangelical churches. [Handbook to The Lutheran Hymnal]



This beautiful Christmas hymn “O rejoice, ye Christians, loudly” by Christian Keimann (Keymann) was published in A. Hammerschmidt’s Musikalische Andachten (Freiberg, Saxony) in 1646 and set to this tune, “Freuet euch, ihr Christen,” by Andreas Hammerschmidt. According to Koch it was written by Keimann for his scholars to be used at a Christmas celebration in 1645 and published at Görlitz, 1646, with the heading Der neugeborne Jesus. [Handbook to The Lutheran Hymnal]



According to Zahn (6481) this beautiful hymn of Paul Gerhardt’s (“All my heart sings and rejoices”) appeared in Johann Crüger’s Praxis Pietatis Melica, Berlin, in 1653, together with the tune, “Fröhlich soll mein Herze,” composed for it by Crüger. The beauty of this chorale is evident on the first reading. Widely used for many years in German Lutheran circles, it deserves to be introduced into the Christmas heritage of our people, especially for its clear and simple presentation of the purpose of our Lord’s birth. Its use may lead some lost or straying soul to the true faith in Christ in the future as it has in the past. A classical instance is that of Carl H. von Bogatzky, author of the hymn “Awake, Thou Spirit, Who Didst Fire”. For we are told that at the second day of the Christmas celebration in Glaucha, near Halle, in 1715, he was brought to a clear understanding of the doctrine of justification by faith by the singing of Stanzas 13 and 14. [Handbook to The Lutheran Hymnal]



The tune “Galilean” is by Joseph Barnby, 1883. [Handbook to The Lutheran Hymnal]






The tune “Gelobet seist du, Jesu” is apparently much older than the German text. It was published with the text on the broadsheet mentioned above, and is probably of early 15th-century origin. [Handbook to The Lutheran Hymnal]

It appeared in Walther’s Hymn Book, which was published during the same year, and extensively used in the early Lutheran Church. This book furnishes the oldest source for the melody of this hymn. The melody is composed in the old Mixo-Lydian mode. [Dahle, Library of Christians Hymns]



The tune “Gelobt sei Gott,” also called “Vulpius,” is by Melchior Vulpius and appeared in his Ein schön geistlich Gesangbuch, etc., Jena, 1609, where it was set to Michael Weisse’s hymn “Gelobt sei Gott im höchsten Thron.” [Handbook to The Lutheran Hymnal]








GETHSEMANE  284, 429

The melody called “Gethsemane,” Redhead, 1876, was composed in 1853 by Richard Redhead, born 1820. He was an English composer and organist. This melody is used chiefly in England. [Dahle, Library of Christians Hymns]

The tune “Gethsemane,” also called “Petra” or “Redhead”, wedded to this hymn, is by Richard Redhead from his Church Hymn Tunes, 1853. It is frequently used with Toplady’s hymn “Rock of Ages.” [Handbook to The Lutheran Hymnal]






The tune “Gott der Vater wohn”’ is of 14th-century origin. It appeared with the revised hymn of Luther (God the Father, be our stay) in 1524. [Handbook to The Lutheran Hymnal]



The melody (also called Waltham or Gadesberg), by the German composer, Heinrich Albert (1604-1651), is taken from his collection, Arien oder Melodyen, 1642, and connected with the hymn “Gott des Himmels und der Erden” (Himlens Gud og Jordens Herre, God who madest earth and heaven, L. H. 544). [Dahle, Library of Christians Hymns]






The melody (also called Lübeck) first appeared in Freylinghausen’s famous Geistreiches Gesangbuch, Halle, 1704. In this collection the melody was used for the hymn, “Gott sei dank in aller Welt.” [Dahle, Library of Christians Hymns]

The tune “Gott sei Dank durch alle Welt,” also called “Lübeck,” and “Carinthia,” is based on the setting found in Johann Anastasius Freylinghausen’s Neues Geistreiches Gesangbuch, published at Halle, 1704. The composer is unknown. [Handbook to The Lutheran Hymnal]



The melody, which dates from the Middle Ages, was arranged for choir use by Johann Walther in the Gesangbüchlein, 1524. [Dahle, Library of Christians Hymns]



The tune “Gottes Sohn ist kommen” is ascribed to Michael Weisse and was originally set to Weisse’s hymn for Advent “Menschenkind, merk eben,” 1531. It was set to Roh’s hymn when it appeared in 1544. [Handbook to The Lutheran Hymnal]



