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Johann Andreas Rothe

1688 - 1758 Person Name: J. A. Rothe Hymnal Number: 192 Author of "Now I Have Found the Ground wherein" in Hymnal for Church and Home Rothe, Johann Andreas, son of Aegidius Rother, pastor at Lissa, near Görlitz, in Silesia, was born at Lissa, May 12, 1688. He entered the University of Leipzig in 1708, as a student of Theology, graduated M.A., and was then, in 1712, licensed at Gorlitz as a general preacher. In 1718 he became tutor in the family of Herr von Schweinitz at Leube, a few miles south of Gorlitz, and while there frequently preached in neighbouring churches. During 1722 Count N. L. von Zinzendorf, happening to hear him preach at Gross-Hennersdorf, was greatly pleased with him, and when the pastorate at Berthelsdorf became vacant shortly thereafter, gave him the presentation. He entered on his duties at Berthelsdorf Aug. 30, 1722. There he took a great interest in the Moravian community at Herrnhut, which formed part of his parish. But when, in 1737, he had to report to the higher ecclesiastical authorities regarding the doctrinal views of the Moravians, Zinzendorf showed his resentment in various ways, so that Kothe was glad to accept a call to Hermsdorf, near Gorlitz. Finally, in 1739, Count von Promnitz appointed him assistant pastor at Thommendorf, near Bunzlau, where he became chief pastor in 1742, and died there July 6, 1758. (Koch, v. 240; Wetzel’s Analecta Hymnica, ii. 756, &c.) Rothe was a man of considerable gifts and of unbending integrity, a good theologian, and an earnest, fearless, and impressive preacher. His hymns, about 40 in number, though they can hardly be said to rank high as poetry, are yet often characterised by glow and tenderness of feeling, and by depth of Christian experience. They are somewhat akin to Zinzendorf s better productions, but this resemblance may arise from the alterations which Zinzendorf seems to have made in them. The be6t known of them first appeared in Zinzendorf's hymn-books, and were for a time looked upon with suspicion, because as Zinzendorf did not affix authors' names, the new hymns were at first all ascribed to himself. Those of Rothe's hymns which have passed into English are:— i. Ich habe nun den Grand gefunde. Joy in Believing. …At first the Lutherans suspected it, thinking that it was by Zinzendorf, but on discovering that it was by Rothe, soon adopted it. It is a powerful and beautiful hymn, is found in many recent German collections (e.g. the Berlin Geistliche Lieder, ed. 1863, No. 78), and in its English forms has found a very wide acceptance, and proved a comfort and blessing to many. It was doubtless suggested by Heb. vi. 19. Rothe's hymn under consideration ("Ich habe nun ") has been translated as:— 1. Now I have found the ground wherein. A fine but somewhat free translation of st. i., ii., iv., v., vi., x., by J. Wesley. It has also appeared in full, or abridged, under the following first lines:— (1) Now I have found the blessed ground (st. i ). Lady Huntingdon's Selections, 1780. (2) Now have I found the ground wherein (st. i.). W. F. Stevenson's Hymns for Church & Home, 1873. (3) 0 Lord I Thy everlasting grace (st. ii.). Horder's Congregational Hymns, 1884. (4) Father, Thine everlasting grace (st. ii.). J. Bickersteth's Psalms & Hymns1832. (5) 0 Love, thou bottomless abyss (st. iii.). Evangelical Union Hymnal, 1878. (6) Jesus, I know hath died for me (st. iv.). Pennsylvanian Lutheran Church Book, 1868. (7) Though waves and storms go o'er my head (st. v.). Andover Sabbath Hymn Book, 1858. 2. I now have found, for hope of heaven. In full, by Dr. H. Mills, in theEvang. Review, Gettys¬burg, Jan. 1850, and in his Horae Germanica, 1850, p. 68. 3. My soul hath now the ground attained. A good tr. of st. i., iii., v., x., by A. T. Russell, as No. 167 in his Psalms & Hymns, 1851. 4. My soul hath found the steadfast ground. A good tr, (omitting st. v.-ix., and with a st. iv. not by Rothe), by Mrs. Bevan, in her Songs of Eternal Life, 1858, p. 55. 5. Now I have found the firm foundation. By G. F. Krotel, as No. 251 in the OhioLutheran Hymnal, 1880, omitting st. vi.-viii. 6. Now I have found the ground to hold. By J. Sheppard, in his Foreign Sacred Lyre, 1857, p. 91. ii. Vor wahrer Herzensanderung. The Forgiveness of Sin. first pub. as No. 448 in the 3rd ed., 1731, of Zinzendorf's Sammlung as above, and in 7 stanzas of 4 lines. In the Brüder Gesang-Buch , 1778, it is No. 392. The translations are:— (1) "Thanks be to Thee, Thou slaughtered Lamb!" (st. vii.). This is No. 345 in pt. ii., 1746, of the Moravian Hymn Book, (2) "Before conversion of the heart." A tr. of st. i., iv., by B. Latrobe, as No. 255 in the Moravian Hymn Book,1789, with the above tr. of st. vii. added. In the 1801 and later eds. (1886, No. 426) the tr. of st. vii. was alone retained. iii. Wenn kleine Himmelserben. Death of a Child. Written on the death of one of his daughters. The trs. are:— (1) "When children, bless'd by Jesus." This is No. 1196 in the Supplement of 1808 to the Moravian Hymn Book, 1801 (1886, No. 1258). (2) "When summons hence by Death is given." By E. Massie, 1867, p. 105. [Rev. James Mearns, M.A.] --excerpts from John Julian, Dictionary of Hymnology (1907)

