Miscellaneous notes on hymns and tunes in Freylinghausen's Geistreiches Gesangbücher which have appeared in English hymn-books.
(For a brief biographical note about Freylinghausen, click here > > .)
The Notes and references here are based on copies of Freylinghausen's Gesangbücher seen at the British Library, London - viz. an edition dated 1705 and another (Neues Gesangbuch) dated 1726.
In this section:
Hymn-books (English) - abbreviations used here
1CH
Church Hymnary, 1905
RCH
Church Hymnary (Revised), 1927
3CH
Church Hymnary (3rd edition), 1973
AHB
Anglican Hymn Book, 1965
A&M
Hymns Ancient & Modern, 1861, 1868, 1875, 1889, 1916
AM04
Hymns Ancient & Modern, 1904
AMS
Hymns Ancient & Modern, 1922 (Standard Edition)
AMR
Hymns Ancient & Modern, 1950 (Revised)
AMNS
Hymns Ancient & Modern, 1983 (New Standard)
ComP
Common Praise (New A&M), 2000
BBC
BBC Hymn Book, 1951
BHB
Baptist Hymn Book, 1962
BPW
Baptist Praise and Worship, 1991
CCH
Congregational Church Hymnal, 1887
CeH
Celebration Hymnal, 1978
ChrHy
Christian Hymns, (1977), 1985
CoH
Congregational Hymnary, 1916
ComP
Common Praise (New A&M), 2000
CP
Congregational Praise, 1951
CWo
Christian Worship, (1976), 1984
EH
English Hymnal, (1906), 1933
NEH
New English Hymnal, 1986
Fndry
John Wesley: Foundery Collection, 1742
HPs
Hymns and Psalms, 1983
HTC
Hymns for Today's Church, 1982, (1987)
MHB4
Methodist Hymn Book, 1904
MHB3
Methodist Hymn Book, 1933
MOR
Moravian Hymn Book, 1975 (copy not seen - only an Index consulted)
NEH
New English Hymnal, 1986
NCH
New Catholic Hymnal, 1971
ONC
Hymns Old and New (Complete Anglican edn), 2000
ONM
Methodist Hymns Old and New, 2001
ONR
Hymns Old and New (R.Catholic edn), 1994
PtL
Praise the Lord, 1972 (copy not seen - only an Index consulted)
RCH
Church Hymnary (Revised), 1927
RS
Rejoice and Sing, 1991
SHm
John Wesley: Sacred Harmony, 1780
SHTX
John Wesley: Select Hymns with Tunes Annext, 1761
SoSy
Songs of Syon, 1910
SPE
Songs of Praise (Enlarged), 1931
Notes on Hymns or Melodies listed in Tables (click on First Lines as required)
(In the Notes below, numbers against the hymn titles refer to the lines in the Tables accompanying the printed version of these Notes. To view these here, click on the highlighted incipit of the hymn text at the head of each Note. "JAF" denotes the editions of Freylinghausen's Gesangbuch mentioned in the Tables. Abbreviations of English hymn-book titles are expanded in footnotes: click on the abbreviation to see these.)
- Das ist meine Freude hier
- Den des Vaters Sinn geboren
- Der Tag ist hin, mein Geist und Sinn
- Dich, Jesu, loben wir
- Dir, dir Jehovah will ich singen
- Est kostet viel ein Christ zu seyn
- Fahre fort, fahre fort, Zion
- Gott lebet noch
- Gott sei dank in aller Welt
- Jesus ist das schönster Licht / Meine Liebe lebet noch
- Jesu, meines Glaubens Zier
- Komm, o komm, du Geist des lebens
- Macht hoch die Thür
- Meine Armuth macht mich schreien
- Mein Jesu! dem die Seraphinen
- Meine Liebe lebet noch
- Monarche aller ding
- Morgenglanz der Ewigkeit
- Morgenstern der finstern Nacht
- Nicht so traurig, nicht so sehr
- O der alles hat verlohren
- O der Hüter Israel
- O reines Wesen, lautre Quelle
- Wer ist wohl wie du
- Zeuch meinen Geist
- Zeuch mich, zeuch mich mit dem armen
1 Das ist meine Freude hier
Set in EH and NEH to a tr. by Athelstan Riley (1858-1945) of a 13th cent. Latin hymn "Si vis vere gloriari". The melody is almost identical to JAF, with slight differences at the cadences and mi instead of re at the beginning of bar 3. The bass line is also altered, with different harmony in places.
