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Sarah Flower Adams

1805 - 1848 Person Name: Sarah Flower Adams, 1805-1848 Topics: Transcending Mystery and Wonder Meditation and Mystical Songs; Death and Life; God, Goddess, and Spirit; The Living Tradition; Memorials and Funerals; Serenity Author of "Nearer, My God, to Thee" in Singing the Living Tradition Adams, Sarah, nee Flower. born at Harlow, Essex, Feb. 22nd, 1805; died in London, Aug. 14, 1848, and was buried at Harlow, Aug. 21,1848. She was the younger daughter of Mr. Benjamin Flower, editor and proprietor, of The Cambridge Intelligencer; and was married, in 1834, to William B. Adams, a civil engineer. In 1841 she published Vivia Perpetua, a dramatic poem dealing with the conflict of heathenism and Christianity, in which Vivia Perpetua suffered martyrdom; and in 1845, The Flock at the Fountain; a catechism and hymns for children. As a member of the congregation of the Rev. W. J. Fox, an Unitarian minister in London, she contributed 13 hymns to the Hymns and Anthems, published by C. Fox, Lond., in 1841, for use in his chapel. Of these hymns the most widely known are— "Nearer,my God,to Thee," and "He sendeth sun, He sendeth shower." The remaining eleven, most of which have come into common use, more especially in America, are:— Creator Spirit! Thou the first. Holy Spirit. Darkness shrouded Calvary. Good Friday. Gently fall the dews of eve. Evening. Go, and watch the Autumn leaves. Autumn. O hallowed memories of the past. Memories. O human heart! thou hast a song. Praise. O I would sing a song of praise. Praise. O Love! thou makest all things even. Love. Part in Peace! is day before us? Close of Service. Sing to the Lord! for His mercies are sure. Praise. The mourners came at break of day. Easter. Mrs. Adams also contributed to Novello's musical edition of Songs for the Months, n. d. Nearly all of the above hymns are found in the Unitarian collections of Great Britain, and America. In Martineau's Hymns of Praise & Prayer, 1873, No. 389, there is a rendering by her from Fenelon: —" Living or dying, Lord, I would be Thine." It appeared in the Hymns and Anthems, 1841. -John Julian, Dictionary of Hymnology (1907)

Lowell Mason

1792 - 1872 Person Name: Lowell Mason, 1792-1872 Topics: Transcending Mystery and Wonder Meditation and Mystical Songs; Death and Life; God, Goddess, and Spirit; The Living Tradition; Memorials and Funerals; Serenity Composer of "BETHANY" in Singing the Living Tradition Dr. Lowell Mason (the degree was conferred by the University of New York) is justly called the father of American church music; and by his labors were founded the germinating principles of national musical intelligence and knowledge, which afforded a soil upon which all higher musical culture has been founded. To him we owe some of our best ideas in religious church music, elementary musical education, music in the schools, the popularization of classical chorus singing, and the art of teaching music upon the Inductive or Pestalozzian plan. More than that, we owe him no small share of the respect which the profession of music enjoys at the present time as contrasted with the contempt in which it was held a century or more ago. In fact, the entire art of music, as now understood and practiced in America, has derived advantage from the work of this great man. Lowell Mason was born in Medfield, Mass., January 8, 1792. From childhood he had manifested an intense love for music, and had devoted all his spare time and effort to improving himself according to such opportunities as were available to him. At the age of twenty he found himself filling a clerkship in a banking house in Savannah, Ga. Here he lost no opportunity of gratifying his passion for musical advancement, and was fortunate to meet for the first time a thoroughly qualified instructor, in the person of F. L. Abel. Applying his spare hours assiduously to the cultivation of the pursuit to which his passion inclined him, he soon acquired a proficiency that enabled him to enter the field of original composition, and his first work of this kind was embodied in the compilation of a collection of church music, which contained many of his own compositions. The manuscript was offered unavailingly to publishers in Philadelphia and in Boston. Fortunately for our musical advancement it finally secured the attention of the Boston Handel and Haydn Society, and by its committee was submitted to Dr. G. K. Jackson, the severest critic in Boston. Dr. Jackson approved most heartily of the work, and added a few of his own compositions to it. Thus enlarged, it was finally published in 1822 as The Handel and Haydn Society Collection of Church Music. Mason's name was omitted from the publication at his own request, which he thus explains, "I was then a bank officer in Savannah, and did not wish to be known as a musical man, as I had not the least thought of ever making music a profession." President Winchester, of the Handel and Haydn Society, sold the copyright for the young man. Mr. Mason went back to Savannah with probably $500 in his pocket as the preliminary result of his Boston visit. The book soon sprang into universal popularity, being at once adopted by the singing schools of New England, and through this means entering into the church choirs, to whom it opened up a higher field of harmonic beauty. Its career of success ran through some seventeen editions. On realizing this success, Mason determined to accept an invitation to come to Boston and enter upon a musical career. This was in 1826. He was made an honorary member of the Handel and Haydn Society, but declined to accept this, and entered the ranks as an active member. He had been invited to come to Boston by President Winchester and other musical friends and was guaranteed an income of $2,000 a year. He was also appointed, by the influence of these friends, director of music at the Hanover, Green, and Park Street churches, to alternate six months with each congregation. Finally he made a permanent arrangement with the Bowdoin Street Church, and gave up the guarantee, but again friendly influence stepped in and procured for him the position of teller at the American Bank. In 1827 Lowell Mason became president and conductor of the Handel and Haydn Society. It was the beginning of a career that was to win for him as has been already stated the title of "The Father of American Church Music." Although this may seem rather a bold claim it is not too much under the circumstances. Mr. Mason might have been in the average ranks of musicianship had he lived in Europe; in America he was well in advance of his surroundings. It was not too high praise (in spite of Mason's very simple style) when Dr. Jackson wrote of his song collection: "It is much the best book I have seen published in this country, and I do not hesitate to give it my most decided approbation," or that the great contrapuntist, Hauptmann, should say the harmonies of the tunes were dignified and churchlike and that the counterpoint was good, plain, singable and melodious. Charles C. Perkins gives a few of the reasons why Lowell Mason was the very man to lead American music as it then existed. He says, "First and foremost, he was not so very much superior to the members as to be unreasonably impatient at their shortcomings. Second, he was a born teacher, who, by hard work, had fitted himself to give instruction in singing. Third, he was one of themselves, a plain, self-made man, who could understand them and be understood of them." The personality of Dr. Mason was of great use to the art and appreciation of music in this country. He was of strong mind, dignified manners, sensitive, yet sweet and engaging. Prof. Horace Mann, one of the great educators of that day, said he would walk fifty miles to see and hear Mr. Mason teach if he could not otherwise have that advantage. Dr. Mason visited a number of the music schools in Europe, studied their methods, and incorporated the best things in his own work. He founded the Boston Academy of Music. The aim of this institution was to reach the masses and introduce music into the public schools. Dr. Mason resided in Boston from 1826 to 1851, when he removed to New York. Not only Boston benefited directly by this enthusiastic teacher's instruction, but he was constantly traveling to other societies in distant cities and helping their work. He had a notable class at North Reading, Mass., and he went in his later years as far as Rochester, where he trained a chorus of five hundred voices, many of them teachers, and some of them coming long distances to study under him. Before 1810 he had developed his idea of "Teachers' Conventions," and, as in these he had representatives from different states, he made musical missionaries for almost the entire country. He left behind him no less than fifty volumes of musical collections, instruction books, and manuals. As a composer of solid, enduring church music. Dr. Mason was one of the most successful this country has introduced. He was a deeply pious man, and was a communicant of the Presbyterian Church. Dr. Mason in 1817 married Miss Abigail Gregory, of Leesborough, Mass. The family consisted of four sons, Daniel Gregory, Lowell, William and Henry. The two former founded the publishing house of Mason Bros., dissolved by the death of the former in 19G9. Lowell and Henry were the founders of the great organ manufacturer of Mason & Hamlin. Dr. William Mason was one of the most eminent musicians that America has yet produced. Dr. Lowell Mason died at "Silverspring," a beautiful residence on the side of Orange Mountain, New Jersey, August 11, 1872, bequeathing his great musical library, much of which had been collected abroad, to Yale College. --Hall, J. H. (c1914). Biographies of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company.

