Book Five

of the _Hymnary_. The number of versions and editions of psalms which appeared on the Continent and in England were numerous and confusing, each claiming its own special merits. Finally, in the interests of better literary diction and greater unity in singing in the Scottish Presbyterian churches, the General Assembly authorized a new version. The result, after many years’ work, was the famous _Scottish Psalter_ of 1650 which remains the standard work in Scotland today.

There is a certain “dignified crudeness” in some of the literary expressions but the psalms have long been learned in this version and have become an important part of the religious training and experience of millions of English speaking people, especially in Scotland.

The Scottish Psalter first appeared with words only. There were no notes and no suggestions for melodies. The succeeding one hundred years were a time of confusion. The tunes used were few in number, such as the leaders had learned from various sources, and passed on to succeeding generations by rote. The time came when better singing and better tunes were demanded and gradually the psalter appeared with tunes. Early tune versions put the melody invariably in the tenor. The latest edition, printed in 1929, by the Oxford Press, contains the best Psalm tunes which had gradually come into use, many of them arranged with “Faux-bourdon” (wherein the congregation sings one or more verses to the melody while the choir supplies the harmony), and “Descant” (a second melody over that of the tune).

f. _The New Version_, Tate and Brady, London, 1696. This version gradually supplanted the _Old Version_ of Sternhold and Hopkins, and held its place in the worship of the church for 150 years. It was adopted, in 1789, by the Protestant Episcopal Church in the United States and bound with the prayer book of that Communion.

The above versions are only a few of the large number of psalters that were published by the Calvinistic churches on the Continent, in Great Britain, and in America. The metrical psalms were designed for the singing church. They were intended to restore song to the people in their worship, serving in this respect a similar purpose to the chorales in Germany.

Some of the psalm books were published without music, some with the melody only, and others in four-part harmony. The statement is frequently made that Calvinistic Protestantism approved only unison singing. The appearance of numerous books, complete with four voice parts, points to the contrary. It is true that Calvin at first encouraged unison singing only, regarding harmony more in the nature of amusement than the worship of God; but upon observing the effectiveness of singing in Germany, he soon changed his views and became more liberal in this respect.

9. English Hymnody.

The youthful, courageous Isaac Watts, 1674-1748, an ardent dissenter, pioneered the movement which resulted in a flood of hymns and hymnbooks in the English churches. Watts was not satisfied with the psalm singing of his time, which by now had become formal and lifeless. Parts of the psalter, he pointed out, were obviously not written in the spirit of the Gospel. “By keeping too close to David,” he wrote in one of his Prefaces, “the vail of Moses is thrown over our hearts.” Watts removed that “vail,” Christianizing the psalms and composing during his lifetime more than 600 original hymns, expressing in the language of the time, the thoughts of the worshippers. Through his influence, his age, the 18th century, became the first age of hymn singing in England.

John and Charles Wesley, following Watts, made enormous use of hymn singing in their evangelistic work, giving the movement for congregational singing a powerful impetus. Charles is said to have composed over 6,000 hymns.

From the Wesleys onward through the 19th century, the hymn writers in England became numerous. The restrictive shackles of psalm singing had been broken and the creative urge to worship in new forms resulted in a vast number of original religious lyrics and the publication of hundreds of hymnbooks. The development can be summarized here only in outline form.