The tune “Gottlob, es geht nunmehr zu Ende” is an old German melody found in various forms in German collections. Its source is unknown. It has its name from its association with Christian Weise’s burial hymn beginning with that line. It first appeared in print in Sammlung alter und neuer . . . Melodien, by Johann G. Wagner, 1742. The present form of the tune is based upon Johann S. Bach’s Vierstimmige Choralgesänge, 1769. [Handbook to The Lutheran Hymnal]






This cento is a portion of the very popular German Te Deum “Grosser Gott, wir loben dich,” which appeared in eight stanzas in the Allgemeines Katholisches Gesangbuch, Vienna (undated), c. 1775, together with the tune. Both author and composer are unknown, although some have credited Peter Ritter (1760-1846) with the tune. This is hardly probable, as he was only a boy when it was first published.

The tune “Grosser Gott” has been widely used in English hymnals, in a slightly recast form, under such names as “Hursley,” “Pascal,” “Paris,” “Stillorgan,” “Frammingham.” (See “Hursley.”) [Handbook to The Lutheran Hymnal]



The melody, composed by L. M. Lindeman, was written for the hymn, “Gud skal alting mage.” [Dahle, Library of Christians Hymns]



The melody is by Erik Christian Hoff (b. 1832). Hoff was an organist in Christiania. Among other works he has published a book of chorals for church use. [Dahle, Library of Christians Hymns]

The tune “Guds Menighed, syng” is by Erik Christian Hoff and was composed originally c. 1860 for a Norwegian text beginning with those words.






The melody (Hamburg) is based on a Gregorian church tune and has been arranged by the American church composer, Lowell Mason (1792-1872). [Dahle, Library of Christians Hymns]

The tune “Hamburg” is based on the First Gregorian Tone. It was arranged by Lowell Mason, 1824, and set to the hymn “Sing to the Lord with Joyful Voice,” Watts’s Ps. l00. D. R. Breed, in his History and Use of Hymns and Hymn Tunes, writes: “The dignity, solemnity, and breadth of the old Gregorian Music is well reproduced in ‘Hamburg,’ most appropriately set to that greatest of all hymns, ‘When I Survey the Wondrous Cross.”’ [Handbook to The Lutheran Hymnal]



The melody is written by Sir Arthur Seymour Sullivan, 1842-1900, a famous English composer who received his training in the Royal Academy and in Leipzig. Sullivan has written considerable church music, especially anthems and hymn tunes. He edited Church Hymns, 1874. His best known melodies are: “The lost chord” and “Onward, Christian soldiers.” [Dahle, Library of Christians Hymns]

The tune “Heaven Is My Home” (also called “St. Edmund” and “Saints’ Rest”) is by Arthur S. Sullivan and was first published in 1872. [Handbook to The Lutheran Hymnal]



The melody has been arranged especially for The Lutheran Hymnary from Mendelssohn’s setting. [Dahle, Library of Christians Hymns]









The melody is by Erik Hoff. [Dahle, Library of Christians Hymns]



The melody is as old as the hymn, if not older. It is found in the Erfurter Enchiridion of 1524 and was arranged for four-part chorus in Johann Walther’s Hymn Book of the same year. [Dahle, Library of Christians Hymns]







The melody, by an unknown composer, appeared first in the Cantionale Sacrum, Gotha, 1651. It does not appear that anyone thought it possible that the melody also might have been composed by Duke Wilhelm; he was quite proficient also in music. [Dahle, Library of Christians Hymns]

The composer of the tune “Herr Jesu Christ, dich zu uns wend” is unknown, and the exact date of its first publication is not altogether definite. It appeared in the appendix of Pensum Sacrum, published at Görlitz in 1648. Koch, however, states positively that it was already printed in Cantionale Germanicum, published in Dresden, 1628, in the form as in The Lutheran Hymnal. [Handbook to The Lutheran Hymnal]



The tune “Herr Jesu Christ, du hast bereit’t” is by Peter Sohren, 1668. It first appeared in the Praxis Pietatis Melica, Frankfurt a. M., 1668, set to Johann Rist’s hymn “Du Lebensbrot, Herr Jesu Christ.” It is frequently given with that title. [Handbook to The Lutheran Hymnal]



The melody ([also known as] Breslau) is first found in Hymnodus Sacer, a collection of twelve hymns published by Christian Galb, 1625.—It was later included in J. Clauder’s Psalmodia Nova. Joseph Clauder, sometimes called Claudero, was the compiler of this work, which appeared in Leipzig, 1630.—This beautiful church-tune is used by Mendelssohn, arranged for quartet and chorus, in his oratorio St. Paul. [Dahle, Library of Christians Hymns]