William Farley Smith

1941 - 1997 Topics: The Sacraments and Rites of the Church Funeral and Memorial Service; New Heaven and a New Earth Death and Eternal Life; Eternal Life; Heaven; Judgment; Service Music Invitation to Prayer Adapter and Arranger of "STEAL AWAY" in The United Methodist Hymnal

Thomas Andrew Dorsey

1899 - 1993 Person Name: Thomas A. Dorsey Topics: The Cross; Cry to God; Daily Prayer Evening; Darkness; Death and Dying; Difficult Times; New Heaven and Earth; Occasional Services Funeral/Witness to the Resurrection; Old Age; Trials Author of "Precious Lord, Take My Hand" in Lift Up Your Hearts Thomas Andrew Dorsey was born in Villa Rica, a small rural town near Atlanta, Georgia. In 1919 he moved to Chicago. Most of his musical training was in the church, but he also studied and played jazz and blues. He later combined jazz and blues with religious texts, giving birth to gospel music. In 1931, along with Magnolia Lewis-Butts and Theodore Roosevelt Frye, he established the first gospel choir at Ebenezer Baptist Church in Chicago. He went on to lead the gospel choir at Pilgrim Baptist Church, which he led for 60 years. Dorsey was also instrumental in founding the National Convention of Gospel Choirs and Choruses (NCGCC) in 1933. The convention taught choirs all over the country how to sing gospel music. Dianne Shapiro, from "Gospel" in Encyclopedia of Chicago (accessed 8/12/2020)

Jean Sibelius

1865 - 1957 Person Name: Jean Sibelius (1865-1957) Topics: Funerals and The Departed; Assurance; Death and Bereavement; Future hope; God faithfulness of in creation; Grief; Guidance; Heaven; Patience; Suffering Composer of "FINLANDIA" in Ancient and Modern Johann Julius Christian [Jean] Sibelius DM Finland 1865-1957. Born at Hameenlinna, Finland, the son of a Swedish-speaking medical doctor, he lost his father to typhoid in 1868, leaving the family in substantial debt. His mother, again pregnant, had to sell their property and move in with her widowed mother. His aunt Julia gave him piano lessons when he was seven on the family upright piano, wrapping him on the knuckles when he played a wrong note. He learned to improvise as he played. His uncle, Pehr Ferdinand Sibelius, was interested in music, especially the violin, and gave Jean a violin when he was 10. As his musical advisor his uncle encouraged him to play and compose music. He played music with sister on piano, brother on cello, and himself on violin. He attended a Finnish-speaking prep school in 1874 and continued his education at the Hameenlinna Normal Lyceum thereafter. Jean also showed a strong interest in nature, frequently walking around the countryside when the family moved to the Loviisa coast for the summer months. In 1881 he took violin lessons from the local bandmaster, and developed a strong interest in violin. He became an accomplished player, and thought of becoming a virtuoso, but realizing he began study too late in life for that, instead opted to compose. He often played music in quartets with neighboring families, adding to his chamber music experience. He took the French form of his name, Jean. He studied law at the Imperial Alexander University in Finland, but showed far more interest in music. He then studied music at the Helsinki Music Institute (now Sibelius Academy) from 1885-1889. The school’s founder, Martin Wegelius, did much to support education development in Finland and gave Sibelius his first lessons in composition. Another teacher,,Ferruccio Busoni, a pianist-composer, helped him as well and became a life-long friend. Other friends, pianist Adolf Paul, and conductor-to-be, Armas Jarnefelt, also helped him. In 1892 he married Armas ‘s sister, Aino Jarnefelt, daughter of General Alexander Jarnefelt, governor of Vaasa. They had six daughters, Eva, Ruth, Kirsti, Katarina, Margareta, and Heidi. He continued his musical studies in Berlin (1889-1890) with Albert Becker, and in Vienna (1890-1891) with Robert Fuchs and Karl Goldmark. In Berlin he had opportunity to attend concerts and operas. In Vienna he turned to orchestral composition and had much success, although he had gallstone surgery during that period. He also traveled to the UK, France, Germany, and the USA during this time in his life, composing, conducting, and socializing. In 1892 he took on teaching assignments at the Music Institute and at Kajanus’s conducting school, but this left him with little time for composing. Sibelius’ works were more and more appreciated in Helsinki concert halls as he composed and conducted symphonies in the mid-1890s. In 1898 he was awarded a substantial grant, initially for 10 years, and later extended for life, allowing him to concentrate on composition. Much of his music became popular in Finland and in Germany. In 1899 he began work on his first symphony. It went well, but other patriotic music hehad composed did even better, since Russia was trying to restrict the powers of the Grand Duchy of Finland. In 1900 Sibelius went on an international tour with Kajanus and his orchestra, presenting his recent works. In 1901 he wrote his second symphony, which received rave reviews. He continued to compose as he became popular and well-known. In 1903 he had a new home built near Lake Tuusula north of Helsinki, calleed Ainola (after his wife). He gave concerts in and around Finland, spending more and more time away from home, to the chagrin of his wife. After a time he returned home and composed from there. He spent much time wining and dining in Helsinki, and it had a disastrous effect on his wife, who finally entered a sanitorium. He resolved again to give up drinking and concentrate on composing his 3rd symphony. He met Gustav Mahler in Helsinki and they became friends. He performed his 3rd symphony in St Petersburg, Russia. In 1907 he underwent a serious operation for suspected throat cancer, and spent time in the hospital in 1908. His smoking and drinking had now become life-threatening. He cancelled concerts for Rome, Warsaw, and Berlin, but kept one in London. His health deteriorated further, And his brush with death inspired him to compose his 4th symphony. In 1909 his successful throat operation resulted in renewed happiness for him and his wife, Aino. He continued conducting concerts, and met Claude Debussy, who further encouraged his musical efforts. He began working on his 4th symphony in 1910, but had to write other music to compensate for dwindling funds. He finished his 4th symphony in Berlin and conducted concerts in Sweden in 1911. In 1912 he completed short orchestral works. Over the next several years he continued producing a variety of pieces of music, well-received, especially in America. He was given an honorary DM degree from Yale University and also another from the University of Helsinki about the same time. WW1 interrupted his music royalties in 1915, and he was forced to compose smaller works for publication to make ends meet. He completed his 5th symphony at age 50, but he was dissatisfied with it and reworked it three times In 1917 he starting drinking again, triggering arguments with his wife. The Russian Revolution in 1917 caused an improvement in their personal relationship, and he wrote his ‘Jager March’ to celebrate Finnish independence from Russia. The next year the Finnish Civil War began, putting a damper on his march. In 1919, after the war, he completed his 6th symphony. In 1920 George Eastman , of Eastman Kodak, asked him to teach for a year in New York, but he declined. He did enjoy a trip conducting several concerts in England in 1921. He premiered his 6th symphony in 1923. In 1924 he completed his 7th symphony. The next year he composed a number of small pieces. He began drinking again. He did write a few more major works, but for the last thirty years of his life he avoided publicly talking about his music. He tried to write an 8th symphony, but was unsatisfied with it and burned the scores. In fact, he burned a laundry basket full of music he had written, to the chagrin of his wife. But, afterward, he became calmer and gradually had a lighter mood. In 1935 he was awarded the Goethe-Metal, with a certificate signed by Adolf Hitler. A Soviet invasion of Finland in 1939 was repelled, but Finland gave up territory to Russia as a result. In 1941 Sibelius and his wife returned to their Finland home, Ainola, after a long absence. He did not compose much the last few years, and died at Ainola. His wife outlived him by 12 years. John Perry