English Hymnody in the Hymnary

Early—17th Century Henry Wotton, 1568-1639, “How happy is he” (208) George Herbert, 1593-1633, “Teach me, my God and King” (226) John Milton, 1608-74, “Let us with a gladsome mind” (64) “How lovely are Thy dwellings fair” (592) Thomas Ken, 1637-1711, “Awake, my soul, and with the sun” (25) “All praise to Thee, my God, this night” (33) “Praise God, from whom all blessings flow” (618) Joseph Addison, 1672-1719, “The spacious firmament on high” (50) “How are Thy servants blest” (338) 18th Century _1. Two Independents_: Isaac Watts, 1674-1748, “Father of English Hymnody” “When I survey the wondrous cross” (105-6) “Joy to the world! the Lord is come” (70) “God is the refuge of His saints” (257) and many others Philip Doddridge, 1702-51, “How gentle God’s commands” (56) (and 128, 167, 218, 383, 465) _2. The Wesleys and their Associates_: John Wesley, 1703-91, translations (170, 226, 246, 508, 558) Charles Wesley, 1707-88, “Bard of Methodism” “Come, Thou long-expected Jesus” (69) “Jesus, Lover of my soul” (158-9) “Love divine, all loves excelling” (178-9) and many others William Williams, 1717-91, “Sweet Singer of Wales” “Guide me, O Thou great Jehovah” (160) John Cennick, 1718-55, “Lo, He comes, with clouds” (130) “Jesus, my all, to heav’n is gone” (468) Thomas Olivers, 1725-99, “The God of Abraham praise” (14) Edward Perronet, 1726-92, “All hail the power of Jesus” (3, 4, 5) _3. A Calvinistic Antagonist of Wesley_ Augustus Toplady, 1740-78, “Rock of Ages, cleft for me” (148) _4. The Olney Hymnists:_ John Newton, 1725-1807, “Glorious things of thee” (274) “Safely through another week” (284) “Amazing grace! how sweet the sound” (463) William Cowper, 1731-1800, “God moves in a mysterious way” (60) “O for a closer walk with God” (197) “There is a fountain filled with blood” (492) _5. Others—18th Century:_ Anne Steele, 1716-78, “Father, whate’er of earthly bliss” (251) Joseph Grigg, c. 1720-68, “Behold a Stranger at the door” (141) “Jesus, and shall it ever be” (192) Robert Robinson, 1735-90, “Mighty God, while angels bless” (46) “Come, Thou fount of every blessing” (189) John Fawcett, 1740-1817, “Blest be the tie that binds” (41) “Lord, dismiss us with Thy blessing” (45) Modern English—19th Century _1. Earliest_: Thomas Kelly, 1769-1854, “Look, ye saints, the sight” (119) “Hark, ten thousand harps and voices” (123) “On the mountain top appearing” (336) James Montgomery, 1771-1854, “Prayer is the soul’s sincere” (184) “Angels, from the realms of glory” (81) “In the hour of trial” (195) and many others Robert Grant, 1779-1838, “O worship the King” (7) “Savior, when, in dust to Thee” (145) Reginald Heber, 1783-1826, “Holy, holy, holy” (1) “Bread of the world in mercy broken” (304) “From Greenland’s icy mountains” (333) Charlotte Elliott, 1789-1871, “Just as I am, without one plea” (458) “O holy Savior, Friend unseen” (233) “My God and Father, while I stray” (245) Henry Milman, 1791-1868, “Ride on, ride on in majesty” (101) John Bowring, 1792-1872, “In the Cross of Christ I glory” (110) “Watchman, tell us of the night” (66) “God is love; His mercy brightens” (55) Henry F. Lyte, 1793-1847, “Abide with me” (40) _2. The Oxford Group_: John Keble, 1792-1866, “New every morning is the love” (22) “Sun of my soul, Thou Savior dear” (30) Matthew Bridges, 1800-94, “Crown Him with many crowns” (118) John Henry Newman, 1801-90, “Lead, kindly light” (162-3) Richard Trench, 1807-86, “Lord, what a change within” (183) Frederick Faber, 1814-63, “There’s a wideness in God’s mercy” (58) “Faith of our fathers” (154) Mrs. Cecil Frances Alexander, 1823-95, “There is a green hill” (104) (_Translators of Latin and Greek Hymns_) John Chandler, 1806-76, “Christ is our Cornerstone” (9) “What star is this” (87) Edward Caswall, 1814-78, “Bethlehem, of noblest cities” (88) “Jesus, the very thought of Thee” (155) John M. Neale, 1818-66, “O come, O come Emmanuel” (67) “All glory, laud, and honor” (100) _3. Translators of German Hymns_: Catherine Winkworth, 1829-78, “Wake, awake for night” (522) and 24 others Frances E. Cox, 1812-97, “Sing praise to God” (512) “Jesus lives” (543) Jane L. Borthwick, 1813-97, “Be still, my soul” (54) “My Jesus, as Thou wilt” (250) “Jesus, still lead on” (574) Sarah Borthwick Findlater, 1823-1907, “O happy home” (358) _4. Other Hymnists—19th Century_: Christopher Wordsworth, 1807-85, “Gracious Spirit,” (174) “O day of rest and gladness” (285) Horatius Bonar, 1808-89, “I heard the voice of Jesus say” (142) “I lay my sins on Jesus” (444) “When the weary, seeking rest” (203) and others Alfred Tennyson, 1809-92, “Strong Son of God” (149) “Sunset and evening star” (265) “Ring out, wild bells” (379) Henry Alford, 1810-71, “We walk by faith, and not by sight” (152) “Come, ye thankful people, come” (377) W. W. How, 1823-97, “O Jesus, Thou art standing” (144) “For all the saints who from their labor rest” (317) “O Word of God Incarnate” (289) and others Godfrey Thring, 1823-1903, “From the Eastern mountains” (89) “Thou to whom the sick and dying” (370) Adelaide Proctor, 1825-64, “My God, I thank Thee” (177) “I do not ask, O Lord” (471) Edward H. Bickersteth, 1825-1906, “Peace, perfect peace” (256) John Ellerton, 1826-93, “Savior, again to Thy dear name” (43) “Now the laborer’s task is o’er” (315) “Throned upon the awful tree” (109) and others S. Baring-Gould, 1834-1924, “Now the day is over” (29) “Onward, Christian soldiers” (225) Edwin Hatch, 1835-89, “Breathe on me, breath of God” (135) Frances R. Havergal, 1836-79, “Take my life, and let it be” (215) “Lord, speak to me, that I may speak” (296) “Thou art coming, O my Savior” (126) and others Samuel Stone, 1839-1900, “The Church’s one foundation” (273) George Matheson, 1842-1906, “O love that wilt not let me go” (175) Recent English Hymns Rudyard Kipling, 1865-1936, “Father in heav’n” (401) Stopford A. Brooke, 1832-1916, “Let the whole creation cry” (49) John Oxenham, 1852-1941, “In Christ there is no East” (320) “Peace in our time, O Lord” (357) Percy Dearmer, 1867-1936, “Remember all God’s children” (436) Richard Roberts, 1874—, “For them whose ways” (166) Laurence Housman, 1865—, “Father Eternal” (354)

10. American Hymns.

The English speaking colonists who settled in America during the 17th century continued the psalm singing traditions of their forebears in England. The practice prevailed in their churches for two hundred years. The first book printed by them was the _Bay Psalm Book_, in 1640, at Cambridge, Massachusetts. It contained no original hymns. The singing of psalms, and later of hymns borrowed from England made up nearly the entire repertory of church music until the middle of the 19th century.

On the other hand, the German speaking colonists, including the Mennonites, had brought with them the hymn books of the Lutheran tradition and continued the use of the German chorales in their worship. The two streams of hymnody, English psalms and German chorales, went their independent courses for two centuries, scarcely influencing each other.

In the meantime there was very little original hymnody produced in America, with the exception of the work of the Wesleys during their brief experiment in Georgia, and the composition of certain hymns and tunes by the German people of Pennsylvania, which have remained, until recently, in manuscript form. Timothy Dwight’s hymn on the church, “I love Thy Kingdom, Lord” (275) is probably the earliest American hymn still in use.