The tune, “Herr Jesu Christ, mein’s Lebens Licht,” is of unknown authorship. It is found in As Hymnodus Sacer, Leipzig, 1625, a collection of twelve hymns with eight tunes, published by Christian Gall. It was set to the hymn of Martin Behm “Herr Jesu Christ, mein’s Lebens Licht.” (See Hymn No. 148.) The tune is called “Breslau” in some collections. [Handbook to The Lutheran Hymnal]






The melody was composed by Johann Crüger (see Vol. I, No. 31) and published in Geistliche Kirchenmelodien, 1649, with Johann Franck’s hymn, “Herr, ich habe missgehandelt” (Herre, jeg har handlet ilde, Landst. 388; I. H. 497). [Dahle, Library of Christians Hymns]

The tune “Herr, ich habe missgehandelt” is wedded to the text. We have here an excellent example of the harmony of words and music. [Handbook to The Lutheran Hymnal]



The melody has been taken from Teutsch Kirchenampt, 1525. [Dahle, Library of Christians Hymns]

The tune “Herr, wie du willst” is from the Teutsch Kirchen ampt, etc., Strassburg, 1525, where it is set to Martin Luther’s “Aus tiefer Not schrei’ ich zu dir.” [Handbook to The Lutheran Hymnal]



The melody is one of L. M. Lindeman’s best church tunes. [Dahle, Library of Christians Hymns]

The tune “Herre Jesu Krist” is one of Ludvig M. Lindeman’s finest compositions. It appeared in his Koralbog, 1871.


HERRNHUT  323, 324, 432

The melody is of German origin and has been ascribed to Bartholomäus Gesius, who in 1605 composed a hymn to which this melody was first set, namely, “Mein Seel, o Gott, musz loben dich.” In the Scandinavian countries this melody has been associated with the hymn “Jesu, din Ihukommelse” (Landst. 66), “Jesus, the very thought is sweet” (L. H. 154), “Jesu dulcis memoria.” Gesius (1555-1621) was cantor at Frankfurt an der Oder. [Dahle, Library of Christians Hymns]



The beautiful melody commonly used for this hymn appeared first in Bernhard Schmidt’s Zwey Bücher einer neuen Künstlichen Tabulatur auff Orgel und Instrument, Strassburg, 1577. It was harmonized by J. S. Bach and incorporated into his Passion According to St. John. [Dahle, Library of Christians Hymns]

The tune “Herzlich lieb hab’ ich dich, o Herr” belongs to the best of Lutheran chorales. Fortunate is the congregation that has learned to sing it and appreciate it. Its composer is not known. The tune first appeared in Bernhard Schmid’s Orgeltabulatur-Buch, Strassburg, 1577, the full title of which is Zwey Bücher einer neuen Künstlichen Tabulatur auf Orgel und Instrument. Johann Sebastian Bach embodied this tune in his Passion according to St. John. [Handbook to The Lutheran Hymnal]



The melody, known throughout the English speaking world under the title “Passion Chorale,” was originally composed for a secular text: “Mein Gmuth ist mir verwirret, Das macht ein Jungfrau zart,” first published by H. L. Hassler in his Lustgarten, 1601. In 1613 the melody was taken into use for the hymn “Herzlich thut mir verlangen” (Mig hjertelig nu lĺnges, Landst. 618) in Harmonia Sacra, GŅrlitz. From the year 1566 it has been inseparably connected with Paul Gerhardt’s translation of Salve caput cruentatum (O Haupt voll Blut und Wunden, O Hoved hŅit forhaanet, Landst. 333, O sacred Head now wounded, L. H. 315). It was one of the favorite hymns of Johann Sebastian Bach. In his music for The Passion according to St. Matthew this melody occurs no less than five times, each time with different harmony. It has constantly followed the translations of our hymn (Befiehl du deine Wege) when the original meter has been retained. [Dahle, Library of Christians Hymns]

The tune “Herzlich tut mich” was composed by Hans Leonhard Hassler for the secular song “Mein G’müt ist mir verwirret” and first appeared in Lustgarten Neuer Teutschen Gesäng, etc., Nümberg, 1601. It was coupled by J. Schein, in his Cantional, etc., 1627, with the hymn of Christoph Knoll “Herzlich tut mich verlangen”; by J. Crüger in his Praxis Pietatis Melica, 1648, with the hymn of J. Schein “Ach, Herr, mich armen Sünder”; in the Praxis of 1656 the tune is used with this text. Johann Sebastian Bach, in his St. Matthew Passion, has this tune, where it produces a most profound effect when sung immediately upon the account of the Savior’s death. [Handbook to The Lutheran Hymnal]