Nikolaus Herman

1500 - 1561 Person Name: N. Herman, 1480-1561 Topics: Death and Funeral Songs Author of "Wenn mein Stündlein vorhanden ist" in Evang.-Lutherisches Gesangbuch Herman, Nicolaus, is always associated with Joachimsthal in Bohemia, just over the mountains from Saxony. The town was not of importance till the mines began to be extensively worked about 1516. Whether Herman was a native of this place is not known, but he was apparently there in 1518, and was certainly in office there in 1524. For many years he held the post of Master in the Latin School, and Cantor or Organist and Choirmaster in the church. Towards the end of his life he suffered greatly from gout, and had to resign even his post as Cantor a number of years before his death. He died at Joachimsthal, May 3, 1561. (Koch, i. 390-398; Allgemeine Deutsche Biographie, xii. 186-188, &c.) He was a great friend and helper of J. Mathesius (q.v.) (who in 1532 became rector of the school, but in 1541 diaconus and in 1545 pastor of the church), and it was said that whenever Mathesius preached a specially good sermon Herman straightway embodied its leading ideas in a hymn. His hymns, however, were not primarily written for use in church, but were intended for the boys and girls in the schools, to supplant profane songs in the mouths of the young men and women, or for the daily life of the “housefathers and housemothers" in Joachimsthal, at home, and in their work in the mines. He is a poet of the people, homely, earnest, and picturesque in style; by his naiveté reminding us of Hans Sachs. He was an ardent lover of music and a very good organist. The chorales which he published with his hymns are apparently all of his own composition, and are among the best of the Reformation period. Many of Herman's hymns soon passed into Church use in Germany, and a number are found in almost all books in present use. About 190 in all, they appeared principally in:— (1) Die Sontags Evangelia uber des gantze Jar, in Gesenge verfasset, für die Kinder und christlichen Haussvetter, &c, Wittenberg, 1560 (dedication by Herman dated Trinity Sunday, 1559), with 101 hymns and 17 melodies. The best are those interspersed specially meant for children and not directly founded on the Gospel for the day. (2) Die Historien von der Sindfludt, Joseph, Mose, Helia, Elisa und der Susanna, sampt etlichen Historien aus den Evangelisten, &c., Wittenberg, 1562 (preface by Herman dated St. Bartholomew's Day, 1560), with 73 hymns and 20 melodies. In this case also the general hymns are the best. A selection of 60 (really 61) of his hymns, with a memoir by K. F. Ledderhose, was published at Halle, 1855. One of Herman's hymns is noted under “Wenn mein Stündlein vorhanden ist." The others which have passed into English are:— i. Bescher uns, Herr, das täglioh Brod. Grace before Meat. 1562, as above, and thence in Wackernagel, iii. p. 1228, in 6 stanzas of 4 lines; in Ledderhose, p. 70; and in the Berlin Geistliche Lieder, ed. 1863, No. 1133. Translated as:— 1. Thou art our Father and our God. This, by P. H. Molther, a translation of stanza vi., as No. 180 in the Moravian Hymn Book, 1789 (1849, No. 220, st. v.). 2. As children we are owned by Thee, a translation of stanza vi., as st. iii. of No. 191 in the Moravian Hymn Book, 1801 (1849, No. 220, stanza iii.). ii. Die helle Sonn leucht jetzt herfür. Morning. 1560, as above, and thence in Wackernagel, iii. p. 1184, in 4 stanzas of 4 lines, in Ledderhose, p. 87; and in the Unverfälschter Liedersegen, 1851, No. 450. Translated as:— The morning beam revives our eyes, a good and full translation by. A. T. Russell, as No. 71 in the Dalston Hospital Hymn Book 1848. iii. Erschienen ist der herrliche Tag. Easter. 1560, as above, in 14 stanzas of 4 lines, entitled, "A new Spiritual Song of the Joyful Resurrection of our Saviour Jesus Christ; for the maidens of the girls' school in Joachimsthal”; and thence in Wackernagel, iii. p. 1175; in Ledderhose p. 23, and Unverfälschter Liedersegen, 1851, No. 134. It has reminiscences of the "Erstanden ist der heil'ge Christ". Translated as:— The day hath dawn'd—-the day of days, a good translation by A. T. Russell of stanzas i., ii., xiii., xiv., as No. 113 in his Psalms & Hymns, 1851. Another tr. is, "At length appears the glorious day," by Dr. G. Walker, 1860, p. 28. iv. Hinunter ist der Sonnen Schein. Evening. 1560, as above, and thence in Wackernagel, iii. p. 1184, in 4 stanzas of 4 lines; in Ledderhose, p. 88; and in the Unverfälschter Liedersegen1851, No. 523. Some of the phrases may have been suggested by the "Christe qui lux es et dies" (q. v.). Translated as:— 1. Sunk is the sun's last beam of light, a full and good translation by Miss Cox in her Sacred Hymns from the German, 1841, p. 57. Included in Alford's Psalms & Hymns, 1844, and Tear of Praise, 1867; in Dale's English Hymn Book, 1875; in the Pennsylvania Lutheran Church Book, 1868, and others. It is also given considerably altered and beginning, "Sunk is the Sun! the daylight gone," in W. J. Blew's Church Hymn and Tune Book, 1851-55. 