After the middle of the 19th century the number of hymn writers became large and their works came into increasing use, some choice examples finding their way into English hymnbooks. America’s original contribution to Christian hymnody has not been only the Gospel Songs represented by the writings of Fanny Crosby, but the more permanent works of Whittier, George W. Doane, Hosmer, Samuel Longfellow, Washington Gladden, S. F. Smith, and many others. Our musical contributions have been less conspicuous, but the tunes of Mason are coming into their own again and many of them will doubtless survive for a long time, as will also those of Bradbury, Hastings, and others.

The tendency today in American hymnbooks is to unite the best in English and German traditions. The _Hymnary_ illustrates this trend. It makes large use of the English hymns while at the same time preserving a considerable body of the German chorales. In keeping with this trend, the recent hymnbooks of the Episcopal, Presbyterian, Methodist and other churches of English origin, incorporate some of the German chorale tunes and in some cases the translations of the words. The hymn books of our time have become the channels through which flow the rich contributions to the stream of Christian hymnody from Christian people of all times and places.

American Hymns in the Hymnary

Early American Timothy Dwight, 1752-1817, “I love Thy kingdom, Lord” (275) Thomas Hastings, 1784-1872, “Hail to the brightness” (332) Henry Ware, Jr., 1794-1843, “Happy the home when God” (361) Wm. B. Tappan, 1794-1849, “’Tis midnight; and on Olive’s brow” (103) Francis Scott Key, 1779-1843, “Lord, with glowing heart” (511) George W. Doane, 1799-1859, “Softly now the light of day” (36) 19th Century Leonard Bacon, 1802-81, “O God, beneath Thy guiding hand” (367) John G. Whittier, 1807-92, “Dear Lord and Father” (181) Ray Palmer, 1808-87, “My faith looks up to Thee” (150) S. F. Smith, 1808-95, “The morning light is breaking” (324) Oliver W. Holmes, 1809-94, “Lord of all being, throned afar” (53) E. H. Sears, 1810-76, “It came upon the midnight clear” (75) W. H. Burleigh, 1812-71, “Lead us, O Father, in the paths” (164) Harriet Beecher Stowe, 1811-96, “Still, still with Thee” (23) Sylvanus Phelps, 1816-95, “Savior, Thy dying love” (220) Arthur C. Coxe, 1818-96, “O where are kings and empires” (276) Elizabeth Payson Prentiss, 1818-78, “More love to Thee” (472) Edward Hopper, 1818-88, “Jesus, Savior, pilot me” (161) George Duffield, Jr., 1818-88, “Stand up, stand up for Jesus” (193) Samuel Longfellow, 1819-92, “Holy Spirit, Truth divine” (136) James Russell Lowell, 1819-91, “Once to every man” (346) Anna Warner, 1820-1915, “We would see Jesus” (201) John H. Hopkins, 1820-91, “We three kings of Orient are” (90) Eliza Scudder, 1821-96, “Thou Grace Divine, encircling all” (57) Samuel Johnson, 1822-82, “Father, in Thy mysterious” (188) Jeremiah E. Rankin, 1828-1904, “God be with you” (365) Joseph H. Gilmore, 1834-1918, “He leadeth me” (478) Phillips Brooks, 1835-93, “O little town of Bethlehem” (84) Recent American Hymns Washington Gladden, 1836-1918, “O Master, let me walk” (223) Frederick L. Hosmer, 1840-1929, “Not always on the mount” (98) Mary Lathbury, 1841-1913, “Day is dying in the west” (31) “Break Thou the bread of Life” (288) Frank Mason North, 1850-1936, “Where cross the crowded” (222) M. Woolsey Stryker, 1851-1929, “Almighty Lord, with one” (390) Henry van Dyke, 1852-1933, “Joyful, joyful, we adore Thee” (10) Louis F. Benson, 1855-1930, “O sing a song of Bethlehem” (92) Maltbie D. Babcock, 1858-1901, “This is my Father’s world” (48) Katherine Lee Bates, 1859-1929, “O beautiful for spacious” (343) Milton S. Littlefield, 1864-1934, “O Son of man, thou” (373) Jay T. Stocking, 1870-1936, “O Master Workman” (93) Wm. M. Vories, 1880—, “Let there be light, Lord God” (353) Harry Webb Farrington, 1880-1931, “I know not how that” (99) W. Russel Bowie, 1882—, “Lord, through changing days” (402) Howard Arnold Walter, 1884-1918, “I would be true” (207) Earl Marlatt, 1892—, “‘Are ye able,’ said the Master” (392)

11. Gospel Songs.

During the latter part of the 19th century there came into use, both in the United States and in England, a type of religious song known as the Gospel Song. Less dignified than the chorales or the English hymns, these songs made a popular appeal and were widely used in prayer meetings and revivals.

The words of the typical Gospel Song are usually simple and easily remembered and concern themselves largely with the individual’s salvation. The personal pronouns “I” and “my” predominate. The tunes are rhythmic and catchy and always have a refrain added. Their harmonies are largely built on the simple tonic, dominant, and subdominant chords. The masses of the people readily learned to sing these tunes and experienced a thrill in singing them which the use of the more stately and solid hymns failed to effect.

The great bulk of these songs were produced in America during the latter half of the 19th century and were found extremely useful in large mass meetings. The evangelistic work of Moody and Sankey during the 1870’s, 1880’s, and 1890’s brought the Gospel Songs into special prominence and the Salvation Army has made them known in nearly every country in the world. Collections of Gospel Songs sold by the millions of copies and every denomination was affected, to a greater or lesser extent, by this type of singing.

Since the standard of music and words in the Gospel Songs is considerably below that which prevails in our best hymnals as well as in secular music and literature taught in the public schools, churches should seriously consider the ultimate effect of their too frequent use. It is a fallacy to assert that the people will respond to nothing better. Gospel Songs have a legitimate place, particularly in special services and revivals, but they leave much to be desired in the total work and worship of the church. Neither the music nor the words possess the strength and dignity entirely adequate for the worshipful praise of the Eternal.