Jonathan C. Woodman

1813 - 1894 Hymnal Number: 327 Composer of "[Church of the Living God]" in Hymnal for Church and Home

Johann Hermann Schein

1586 - 1630 Person Name: J. H. Schein Hymnal Number: 178 Composer of "[Th'abyss of many a former sin]" in Hymnal for Church and Home Schein, Johann Hermann, son of Hieronymus Schein, pastor at Griinhain, near Annaberg, in Saxony, was born at Grünhain, Jan. 20,1586. He matriculated at the University of Leipzig in 1607, and studied there for four years. Thereafter he acted for some time as a private tutor, including two years with a family at Weissenfels. On May 21, 1615, he was appointed Capellmeister, at the court of Duke Johann Ernst, of Sachse-Weimar; and in 1616 he became cantor of I3t. Thomas's Church, and music director at Leipzig, in succession to Seth Calvisius (d. Nov. 24, 1615). This post he held till his death, at Leipzig, Nov. 19, 1630. Schein was one of the most distinguished musicians of his time, both as an original composer, and as a harmoniser of the works of others. As a hymnwriter he was not so prolific, or so noteworthy. Most of his hymns were written on the deaths of his children or friends, e.g. on seven of his children, and on his first wife. They appeared mostly in broadsheet form, and were included, along with his original melodies, in his Cantional oder Gesang-Buch Augspurgischer Confession, Leipzig, 1627; 2nd ed., 1645. [Both in Wernigerode Library.] Those of Schein's hymns which have passed into English are:— i. Machs mit mir, Gott, nach deiner Güt. For the Dying. First published, as a broadsheet, at Leipzig, 1628, as a Trost-Liedlein á 5 (i.e. for 5 voices), &c. [Berlin Library.] The words, the melody, and the five-part setting, are all by Schein. It was written for, and first used at, the funeral, on Dec. 15, 1628, of Margarita, wife of Caspar Werner, a builder and town councillor at Leipzig, and a churchwarden of St. Thomas's. It is in 6 stanzas of 6 lines; the initial letters of 11. 1, 3, in st. i.-iv., forming the name Margarita; and the W of st. v. 1. 1 standing for Werner. In Schein's Cantional, 1645, No. 303 (marked as Trost-Liedlein, Joh. Herm. Scheins, á 5), and later hymn-books, as e.g. the Unverfäschter Liedersegen, 1851, No. 830, st. vi. was omitted. It is Schein's finest production, and one of the best German hymns for the sick and dying. Translated as:— Deal with me, God, in mercy now. This is a good and full translation by Miss Winkworth, in her Chorale Book for England, 1863, No. 191, set to Schein's melody of 1628. ii. Mein Gott und Herr, ach sei nicht fern. For the Dying. First published, with his name, in his Cantional, 1627, No. 262, in 9 stanzas of 6 lines. The initial letters of the stanzas give the name Margarita, probably one of the daughters who predeceased him. It is included, in 5 st., in the 164-8, and later eds., of Crüger's Praxis. The translation in common use is:— My Lord and God, go not away. A good tr. of st. i., ii., iv., v., vii., by A. T. Russell, as No. 254, in his Psalms & Hymns, 1851. [Rev. James Mearns, M.A.] --Excerpts from John Julian, Dictionary of Hymnology (1907)