2. The happy sunshine all is gone, in full, by Miss Winkworth in her Lyra Germanica, 1st Ser., 1855, p. 225; repeated in her Chorale Book for England, 1863, and the Ohio Lutheran Hymnal, 1880. Other translations are: (1) "Did I perhaps Thee somewhat grieve," a translation of stanza iii. in the Moravian Hymn Book, 1789, No. 756. In the 1801 and later eds. (1886, No. 1181, st. iii.), it begins, "Where'er I Thee this day did grieve." (2) "The sun’s fair sheen is past and gone," by H. J. Buckoll, 1842, p. 68. (3) "The sun hath run his daily race," by Lady E. Fortescue, 1843, p. 14. v. Lobt Gott, ihr Christen alle gleich. Christmas. Written c. 1554, but first published 1560 as above, as the first of "Three Spiritual Christmas Songs of the new-born child Jesus, for the children in Joachimsthal." Thence in Wackernagel iii. p. 1169, in 8 stanzas of 4 lines; in Ledderhose, p. 1; and in the Unverfälschter Liedersegen, 1851, No. 47. It is one of the most popular German Christmas hymns. The melody set to it in 1560 is also by Herman; in 1554 to his "Kommt her ihr liebsten Schwesterlein" [in the Hymnal Companioncalled "St. George's (old)"]. Translated as :— 1. Let all together praise our God, a good translation of stanzas i., iii., vi., viii., by A. T. Russell, as No. 52 in his Psalms & Hymns, 1851. Repeated in Kennedy, 1863, adding a translation of st. ii., and beginning, "Let all creation praise our God." 2. Praise ye the Lord, ye Christians I yea, in full, by E. Cronenwett, as No. 31 in the Ohio Lutheran Hymnal 1880. Other translations are: (1) "A wondrous change He with us makes," a tr. of stanza viii., ix. as No. 438 in pt. i. of the Moravian Hymn Book, 1754, repeated 1789-1826. (2) "Come, brethren, lets the song arise," by Dr. G. Walker, 1860, p. 26. (3) "Praise God, now Christians, all alike," by Miss Manington, 1864, p. 9. (4) "Praise God, upon His throne on high," in the Sunday Magazine, 1874, p. 384, signed "P. J." The hymn “Shepherds rejoice, lift up your eyes," given by J. C. Jacobi in his Psalmodia Germanica, 1722, p. 8, to Herman's melody (which was first published 1554) is, as stated in his Preface, taken from Bk. i. of Isaac Watts's Horse Lyricae vi. So wahr ich leb, spricht Gott der Herr. Absolution. 1560, as above, in 11 stanzas of 4 lines, entitled "A hymn on the power of the keys and the virtue of holy absolution; for the children in Joachimsthal." Thence in Wackernagel, iii. p. 1183; in Ledderhose, p. 47; and the Unverfälschter Liedersegen, 1851, No. 429. It probably suggested the better known hymn, "So wahr ich lebe," q. v., by Johann Heermann. Translated as:— Yea, as I live, Jehovah saith, I do not wish the sinner's death, in full, by Dr. M. Loy, as No. 245, in the Ohio Lutheran Hymnal, 1880. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology (1907)

Joseph Barnby

1838 - 1896 Topics: Death and Life to Come; Death of Believers; Funeral and memorial service Composer of "REQUIEM" in Moravian Book of Worship Joseph Barnby (b. York, England, 1838; d. London, England, 1896) An accomplished and popular choral director in England, Barby showed his musical genius early: he was an organist and choirmaster at the age of twelve. He became organist at St. Andrews, Wells Street, London, where he developed an outstanding choral program (at times nicknamed "the Sunday Opera"). Barnby introduced annual performances of J. S. Bach's St. John Passion in St. Anne's, Soho, and directed the first performance in an English church of the St. Matthew Passion. He was also active in regional music festivals, conducted the Royal Choral Society, and composed and edited music (mainly for Novello and Company). In 1892 he was knighted by Queen Victoria. His compositions include many anthems and service music for the Anglican liturgy, as well as 246 hymn tunes (published posthumously in 1897). He edited four hymnals, including The Hymnary (1872) and The Congregational Sunday School Hymnal (1891), and coedited The Cathedral Psalter (1873). Bert Polman

Henri F. Hemy

1818 - 1888 Person Name: Henri Friedrich Hémy (1818-1888) Topics: The Holy Spirit The Church Celebrates - Death and Grieving; Eternal Life; Funerals general; Trust Composer of "TYNEMOUTH (ST. CATHERINE'S)" in Church Hymnary (4th ed.) Henri F. Hemy, born in the United Kingdom. Hemy spent time at sea as a young man, emigrating to Australia in 1850 with his family. Unable to make a decent living in Melbourne, he returned to Newcastle England. He was organist at St. Andrews Roman Catholic Church in Newcastle, later teaching professor of music at Tynemouth and at St. Cuthbert's College in Durham. He was pianist to Lord Ravensworth, Music Director of Ushaw College, and his orchestra played at fashionable venues in the region. He sang baritone as well. He composed waltzes, polkas, quadrilles, and galops. 3 music works: Easy Hymn Tunes for Catholic Schools; Royal Modern Tutor for Pianoforte; Crown of Jesus. He was active in local politics and published a manifesto in the daily newspaper. He lost a ward election. He also painted artwork. He set most of Longfellow's works to music. John Perry