The principal names associated with Gospel Songs are the following:

_Authors._ Fanny J. Crosby, Philip P. Bliss, Robert Lowry, Katherine Hankey, E. A. Hoffman, and many others. Most of the words, though not all, were written by Americans during the latter part of the nineteenth century. Miss Crosby was by far the most prolific of them all and many of her works are found in all modern hymnals of denominations that use this type of music. In Germany, Ernst Gebhardt became the leader of the gospel song movement, composing words and music, publishing numerous song books, and serving as song leader in great revival meetings.

_Music._ William B. Bradbury, Robert Lowry, W. H. Doane, Philip Philips, James McGranahan, George C. Stebbins, P. P. Bliss, D. W. Towner, Wm. J. Kirkpatrick, and others.

_Song Leaders._ P. P. Bliss, Ira Sankey, James McGranahan, George C. Stebbins, Charles Alexander, Homer Rodeheaver.

It should be noted that there is no absolute line of demarcation between hymns and some of the Gospel Songs. Some of the numbers in the Gospel Songs section of the _Hymnary_ might well be classified as hymns, e.g., Nos. 441, 444, 447, 458, 463, 468, 470, 471, 472, and 492. Either words or music meet the generally accepted standards of a hymn.

12. Women Hymn Writers.

There have been no outstanding women composers of church tunes but some of our finest lyrics have been contributed by women, as the following list from the _Hymnary_ will show:

_German_ Katharina von Schlegel, b. 1697, “Be still, my soul” (54) Henriette Luise von Hayn, 1724-82, “Weil ich Jesu” (430) _English_ Anne Steele, 1716-78, “Father, whate’er of earthly bliss” (251) Marianne Nunn, 1778-1847, “One is kind above all others” (447) Harriet Auber, 1773-1862, “Our blest Redeemer” (138) Dorothy Ann Thrupp, 1779-1847, “Saviour, like a shepherd” (395) Charlotte Elliott, 1789-1871, “Just as I am, without one plea” (458) Margaret Mackay, 1802-87, “Asleep in Jesus” (314) Sarah Flower Adams, 1805-48, “Nearer my God, to Thee” (202) Jemima Luke, 1813-1906, “I think when I read that sweet” (427) Anne Brontë, 1820-49, “Believe not those who say” (210) Cecil Frances Alexander, 1823-95, “There is a green hill” (104) Adelaide Proctor, 1825-64, “My God, I thank Thee” (177) Elizabeth Clephane, 1830-69, “Beneath the Cross of Jesus” (112) Anna L. Coghill, 1836-1907, “Work, for the night is coming” (221) Frances R. Havergal, 1836-79, “Take my life and let it be” (215) Dorothy Blomfield, 1858-1932, “O perfect love, all human” (312) Jessie Adams, 1863—, “I feel the winds of God today” (391) (_Translators_) Frances Cox, 1812-97, “Sing praise to God” (512) Jane L. Borthwick, 1813-97, “Be still my soul” (54) Sarah Borthwick Findlater, 1823-1907, “O happy home” (358) Catherine Winkworth, 1829-78. Numerous hymns. Foremost translator of German chorales. _American_ Harriet Beecher Stowe, 1811-96, “Still, still with Thee” (23) Elizabeth Prentiss, 1818-78, “More love to Thee, O Christ” (472) Susan Warner, 1819-85, “Jesus bids us shine” (420) Anna B. Warner, 1820-1915, “Jesus loves me! this I know” (428) Fanny Crosby, 1820-1915, “Rescue the perishing” (497) and many others Eliza Scudder, 1821-96, “Thou Grace Divine, encircling all” (57) Phoebe Cary, 1824-71, “One sweetly solemn thought” (264) Katherine Hankey, 1834-1911, “I love to tell the story” (493) Mary Ann Thomson, 1834-1923, “O Zion, haste” (328) Annie Sherwood Hawks, 1835-1918, “I need Thee every hour” (187) Mary Lathbury, 1841-1913, “Day is dying in the west” (31) “Break Thou the bread of life” (288) Katherine Lee Bates, 1859-1929, “O beautiful for spacious” (343)

13. Mennonite Hymnody.

Mennonites have made many contributions to society through their religious life and practices, but we have produced no important hymnody of our own. Throughout the four hundred years of our existence as a church, we have been a singing people, in times of persecution as well as in times of peace. Great emphasis has always been laid upon the importance of congregational singing in our worship services. Since the beginning of the 19th century the Mennonites of various branches, in America alone, have published over fifty hymnbooks. But an examination of these hymnbooks shows that we are heavily indebted to others. Instead of producing original hymns and tunes, we have borrowed, with minor exceptions, our entire repertory from other denominations. The wealth of verse and music produced by German and English writers throughout the centuries has been found to serve our needs adequately and well.

The churches in Europe used hymnbooks compiled from Lutheran and Reformed sources. Upon coming to the United States and Canada, they gradually adopted English and American hymns and in some sections of the church, the Gospel Songs came into wide use.

Our German collections of hymns have, until recently, been uniformly on a higher level, both as to music and poetry, than the collections used after the change was made to the English language. During the transition from the German to the English language, many churches, in their choice of their hymnbooks, sacrificed the fine chorales which had been a part of their religious heritage. This was due partly to the revivalistic influences of the times and partly to the fact that there were no good translations available of the German hymns which earlier were in use. The situation is gradually correcting itself. We are re-evaluating our hymnody, sifting the wheat from the chaff, and bringing back into our worship the rich treasure of song which had been used in the past. The _Mennonite Hymnary_ is an effort in this direction.