2 Den des Vaters Sinn geboren
Melody unchanged; bass line and harmony slightly altered (Ziøns Harfe, 1855). Set in all marked books to a hymn to Mary by V.S.S.Coles (1845-1929) "Ye who own the faith of Jesus". It was included in this form in the initial Roman Catholic editions of Hymns Old and New but omitted from the latest (1999) edition.
3 Der Tag ist hin, mein Geist und Sinn
JAF's melody (J.Schopf ?) has not been not found in any English book except SoSy (1910 &c.). A tr. by Richard Massie was published in a number of private Collections between 1857 and 1872. A tr. by Catherine Winkworth was in her Lyra Germanica 1855, and altered for the Chorale Book for England 1863; in her first version she altered the rhythm, omitting the last syllable of the second half-line, but the second version followed JAF's metre exactly. The second version appeared in SoSy 1910, with the tune "O Traurigkeit, O Herzeleid" attributed there to J. Schopf, 1643.
Several other English tr.s appeared in the 19th cent., including versions by Frances Bevan (1858) and Frances Cox (1864), both of whom published collections of hymns translated from German. Two sisters, Jane and Sarah Borthwick, published several volumes between 1854 and 1862, entitled Hymns from the Land of Luther; the last of these included a tr. of "Der Tag ist hin" which was later included in three Congregational hymn-books (1887, 1916 and 1951) and in the Baptist Hymn Books of 1933 and 1962. It has not been found in any hymn-books since 1962. In the Tables, "b" indicates that the Jane Borthwick tr. was used; "w" the Winkworth translation (second version).
4-6 Dich, Jesu, loben wir
One of the hymns that John Wesley probably learnt from his Moravian travelling-companions during his sea voyage to America in 1737. He translated Johann Scheffeler's text for his 1738 Psalms and Hymns, and named the tune "Savannah" for his early tune books (1742), re-naming it "Irene" for the 1761 Select Hymns / Sacred Melody. Wesley's version of the tune is in duple time, not triple as in the original JAF (it had become duple in the 1741 edn of JAF); and as usual the translations eliminated "feminine line-endings" by dropping an unaccented syllable at line-end. The melody was further simplified by later editors of the English books, but it survives into the present-day Methodist HPs (and ONM 2001), where the 1741 version has been largely restored.
7-13 Dir, dir Jehovah will ich singen
One of the two or three melodies in JAF which appear, in some form, in nearly every English hymn-book. (For the others, see Notes 15/16 and 18/19 below.) It is, of course, not one of Freylinghausen's own compositions, but adapted from a tune for "Wer nur den lieben Gott lässt walten" in the Hamburger Musicalische Handbuch, 1690, and set by JAF to Johann Crasselius's words. It is found with a variety of forms and names (see lines 7-12 of the Tables); the most common in present-day hymn-books is in duple time, 4-line iambic 8.8.8.8. or "Long Metre", with equal notes throughout, with the name "Winchester New". This dates back to 1864, with an arrangement by W.H.Havergal for his collection Old Church Psalmody, which was then included in A&M 1868. In some later books Havergal's setting has been further simplified by eliminating passing-notes in the alto, tenor and bass lines. In the Tables, books which have retained Havergal's version are marked with "h" before the number.
John Wesley used the melody in his 1742 Tune-book for a hymn by his brother Charles, and called it "Swift German Tune". (His "Slow German Tune" was a variant of Neumark's own tune to "Wer nur den lieben".) Wesley had the tune in triple time, with the first couplet repeated (as in JAF) to fit a 6-line stanza. It was taken up by others in various forms; George Whitefield (1754) named it "Winchester New Tune"; it was also known as "Winchester" and "Frankfort", and (through a mis-understanding of the tune's origin) "Crasselius". The duple time 6-line form of the original survived in RCH 1927, which kept the name "Dir, dir Jehovah", and also included the Havergal version for another Long Metre hymn. RCH's successor book, 3CH 1973, also included the tune in two forms, one being the Havergal, and the other an adaptation of the tune in triple time, Common Metre (iambic 8.6.8.6.) which was there named "Effingham".