The following quotation from C. J.Philipp Spitta’s Life of Bach is interesting in this connection:

Bach has distinguished one of the chorales introduced from the rest by repetition, thus making it the center of the church sentiment of the whole work. Among the fourteen simply set chorales included in the work in its original form the melody “O Thou whose Head was Wounded” occurs five times; it was a favorite melody with Bach, and there is no other that, throughout his long life, he used so frequently or more thoroughly exhausted as to its harmonic possibilities for every variety of purpose. It comes in three times in the second part: first when Jesus silently bows to His fate at Pilate’s decision.... It was a beautiful idea to associate the pious submissiveness of Jesus with a congregational meditation on it.... Apparently Bach felt chiefly the need for bringing in the melody.... The second time the chorale is sung is in the second section, immediately before the progress to the cross, when the soldiers have crowned the Savior with thorns and mocked Him and smitten Him; and we here have the first two verses of the hymn addressed to the head of Christ”

Nothing more suitable could be found for this place, and the effect is consequently deeply touching. The third time it is the last chorale of the work, and it comes in after the words “But Jesus cried with a loud volce and departed.” . . . This climax has always been justly regarded as one of the most thrilling of the whole work.



The melody (Herzliebster Jesu) was composed by Johann Crüger, and is taken from his Neues vollkömmliches Gesangbuch, Berlin, 1640. “It subsequently underwent several modifications; and later settings, e. g. those of Bach, differ considerably in rhythm and harmony.” (H. A. and M. Hist. Ed.) [Dahle, Library of Christians Hymns]

The tune “Herzliebster Jesu” is by Johann Crüger, composed for this hymn and first published in his Newes vollkömliches Gesangbuch, etc., Berlin, 1640. The tune is based upon an older tune found in Johann Schein’s Cantional, Leipzig, 1627, where it was set to Nikolaus Herman’s burial hymn “Geliebter Freund, was tut ihr so verzagen.” [Handbook to The Lutheran Hymnal]



The tune “Heut’ triumphieret Gottes Sohn” is from Deutsche Geistliche Weder, Frankfurt a. O., 1601, where it is set to the Easter hymn of Basilius Förtsch, beginning with that line. [Handbook to The Lutheran Hymnal]



The tune, “Horsley,” is from Twenty-four Psalm Tunes and Eight Chants, 1844, by Williem Horsley. It is often used with the hymn “There Is a Green Hill Far Away.” [Handbook to The Lutheran Hymnal]




The melody (Hursley, Pascal, Stillorgan) is revised from a tune found in a German-Catholic hymn book published in Vienna in the 18th century. Hursley is the name of Keble’s principal place of labor. [Dahle, Library of Christians Hymns]

The tune “Hursley,” also called “Pascal,” “Paris,” and “Stillorgan,” is an adaptation of the tune “Grosser Gott.” (See Hymn No. 250.) It is from the Allgemeines Katholisches Gesangbuch, Vienna, 1775, where it was set to the text “Grosser Gott, wir loben dich.”

The tune “Grosser Gott” has been widely used in English hymnals, in a slightly recast form, under such names as “Hursley,” “Pascal,” “Paris,” “Stillorgan,” “Frammingham.” (See “Hursley,” Hymn No. 551.) [Handbook to The Lutheran Hymnal]



The melody, by Ludv. M. Lindeman,was printed in his Koralbog, 1871. The hymn has gained great favor both in this country and in Norway. [Dahle, Library of Christians Hymns]


HYFRYDOL  188, 459

The tune “Hyfrydol” is by Rowland H. Pritchard, altered. It appeared in Haleliwiah Drachefu, Carmarthen, 1855. [Handbook to The Lutheran Hymnal]









The meter and melody follow those of Anna Cathrine’s folk-song: “Ald verdslig Pract,” printed in Peder Syv’s Danish Folk-Songs. Following the same melody, Kingo wrote his Pulpit Verses, and through these hymns it gained a permanent place in the churches of Denmark and Norway. So far as is known, this tune has been used for only one German hymn, namely, “Gelassenheit, du angenehmer Gast,” nach einem in Dänemark gebräuchlichen Liede: “In Jesu Nahm’n.” This hymn was printed in J. H. Schrader’s Vollständiges Gesang-Buch, TŅndern, 1731. [Dahle, Library of Christians Hymns]