14. The Antecedents of the Mennonite Hymnary.

The story of the hymn books antedating the _Hymnary_ may be briefly summarized by listing the following books:

1565. The first German Mennonite hymn book was published in 1565 or 1566 (date omitted from title), entitled, _Ein schön Gesangbüchlein Geistlicher Lieder, zusammengetragen aus dem A. und N. Testament durch fromme Christen und Liebhaber Gottes, welcher hiefür etliche getrucht sei gewesen, aber noch viel dazu gethan, welche nie im Truck aussgangen seindt, in welchen auch ein recht Leben und Fundament dez rechten Christlichen Glaubens gelehrt wirdt. Coloss. 3._

A second edition, 1570-1583, (date not given), adds to the above title the following:

_Jetzo von neuem widerum übersehn, an vielen Orten gebessert und mit etlichen newen Liedern vermehret. Coloss. 3._

Of the 133 hymns in the book, 9 had been in use among other churches. Many of the others were by Mennonite authors, among them Johann Schütz, Thomas Ducker, Gerhard Siebenakker von Sittart, and Heinrich Krenen von Breidtbock. Many of the hymns are of a controversial nature and have no literary value; for example, this on infant baptism:

Die Schrift sagt nicht von Kindertaufe Davon hab ich nicht gelesen. Wer nach Gottes Wort getauft soll sein Der musz gläubig wesen.

Es ist ein Bad der Wiedergeburt, Ein Bund eines guten Gewissens Ein’ Verneurung des heiliges Geistes Davon keine Kinder wissen.

Most of the hymns were set to secular melodies popular at the time. Very little of this first hymnal survives.

1570—_Ausbund, Das ist: Etliche schöne Christliche Lieder, wie sie in dem Gefängnis zu Passau in dem Schlosz von den Schweizer-Brüdern und von andern rechtglaubigen Christen hin und her gedichtet worden._

At least twelve editions have been printed in Europe, the last one in Basel, 1838. Its use was confined to the South Germans and Swiss Mennonites. Reprinted in America and still in use by the Amish, the _Ausbund_ has the distinction of being the oldest hymn book officially in use by any church in America.

1780—_Geistreiches Gesangbuch zur öffentlichen und besonderen Erbauung der Mennonitischen Gemeinde in und vor der Stadt Danzig._

The book has had long use in Danzig. A revised edition appeared in 1908.

1803—_Das Kleine Geistliche Harfe der Kinder Zions._ Germantown, Pa. The first Mennonite hymnbook printed in America. It was the official hymnbook of the Franconia Conference of Mennonites of which John H. Oberholzer, founder of the General Conference of Mennonites, was a member. Seven editions were printed, the last in Elkhart, Ind., 1904.

1804—_Unpartheyisches Gesangbuch_, Lancaster, Pa. The official hymnbook of the Lancaster Mennonite Conference for almost a century. Fourteen reprints were made, the last in 1923 for the Amish.

1843—_Gesangbuch in welchem eine Sammlung geistreiche Lieder befindlich._ 9th ed. Elbing. The hymnbook of the Prussian Mennonites. It was taken by the Prussians to Russia where it was republished in Odessa, 1844.

1856—_Gesangbuch zum Gottesdienstlichen und haeuslichen Gebrauch in Evangelischen Mennoniten Gemeinden._ Worms.

Published by the churches of Baden and the Palatinate. The hymnal committee was fortunate in securing the assistance of the eminent German hymnologist, Albert Knapp. The book contains 600 hymns and an appendix of prayers. A book of melodies was also provided. This collection holds an important place in Mennonite hymnody. It was reprinted in Danzig, 1873, for use by the Danzig Mennonites, and in Philadelphia, 1873, for use in the General Conference of Mennonites. The excellent qualities of the more recent _Gesangbuch mit Noten_ may be traced, in considerable measure, to this work.

1869—_Gesangbuch in Mennoniten Gemeinden für Kirche und Haus._ Published for the churches of West Prussia, this work went through at least four editions, the fourth in 1901. The book was republished in Danzig, 1873.

1873—_Gesangbuch zum Gottesdienstlichen und häuslichen Gebrauch in Mennoniten Gemeinden._ Philadelphia. Ordered by the sixth General Conference of Mennonites held at Wadsworth, Ohio. The main body of the book is the same as that published in Worms, 1856, but with the appendix of prayers omitted, and an appendix of 22 hymns added, the latter the contribution of the Mennonites in Pennsylvania. The book was intended to form a closer bond of union between the Mennonites in the East and those west of the Mississippi.

1890—_Gesangbuch mit Noten. Herausgegeben von der allgemeinen Conferenz der Mennoniten von Nord America._ Berne, Ind. The book passed through 15 editions, the last in 1936. A noteworthy collection of hymns and tunes that met with wide approval in the General Conference churches.

1894—_Mennonite Hymnal, A Blending of Many Voices._ Berne, Ind. An A. S. Barnes publication adopted, practically unchanged, by the General Conference of Mennonites. Our first official English hymnal, though many collections from other sources were finding wide use in our churches. The book has nothing of distinctiveness or distinction.

1927—_The Mennonite Hymn Book._ Berne, Ind. Published by the General Conference of Mennonites. Compiled and edited by a committee appointed by the Conference. The book was more satisfactory than the _Mennonite Hymnal_ of 1894, but never became very popular. Total sales of three editions were less than 5,000 copies.

1940—_The Mennonite Hymnary._ Published by the General Conference of Mennonites of North America, Board of Publication, Mennonite Publication Office, Newton, Kansas, 1940. Now in its sixth edition.

15. The Translation of Hymns.

A word may be in order concerning the translation of hymns. It is difficult to transfer the color and feeling of one language to another. For this reason many people who know the German hymns by heart have a sense of disappointment when they read them in an English version. In some instances a translation is inferior to the original but this is not necessarily the case. It is well to remember that nearly all of us read the Bible only in a translation, yet never doubt the literary quality of the English King James Version or the German Version of Luther. The hymn, “Ich weiss einen Strom,” is superior as poetry, and in its religious feeling, to the English original, “O have you not heard of that beautiful stream,” though the former is a translation of the latter. The reason is that Gebhardt, the translator, was a poet in his own right. Good translations are possible if the translator has poetic ability of a high order, and if he translates into his native tongue. Catherine Winkworth was the foremost translator of German hymns into English and Ernst Gebhardt performed a similar role in translating English and American hymns into German. Had either tried to do the work of the other, the results would in all probability have lacked true color and correct idiomatic and poetic expression.

