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Catherine Winkworth

1827 - 1878 Person Name: Miss Winkworth Translator of "Who knows how near my end may be?" in Church Book Catherine Winkworth (b. Holborn, London, England, 1827; d. Monnetier, Savoy, France, 1878) is well known for her English translations of German hymns; her translations were polished and yet remained close to the original. Educated initially by her mother, she lived with relatives in Dresden, Germany, in 1845, where she acquired her knowledge of German and interest in German hymnody. After residing near Manchester until 1862, she moved to Clifton, near Bristol. A pioneer in promoting women's rights, Winkworth put much of her energy into the encouragement of higher education for women. She translated a large number of German hymn texts from hymnals owned by a friend, Baron Bunsen. Though often altered, these translations continue to be used in many modern hymnals. Her work was published in two series of Lyra Germanica (1855, 1858) and in The Chorale Book for England (1863), which included the appropriate German tune with each text as provided by Sterndale Bennett and Otto Goldschmidt. Winkworth also translated biographies of German Christians who promoted ministries to the poor and sick and compiled a handbook of biographies of German hymn authors, Christian Singers of Germany (1869). Bert Polman ======================== Winkworth, Catherine, daughter of Henry Winkworth, of Alderley Edge, Cheshire, was born in London, Sep. 13, 1829. Most of her early life was spent in the neighbourhood of Manchester. Subsequently she removed with the family to Clifton, near Bristol. She died suddenly of heart disease, at Monnetier, in Savoy, in July, 1878. Miss Winkworth published:— Translations from the German of the Life of Pastor Fliedner, the Founder of the Sisterhood of Protestant Deaconesses at Kaiserworth, 1861; and of the Life of Amelia Sieveking, 1863. Her sympathy with practical efforts for the benefit of women, and with a pure devotional life, as seen in these translations, received from her the most practical illustration possible in the deep and active interest which she took in educational work in connection with the Clifton Association for the Higher Education of Women, and kindred societies there and elsewhere. Our interest, however, is mainly centred in her hymnological work as embodied in her:— (1) Lyra Germanica, 1st Ser., 1855. (2) Lyra Germanica, 2nd Ser., 1858. (3) The Chorale Book for England (containing translations from the German, together with music), 1863; and (4) her charming biographical work, the Christian Singers of Germany, 1869. In a sympathetic article on Miss Winkworth in the Inquirer of July 20, 1878, Dr. Martineau says:— "The translations contained in these volumes are invariably faithful, and for the most part both terse and delicate; and an admirable art is applied to the management of complex and difficult versification. They have not quite the fire of John Wesley's versions of Moravian hymns, or the wonderful fusion and reproduction of thought which may be found in Coleridge. But if less flowing they are more conscientious than either, and attain a result as poetical as severe exactitude admits, being only a little short of ‘native music'" Dr. Percival, then Principal of Clifton College, also wrote concerning her (in the Bristol Times and Mirror), in July, 1878:— "She was a person of remarkable intellectual and social gifts, and very unusual attainments; but what specially distinguished her was her combination of rare ability and great knowledge with a certain tender and sympathetic refinement which constitutes the special charm of the true womanly character." Dr. Martineau (as above) says her religious life afforded "a happy example of the piety which the Church of England discipline may implant.....The fast hold she retained of her discipleship of Christ was no example of ‘feminine simplicity,' carrying on the childish mind into maturer years, but the clear allegiance of a firm mind, familiar with the pretensions of non-Christian schools, well able to test them, and undiverted by them from her first love." Miss Winkworth, although not the earliest of modern translators from the German into English, is certainly the foremost in rank and popularity. Her translations are the most widely used of any from that language, and have had more to do with the modern revival of the English use of German hymns than the versions of any other writer. -- John Julian, Dictionary of Hymnology (1907) ============================ See also in: Hymn Writers of the Church

Anonymous

Person Name: Desconocido Translator of "Incierta es del mortal la suerte" in Culto Cristiano In some hymnals, the editors noted that a hymn's author is unknown to them, and so this artificial "person" entry is used to reflect that fact. Obviously, the hymns attributed to "Author Unknown" "Unknown" or "Anonymous" could have been written by many people over a span of many centuries.