The melody employed in The Lutheran Hymnary was composed by L. M. Lindeman and was printed in his Koralbog, 1877, for the hymn, “I Jesu sŅger jeg min Fred” (Landst. 298; In Jesus I find rest and peace, L. H. 418). [Dahle, Library of Christians Hymns]









The beautiful melody was first printed with the text (text from above named copy of 1530) in 1535 by Klug. Since that time it has been printed in nearly all German collections of hymn melodies, and has, since the year 1700, been held in such favor both in Germany and Denmark that hymn writers have chosen to write hymns so that they could be sung to it. (H. Nutzhorn.) Gerhard, Schrader, and Brorson have composed such hymns. Kingo has composed five hymns to this melody. Hymns have also been composed to it in Sweden and Iceland. [Dahle, Library of Christians Hymns]






The tune “Ich sterbe täglich” is from a manuscript in the Municipal Library, Leipzig, 1756. “Ich sterbe täglich, und mein Leben eilt immerfort zum Grabe hin” is a burial hymn written by Benjamin Schmolck and published in 1720. [Handbook to The Lutheran Hymnal]



The tune “Ich will dich lieben” is from the Harmonischer Liederschatz, Frankfurt, 1738, where it was set to this hymn. [Handbook to The Lutheran Hymnal]






The tune “In dich hab’ ich gehoffet” was first published in Himmlische Harfen, Georg Sunderreiter, Augsburg, 1581. [Handbook to The Lutheran Hymnal]






The melody is from the 15th century. The first English translation dates from 1550. There are six later versions in English. The rendering used in The Lutheran Hymnary was prepared by A. T. Russell, 1851, based upon Klug’s German version of 1529: “Nun singet und seid froh.” Other settings employed in England are as follows: “In dulci jubilo, now let us sing with mirth and jo” (1568); “In dulci jubilo, to the house of God we’ll go” (Sir Bowring, following Klug); “In dulci jubilo, let us our homage shew” (de Pearsall, Klug); “In dulci jubilo, sing and shout all below” (Miss Winkworth). [Dahle, Library of Christians Hymns]

The tune “In dulci iubilo” is of 14th-century German origin.




The tune “In Gotten Namen fahren wir” (also called “Dies sind die heil’gen zehn Gebot’”) is an old German melody of the 13th century, which was used with a favorite pilgrim-song by the same name. It was apparently used with the hymn “These are the holy Ten Commands” from the time of its first publication. [Handbook to The Lutheran Hymnal]


IRBY  139






ITALIAN HYMN (MOSCOW*)  11, 12, 202

The melody (Italian Hymn) was composed by Felici de Giardini, an Italian musician born 1716, in Turin, Italy, and died 1796, in Moscow, Russia. [Dahle, Library of Christians Hymns]

The tune “Italian Hymn,” also called “Trinity,” “Florence,” “Moscow,” etc., is one of several hymns by Felice de Giardini in The Collection of Psalm and Hymn Tunes, etc., London, 1769, published by Martin Madan, where it was set, in three-part harmony, to this hymn. [Handbook to The Lutheran Hymnal]






The composer of the melody is not known. [Dahle, Library of Christians Hymns]



The melody was first printed in Zinck’s Choralbuch, 1801. It has not been established whether Zinck composed the melody or rendered it as a variation upon an older tune. In Denmark and Norway this melody has been used for the hymn “Jeg vil mig Herren love” and several other hymns. It has been included in many Lutheran hymnals in America.

… Our present English version is set to Zinck’s melody, “Jeg vil mig Herren love” (7, 6, 81), of the Danish Koralbog, 1801, which was evidently composed by Zinck himself, following an old Danish folk-tune. [Dahle, Library of Christians Hymns]

The tune “Jeg vil mig Herren love” is from Hartnack Otto Konrad Zinck’s Koral-Meladier (1801) for the Evangelisk-Christelige Psalme-Bog, where it was set to H. Thomisson’s hymn beginning with that line. [Handbook to The Lutheran Hymnal]



The beautiful melody has been ascribed to Melchior Franck, born in Zittau, 1580. In 1604 he became chorus director of Coburg, where he died June 1, 1639. Franck composed a number of church tunes of rank. [Dahle, Library of Christians Hymns]