16. Church Unity in the Hymnbook.

The unity of the Christian Church is expressed nowhere more eloquently than in the hymns we sing. Every modern hymnal, regardless of the denominational interest it represents, reaches across the ages to gather its treasures from sources new and old; it knows nothing of the external barriers which divide Christians into denominations, but makes use of the hymns of widely divergent Christian groups. The _Mennonite Hymnary_ is no exception. Here are found hymns from the early church, East and West, translated from the Greek and Latin fathers. Others, like Savonarola’s hymn, come from the Middle Ages. Many are chorales from the land of Luther, or metrical psalms from the Calvinistic reformers. A substantial body of our hymnody stems from the Anglican Church, while some of our best hymns are from sturdy independents like Watts and Doddridge, and still others breathe the evangelistic fervor of Wesley, Cowper, and Newton. The Quakers too have made their contribution as well as certain Roman Catholics and Unitarians. In no aspect of our church life do we attain so nearly to ecumenicity as in our worship in song. Christians may differ widely in their religious views but they are able to unite as one body in singing their songs of praise.

The following classification of hymns by denominations is far from exhaustive. It is intended merely to suggest the wealth of material drawn from many denominations, listing only representative writers together with a representative hymn. The index of authors may be consulted for a complete list of hymns written by each author.

a. _Anglican_ (_Church of England_) Addison, Joseph, “The spacious firmament on high” (50) Alexander, Mrs. Cecil (Irish), “Jesus calls us, o’er the tumult” (140) Baring-Gould, Sabine, “Onward, Christian soldiers” (225) Bode, John E., “O Jesus, I have promised” (212) Croly, George (Irish), “Spirit of God, descend” (133) Dix, William C., “As with gladness men of old” (530) Ellerton, John, “Savior, again to Thy dear name we raise” (43) Elliott, Charlotte, “Just as I am, without one plea” (458) Grant, Robert (Scotch), “O worship the King” (7) Hankey, Katherine, “I love to tell the story” (493) Havergal, Frances, “Take my life, and let it be” (215) Heber, Reginald, “Holy, holy, holy” (1) How, W. W., “O Jesus, Thou art standing” (144) Lyte, Henry F., “Abide with me” (40) Newton, John, “Glorious things of thee are spoken” (274) Pierpoint, Folliott S., “For the beauty of the earth” (51) Stone, Samuel, “The Church’s one foundation” (273) Toplady, Augustus, “Rock of ages” (148) Wordsworth, Christopher, “O day of rest and gladness” (285) b. _Baptist_ Fawcett, John (Eng.), “Blest be the tie that binds” (41) Gilmore, Henry, “He leadeth me” (478) Hearn, Marianne (Eng.), “Just as I am, thine own to be” (393) Hawks, Annie S., “I need Thee every hour” (187) Lowry, Robert, “Low in the grave He lay” (452) Phelps, Sylvanus, “Savior, Thy dying love” (220) Rankin, Jeremiah, “God be with you till we meet again” (365) Smith, Samuel F., “The morning light is breaking” (324) Stennett, Samuel, “Majestic sweetness sits enthroned” (120) c. _Bohemian Brethren_ (_Moravians_) Hayn, Luise von, “I am Jesus’ little lamb” (430) Montgomery, James, “Prayer is the soul’s sincere desire” (184) Rights, Douglas LeTell, “Veiled in darkness Judah lay” (68) Weisse, Michael, “Christ, the Lord, is ris’n again” (544) Zinzendorf, Nikolaus Ludwig, Graf von, “Jesu! geh’ voran” (574) Zinzendorf, Christian Renatus, Graf von, “Man of sorrows” (537) d. _Catholic_ (_Roman_) St. Bernard of Clairvaux, “O sacred Head, now wounded” (539) Bridges, Matthew, “Crown Him with many crowns” (118) Faber, Frederick, “Faith of our fathers” (154) Franz, Ignaz, “Grosser Gott, wir loben dich” (519) Mohr, Joseph, “Silent night” (83) Newman, John Henry, “Lead, kindly Light” (162-3) Scheffler, Johann, “Mir nach, spricht Christus” (565) e. _Congregational_ Bliss, Philip P., “Brightly beams our Father’s mercy” (448) Dwight, Timothy, “I love Thy Kingdom, Lord” (275) Gladden, Washington, “O Master, let me walk with Thee” (223) Luke, Jemima (Eng.), “I think when I read that sweet story” (427) Palmer, Horatio, “Yield not to temptation” (477) Palmer, Ray, “My faith looks up to Thee” (150) Shurtleff, Ernest W., “Lead on, O King Eternal” (399) Sleeper, W. T., “Ye must be born again” (461) Stocking, Jay T., “O Master Workman of the race” (93) Stowe, Harriet Beecher, “Still, still with Thee” (23) Walter, Howard A., “I would be true” (207) Wolcott, Samuel, “Christ for the world we sing” (327) f. _English Independent_ Doddridge, Philip, “How gentle God’s commands” (56) Watts, Isaac, “When I survey the wondrous cross” (105-6) g. _Episcopal_ (_American_) Brooks, Phillips, “O little town of Bethlehem” (84) Bowie, W. Russel, “Lord, through changing days” (402) Coxe, Arthur C., “O where are kings and empires now” (276) Doane, George W., “Fling out the banner” (331) Hopkins, John, Jr., “We three kings of Orient are” (90) Key, Francis Scott, “Lord, with glowing heart I’d praise” (511) Roberts, Daniel C., “God of our fathers, whose almighty” (347) h. _Lutheran_ (_German_) Clausnitzer, Tobias, “Liebster Jesu, wir sind hier” (553a) Gerhardt, Paul, “Commit thou all thy griefs” (558) Luther, Martin, “A mighty fortress is our God” (549) Nicolai, Philipp, “Wake, awake for night is flying” (522) Rinkart, M. Martin, “Now thank we all our God” (514) Schmolck, Benjamin, “My Jesus, as Thou wilt” (250) Spitta, Karl Johann Philipp, “O happy home, where Thou” (358) i. _Methodist_ Crosby, Fanny, “Jesus, keep me near the cross” (490) Farrington, Harry Webb, “I know not how that Bethlehem’s” (99) Gebhardt, Ernst (German), “Ich weiss einen Strom” (232) Lathbury, Mary, “Break Thou the bread of life” (288) Marlatt, Earl, “Are ye able, said the Master” (392) Nicholson, James, “Lord Jesus, I long to be perfectly whole” (469) North, Frank Mason, “Where cross the crowded ways of life” (222) Owens, Priscilla, “We have heard the joyful sound” (334) Wesley, Charles, “Jesus, lover of my soul” (158-9) Williams, William (Welsh), “Guide me, O Thou great” (160) j. _Presbyterian_ Babcock, Maltbie, “This is my Father’s world” (48) Benson, Louis, “O sing a song of Bethlehem” (92) Clephane, Elizabeth (Scotch), “Beneath the cross of Jesus” (112) Duffield, George, “Stand up, stand up for Jesus” (193) Hastings, Thomas, “Hail to the brightness” (332) Hopper, Edward, “Jesus, Savior, pilot me” (161) Mackay, Wm. P., “We praise Thee, O God” (437) Matheson, George (Scotch), “O Love that wilt not let me go” (175) Merrill, Wm. P., “Rise up, O men of God” (230) Prentiss, Elizabeth, “More love to Thee, O Christ” (472) Small, James G. (Scotch), “I’ve found a Friend” (445) Van Dyke, Henry, “Joyful, joyful, we adore Thee” (10) k. _Quaker_ Adams, Jessie, “I feel the winds of God today” (391) Barton, Bernard, “Walk in the light” (209) Whittier, John G., “Dear Lord and Father of mankind” (181) l. _Unitarian_ Adams, Sarah F., “Nearer, my God, to Thee” (202) Bennett, S. F., “In the sweet bye and bye” (504) Bowring, John, “In the cross of Christ I glory” (110) Holmes, Oliver W., “Lord of all being, throned afar” (53) Hosmer, Frederick L., “Father, to Thee we look in all our” (249) Johnson, Samuel, “Father, in Thy mysterious presence” (188) Longfellow, Samuel, “I look to Thee in every need” (244) Martineau, James, “Thy way is in the deep, O Lord” (242) Parker, Theodore, “O Thou great Friend to all the sons” (224) Sears, Edmund, “It came upon a midnight clear” (75) Ware, Henry, Jr., “Great God, the followers of Thy Son” (13) m. _No Church Affiliation_ Bates, Katherine Lee, “O beautiful, for spacious skies” (343) Vories, Wm. M., “Let there be light, Lord God of hosts” (353)