SoSy 1910 also includes a tune with the name "Dir, dir Jehovah"; but this is actually J.S.Bach's melody for Crasselius's hymn, which was included in Schemelli's Gesangbuch 1736 (BWV 452), set in SoSy to words by the editor of that book, G.R.Woodward.
14 Es kostet viel ein Christ zu seyn
This hymn by C.F.Richter seems not to have been translated into English. The JAF tune is also unknown in English hymn-books; but a similar tune appears in John Wesley's Select Hymns / Sacred Melody 1761, set to two short hymns derived from a paraphrase by Isaac Watts of Psalm 145. The Wesley tune is named "Aldrich", and it has been conjecturally identified as a variant of the JAF tune for "Es kostet viel". However, the similarities, though convincing in the first line, are hard to discern in the rest of the tune.
15, 16 Fahre fort, fahre fort, Zion
A version of the JAF melody, described as "from Freylinghausen (1704)" appears in SoSy 1910, with a translation by G.R.Woodward of Johann Schmidt's words. The SoSy melody, however, is a simplified version of the original, omitting most of the passing-notes and giving just one note to each syllable of words.
A Moravian collection, Hymn Tunes of the United Brethren (1824), edited by John Lees, gives the tune in a more elaborate form, but adapted to a 4-line stanza 7.7.7.7. with each line beginning and ending with an accented syllable. This version was adapted** by the organist at Monkland, Shropshire, where H.W.Baker was Vicar, and included by Baker in the first edition of A&M (1861). It has been in most subsequent English hymn-books in this form, named "Monkland" after the place of origin. (The 1904 edition of A&M, which was largely ignored by the Anglican Church who still preferred the older editions, did contain a "free arrangement" of the original JAF form of the melody; but this has appeared nowhere else.)
** For many years the link between Freylinghausen's Fahre fort and the tune "Monkland" has been assumed in hymn-books and hymnal Companions. This is now generally believed to be fallacious; in an article in the Hymn Society GBI Bulletin (Vol.11, No.12; Bulletin 173, October 1987) John Wilson set out what he believed to be the true origin of "Monkland", attributing it to an American Moravian named John Antes (1740-1811). and finding it in the Moravian collection of Hymn Tunes compiled in Manchester, England, in 1824 (referred to above). It must be admitted that the similarity of "Monkland" to Freylinghausen's melody is only in the first line, which itself uses a musical pattern common to many hymn tunes. However, John Antes may well have known the earlier melody through Moravian use of Freylinghausen's hymns.
17 Gott lebet noch
This is found only in SoSy 1910 &c. and BBC 1951. In both books it is given in J.S.Bach's version from the Schemelli Gesangbuch 1736 (BWV 461); in SoSy set to a translation of J.F.Zihn's hymn by Frances Cox (1864), and in BBC to a tr. by G.W.Daisley (1877-1939).
18, 19 Gott sei dank in aller Welt
Like No. 7 above, this melody is found (altered) in most English hymn-books published before c.1980, although some of the more recent editions have omitted it altogether. The alterations are minimal; the rhythm is unchanged, and the few passing-notes and dotted cadences are replaced by equal notes, one per syllable. The Bass line and consequent harmonies, howver, are different from JAF in all English books; most have harmony as in A&M 1861, with some variations of Bass and harmony in Congregational and Methodist books and the Welsh Evangelical book ChrHy 1985. Four books, however, preserve JAF's melody (not the harmony) without alteration: these are the English Hymnal 1906-1986 and Songs of Praise 1931.
No explanation is known for the name "Lübeck", by which the tune is known in all books containing the altered melody line. It seems to have been used first in A&M 1861, possibly for no other reason than the desire to find a German place-name.