Aemilie Juliane, Gräfin von Schwarzburg Rudolstadt

1637 - 1706 Person Name: Amilia Juliana, Countess of Schwartzburg Hymnal Number: 248 Author of "Who Knows How Soon My Days Are Ended" in Hymnal for Church and Home Emilie Juliane was daughter of Count Albert Friedrich of Barby and Mühlingen (on the Elbe, near its junction with the Saale). During the Thirty Years' war her father and family had to seek refuge in the Heidecksburg, the castle of his uncle, Count Ludwig Günther of Schwarzburg Rudolstadt, and Emilie was born at the Heidecksburg, Aug. 16, 1637. After the death of her father (1641) and mother (1642), she was adopted by her mother's sister (who was her godmother, and had become the wife of Count Ludwig Günther), and was educated at Rudolstadt with her cousins, under the care of Dr. Ahasuerus Fritsch, and other tutors. She became the wife of her cousin, Albert Anton, July 7, 1665, and died at Rudolstadt, Dec. 3, 1706 (Koch, iv. 56-63; Allg. Deutsche Biog, i. 127; Pasig's Introduction; Bode, pp. 63-64, &c). She was the most productive of German female hymn-writers, some 600 being attributed to her. Her early education in music and in poetry, and the influence of the kindred spirits of her cousin Ludamilia Elizabeth and of Dr. Ahasuerus Fritsch, no doubt fostered and developed her gifts. Her hymns, which are full of deep and child-like love to the Lamb of God, the Bridegroom of the Soul, partake too largely of the character of revelations of her inner life, and of reflections in verse, “improving" the events of her daily life, to be suited for Church use. A considerable number did, however, pass into the hymn-books, and the first here noted is a hymn of the first rank. Of those published in her lifetime the most appeared in her devotional works. (1) Geistliche Lieder und Gebete vor und nach Erlangung gottl Ehesegens, Rudolstadt, 1683. (2) Kühlwasser in grosser Hitze des Creutzes, Rudolstadt, 1685. (3) Tägliches Morgen- Mittags- und Abend-Opffer, Rudolstadt, 1685 (2nd ed., enlarged, 1699). Others appeared in the editions of the Rudolstadt Gesang-Buch, 1682-1704. After her death they appeared, collected, under the title of Der Freundin des Lammes Geistlicher Brautschmuck, pt. i., 1714, and enlarged 1742; pt. ii. 1742; pt. iii. 1770; a number of hymns by other authors, which the editors had found transcribed in the Countess's handwriting, being included by mistake. A selection of 108 of her Geistliche Lieder, ed. with an introduction, biographical and critical, by Dr. Pasig, appeared at Halle, 1855. Three have passed into English, viz.:— i. Wer weiss wie nahe mir mein Ende. For the Dying. This beautiful hymn was in last century the subject of an unpleasant controversy. It 1st appeared in the Appendix of 1688 to the Rudolstadt Gesang-Buch, 1682; and, like all the other hymns in that collection, it was given without an author's name. It at once passed into other collections, generally as anonymous, but sometimes under the name of the Countess. In the Schwartzburgische Denhmahl einer Christ-Gräflichen Lammes-Freundin, 1707, she was expressly named as author. On this G. M. Pfefferkorn (q.v.) claimed it as his own. The resulting controversy is given in detail in Wetzel, i. 4-26, ii. 294-307; iii. 156-191, and his A. Hymns i. 9-10, ii. 115-117; in Fischer, ii. 365-369; in Pasig's Introduction, xxiii.-xxxi.; and in Koch, viii. 637-639. The translations in common use are:— 1. Who knows how near my life's expended, omitting stanzas ix., x., in Dr. H. Mill's Horae Germanica, 1845 (1856, p. 245). His translations of stanzas i., vi.-viii. are included as No. 982 in the American Lutheran General Synod's Hymn Book, 1850-52, and as No. 430 in the Ohio Lutheran Hymnal, 1880. 2. Who knows how near my end may be! Time speeds away, a good and full translation by Miss Winkworth, in the 2nd Series of her Lyra Germanica, 1858, p. 204, and then as No. 187 in her Chorale Book for England, 1863. In the Pennsylvania Lutheran Church Book, 1868, stanzas i., vi., xi., xii., were included as No. 546. Other translations are: (1) "Who knows how soon my end may be," by Dr. G. Walker, I860, p. 97; (2) "Who knows how near my end may be? Time," &c, by E. Massie, 1867, p. 155. In addition the following have been translation, but are not in English common use:— ii. "Herr! mein Gott! lehre mich!" Evening, in No. iii., 1685, p. 30. iii. "Jesu Güte hat kein Ende." Morning, in No. ii., 1685, p. 228. Both translations are by H. J. Buckoll, 1842, p. 104. [Rev. James Mearns, M.A.] -- Excerpts from John Julian, Dictionary of Hymnology (1907) ===================== Emilie Juliane , p. 330, i. The title of her 1683 book begins Geistliches Weiber-Aqua-Vit [ VVolfenbüttel Library]. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

George Frideric Handel

1685 - 1759 Person Name: G. F. Handel Hymnal Number: 98 Composer of "[Joy to the world! the Lord is come]" in Hymnal for Church and Home George Frideric Handel (b. Halle, Germany, 1685; d. London, England, 1759) became a musician and composer despite objections from his father, who wanted him to become a lawyer. Handel studied music with Zachau, organist at the Halle Cathedral, and became an accomplished violinist and keyboard performer. He traveled and studied in Italy for some time and then settled permanently in England in 1713. Although he wrote a large number of instrumental works, he is known mainly for his Italian operas, oratorios (including Messiah, 1741), various anthems for church and royal festivities, and organ concertos, which he interpolated into his oratorio performances. He composed only three hymn tunes, one of which (GOPSAL) still appears in some modern hymnals. A number of hymnal editors, including Lowell Mason, took themes from some of Handel's oratorios and turned them into hymn tunes; ANTIOCH is one example, long associated with “Joy to the World.” Bert Polman

Melchior Teschner

1584 - 1635 Person Name: M. Teschner Hymnal Number: 75 Composer of "[Hail to the Lord's Anointed]" in Hymnal for Church and Home Melchior Teschner (b. Fraustadt [now Wschowa, Poland], Silesia, 1584; d. Oberpritschen, near Fraustadt, 1635) studied philosophy, theology, and music at the University of Frankfurt an-der-Oder and later studied at the universities of Helmstedt and Wittenberg, Germany. From 1609 until 1614 he served as cantor in the Lutheran church in Fraustadt, and from 1614 until his death he was pastor of the church in Oberpritschen. Bert Polman