Philipp Friedrich Hiller

1699 - 1769 Person Name: Ph. F. Hiller, 1699-1769 Topics: Death and Funeral Songs Author of "Der Hirt, am Kreuz gestorben" in Evang.-Lutherisches Gesangbuch Hiller, Philipp Friedrich, son of Johann Jakob Hiller, pastor at Mühlhausen on the the Enz, Württemberg, was born at Mühlhausen, Jan. 6, 1699. He was educated at the clergy training schools at Denkendorf (under J. A. Bengel) and Maulbronn, and the University of Tübingen (M.A. 1720). His first clerical appointment was as assistant at Brettach, near Neckarsulm, 1724-27. He afterwards held similar posts at Hessigheim and elsewhere, and was also, from 1729-31, a private tutor at Nürnberg. He was then, on St. Bartholomew's Day, 1732, instituted as pastor of Neckargröningen, on the Neckar, near Marbach. In 1736 he became pastor of his native place, and in 1748 pastor at Steinheim, near Heidenheim. In his third year of residence at Steinheim he lost his voice, and had to employ an assistant to preach. He died at Steinheim, April 24, 1769. (Koch, v. 107-126; Allgemeine Deutsche Biographie, xii. 425-426, &c.) Of Hiller’s hymns the best appeared in:— (1) Arndt's Paradiss-Gartlein…..in teutsche Lieder, Nürnberg, N.D. [the copy in Berlin has a frontispiece dated 1730]. This was written during the time he was tutor at Nürnberg. P. Gerhardt had founded the fine hymn "O Jesu Christ, mein schönstes Licht," (q.v.) on one of the prayers in the volume of devotions which Johann Arndt had published, 1612, under the title of Paradies-Gärtlein; and Gerhardt's example led Hiller to think of turning the whole of these prayers into hymns. The book is in four parts, and contains 301 hymns, 297 being founded on Arndt and four original. (2) Geistliches Liederkästlein, Stuttgart, 1762, and a second series, Stuttgart, 1767. Each series contains 366 short hymns, one for each day of the year. A complete reprint of these and the other hymns of Hiller (1075 in all) wased. by C. C. E. Ehmann in 1844 (2nd ed. 1858). Hiller is the most productive and most important of the earlier hymnwriters of Württemberg; and is the poetical exponent of the practical theology of his friend J. A. Bengel. The hymns of his Paradiss-Gärtlein, while clear and Scriptural, are decidedly spun out (see No. xii. below). His Liederkästlein, contains the hymns of his riper years, and reveals a depth of spiritual wisdom, an almost proverbial conciseness, an adaptation to console and direct in the most diverse events of life, and the most varied experiences of the soul, a suitability as a manual for daily devotion, and a simple popularity of style that speedily endeared it to the pious in Southern Germany. It has passed through many editions in Germany, while colonists (especially from Württemberg) have carried it from thence wherever they went. It is said, e.g., that when a German colony in the Caucasus was attacked by a hostile Circassian tribe some fifty years ago the parents cut up their copies of the Liederkästlein and divided the leaves among their children as they were being torn from them into slavery. The use of Hiller's hymns in Germany has principally been in the hymnbooks of Württemberg, and, through J. J. Bambach's Haus Gesang-Buch, 1735, in Hannover. The following have passed into English:— I. Hymns in English common use: i. Herr über Leben und der Tod. Cross and Consolation. 1730, pt. iii. p. 332, founded on Arndt's Prayer, 26 (28) of Class iii. The part translated is stanzas viii.-xiv., "Herr, meine Burg, Herr Zebaoth," which is founded on the fourth part of the third section of Arndt's Prayer. The text is in Ehmann's Hiller, Nos. 885, 886. Translated as:— 0 God of Hosts! 0 mighty Lord, a translation of stanzas viii., xiii., xiv., signed "F. C. C.," as No. 162 in Dr. Pagenstecher's Collection, 1864. ii. Mein Gott in deine Hände. For the Dying. Liederkästlein, pt. ii., 1767, for August 3, in 9 stanzas of 4 lines, founded on Ps. xxxi. 6. In Ehmann, No. 986, and in Knapp's Evangelischer Lieder-Schatz, 1837 and 1865. Translated as:— My God, to Thee I now commend, a good translation of stanzas i., iii., iv., vi., viii., ix., by Miss Winkworth, in her Lyra Germanica, 1st Ser., 1855, p. 245. In her 2nd ed., 1856, she substituted a translation of st. vii. for that of stanza vi. The text of 1856 is in her Chorale Book for England, 1863, No. 194, and in the Ohio Evangelical Lutheran Hymnal, 1880; and the text of 1855 in the Pennsylvania Lutheran Church Book, 1868. Another translation is: "My God, within Thy hand," by Miss Warner, 1858, p. 480. iii. Mein Hers, du mustt im Himmel sein. Eternal Life. Liederkästlein, p. ii., 1767, for Jan. 26, in 4 stanzas of 7 lines, founded on St. Matt. vi. 21. In Ehmann, No. 639, and Knapp's Evangelischer Lieder-Schatz, 1837. Translated as :— Aspire, my heart, on high to live, in full, by Dr. H. Mills, in his Horae Germanicae, 1845 (1856, p. 86), repeated, omitting stanzas iv., as No. 220 in the American Lutheran