No doubt the popularity of this hymn has been aided by its tune “Jerusalem, du hochgebaute Stadt” from the pen of Melchior Frank, director of the choir at Coburg when Meyfart wrote the hymn. It was first printed at Erfurt, after the death of both, in the Christlich . . . Gesangbuch, 1663. Too much cannot be said of the beauty and effectiveness of this melody, which breathes the spirit of joyous triumph over death and the grave. It must not be played too slowly. It ranks with the best gems of our Evangelical hymnodical treasures. [Handbook to The Lutheran Hymnal]



The tune “Jesaia, dem Propheten,” inseparably connected with the hymn “Isaiah, mighty seer”, is by Martin Luther himself. [Handbook to The Lutheran Hymnal]






The tune “Jesu Kreuz, Leiden und Pein” is by Melchior Vulpius and first appeared in his Ein schön geistlich Gesang Buch,” etc., Jena, 1609, set to a hymn beginning with that line. [Handbook to The Lutheran Hymnal]



The tune “Jesu, meine Freude” is by Johann Crüger and first appeared in his Praxis Pietatis Melica, Frankfurt, 1656, and not, as Winterfeld and others have it, in 1649. Zahn gives the date of the tune as Praxis Pietatis Melica, 1653. If this is correct, then that would also be the date of the first publication of the text. [Handbook to The Lutheran Hymnal]



The tune “Jesu, meines Lebens Leben” (Darmstadt) is from Kirchengesangbuch, Darmstadt, 1687. [Handbook to The Lutheran Hymnal]









The tune “Jesus Christus, unser Heiland” is from Klug’s Geistliche Lieder, Wittenberg, 1535. It is a recast of the medieval tune for the “Regina coeli.” [Handbook to The Lutheran Hymnal]







The tune “Jesus, Jesus, nichts als Jesus,” acoording to Zahn, is found in the Vollkommenes musikalisches Choral-Buch of Bronner, Hamburg, 1715. Its ascription to Johann B. König by some authorities seems to be an error. [Handbook to The Lutheran Hymnal]



The melody was first printed in the Crüger-Runge Gesangbuch, 1653, and is presumably by Johann Crüger. [Dahle, Library of Christians Hymns]

The tune “Jesus, meine Zuversicht” is also by an unknown composer. It may be based on an older melody, which Johann Crüger recast to be used with this text, and it may be an original composition, perhaps by Crüger himself. At any rate, it stands as a pearl among our chorale tunes. The tune appeared for the first time in Geistliche Lieder und Psalmen (Runge), Berlin, 1653. [Handbook to The Lutheran Hymnal]






The melody (Just as I am) was composed by Joseph Barnby for Charlotte Elliott’s hymn [Just as I am]. [Dahle, Library of Christians Hymns]

The tune “Dunstan,” also called “Just as I Am,” is by Joseph Barnby and is dated 1883. It appeared in The Home and School Hymnal of the Free Church of Scotland, 1893. It is often used with Charlotte Elliott’s hymn “Just as I Am.”









This melody and others by Lindeman were extensively used in Denmark before their introduction in Norway. The story is told of a Norwegian who heard this melody sung in one of the churches of Copenhagen. Upon inquiring for the author of the melody, his Danish friend answered: “Do you not know this melody? It is composed by your own organist, Lindeman, of Christiania.” It was Lindeman’s first church melody, and, like Grundtvig’s hymn, is one of the finest produced in the North. [Dahle, Library of Christians Hymns]

The tune “Kirken den er et” was composed by Ludvig M. Lindeman for this hymn. It was first published in W. A. Wexel’s Christelige Psalmer, 1840. It was the composer’s first church tune. [Handbook to The Lutheran Hymnal]



The same melody has been continually employed with this hymn from the earliest period, in fact it was used before this hymn was written, as the setting for: “Hic est dies verus Dei,” an Easter hymn written by Ambrose. Thus it comes to us as an “echo” of the ancient Ambrosian church song. Johann Walther used it as a setting for Luther’s translation, and it was printed in Erfurter Enchiridion, 1524. In Klug’s Geistliche Lieder, 1535, another version appears, which has virtually the same form as the one commonly used by us. [Dahle, Library of Christians Hymns]

The tune “Komm, Gott Schpfer” is the ancient melody for the Latin text. It was coupled with Martin Luther’s German version of the Latin hymn in the Erfurt Enchiridion, 1524, and in Johann Walther’s Chorgesang-Buch, 1525. [Handbook to The Lutheran Hymnal]



The melody is by Johann Walther, 1524. [Dahle, Library of Christians Hymns]