Johann Heermann

1585 - 1647 Person Name: J. Heermann Hymnal Number: 101 Translator (into German) of "Oh, What Precious Balm And Healing" in Hymnal for Church and Home Johann Heermann's (b. Raudten, Silesia, Austria, 1585; d. Lissa, Posen [now Poland], 1647) own suffering and family tragedy led him to meditate on Christ's undeserved suffering. The only surviving child of a poor furrier and his wife, Heermann fulfilled his mother's vow at his birth that, if he lived, he would become a pastor. Initially a teacher, Heermann became a minister in the Lutheran Church in Koben in 1611 but had to stop preaching in 1634 due to a severe throat infection. He retired in 1638. Much of his ministry took place during the Thirty Years' War. At times he had to flee for his life and on several occasions lost all his possessions. Although Heermann wrote many of his hymns and poems during these devastating times, his personal faith and trust in God continued to be reflected in his lyrics. He is judged to be the finest hymn writer in the era between Martin Luther and Paul Gerhardt, one whose work marks a transition from the objective hymns of the Reformation to the more subjective hymns of the seventeenth century. His hymn texts were published in collections such as Devoti Musica Cordis, Hauss- und Hertz-Musica (1630, expanded in 1636, 1644), and Sontags- und Fest-evangelia (1636). Bert Polman =================== Heermann, Johann, son of Johannes Heermann, furrier at Baudten, near Wohlau, Silesia, was born at Baudten, Oct. 11, 1585. He was the fifth but only surviving child of his parents, and during a severe illness in his childhood his mother vowed that if he recovered she would educate him for the ministry, even though she had to beg the necessary money. He passed through the schools at Wohlau; at Fraustadt (where he lived in the house of Valerius Herberger, q. v., who took a great interest in him); the St. Elizabeth gymnasium at Breslau; and the gymnasium at Brieg. At Easter, 1609, he accompanied two young noblemen (sons of Baron Wenzel von Rothkirch), to whom he had been tutor at Brieg, to the University of Strassburg; but an affection of the eyes caused him to return to Baudten in 1610. At the recommendation of Baron Wenzel he was appointed diaconus of Koben, a small town on the Oder, not far from Baudten, and entered on his duties on Ascension Day, 1611, and on St. Martin's Day, 1611, was promoted to the pastorate there. After 1623 he suffered much from an affection of the throat, which compelled him to cease preaching in 1634, his place being supplied by assistants. In October, 1638, he retired to Lissa in Posen, and died there on Septuagesima Sunday (Feb. 17), 1647. (Koch, iii. 16-36; Allgemeine Deutsche Biographie, xi. 247-249, &c.) Much of Heermann's manhood was spent amid the distressing scenes of the Thirty Years' War; and by his own ill health and his domestic trials he was trained to write his beautiful hymns of “Cross and Consolation." Between 1629 and 1634, Koben was plundered four times by the Lichtenstein dragoons and the rough hordes under Wallenstein sent into Silesia by the King of Austria in order to bring about the Counter-Reformation and restore the Roman Catholic faith and practice; while in 1616 the town was devastated by fire, and in 1631 by pestilence. In these troublous years Heermann several times lost all his moveables; once he had to keep away from Koben for seventeen weeks; twice he was nearly sabred; and once, while crossing the Oder in a frail boat loaded almost to sinking, he heard the bullets of the pursuing soldiers whistle just over his head. He bore all with courage and patience, and he and his were wonderfully preserved from death and dishonour. He was thus well grounded in the school of affliction, and in his House and Heart Music some of his finest hymns are in the section entitled "Songs of Tears. In the time of the persecution and distress of pious Christians." As a hymnwriter Heermann ranks with the beat of his century, some indeed regarding him as second only to Gerhardt. He had begun writing Latin poems about 1605, and was crowned as a poet at Brieg on Oct. 8, 1608. He marks the transition from the objective standpoint of the hymnwriters of the Reformation period to the more subjective and experimental school that followed him. His hymns are distinguished by depth and tenderness of feeling; by firm faith and confidence in face of trial; by deep love to Christ, and humble submission to the will of God. Many of them became at once popular, passed into the hymnbooks, and still hold their place among the classics of German hymnody. They appeared principally in— (1) Devoti Musica Cordis. Hauss-und Hertz-Musica &c. Leipzig and Breslau, 1630, with 49 hymns (2nd edition 1636, with 64; 3rd edition 1644, with 69). The first section is entitled "Hymns of Penitence and Consolation from the words of the Ancient Fathers of the Church." Seven of these, however, have no mention in their individual titles of the sources from which they are derived; and the remainder are mostly based not on Latin hymns, but on the prose meditations in Martin Moller's Meditationes sanctorum patrum, or on the mediaeval compilations known as the Meditationes and the Manuale of St. Augustine. (2) Sontags-und Fest-Evangelia. Leipzig and Breslau, 1636, being hymns on the Gospels for Sundays and festivals. (3) Poetische Erquickstunden, Nürnberg, 1656; and its Fernere Fortsetzung, also Nürnberg, 1656 [both in Wernigerode], are poems rather than hymns. The hymns of the Hauss-und Hertz-Musica, with a representative selection from Heermann's other poetical works, were edited by C. E. P. Wackernagel, prefaced by a long biographical and critical introduction, and published at Stuttgart, 1855. Six of the most important of Heermann's hymns are annotated under their respective first lines. The other hymns by Heermann which have passed into English are :— I. Hymns in English common use:-- i. 0 Jesu, du mein Bräutigam. Holy Communion. In his Devoti Musica Cordis, Breslau, 1630, p. 78, in 12 stanzas of 4 lines. Thence in Mützell, 1858, No. 34, in Wackernagel's ed. of his Geistliche Lieder, No. 22, and the Unverfälschter Liedersegen, 1851, No. 283. Seems to be founded on Meditation xi. in the mediaeval compilation known as St. Augustine's Manuale. Translated as:— 0 Jesu, Lord, who once for me, a good translation of stanzas i., ii., iv., v., viii., by A. T. Russell, as No. 158 in