General Synod's Collection, 1850-52. iv. Wir warten dein, o Gottes Sehn. Second Advent. Liederkästlein, pt. ii., 1767, for Jan. 24, in 4 stanzas of 8 lines, founded on 1 Thess. i. 9, 10. In Ehmann, No. 1041, and the Württemberg Gesang-Buch, 1842, No. 640. Translated as:-— We wait for Thee, all glorious One, a good and full translation by J. D. Burns, in the Family Treasury, 1859, pt. ii. p. 111, and his Remains, 1869, p. 264. Included in the Christian Hymn Book, Cincinnati, 1865, and in H. L. Hastings's Songs of Pilgrimage, 1886. Another translation is: "We wait for Thee, O Son of God," in the British Herald, April, 1866, p. 252, and Reid's Praise Book, 1872. This follows the altered form in C. B. Garve's Christliche Gesänge, 1825. II. Hymns not in English common use: v. Abgrund wesentlicher Liebe. Love of God. 1730, pt. ii. p. 25, founded on Prayer 4 in Class II. of Arndt, which is "Thanksgiving for the Love of God, and prayer for it." Translated as, "Thou fathomless Abyss of Love," by Miss Winkworth, 1869, p. 281. vi. Angenehmes Krankenbette. For the Sick. Liederkästlein, 1762, p. 338, for Dec. 3, in 3 stanzas, founded on St. Luke v. 18. Translated as, "Bed of Sickness! thou art sweet," by Miss Winkworth, 1869, p. 283. vii. Betet an, verlorne Sünder. Lent. Liederkästlein, 1762, p. 43, for Feb. 18, in 3 stanzas, founded on St. Matt, xviii. 14. Translated as, "Sinners, pray! for mercy pleading," by Dr. H. Mills, 1856, p. 50. viii. Das Lamm, am Kreuzesstamme. For the Dying. Liederkästlein, pt. ii., 1767, for Feb. 12, in 8 stanzas, founded on Acts vii. 59. In the Württemberg Gesang-Buch, 1842, No. 609, altered to “Der Hirt, am Kreuz gestorben." This form is translated as, "The Shepherd by His passion," by J. D. Burns, in the Family Treasury, 1859, pt. ii. p. 61, and his Remains, 1869, p. 266. ix. Die Liebe darf wohl weinen. Burial of the Dead. Liederkästlein, 1762, p. 286, for Oct. 12, in 7 stanzas, founded on l Thess. iv. 13. Translated as, "Love over the departed," by J. D. Burns in his Remains, 1869, p. 253. x. Die Welt kommt einst zusammen. Second Advent. Liederkästlein, pt. ii., 1767, for Jan. 2, in 5 stanzas, founded on 2 Cor. v. 10. Translated as, "The world shall yet be cited," by J. D. Burns in the Family Treasury, 1859, pt. ii. P. 111, and his Remains, 1869, p. 263. xi. Herr, meine Leibeshütte. For the Dying. Liederkästlein, pt. ii., 1767, for Feb. 18, in 8 stanzas, founded on 2 Peter, i. 14. The translations are: (l) "Lord, my house of clay," by Miss Warner, 1858, p. 605. (2) "My fleshly house is sinking now," by Dr. G. Walker, 1860, p. 102. xii. Mein Jesus sitzt zur rechten Hand. Ascensiontide. 1730, pt iii. p. 408, as stanzas 118-125 of the hymn on Arndt's prayer 27 (29) in Class III. This prayer is a long paraphrase of the Apostles' Creed. Translated as, "Our Jesus now at God's right hand," by Dr. H. Mills, 1845 (1856, p. 330). xiii. Singet Gott, denn Gott ist liebe. The Love of God. Liederkästlein, 1762, p. 51, for Feb. 20, in 3 stanzas, founded on 1 John iv. 16. The translations are: (1) "God is love—-then sing His praises," by Dr. H. Mills, 1845 (1856, p. 16). (2) "God is love, sing loud before Him," by J. D. Burns in his Remains, 1869, p. 231. xiv. Singt doch unserm König. Ascensiontide. Liederkästlein, 1762, p. 328, for Nov. 23, in 3 stanzas, founded on Ps. xcvi. 10. Translated as, “Laud your King and Saviour," by J. Sheppard in bis Foreign Sacred Lyre. 1857, p. 94. xv. Untheilbare Dreifaltigkeit. Trinity Sunday. 1730, pt. ii. p. 226, founded on Arndt’s prayer 25 in Class II., entitled “Thanksgiving for the revelation of the Holy Trinity." The translation is from the recast of st. vi.-xii. made by J. S. Diterich for the Berlin Gesang-Buch, 1765, No. 51, and beginning "Lob, Ehre, Preis und Dank sel dir." Translated as, "Love, honour, thanks, to Thee we raise," by Dr. H. Mills, 1845 (1856, p. 110). xvi. Was freut mich noch wenn du's nicht bist. Joy in God. Liederkästlein, 1762, for June 20, in 2 stanzas, founded on Ps. xliii. 4. Translated as, "What earthly joy can fill my heart," by R. Massie in the British Herald, Nov. 1865, p. 175. xvii. Wer ausharrt bis ans Ende. Cross and Consolation. Liederkästlein, pt. ii., 1767, for May 19, in 4 stanzas, founded on St. Matt. xxiv. 13. Translated as,"He who to death maintaineth," by J. D. Burns in his Remains, 1869, p. 261. xviii. Wer kann dein Thun begreifen. God's Power. Liederkästlein, 1762, p. 18, for Jan. 18, in 3 stanzas, founded on Is. xlv. 7. Translated as, "Who, Lord, Thy deeds can measure," by Dr. H. Mills, 1845 (1856, p. 15). [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology (1907) =============================== Hiller, Philipp F., p. 524, ii. His hymn "Gottes Sohn, in Fleisch gekleidet" (Christmas), from his Liederkastlein, 1762, is translation by Dr. Loy, in the Ohio Lutheran Hymnal, 1880, as "God in human flesh appearing." --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