20-22 Jesus ist das schönster Licht / Meine Liebe lebet noch
The tune name is found in JAF to both these hymns, the first in the 1704 edition and the second in 1714 as a recommended alternative to the tune printed with "Meine Liebe lebet". The melody given in 1704 has not been found in English books, and English versions of C.F.Richter's words have appeared, as far as we know, only in Moravian hymn-books. The German first line, however, stands as the tune name in the English Hymnal 1906-1986, over the 1714 tune given in JAF to "Meine Liebe lebet noch". Here it is marked "rhythm slightly adapted", and set to words by H.D.Rawnsley (1850-1920). SoSy 1910 has what is said to be JAF's 1726 tune; the rhythm is identical to that in the English Hymnals, but the harmony is simplified. In SoSy it is set to a translation of the 17th century Latin hymn "Jesu meae deliciae" (untraced).
The 1950 edition of A&M (AMR) gave the 1714 tune, set to H.D.Rawnsley's words, with the tune in a much simplified form from J.B.König's Harmonischer Lieder-Schatz (1738).
23, 24 Jesu, meines Glaubens Zier
The original hymn-text does not appear in English hymn-books, and we have not found an English translation. The melody, however, was known to the Editors of the English Hymnal - possibly through Bach's slightly simpler setting (omitting the dotted quavers at cadences) in the Schemelli Gesangbuch 1736 (BWV 472). For EH 1906 a hymn was wanted on the theme of the words of Jesus (John 19:30 "tetelestai" - "es ist vollbracht" - "It is finished") to supplement many other hymns which begin with these words. Gabriel Gillett (1873-1948) provided a text for this purpose, following exactly the metre and rhyming pattern of "Jesu, meines Glaubens Zier"; and the tune was also used for another hymn in the same metre - a translation by Catherine Winkworth of J.W. Meinhold's "Güter Hirt, du hast gestillt" (1835; tr. 1858).
The EH editors repeated the Gabriel Gillett words and setting in SPE 1931. As in EH, the tune appeared there in Bach's simplified version. It was further simplified in the American Episcopal Hymnal 1940, from whence the English book Rejoice and Sing 1991 took both the words and the tune version. The tune was named "Sebastian" for SPE 1951, probably in honour of Johann Sebastian B., although Freylinghausen ought perhaps to have had the credit.
This melody by J.C. Bach (1693) appears, with only slight variations in the last two lines, in a number of English books to different words. Neither Heinrich Held's text, nor the alternative text to which the melody is set in JAF ("Zeuch mich, zeuch mich mit dem armen") can be found in English hymn-books, although a tr. of Held's hymn by Catherine Winkworth, in a slightly different metre, was included in her Lyra Germanica 1858 and in a number of other 19th century collections.
It was printed in England by John Jacobi, who held the office of Keeper of the Royal German Chapel, London from 1708; he included Bach's tune in his Psalmodia Germanica, 1722. John Wesley used it, in a slightly more elaborate form, for a hymn by Charles Wesley in the 7.7.7.7. metre, taking 2 (3) notes for the final syllable of the first line, and omitting the repeat of the first two lines. He named it "Frankfort Tune", but later changed it to "Plymouth",
26, 27 Macht hoch die Thür
Georg Weissel's hymn (1642) has been in many German hymn-books right up to the present day, together with Freylinhgausen's melody. The words were translated by Catherine Winkworth for her Lyra Germanica 1855, and have been in many subsequent English hymn-books, though not always in a complete form. Unfortunately Catherine Winkworth's tr., although mostly in the metre of the German original, departed from the metre of the last line, adding two extra syllables. Some hymn-books have managed to retain the hymn, adapting either the words or the tune, or both, in the last two lines; these include the independent Methodist book ONM 2001, and The University Carol Book (not listed in these notes; edited by Erik Routley, 1961). SoSy 1910 kept the original melody intact, but re-harmonised it, and provided a fresh translation of "Macht hoch" by the editor, G.R.Woodward.
A number of other English hymn-books have retained the words, more or less in Catherine Winkworth's translation, but provided tunes by other composers; in most of these the words were altered, some by adapting the last two lines, some by omitting them to make a 6-line stanza, and some by taking only the first four lines of each stanza, thus fitting them to a standard Long Metre tune (8.8.8.8 iambic).