Ludämiliä Elisabeth Schwarzburg-Rudolstadt

1640 - 1672 Person Name: Emilie Juliana, Gräf. v. Schwarzb. Rudolf. Author of "Wer weiß, wie nahe mir mein Ende" in Jugendharfe Ludämilia Elisabeth, second daughter of Count Ludwig Gunther I. of Schwarzburg-Rudolstadt, was born April 7, 1640, at the castle of Heidecksburg, near Rudolstadt, and was educated there along with her cousin Emilie Juliane (q.v.). In 1665 she went with her mother to the dowager castle of Friedensburg near Leutenberg; but after her mother's death, in 1670, she returned to Rudolstadt, where, on Dec. 20, 1671, she was formally betrothed to Count Christian Wilhelm of Schwarzburg-Sondershausen. At this time measles was raging in the district, and her eldest sister, Sophie Juliane, was seized, and died Feb. 14, 1672. By attending on her, Ludämilia and the youngest sister, Christiane Magdalene, caught the infection, and both died at Rudolstadt on March 12,1672. (Koch, iv. 50-56; Allgemeine Deutsche Biographie xix. 365-367, &c.) She received a careful and pious training, was a good Latin scholar, and well read in divinity and other branches of learning. Her hymns show her to have been of a deeply pious nature, and of intense love to Jesus. They were composed rather for her own edification than for use in public worship. Ten of them were included in the Budolstadt Gesang-Buch, 1682. They, were collected, to the number of 206, and edited by her cousin Emilie (probably assisted by A. Fritsch) as Die Stimme der Freundin, das ist: Geistliche Lieder welche, aus brünstiger und biss ans Ende beharrter Jesus Liebe verfertiget und gebraucht, &c. Rudolstadt, 1687. This was reprinted, with an introduction by W. Thilo, at Stuttgart, 1856. Three of those hymns have been translated viz.:— i. Jesus, Jesus, nichts als Jesus. [Love to Christ] 1687, No. 104, p. 312, in 5 st. of 6 1., entitled “Resignation to the Will of God." The initials of the stanzas form the word Jesus, and each stanza ends, "Herr, wie du willt." It seems to have appeared in the 2nd edition of A. Fritsch's Jesus Lieder (not in the first edition of 1668. No copy of the 2nd edition is now known), and in the 3rd edition, Jena, 1675, is No. 43, Rambach, iii. 188, gives it from the Vermehrtes Gesang-Büchlein, Halberstadt, 1673. In the Berlin Geistliche Lieder, ed. 1863. The translation in common use is :__ Jesus, Jesus, Jesus only. In full, by A. Crull, as No. 282 in the Ohio Lutheran Hymnal, 1880. Other translations are :—(1) "Jesus, Jesus, nought but Jesus, Shall my wish and," in the Supplement to German Psal., ed. 1765, p. 11. (2) "Jesus, 'tis my aim divine," by Miss Dunn, 1857, p. 107. (3) “ 'Tis Jesus that's my sole desire," by Dr. G. Walker, 1860, p. 92. (4) "Jesus, Jesus, naught but Jesus, Can my," by R. Massie, in the British Herald, July, 1865, p. 103, and in Reid's Praise Book, 1872, No. 393. (5) "Jesus, Jesus, nought but Jesus, Shall my wish be," in Cantica Sanctorum, 1880, No. 97. ii. Jesu Blut komm über mich. [Holy Communion.] A Passiontide Hymn on the Blood of Jesus. 1687, p. 45, No. 14, in 8 st. In the Blätter für Hymnologie, 1886, p. 180, it is cited as in the 2nd ed., 1679, of A. Fritsch's Himmels-Lust (1st ed., 1670, does not contain it); and as there marked "S. J. G. Z. S. V. H.," the initials of the elder sister, Sophie Juliane. Translated as:-—"Jesus' Blood come over me," as No. 448, in pt. i. of the Moravian Hymn Book, 1754. iii. Sorge, Vater! sorge du. [Morning.] 1687, No. 168, in 7 st., entitled "On Resignation to the Care of God," and founded on 1 Peter v. 7. Previously in the Rudolstadt Gesang-Buch,1682, p. 692. Translated as:—"Care, O Father, care for me," in the Monthly Packet, xiv., 1872, p. 211. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology (1907)