his Psalms & Hymns, 1851. Other translations are: (l) 0 Jesu! Bridegroom of my Soul," by J. C. Jacobi, 1722, p. 44 (1732, p. 73). (2) "Dear Saviour, who for me hast borne," by Miss Dunn, 1857. ii. Rett, 0 Herr Jesu, rett dein Ehr. In Time of Trouble. A prayer for deliverance and peace for the Church. In his Devoti Musica Cordis, 1630, p. 119, in 5 stanzas of 4 lines, among the "Songs of Tears." Thence in Mützell, 1858, No. 48, in Wackernagel’s ed., No. 36, and the Unverfälschter Liedersegen, 1851, No. 245. Translated as:— Thine honour rescue, righteous Lord, in full, by Dr. M. Loy, in the Ohio Lutheran Hymnal, 1880. iii. Treuer Wächter Israel. In Time of War. 1630, p. 115, in 13 stanzas of 7 lines, among the "Songs of Tears." In Mützell, 1858, No. 47; in Wackernagel's edition, No. 35, and the Unverfälschter Liedersegen, 1851, No. 594. Lauxmann, in Koch, viii. 549, says of it:— "It is a powerful hymn filled with that prevailing prayer that takes heaven by force," and relates of st. vii.,11. v-7, "Eine Mauer um uns bau," that on Jan. 6, 1814, the Allied Forces were about to enter Schleswig. A poor widow with her daughter and grandson lived in a little house near the entrance of the town. The grandson was reading in his hymnbook those in time of war, and when he came to this said, “It would be a good thing, grandmother, if our Lord God would build a wall around us." Next day all through the town cries of distress were heard, but all was still before their door. On the following morning they had courage to open the door, and lo a snowdrift concealed them from the view of the enemy. On this incident Clemens Brentano composed a beautiful poem "Draus vor Schleswig." It is translated as:— Jesu! as a Saviour, aid. A good tr. of st; vii., viii., xiii., by A. T. Russell, as No. 138 in his Psalms & Hymns, 1851. iv. Zionklagt mit Angst und Schmerzen. Church of Christ. First published in his Devoti Musica Cordis, 2nd ed., 1636 (1644, p. 196), in 6 stanzas of 8 lines, entitled, "From the beautiful golden saying of Isaiah, Chapter xlix." In Mützell, 1858, No. 101, in Wackernagel’s ed., No. 53, and the Unverfälschter Liedersegen, 1851, No. 256. Translated as:— Sion bow'd with anguish weepeth A good translation of stanzas i., iii., v., by A. T. Russell, as No. 141 in his Psalms & Hymns, 1851. Another translation is: "Zion mourns in fear and anguish," by Miss Winkworth, 1869, p. 198. II. Hymns not in English common use:-- v. Ach Jesu! dessen Treu. Love to Christ. 1630, p. 144, in 33 stanzas. One of his finest hymns, full of deep love to Christ, but from its great length very little used in Germany. Translated as, "Ah! Jesus! Lord! whose faithfulness," by Miss Burlingham, in the British Herald, May, 1867, p. 72. vi. Der Tod klopft bei mir an. For the Dying. 1656, p. 22, in 121. Translated as, "That Death is at my door," by Miss Winkworth, 1869, p. 201. vii. Du weinest für Jerusalem. Christ weeping over Jerusalem. 1630, p. 81, in 6 stanzas, entitled, "On the Tears of Christ." Founded on St. Luke xix. 41-44, part of the Gospel for the 10 Sundays after Trinity. The translations are: (1) "With tears o'er lost Jerusalem," by Miss Cox, 1841, p. 159. (2) "Our Lord wept o'er Jerusalem," by Dr. H. Mills, 1845 (1856, p. 295). (3) "Thou weepest o'er Jerusalem," by Miss Winkworth, 1855,p. 70. viii. Herr Jesu Christe mein getreuer Hirte. Holy Communion. 1630, p. 74, in 9 stanzas, founded on M. Moller's Meditationes sanctorum patrum, pt. i. c. 11, and pt. v. c. 2. The translations are: (1) "Dear Saviour, Thou my faithful Shepherd, come” by Miss Dunn, 1857, p. 111. (2) "Lord Jesus Christ, my faithful Shepherd, hear," by Miss Winkworth, 1858, p. 93, repeated in Lyra Eucharistica, 1863-64. ix. Herr unser Gott, lass nicht zu Schanden werden. Christ's Church. 1630, p. 114, as one of the "Songs of Tears," in 5 stanzas. Translated as, "Ah! Lord our God, let them not be confounded," by Miss Winkworth, 1869, p. 197. x. Hilf mir, mein Oott, hilf dass nach dir. Christian Conduct. 1630, p. 32, in 7 stanzas, entitled, "For a better life. From the words of Augustine." Founded on No. i. of the Meditationes current under the name of St. Augustine. This meditation is apparently by St. Anselm of Canterbury. Translated as, "Lord, raise in me a constant Flame," by J. C. Jacobi, 1725, p. 27 (1732, p. 105). xi. Jesu, der du tausend Schmerzen. In Sickness. 1656, in the Fernere Fortsetzung, p. 79, in 12 lines, entitled, "In great bodily pain." Translated as, “Jesu, who didst stoop to prove," by Miss Winkworth, 1869, p. 200. xii. Jesu Tilger meiner Sünden. Lent. 1656, in the Fernere Fortsetzung, p. 1, in 10 lines, entitled, "For Victory in Temptation." Translated as, "Jesu, Victor over sin," by Miss Winkworth, 1869, p. 201. xiii. 0 Jesu, Jesu, Gottes Sohn. Love to Christ, 1630, p. 83, in 7 stanzas, entitled, “Of the Love, which a Christian heart bears to Christ, and will still bear." A beautiful expansion of his motto "Mihi omnia Jesus." The translations are: (1) "What causes me to mourn is this," a translation of stanza ii. by P. H. Molther, as No. 371, in the Moravian Hymn Book, 1789 (1886, No. 461). (2) "O Jesus, Jesus, Son of God," by Miss Burlingham, in the British Herald, Oct. 1865, p. 153, and in Reid's Praise Book, 1872. xiv. Treuer Gott ich muss dir klagen. In Trouble. 1630, p. 103, in 12 stanzas, entitled, "Hymn of a sorrowful heart for increase of faith." Translated as, "Faithful God! I lay before Thee," by J. C. Jacobi, 1720, p. 9(1722, p. 70; 1732, p. 117), and as No. 538 in pt. i. of the Moravian Hymn Book, 1754. xv. Wollt ihr euch nicht, o ihr frommen Christen. Second Advent. 1636, p. 210, in 9 stanzas, entitled, "On the day of the Holy Bishop Nicolaus. Gospel of Luke, 12 Chapter." Translated as: (l) "0 dear Christians, as 'tis needful, wou'd ye," as No. 153 in pt. i. of the Moravian Hymn Book, 1754. (2) “Help us, 0 Christ, to watch and pray," a tr. of st. ix. as st. iii. of No. 868 in the Moravian Hymn Book, 1789 (1849, No. 1221). xvi. Wo soll ich fliehen hin. Lent. 1630, p. 20, in 11 stanzas, entitled, "A hymn of consolation in which a troubled heart lays all its sins in true faith upon Christ. From Tauler." Based on M. Moller's Meditationes, vol. i. pt. i., No. 10. Translated as, "0 whither shall I fly," as No. 447 in pt. i. of the Moravian Hymn Book, 1754. In 1886, No. 279, it begins with "0 Jesus, source of Grace" (stanza ii.). [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology (1907)