Benjamin Schmolck

1672 - 1737 Person Name: B. Schmolk, 1672-1737 Topics: Death and Funeral Songs Author of "Ich habe Lust zu scheiden" in Evang.-Lutherisches Gesangbuch Schmolck, Benjamin, son of Martin Schmolck, or Schmolcke, Lutheran pastor at Brauchitschdorf (now Chrόstnik) near Liegnitz in Silesia (now Poland) was born at Brauchitschdorf, Dec. 21, 1672. He entered the Gymnasium at Lauban in 1688, and spent five years there. After his return home he preached for his father a sermon which so struck the patron of the living that he made Benjamin an allowance for three years to enable him to study theology. He matriculated, at Michaelmas, 1693, at the University of Leipzig, where he came under the influence of J. Olearius, J. B. Carpzov, and others, and throughout his life retained the character of their teaching, viz. a warm and living practical Christianity, but Churchly in tone and not Pietistic. In the autumn of 1697, after completing his studies at Leipzig (during his last year there he supported himself mainly by the proceeds of occasional poems written for wealthy citizens, for which he was also, crowned as a poet), he returned to Brauchitzchdorf to help his father, and, in 1701, was ordained as his assistant. On Feb. 12, 1702, he married Anna Rosina, daughter of Christoph Rehwald, merchant in Lauban and in the end of the same year was appointed diaconus of the Friedenskirche at Schweidnitz in Silesia. As the result of the Counter-Reformation in Silesia, the churches in the principality of Schweidnitz had been taken from the Lutherans, and for the whole district the Peace of Westphalia (1648) allowed only one church (and that only of timber and clay, without tower or bells), which the Lutherans had to build at Schweidnitz, outside the walls of the town; and the three clergy attached to this church had to minister to a population scattered over some thirty-six villages, and were moreover hampered by many restrictions, e.g. being unable to communicate a sick person without a permit from the local Roman Catholic priest. Here Schmolck remained till the close of his life, becoming in 1708 archidiaconus, in 1712 senior, and in 1714 pastor primarius and inspector. Probably as the result of his exhausting labours he had a stroke of paralysis on Laetare (Mid-Lent) Sunday, 1730, which for a time laid him aside altogether, and after which he never recovered the use of his right hand. For five years more he was still able to officiate, preaching for the last time on a Fastday in 1735. But two more strokes of paralysis followed, and then cataract came on, relieved for a time by a successful operation, but returning again incurably. For the last months of his life he was confined to bed, till the message of release came to him, on the anniversary of his wedding, Feb. 12, 1737. (Koch, v. 463; Bode, p. 144; Goedeke's Grundriss, vol. iii., 1887, p. 306; sketch prefixed to Ledderhose's edition of Schmolck's Geistliche Lieder, Halle, 1857, &c.) Schmolck was well known in his own district as a popular and useful preacher, a diligent pastor, and a man of wonderful tact and discretion. It was however his devotional books, and the original hymns therein contained, that brought him into wider popularity, and carried his name and fame all over Germany. Long lists of his works and of the various editions through which many of them passed are given by Koch, Bode and Goedehe. It is rather difficult to trace the hymns, as they are copied from one book of his into another, &c. Schmolck was the most popular hymnwriter of his time, and was hailed as the "Silesian Rist," as the "second Gerhardt," &c. Nor was he altogether unworthy of such praise. It is true that he did not possess the soaring genius of Gerhardt. Nor had he even Gerhardt's concise, simple style, but instead was too fond of high-sounding expressions, of plays upon words, of far-fetched but often recurring contrasts, and in general of straining after effect, especially in the pieces written in his later years. In fact he wrote a great deal too much, and latterly without proper attention to concentration or to proportion. Besides Cantatas, occasional pieces for weddings, funerals, &c, he is the author of some 900 hymns, properly so called. These were written for all sorts of occasions, and range over the whole field of churchly, family, and individual life. Naturally they are not all alike good; and those in his first three collections are decidedly the best. A deep and genuine personal religion, and a fervent love to the Saviour, inspire his best hymns; and as they are not simply thought out but felt, they come from the heart to the heart. The best of them are also written in a clear, flowing, forcible, natural, popular style, and abound in sententious sayings, easily to be remembered. Even of these many are, however, more suited for family use than for public worship. Nevertheless they very soon came into extensive use, not only in Silesia, but all over Germany. A number of Schmolck's hymns [that] have passed into English are:— i. Der beste Freund ist in dem Himmel. Love of Jesus. First published in his Heilige Flammen (ed. 1709, p. 100), in 6 stanzas of 6 lines, entitled "The best Friend." The translation in common use is:— A faithful friend is waiting yonder. This is a good translation, omitting stanza v., as No. 293, in Kennedy, 1863. ii. Die Woche geht zum Ende. Saturday Evening. In his Andächtige Hertze, 1714, p. 116, in 10 stanzas of 8 lines, entitled "Evening Hymn," and appointed for Evening Prayer on Saturday. In the Berlin Geistliche Lieder, ed. 1863, No. 1158. Translated as:— The week draws near its ending. This is a good translation of stanzas i., vi., vii., x., marked as by "A. G.," as No. 81 in the Dalston Hospital Hymn Book 1848. Other trs. are: (1) “Though now the week is ending," by H. J. Buckoll, 1842, p. 107. (2) “The week at length is over," by Miss Manington, 1863, p. 137. iii. Gott du hist selbst die Liehe. Holy Matrimony. Translated as:— O God, "Who all providest. This is a good translation, omitting stanza iii., by J. M. Sloan, as No. 312 in J. H. Wilson's Service of Praise, 1865. iv. Halleluja! Jesus lebt. Easter. In his Bochim und Elim, 1731, p. 67, in 5 stanzas of 6 lines, entitled "Hallelujah! at the grave of Jesus." In the Berlin Geistliche Lieder, ed. 1863, No. 296. Tr. as:— Hallelujah! Lo, He wakes. By E. Cronenwett, omitting st. iv., as No. 79 in the Ohio Lutheran Hymnal 1880. Another translation is: "Hallelujah! Jesus lives! Life, immortal life, He gives." This is a full and good translation, by Miss Warner, 1858, p. 486, repeated in the Treasury of Sacred Song, Kirkwall, n.d. v. Heute mir und Morgen dir. Funeral Hymn. In his Schmuck und Asche, 1717, p. 252, in 6 stanzas of 6 lines, entitled "Daily Dying". The tr. in common use is:— Today mine, tomorrow thine. This is a good and full translation, by Miss Warner, in her Hymns of the Church Militant, 1858, p. 260. vi. Je grösser Kreuz, je näher Himmel. Cross and Consolation. In his Andächtige Hertz, 1714, p. 273, in 9 stanzas of 6 lines, entitled "Hymn of Cross and Consolation." By its sententiousness and its manifold illustrations of the power of the Cross it has been a favourite with many. Translated as:— 1. Greater the Cross, the nearer heaven. 