17. Hymn Meters.

Meter (English, _Metre_) refers to the rhythmic element in poetry:

a. the number of lines in a stanza. b. the number of syllables in a line. c. the arrangement of accented and unaccented syllables.

The figures attached to the tune names in the _Hymnary_ indicate the number of lines in a stanza and the number of syllables in a line, e. g., 8.7.8.7. means that the hymn has four lines in each stanza, the first line being made up of 8 syllables, the second of 7 syllables, the third of 8 syllables, and the last of 7 syllables. The figures are placed there to facilitate the fitting of tunes to hymns, a responsibility which is left now-a-days largely to hymnbook editors.

A given tune may be used with any variety of hymns provided the latter have the same meter as the tune. Likewise a given hymn may be sung to any tune that fits its meter, e.g., “Come, Thou Almighty King,” set to the tune, “Italian Hymn,” as both have the meter pattern 6.6.4.6.6.6.4. This is also the meter of “My country ’tis of thee” set to “America.” Hence the words and tunes of these hymns may be interchanged. As a matter of fact, “Come Thou Almighty King” was originally used with the tune “America.” The practice of using alternate tunes is less common now than formerly and must be done with care for while the meters may be suited, the words and tune may be incompatible otherwise.

Meter Names

A few meters have specific names. These, with their abbreviations are as follows:

_Short Meter_ (S.M.) 6.6.8.6, e.g.

Blest be the tie that binds (6) Our hearts in Christian love: (6) The fellowship of kindred minds (8) Is like to that above. (6)

_Short Meter Double_ (S.M.D.) is used for a tune in which the quatrain is repeated, e.g. “Terra Beata” (48), set to the words “This is my Father’s world.”

_Common Meter_ (C.M.), also called Ballad Meter, consists of four lines of 8.6.8.6. syllables, e.g.

In Christ there is no East or West (8) In Him no South or North; (6) But one great fellowship of love (8) Throughout the whole wide earth. (6)

Nearly all the metrical psalms appeared in this meter.

_Common Meter Double_ (C.M.D.) is employed when two Common Meter quatrains are used to form one stanza, e.g.,

“It came upon a midnight clear.” (75)

_Long Meter_ (L.M.) consists of a four line stanza in which each line is of eight syllables, e.g.,

Praise God, from whom all blessings flow; (8) Praise Him, all creatures here below; (8) Praise Him above, ye heavenly host; (8) Praise Father, Son, and Holy Ghost. (8)

_Long Meter Double_ (L.M.D.), not often used, consists of a stanza of eight lines, each line of eight syllables, e.g.,

“The spacious firmament on high.” (50)

Accentuation

In setting a hymn to music it is important that the accented syllables of the poetry fall on the accented beats of the musical bars. Try singing “Softly and tenderly Jesus is calling” (456) to the tune “Ich weiss einen Strom” (232). The meter is the same in each case—11.7.11.7.—with refrain—but the words and tune are obviously not suited to each other because of differences in accentuation.