Anne Steele

1717 - 1778 Hymnal Number: 147 Author of "Father Of Mercies" in Hymnal for Church and Home Anne Steele was the daughter of Particular Baptist preacher and timber merchant William Steele. She spent her entire life in Broughton, Hampshire, near the southern coast of England, and devoted much of her time to writing. Some accounts of her life portray her as a lonely, melancholy invalid, but a revival of research in the last decade indicates that she had been more active and social than what was previously thought. She was theologically conversant with Dissenting ministers and "found herself at the centre of a literary circle that included family members from various generations, as well as local literati." She chose a life of singleness to focus on her craft. Before Christmas in 1742, she declined a marriage proposal from contemporary minister-hymnist Benjamin Beddome. All the same, some of Steele's sufferings were very real. She lost her mother at age 3, a potential suitor at age 20, her step mom at 43, and her sister-in-law at 45. She spent many years caring for her father until his death in 1769. For most of her life, she exhibited symptoms of malaria, including persistent pain, fever, headaches, and stomach aches. Caleb Evans, in his preface to Steele's posthumous Miscellaneous Pieces in Verse and Prose (1780), noted that she had been bed ridden for "some years" before her death: When the interesting hour came, she welcomed its arrival, and though her feeble body was excruciated with pain, her mind was perfectly serene. . . . She took the most affectionate leave of her weeping friends around her, and at length, the happy moment of her dismission arising, she closed her eyes, and with these animating words on her dying lips, "I know that my Redeemer liveth," gently fell asleep in Jesus. Historically, her most popular hymn has been "When I survey life's varied scene" (and its shortened form, "Father, whate'er of earthly bliss"), a hymn that turns earthly loss or denial into a spirit of thankfulness, published in over 800 North American hymnals since 1792. Not all of her work deals with personal agony. Her hymns span a wide doctrinal and ecclesiastical range, some crafted and used for her father's congregation. Her metrical psalms are among the finest of the genre. Steele's hymns and psalms were published in two volumes in 1760, Poems on Subjects Chiefly Devotional, under the pseudonym Theodosia, with an additional volume of material published after her death, in Miscellaneous Pieces in Verse and Prose, 1780. Another small collection, Verses for Children, was issued in 1788, with two other editions given in 1803 and 1806. Sixty-two of her hymns, including new material and some revisions by Steele, were published in a hymnal for Baptists in 1769, A Collection of Hymns Adapted to Public Worship, edited by Caleb Evans and John Ash. Forty seven were included in John Rippon's A Selection of Hymns from the Best Authors in 1787; the only author with larger representation was Philip Doddridge, with 101. These collections represent the earliest attempts to anthologize Baptist hymns and were vital for bringing Steele's hymns into wider public worship, where they have been a mainstay for over two hundred years. Chris Fenner adapted from The Towers (Southern Baptist Theological Seminary, August 2015) Recommended Bibliography: Cynthia Y. Aalders, To Express the Ineffable: The Hymns and Spirituality of Anne Steele (Milton Keynes, U.K.: Paternoster, 2008). Cynthia Y. Aalders, "In melting grief and ardent love: Anne Steele's contribution to eighteenth-century hymnody," The Hymn (summer 2009), 16-25. J.R. Broome, A Bruised Reed: The Life and Times of Anne Steele (Harpenden, U.K.: Gospel Standard Trust Publications, 2007). Joseph Carmichael, The Hymns of Anne Steele in John Rippon's Selection of Hymns: A Theological Analysis in the Context of the English Particular Baptist Revival (2012), dissertation, http://digital.library.sbts.edu/handle/10392/4112 Priscilla Wong, Anne Steele and Her Spiritual Vision (Grand Rapids: Reformation Heritage Books, 2012). Timothy Whelan & Julia B. Griffin, eds., Nonconformist Women Writers, 1720–1840, vols. 1 & 2 (London: Pickering & Chatto, 2011). ======================== Steele, Anne, born in 1716, was the daughter of Mr. Wm. Steele, a timber merchant, and pastor, without salary, of the Baptist Church at Broughton, in Hampshire. At an early age she showed a taste for literature, and would often entertain her friends by her poetical compositions. But it was not until 1760 that she could be prevailed upon to publish. In that year two volumes appeared under the title of Poems on Subjects chiefly Devotional, by Theodosia. After her death, which occurred in November, 1778, a new edition was published with an additional volume and a Preface by the Rev. Dr. Caleb Evans, of Bristol (Bristol, 1780). In the three volumes are 144 hymns, 34 Psalms in verse, and about 30 short poems. They have been reprinted in one vol. by D. Sedgwick, 1863…. Among Baptist hymnwriters Miss Steele stands at the head, if we regard either the number of her hymns which have found a place in the hymnals of the last 120 years, or the frequency with which they have been sung. Although few of them can be placed in the first rank of lyrical compositions, they are almost uniformly simple in language, natural and pleasing in imagery, and full of genuine Christian feeling. Miss Steele may not inappropriately be compared with Miss F. R. Havergal, our "Theodosia" of the 19th century. In both there is the same evangelic fervour, in both the same intense personal devotion to the Lord Jesus. But whilst Miss Steele seems to think of Him more frequently as her "bleeding, dying Lord "—dwelling on His sufferings in their physical aspect—Miss Havergal oftener refers to His living help and sympathy, recognizes with gladness His present claims as "Master" and "King," and anticipates almost with ecstasy His second coming. Looking at the whole of Miss Steele's hymns, we find in them a wider range of thought than in Miss Havergal's compositions. She treats of a greater variety of subjects. On the other hand, Miss Havergal, living in this age of missions and general philanthropy, has much more to say concerning Christian work and personal service for Christ and for humanity. Miss Steele suffered from delicacy of health and from a great sorrow, which befell her in the death of her betrothed under peculiarly painful circumstances. In other respects her life was uneventful, and occupied chiefly in the discharge of such domestic and social duties as usually fall to the lot of the eldest daughter of a village pastor. She was buried in Broughton churchyard. [Rev W. R. Stevenson, M.A.] A large number of Miss Steele's hymns are in common use, the larger proportion being in American hymnbooks. In addition to "Almighty Maker of my frame," “Far from these narrow scenes of night," "Father of mercies in Thy word," and others annotated under their respective first lines, there are also:— i. From her Poems on Subjects Chiefly Devotional, 1760, vols. i., ii. 1. Come, let our souls adore the Lord. Pleading for Mercy. One of two hymns "On the Fast, Feb. 11, 1757," the first being "While justice waves her vengeful hand." 2. Come, tune ye saints, your noblest strains. Christ Dying and Rising. 