2. The more the cross, the nearer heaven. Another translation is: "The heavier the cross, the nearer heaven," by J. D. Burns, in the Family Treasury, 1859, p. 160. vii. Jesus soil die Losung sein. New Year. The translation in common use is:— Jesus shall the watchword he. Another translation is: "Jesu's name shall be our watchword," by J. Kelly, in the Family Treasury, 1868, p. 689. viii. Licht vom Licht, erleuchte mich. Sunday Morning. Translated as:— Light of Light, enlighten me. This is a very good tr. omitting stanza vii., by Miss Winkworth, in her Lyra Germanica, 2nd Ser., 1858, p. 66, and thence in her Chorale Book for England, 1863, No. 17. Other translations are: (1) "Light of Light! illumine me," by H. J. Buckoll, 1842, p. 6. (2) "O thou blessed Light of Light," by Miss Dunn, 1857, p. 74. ix. Meinen Jesum lass ich nicht, Ach was wollt ich hessres haben. Love to Christ. Translated as:— I'll with Jesus never part. This is a translation of st. i., ii., iv., as stanzas iii.-v. of No. 378 in the Moravian Hymn Book, 1789. In the ed. of 1886, No. 452 (see p. 614, i.), the part from Schmolck begins, "He is mine and I am His" (the translation of stanza ii.). Another tr. is: "I'll not leave Jesus—-never, never," by Miss Warner, 1858, p. 509. x. Mein Gott, ich weiss wohl dass ich sterbe. For the Dying. Translated as:— My God! I know that I must die, My mortal. Other trs. are: (1) "That I shall die full well 1 know," by Dr. H. Mills, 1845 (1856, p. 232). (2) "My God! I know full well that I must die," by Miss Warner, 1858, p. 344. (3) "My God, I know that I must die; I know," by G. Moultrie, in his Espousals of S. Dorothea, 1870. xi. Mein Jesus lebt! was soil ich sterben. Easter. Translated as:— My Saviour lives; I shall not perish. xii. 0 wie fröhlich, o wie selig. Eternal Life. Translated as:— Oh how joyous, oh how blessed. Another tr. is: "Oh, how blest beyond our telling." xiii. Schmückt das Fest mit Maien. Whitsuntide. Translated as:— Come, deck our feast today. xiv. Thut mir auf die schöne Pforte. Sunday. Translated as:— 1. Open now thy gates of beauty. This is a good tr., omitting stanza iii., vii., by Miss Winkworth, in her Chorale Book for England, 1863, No. 15. 2. Open wide the gates of beauty. This is a translation of stanzas i., ii., iv., vi.-vii., by H. L. Hastings, dated 1885, as No. 1076, in his Songs of Pilgrimage, 1886. Another tr. is: "Throw the glorious gates wide open," by Miss Manington, 1863, p. 146. xv. Weine nicht, Gott lebet noch. Cross and Consolation. Tr. as:— "Weep not,-—Jesus lives on high. Another tr. is: "Weep not, for God, our God, doth live," by Dr. R. Maguire, 1883, p. 59. xvi. Willkommen, Held im Streite. Easter. The translation in common use is:— Welcome Thou victor in the strife. This is a good translation omitting st. ii.—iv., by Miss Winkworth, in her Lyra Germanica, 1st Ser., 1855, p. 91. Hymns not in English common use:-- xvii. Ach wenn ich dich, mein Gott, nur habe. Love to God. Founded on Ps. lxxiii. 25, 26. Translated as "My God, if I possess but Thee," by G. Moultrie, in his Espousals of S. Dorothea, 1870. xviii. An Gott will ich gedenken. Remembering God's Love and Care. In his Heilige Flammen (ed. 1707, p. 59; ed. 1709, p. 131), in 6 stanzas of 8 lines, and Burg's Gesang-Buch, Breslau, 1746, No. 112. Translated as "My God will I remember," by J. Kelly, in the Family Treasury, 1868. xix. Der Sabbath ist vergangen. Sunday Evening. Tr. as "The Sabbath now is over," by Dr. H. Mills, 1856, p. 226. xx. Du angenehmer Tag. Sunday. In his Lustige Sabbath, 1712, p. 1, in 8 stanzas of 6 lines. Tr. as “Thou ever welcome day," by J. Kelly, in the Family Treasury, 1868, p. 688. xxi. Endlich, endlich, muss es doch. Cross and Consolation. Translated as "Yes, at last, our God shall make," in the Christian Examiner, Boston, U.S., Sept., 1860, p. 251. xxii. Gedenke mein, mein Gott, gedenke mein. For the Dying. Translated as "Remember me, my God! remember me," by Miss Borthwick, in Hymns from the Land of Luther 1854, p. 9. xxiii. Geh, müder Leib, zu deiner Euh. Evening. Translated as "Go, wearied body, to thy rest," by J. Kelly, in the Family Treasury, 1868. In his Lustige Sabbath, 1712, p. 35, in 10 stanzas of 6 lines, and Burg’s Gesang-Buch, Breslau, 1746, No. 403. Translated as "King, to Jews and Gentiles given," by Dr. H. Mills, 1845. xxiv. Gott der Juden,Gott der Heiden. Epiphany. Translated as “King, to Jews and Gentiles given,” by Dr. H. Mills, 1845. xxv. Gott lebt, wie kann ich traurig sein. Trust in God. Translated as "God lives! Can I despair," by Miss Warner, 1869, p. 44. xxvi. Gott mit uns, Immanuel. New Year. Translated as "God with us! Immanuel, Open with the year before us," by Dr. R. P. Dunn, in Sacred Lyrics from the German, Philadelphia, U.S., 1859, p. 166. xxvii. Hier ist Immanuel! New Year. Translated as "Here is Immanuel!" by Miss Manington, 1864, p. 24. xxviii. Hilf, Heifer, hilf! ich muss verzagen. Cross and Consolation. Translated as "Help, Saviour, help, I sink, I die,” in the Monthly Packet, vol. xviii., 1859, p. 664. xix. Ich habe Lust zu scheiden. For the Dying. Tr. as "Weary, waiting to depart," by Mrs. Findlater, in Hymns from the Land of Luther, 1855, p 130. xxx. Ich sterbe täglich, und mein Leben. For the Dying. Translated as "Both life and death are kept by Thee" (st. iv.), by J. Kelly, in the Family Treasury, 1868, p. 689. xxxi. Mein Gott, du hast mich eingeladen. Sunday. Translated as "My God, Thou hast the invite given," by Miss Manington, 1863, p. 150. xxxii. Mein Gott! du wohnst in einem Lichte. Holy Scripture. Translated as "In glory bright, O God, Thou dwellest," by Dr. H. Mills, 1845. xxxiii. Mein Gott, ich klopf an deine Pforte. Supplication. Tr.Translated as "given as "Mein Gott, mein Erstes und mein Alles." Translated as "My God! the Source of all my blessing," in the British Herald, August, 1866, p. 312; repeated in Reid's Praise Book, 1872. xxxv. Mein Gott, weil ich in meinem Leben. The ChristiaWho, Lord, has any good whatever," by Dr. H. Mills, 1845, p. 91. xxxiv. Mein Gott, mein Alles Uber Alles. Trust in God. Sometimes n Life. Translated as "Most High! with reverence to fear Thee," by Dr. H. Mills, 1845, p. 114.). xxxvi. Nun hab ich überwunden; Zu guter Nacht, o Welt. For the Dying. Translated as "Now soon I shall have conquer'd," by Miss Manington, 1863, p. 87. xxxvii. Seht welch ein Mensch ist das. Passiontide. The translations are (1) "See, what a man is this! How tearful is His glance," by J. Kelly, in the British Messenger, Feb., 1S68; repeated in the Family Treasury, 1868, p. 691. (2) "See what a man is this, O glances," by Miss Warner, 1869, p. 32. xxxviii. Sei getreu bis in den Tod. Christian Faithfulness. Translated as "Be thou faithful unto death! Let not troubles nor distresses," by R. Massie, in the Day of Rest, 1878, vol. ix. p. 219. xxxix. Theures Wort aus Gottes Munde. Holy Scripture. Translated as "Word by God the Father spoken," by Miss Manington, 1863. xl. Was Gott thut das ist wohlgethan! Er giebt und nimmt auch wieder. On the Death of a Child. The trs. are (1) "What God does is well done, "Who takes what He gave," by W. Graham, in his The Jordan and the Rhine, London, 1854, p. 251. (2) "Whatever God doth is well done, He gives, &c," by J. Kelly, in the Family Treasury, 1868, p. 688. xli. Wer will mich von der Liebe scheiden. Faith. Translated as "Who can my soul from Jesus sever," by Miss Manington, 1863, p. 39. [Rev. James Mearns, M.A.] --Excerpts from John Julian, Dictionary of Hymnology (1907)