18. Hymn Tunes.

a. What is a good tune? b. Importance of tunes. c. Composers of tunes. d. Sources of tunes. e. Tune names.

a. What is a good tune?

The quality of a tune must be judged by its definite and restricted use. It is to be sung by a congregation of people, the majority of whom have had only limited musical training, and without benefit of rehearsal. The tune must therefore be judged by such questions as these: Is it singable? Are the parts within easy pitch range of the voices? Is it free from difficult intervals or modulations into other keys? Is it interesting? Does it create a worshipful atmosphere? Does the mood of the tune fit the mood and thought of the words?

b. The importance of tunes.

The tune is of great importance to the success of the hymn. Our “best hymns” owe their popularity in many instances, to the tune with which they are associated. On the other hand many excellent hymns remain unused because the tunes given them are too difficult or too uninteresting. It is the tune that creates the mood of worship and charges the words with emotion so that their message is carried forth with feeling and power.

c. Composers of tunes.

The story of the development of the hymn tune begins with the worship song in the Temple at Jerusalem where the psalms were sung antiphonally by priests and people accompanied by harps and trumpets. Little is known of these tunes or their composers. This early Christian music would doubtless sound strange to modern ears.

The important names in the roll of church musicians, from the early centuries to the present time, include the following:

_Italian_—Ambrose, 4th century Gregory the Great, 6th century Palestrina, 1525-94 _French_—Louis Bourgeois, c. 1510-? _German_—Luther, 1483-1546; Nicolai, 1556-1608; Hassler, 1564-1612; Praetorius, 1571-1621; Crüger, 1598-1662; Bach, 1685-1750. _English_—Tallis, 1510-85; Gibbons, 1583-1625; Croft, 1678-1727; Gauntlett, 1805-76; Monk, 1823-99; Dykes, 1823-76; S. Wesley, 1810-76; Barnby, 1838-96; Stainer, 1840-1901; Sullivan, 1842-1900. _American_—L. Mason, 1792-1872; Bradbury, 1816-68; Hastings, 1784-1872; Stebbins, 1846-1945.

The great composers, besides Bach, whose names are found in church hymnals are: Haydn, Beethoven, Handel, Mozart, Mendelssohn, Gounod, and Sibelius.

The above is only a partial list of composers of good church music. Among their works is a corpus of fine hymn tunes far greater than has been utilized by the church so far. For years to come, compilers of hymn books will have a vast reservoir of excellent tunes, old yet new, to draw from.

d. Sources of tunes.

An examination of the origin of church tunes shows a variety of sources. Many tunes were especially written for the words to which they are set; others are adaptations from early medieval chants; still others, as for example, the “Passion Chorale” and “Londonderry Air”, were folk tunes originally used with secular words. Some of our best tunes are adaptations of melodies from larger musical works, as for example, “Hymn to Joy” (10) from Beethoven’s _Ninth Symphony_; “Finlandia” (54), from a tone poem by Sibelius; and “Seymour” (36), from Weber’s opera, _Oberon_.

e. Tune names.

Composers usually name their tunes in order to facilitate their identification. The names given them are selected quite arbitrarily. W. H. Havergal, prolific composer of church music, named his tunes after the rivers, mountains, valleys, etc., of Palestine, e.g. “Abana,” “Ahava,” “Ararat,” “Baca,” etc. Other tunes have been named for the composer, e.g., “Bradbury” (395); the name of a friend, e.g., “Rockingham” (105); name of a city or village, e.g., “Boylston” (214); a street, “Federal Street” (192); a cottage, “Hollingside” (159); an event in history, “Nicaea” (1); or the central idea in the words, “Pilot” (161).

In Germany, the usual practice has been to name the tune after the first line of the hymn to which it was originally set.

Some tunes, unfortunately, are known by more than one name, e.g., “St. Michel’s” (93) and “Jerusalem, Jerusalem” (125). In a few cases the same name is given to several tunes, e.g., “Wesley” (309 and 332). This is confusing and it is highly desirable that hymnbook editors strive toward uniformity of nomenclature.

19. John Wesley’s Rules for Singing.

In one of John Wesley’s compilations of tunes, _Sacred Melody_, the great preacher and founder of Methodism gives the following rules for singing. Some of the expressions used may provoke a smile but, as Lightwood suggests, “it would be a very good thing if these were read aloud from time to time in all churches and chapels where good congregational singing is aimed at.”

a. Learn these tunes before you learn any others; afterwards learn as many as you please.

b. Sing them exactly as they are printed here, without altering or mending them at all; and if you have learned to sing them otherwise, unlearn it as soon as you can.

c. Sing ALL. See that you join with the congregation as frequently as you can. Let not a slight degree of weakness or weariness hinder you. If it is a cross to you, take it up, and you will find it a blessing.

d. Sing lustily and with a good courage. Beware of singing as if you were half dead, or half asleep; but lift up your voice with strength. Be no more afraid of your voice now, nor more ashamed of its being heard, than when you sang the songs of Satan.

e. Sing modestly. Do not bawl, so as to be heard above or distinct from the rest of the congregation, that you may not destroy the harmony; but strive to unite your voices together, so as to make one clear melodious sound.

f. Sing in tune. Whatever time is sung be sure to keep with it. Do not run before nor stay behind it; but attend close to the leading voices, and move therewith exactly as you can; and take care not to sing too low. This drawling way naturally steals on all who are lazy: and it is high time to drive it out from among us, and sing all our tunes just as quick as we did at first.

g. Above all sing spiritually. Have an eye to God in every word you sing. Aim at pleasing Him more than yourself, or any other creature. In order to do this attend strictly to the sense of what you sing, and see that your heart is not carried away with the sound, but offered to God continually; so shall our singing be such as the Lord will approve of here, and regard you when He cometh in the clouds of Heaven.

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