3. Deep are the wounds which sin has made. Christ, the Physician. 4. Enslaved by sin, and bound in chains. Redemption. 5. Eternal power, almighty God. Divine Condescension. 6. Eternal Source of joys divine. Divine Assurance desired. 7. Great God, to Thee my evening song. Evening. 8. Great Source of boundless power and grace. Desiring to Trust in God. 9. Hear, gracious [God] Lord, my humble moan [prayer] . The presence of God desired. 10. Hear, O my God, with pity hear. Ps. cxliii. 11. How long shall earth's alluring toys ? On Longing after unseen pleasures. 12. How lovely, how divinely sweet. Ps. lxxziv. 13. How oft, alas, this wretched heart. Pardoning Love. 14. In vain my roving thoughts would find. Lasting Happiness. 15. Jesus, the spring of joys divine. Christ the Way. 16. Lord, how mysterious are Thy ways. Providence. 17. Lord, Thou hast been Thy Children's God. Ps. xc. 18. Lord, we adore Thy boundless grace. Divine Bounty. 19. Lord, when my [our] raptured thought surveys. Creation and Providence. 20. Lord, when my thoughts delighted rove. Passiontide. 21. My God, 'tis to Thy mercy seat. Divine Mercy. 22. My God, to Thee I call. Lent. 23. O for a sweet, inspiring ray. The Ascended Saviour. 24. O Thou Whose tender mercy hears. Lent. 25. Permit me, Lord, to seek Thy face. Strength and Safety in God alone. 26. Should famine o'er the mourning field. During Scarcity. 27. So fades the lovely, blooming flower. Death of a Child. 28. Stretched on the Cross the Saviour dies. Good Friday. 29. The Lord, my Shepherd and my Guide. Ps.xxiii. 30. The Lord, the God of glory reigns. Ps. xciii. 31. The Saviour calls; let every ear. The Invitation. 32. There is a glorious world on high. True Honour. 33. Thou lovely [only] Source of true delight. Desiring to know Jesus. 34. Thou only Sovereign of my heart. Life in Christ alone. 35. To Jesus, our exalted Lord. Holy Communion. 36. To our Redeemer's glorious Name. Praise to the Redeemer. 37. To your Creator, God. A Rural Hymn. 38. When I survey life's varied scene. Resignation. 39. When sins and fears prevailing rise. Christ the Life of the Soul. 40. Where is my God? does He retire. Rreathing after God. 41. While my Redeemer's near. The Good Shepherd. 42. Why sinks my weak desponding mind? Hope in God. 43. Ye earthly vanities, depart. Love for Christ desired. 44. Ye glittering toys of earih adieu. The Pearl of great Price. 45. Ye humble souls, approach your God. Divine Goodness. ii. From the Bristol Baptist Collection of Ash & Evans, 1769. 46. Come ye that love the Saviour's Name. Jesus, the King of Saints. 47. How helpless guilty nature lies. Need of Receiving Grace. 48. Praise ye the Lord let praise employ. Praise. iii. Centos and Altered Texts, 49. How blest are those, how truly wise. True honour. From "There is a glorious world on high." 50. How far beyond our mortal view. Christ the Supreme Beauty. From "Should nature's charms to please the eye," 1760, st. iii. 51. In vain I trace creation o'er. True happiness. From "When fancy spreads her boldest wings," 1760, st. ii. 52. Jesus, and didst thou leave the sky? Praise to Jesus. From “Jesus, in Thy transporting name," 1760, st. iv. 53. Look up, my soul, with cheerful eye. Breathing after God. From No. 40, st. v. 54. Lord, in the temple of Thy grace. Christ His people's Joy. From "The wondering nations have beheld," 1760, st. iii. 55. My God, O could I make the claim. Part of No. 9 above. 56. My soul, to God, its source, aspires. God, the Soul's only Portion. From "In vain the world's alluring smile," st. iii. 57. O could our thoughts and wishes fly. Part of No. 11 above, st. iv. 58. O for the eye of faith divine. Death anticipated. From "When death appears before my sight," 1760, st. iii., vii., viii. altered, with opening stanzas from another source. 59. O Jesus, our exalted Head. Holy Communion. From "To Jesus, our exalted Lord." See No. 35. 60. O world of bliss, could mortal eyes. Heaven. From "Far from these narrow scenes of night." 61. See, Lord, Thy willing subjects bow. Praise to Christ. From "O dearer to my thankful heart," 1780, st. 5. 62. Stern winter throws his icy chains. Winter. From "Now faintly smile day's hasty hours," 1760, st. ii. 63. Sure, the blest Comforter is nigh. Whitsuntide. From "Dear Lord, and shall Thy Spirit rest," 1760, st. iii. 64. The God of my salvation lives. In Affliction. From, "Should famine, &c," No. 26, st. iv. 65. The Gospel, O what endless charms. The Gospel of Redeeming Love. From "Come, Heavenly Love, inspire my song." 66. The mind was formed lo mount sublime. The Fettered Mind. From "Ah! why should this immortal mind?" 1760, st. ii. 67. The once loved form now cold and dead. Death of a Child. From "Life is a span, a fleeting hour," 1760, st. iii. 68. Thy gracious presence, O my God. Consolation in Affliction. From "In vain, while dark affliction spreads," 1780, st. iv. 69. Thy kingdom, Lord, for ever stands. Ps. cxlv. From "My God, my King, to Thee I'll raise," 1760, st. xii. 70. Triumphant, Christ ascends on high. Ascension. From "Come, Heavenly Love, inspire my song," 1760, st. xxxii. 71. When blest with that transporting view. Christ the Redeemer. From "Almighty Father, gracious Lord," 1760, st. xi. 72. When death before my sight. Death Anticipated. From "When death appears before my sight," 1760. 73. When gloomy thoughts and boding fears. Com¬forts of Religion. From "O blest religion, heavenly fair," 1760, st. ii. 74. When weary souls with sin distrest. Invitation to Rest. From "Come, weary souls, with sin distressed," 1760. 75. Whene'er the angry passions rise. Example of Christ. From “And is the gospel peace and love?" 1760, st. ii. All the foregoing hymns are in D. Sedgwick's reprint of Miss Steele's Hymns, 1863. --Excerpts from John Julian, Dictionary of Hymnology (1907) ==================== Steele, Anne, p. 1089, i., Additional hymns in common use: 1. Amazing love that stoop'd so low. Thankfulness. From "O dearer to my thankful heart," 1780, iii. 2. Bright scenes of bliss, unclouded skies. Saved by Hope. Poems, 1760, i. p. 228. 3. Jesus demands this heart of mine. Pardon De¬sired. Poems, 1760, i. p. 120. 4. Jesus, Thou Source divine. Christ the Way. Poems, 1760, i. p. 53, altered. 5. Lord, how mysterious are Thy ways. Mysteries of Providence. Poems, 1760, i. p. 131. 6. Lord^in Thy great, Thy glorious Name. Ps. xxxi. Poems, 1760, ii. p. 158. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