The tune “Komm, Heiliger Geist, Herre Gott” is found in two fifteenth-century manuscripts, now in the Munich library. The tune was set to Luther’s hymn in the Erfurt Enchiridion, 1524. [Handbook to The Lutheran Hymnal]



The melody is taken from Freylinghausen’s Gesangbuch, 1704. [Dahle, Library of Christians Hymns]

The tune “Komm, o komm, du Geist” is attributed to Johann Christoph Bach, Eisenach, said to have been composed in 1680. It first appeared in print in 1693 in the Gesang-Buch, Meiningen, set to the hymn “Ich begehr’ nicht mehr zu leben,” a burial hymn by Georg Neumark. [Handbook to The Lutheran Hymnal]


KOMMT HER ZU MIR  189, 375

The melody is of German origin and was used with the hymn, “Kommt her zu mir, sagt Gottes Sohn”(Kom hid til mig enhver isĺr), published 1530, in Nürnberg. … The melody was originally used for a folksong: “Was wölln wir aber heben an.” As a hymn tune it was used for the first time in connection with a German hymn: Ain schöns neues christlichs lyed; item die, Zehen Gebot Gottes, 1530 (Nutzhorn). It has always been connected with the hymn, “Kommt her zu mir, spricht Gottes Sohn.” (Kom hid til mig enhver isĺr, Landst. 576). The melody has found a place in nearly all the hymnals of the Northern countries. [Dahle, Library of Christians Hymns]

The tune “Kommt her zu mir” is from an old German melody of the 15th century, which was used also for spiritual songs and then was introduced into the hymnody of the Church around 1530, when it was coupled with the hymn “Kommt her zu mir, spricht Gottes Sohn, all die ihr seid beschweret.” [Handbook to The Lutheran Hymnal]



The Dutch text for “We praise Thee, O God, our Redeemer” with its traditional tune was first published by Adrian Valerius in his Nederlandtsch Gedenckclanck, Haarlem, 1626. The hymn, however, has become popular in our country through the German use of it, which began when Edward Kremser introduced it to the Germans with his male choir in 1877. This is the reason why the tune is generally called “Kremser.” There are several German versions of the text, the one by Karl Budde, 1897, being the most widely known, beginning: [Handbook to The Lutheran Hymnal]



Zahn gives the setting of the tune “Kyrie, Gott Vater” as in Teutsch Kirchenamt, Erfurt, 1525, stating that the melody had only the text:

Herr, erbarm dich unser. (Lord. have mercy on us)

Christ erbarm dich unser. (Christ, have mercy on us)

Herr, erbarm dich unser. (Lord, have mercy on us) [Handbook to The Lutheran Hymnal]



The melody (Lammas) was composed by Arthur Henry Brown, born in England 1830. At the age of ten he became organist at Brentwood, where he served the rest of his life. He wrote many hymn tunes, and edited a number of books. Among the latter may be mentioned The Altar Hymnal. [Dahle, Library of Christians Hymns]



The tune “Lancashire” (one of a number of tunes by that name) is by Henry Smart and was composed in 1836 for Heber’s hymn “From Greenland’s Icy Mountains.” It first appeared in Psalms and Hymns for Divine Worship, 1867. [Handbook to The Lutheran Hymnal]






The tune “Lasset uns mit Jesu ziehen” is by Georg Gottfried Boltze. It was composed in 1788 for the hymn of Paul Gerhardt “Sollt’ ich meinem Gott nicht singen” (see Hymn No. 25) and was published, set to that text, in Rühnau’s Choral-Buch, 1790. [Handbook to The Lutheran Hymnal]



The full text of the hymn “Let us all with gladsome voice”, with the tune, “Lasst uns alle,” first appeared in Dresdenisch Gesangbuch Christlicher Psalmen und Kirchenlieder, Ander Theil, Dresden, 1632.



