The Son of God, through His Spirit

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The Song of God, through his Spirit and Word

Author: Caspar Olevianus (1563); Author: Zacharius Ursinus (1563)
Tune: HEIDELBERG 54 (Brink)
Published in 1 hymnal

Audio files: MIDI

Representative text cannot be shown for this hymn due to copyright.

Author: Caspar Olevianus

(no biographical information available about Caspar Olevianus.) Go to person page >

Author: Zacharius Ursinus

German theologian Go to person page >

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Text Information

Text Information

First Line:	The Song of God, through his Spirit and Word
Title:	The Son of God, through His Spirit
Author:	Caspar Olevianus (1563)
Author:	Zacharius Ursinus (1563)
Meter:	Irregular
Source:	Heidelberg Catechism, Lord's Day 21, Tr. Christian Reformed Church, 1975
Language:	English
Copyright:	Text and music © 1987, CRC Publications

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Notes

Scripture References:
st. = John 10:28-30
Rom. 8:28-30

Psalter Hymnal editor Emily R. Brink (PHH 158) composed several musical settings for important segments of the Heidelberg Catechism, one of the primary confessional statements of the Christian Reformed Church. Two of these settings are included in the Psalter Hymnal: this text about the church and the comforting text from Lord's Day 1 (549). (The entire Heidelberg Catechism is found in the worship edition of the Psalter Hymnal on pp. 861-925, with a helpful historical introduction on p. 860.)

Based on Lord's Day 21, Q&A54 (p. 883) of the Heidelberg Catechism (thus the tune's title), this text provides an explanation of the apostolic confession about the "holy catholic church." Although it makes a strongly objective statement about Christ's church, the text also presents a deeply personal confession in its final line ("Of this community I am and always will be a living member").

Liturgical Use:
Baptism; profession of faith; as a sung creed; church festivals and anniversaries; Reformation services; ecumenical gatherings.

--Psalter Hymnal Handbook

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Tune

HEIDELBERG 54 (Brink)

Emily R. Brink composed HEIDELBERG 54 in 1977. The tune has chantlike features at its beginning but develops larger melodic gestures toward the end. Because of its use of several melodic motives, the tune is accessible to many congregations. Either for initial learning or for regular use, try having…

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