Dmitri Stepanovich Bortnianski

1751 - 1825 Person Name: D. S. Bortniansky Hymnal Number: 77 Composer of "[O come, O come, Immanuel]" in Hymnal for Church and Home Dimitri Stepanovitch Bortniansky (1751-1825) Ukraine 1751-1825 Born in Glukhov, Ukraine, he joined the imperial choir at age 8 and studied with Galuppi, who later took the lad with him to Italy, where he studied for 10 years, becoming a composer, harpsichordist, and conductor. While in Italy he composed several operas and other instrumental music, composing more operas and music later in Russia. In 1779 he returned to Russia, where he was appointed Director to the Imperial Chapel Choir, the first as a native citizen. In 1796 he was appointed music director. With such a great instrument at his disposal, he produced many compositions, 100+ religious works, sacred concertos, cantatas, and hymns. He influenced Rachmaninoff and Tchaikovshy, the latter editing Bortniansky's sacred work, amassing 10 volumnes. He died in St. Petersburg. He was so popular in Russia that a bronze statue was erected in his honor in the Novgorod Kremlin. He composed in different musical styles, including choral works in French, Italian, Latin, German, and Church Slavonic. John Perry

Thomas Augustine Arne

1710 - 1778 Person Name: Thomas A. Arne Hymnal Number: 322 Composer of "[Am I a solder of the cross]" in Hymnal for Church and Home Dr. Thomas Augustine Arne was born March 12, 1710, in London; became early celebrated as a composer, and established his reputation by settling Milton's "Comus" to music - light, airy, and original; he composed many songs, and nearly all his attempts were successful; died March 5, 1778, aged 68. A Dictionary of Musical Information by John W. Moore, Boston: Oliver, Ditson & Company, 1876