The tune “Lasst uns erfreuen,” long forgotten, has been restored in some of the best modern hymnals. It comes to us from the Geistliche Kirchengesng, Cologne, 1623, where it is set to an Easter hymn, beginning with the line “Lasst uns erfreuen herzlich sehr.” It is, as Percy Dearmer writes, a remarkable example, not only of economy of structure but of the accumulating force of repetition. The tune is also called “Easter Alleluja” and “St. Francis.” [Handbook to The Lutheran Hymnal]



[John Dahle commented:] It is a mistake that the beautiful melody, “Praise, my soul,” composed for this hymn by John Goss, does not appear with this hymn in The Lutheran Hymnary. It is used for number 129. [Dahle, Library of Christians Hymns]









The melody was composed by Johann Rudolph Ahle (a German musician, 1625-1673), and it was later varied somewhat by Freylinghausen. [Dahle, Library of Christians Hymns]

The tune “Liebster Jesu,” also called “Dessau,” was composed by Johann Rudolph Ahle, 1664, for Franz Joachim Burmeister’s Advent hymn “Ja, er ist’s das Heil der Welt,” and transferred to Clausnitzers hymn in the Altdorfer Gesangbuch, 1671. [Handbook to The Lutheran Hymnal]






The tune “Llanfair” (thlahn-viar), also called “Bether,” is by Robert Williams, 1817. Robert Guy McCutchan, in Our Hymnody, directs attention to the fact that Williams’s authorship of the tune is not undisputed. It may be a traditional Welsh air. [Handbook to The Lutheran Hymnal]



The tune “Ich dank dir, lieber Herre” was originally combined with the secular folk-song “Entlaubt ist uns der Walde gen disem Winter Kalt,” popular as early as the fifteenth century. The oldest printed source is Hans Gerle’s Musika Teutsch, etc., Nürnberg, 1532. The melody was taken over, in altered forms, into the hymnals of the Church soon afterwards. [Handbook to The Lutheran Hymnal]



The melody, by an unknown composer, appeared first in the Stralsund Gesangbuch, 1665, set to the hymn, “Hast du denn, Liebster, dein Angesicht gänzlich verborgen,” or “Hast du dann, Jesu.” Neander himself chose this melody for his hymn. The melody suffered a few changes, until 1708, when it appeared in this present form. It is not known who translated the hymn into Danish, but it was included in Pontoppidan’s Hymnary of 1740. It appeared without any changes in Guldberg’s, Hauge’s, and the Norwegian Synod Hymnaries. Landstad gave a slightly revised version for his hymn book. [Dahle, Library of Christians Hymns]

The tune “Lobe den Herren, den mächtigen König der Ehren” first appeared in Ander Theil des Erneuerten Gesangbuch, 2d edition, Stralsund, 1665, where it was set to the hymn “Hast du denn, Liebster, dein Angesicht gänzlich verborgen.” Neander adapted this tune to his text in 1679, a union that has continued to this day. [Handbook to The Lutheran Hymnal]



The striking tune “Lobe den Herren, o meine Seele,” inseparably united with this hymn, has sometimes been erroneously ascribed to Herrnschmidt. It is by an unknown composer and first appeared in Anhang der Seelen-Harp, Onolzbach, 1665, set to the hymn “Lobet den Herren aller Herren.” The tune is one of the most brilliant gems in our chorale treasury. [Handbook to The Lutheran Hymnal]



The tune “Lobt Gott den Herren, ihr”, also called “Lobet den Herrn, ihr Heiden all”, is by Melchior Vulpius and first appeared in his Ein schön geistlich Gesangbuch, etc., Jena, 1609, where it was set to an Epiphany hymn, based on Ps. 117, beginning with that line, by an anonymous author. Although the tune has never received general acceptance even in the hymnals of Germany, it has maintained itself in some down to the present time. Its widest usage has been as a choir piece. When sung by a congregation that has a command of the melody, the hymn has remarkable power. [Handbook to The Lutheran Hymnal]


LOBT GOTT, IHR CHRISTEN  148, 153, 397, 590

The melody is by Nicolaus Herman, 1554, and was originally set to the hymn, “Kommt her, ihr liebsten Schwesterlein.” It was later printed in Die Sonntags Euangelia uber das ganze Jar in Gesänge verfasset—durch Nicolaum Herman in Joachimsthal (Wittenberg, 1560). In this collection it appeared with Herman’s Christmas hymn, “Lobt Gott, ihr Christen allegleich.” [Dahle, Library of Christians Hymns]

The tune “Lobt Gott, ihr Christen” is also by Nikolaus Herman. It first appeared in his Ein Christlicher Abentreien, etc., Leipzig, 1554, set to his children’s song on the life and office of John the Baptist, beginning: “Kommt her, ihr liebste Schwesterlein,” and then he coupled the tune with this Christmas hymn at its publication in 1560. [Handbook to The Lutheran Hymnal]



The beautiful melody (Luther Seminary) employed here, was composed especially for this hymn in 1911 by John Dahle, St. Paul ([M. Caspar Johnshoy’s] translator’s note). [Dahle, Library of Christians Hymns]



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