John White Chadwick

1840 - 1904 Person Name: John W. Chadwick Author of "Eternal Ruler of the ceaseless round" in The Hymnal of Praise Chadwick, John White, was born at Marblehead, Mass., U.S., Oct. 19, 1840; graduated at the Cambridge Divinity School, July 19, 1864, and ordained minister of the Second Unitarian Church, Brooklyn, N.Y., Dec. 21, 1864. A frequent contributor to the Christian Examiner; The Radical; Old and New; Harper's Magazine; and has published many poems in American periodicals. His hymn on Unity, "Eternal Ruler of the ceaseless round," was written for the graduating class of the Divinity School, Cambridge, June 19, 1864. It is in Horder's Congregational Hymns, 1884. It is a hymn of superior merit. [Rev. W. Garrett Horder] --John Julian, Dictionary of Hymnology (1907) ======================== Chadwick, J. W, p. 216, i. Mr. Chadwick's important prose works were the Life of Theodore Parker, 1890, and that of William Ellery Channing, 1903; and his poetical productions A Book of Poems, 1876, and In Nazareth Town and other Poems, 1883. He received his M.A. from Harvard in 1888; and d. Dec. 11, 1901. In addition to "Eternal Ruler of the ceaseless round," already noted on p. 216, ii., Mr. Chadwick's widow has supplied us with the following data concerning his hymns:— 1. A gentle tumult in the earth. [Easter.] Dated 1876. 2. Another year of setting suns. [New Year.] Written as a New Year's Hymn for 1873, and originally began "That this shall be a better year." In The Pilgrim Hymnal, Boston, 1904. 3. Come, let us sing a tender song, [Communion of Saints.] Dated 1901, and included in The Pilgrim Hymnal, 1904. 4. Everlasting Holy One. [Invocation.] 1875. 5. It singeth low in every heart. [In Memoriam.] Written in 1876, for the 25th Anniversary of the Dedication of his Church at Brooklyn. It has passed into a great many collections in America, and a few in Great Britain, including Horder's Worship Song, 1905. 6. Now sing we a song for the harvest. [Harvest.] Written for a Harvest Thanksgiving Service in 1871. Given in The Pilgrim Hymnal, 1904, and others. 7. 0 God, we come not as of old. [Perfect Law of Liberty.] Written in 1874, and entitled "The Perfect Law." 8. 0 Love Divine of all that is. [Trust.] Written in 1865, and included in his Book of Poems, 1876, as "A Song of Trust." In several American collections. 9. 0 Thou, Whose perfect goodness crowns. [For an Anniversary.] "Written for the 23th Anniversary of his Installation, Dec. 21, 1889." In The Pilgrim Hymnal, and other collections. 10. Thou Whose Spirit dwells in all. [Easter.] Written in 1890. 11. What has drawn us thus apart? [For Unity.] Undated, in the Boston Unitarian Hymns for Church and Home, 1895. During the past ten years Mr. Chadwick's hymns have become very popular in America, and especially with the compilers of Congrega¬tional and Unitarian collections. --John Julian, Dictionary of Hymnology, New Supplement (1907)

Peter Huxthal

Composer of "[Wer weiß, wie nahe mir mein Ende]" in Jugendharfe

Jerzy Heczko

1825 - 1907 Person Name: ks. Jerzy Heczko, d. 1907 Translator of "Kto wie, jak blisko me skonanie?" in Śpiewnik Ewangelicki

Epiphanius Wilson

1845 - 1916 Person Name: E. Wilson Author of "Who knows how soon my life is ending" in The Academic Hymnal

Aemilie Juliane, Gräfin von Schwarzburg Rudolstadt

1637 - 1706 Person Name: Juliane Aemilie Author of "Wer weiß, wie nahe mir mein Ende" in Gesangbuch mit Noten 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)

Charles L. Safford

Person Name: C. L. Safford Arranger of "RUDOLFSTADT" in The Hymnal of Praise

G. Oesterreicher

Person Name: Georg Osterreicher Composer (part 1) of "[Wer weiß, wie nahe mir mein Ende!]" in Antwort Finden in alten und neuen Liedern, in Worten zum Nachdenken und Beten