One book, SPE 1931, set the melody to a Nativity poem by Alfred Domett (1812-87) naming it "Freylinghausen". The English words required the first two lines of the tune to be repeated, and the rhythm of the last couplet to be completely altered. The poem was not really suitable as a hymn, and it, together with this arrangement of the melody, has not been included in any other English hymn- book.
28, 29 Meine Armuth macht mich schreien
C.F.Richter's words were translated in 1851 for a collection by A.T.Russell (1806-74), but the rather sombre text has not been found in general English hymn-books. However, Freylinghausen's cheerful tune was better matched to words by Friedrich von Canitz, "Seele du musst munter werden" (in JAF 1714), tr. by H.J.Buckoll (1803-71) as "Come, my soul, thou must be waking"; this was quoted (1841) in a volume of sermons by Dr Arnold (not the hymn-writer Gottfried Arnold of Quedlinberg - see note on lines 40/41 below , but Thomas Arnold, head-master of Rugby School, England, where H.J.Buckoll was an assistant teacher). It was then included, with JAF's tune, in a number of English hymn-books up to the middle of the 20th century. The tune, however, has continued to be named "Meine Armuth", after Richter's hymn.
30-32 Mein Jesu! dem die Seraphinen
John Wesley translated these words by Wolfgang Dessler for his 1739 Hymns and Sacred Poems, renaming the tune [ Lusatia / Dessler ]. He omitted the last two stanzas, and divided the remaining 6x8 lines into two separate hymns of 6x4 lines; the words appeared in this form in his 1780 Collection for . . . Methodists, and remained in the Wesley hymn-books until 1904, although in this last edition only 5x4 stanzas were included, and were no longer associated with Freylinghausen's tune.
The tune was somewhat simplified, first to fit the English "Long Metre" (8.8.8.8 iambic), and later in the 1904 and 1933 Methodist books to a six-line iambic form (88.88.88), where is was set to two of Charles Wesley's hymns. It seems not to have appeared in any other English hymn-book until 1986, when the New English Hymnal reverted to a 4-line LM version (with rather more of JAF's ornamentation of the melody than the Methodist books had used), setting it to a recent paraphrase of part of Ps.93 by Michael Hodgetts (b.1936). In the NEH book the tune was again renamed, this time as "Seraphinen".
See also the note on lines 43-44 below ("O der Hüter Israel").
33 Meine Liebe lebet noch
[ See note above, lines 20-22 - Jesus ist das schönster Licht ]
34 Monarche aller ding
[ Text, melody and tr.s not yet traced in modern books, but occurs (text) in the Moravian Hymn Book 1912, as 6 verses of John Wesley's tr. "Monarch of all, with lowly fear" (J.Wesley, HSP 1739)
also found in other collections (see Julian) as
- To thee, O Lord, with humble fear
- Thou, Lord, of all the parent art
- Thou, Lord, art light; thy native ray ]
35 Morgenglanz der Ewigkeit
Christian Knorr von Rosenroth's hymn has been tr. many times into English, Julian's Dictionary of Hymnology listing 13 different versions all of which were published some time during the late 19th century. Only two have made it into regular hymn-books: one by Richard Massie (first published 1857) in SPE 1951, beginning "Come, thou bright and morning star"; and one by Jane Borthwick in her Hymns from the Land of Luther 1855, "Jesus, Sun of Righteousness", found in RCH 1927 to the JAF melody and in MHB 1933 to a tune by a 19th century English composer. SoSy also has the melody, with a tr. of von Rosenroth's words by Catherine Winkworth (1855) altered by G.R.Woodward.
In all the English hymn-books which have the melody, the last three notes appear to be doubled in length, compared with the notation in JAF 1704 (1705).
36 Morgenstern der finstern Nacht
This rather jolly tune has surprisingly not made it into general English hymn-books. It is given in SoSy 1910, re-harmonised, with a tr. of Johann Scheffler's words by the editor, G.R.Woodward. Another translation, by the Moravian minister Bennett Harvey (1829-94), appeared in English Moravian hymn-books including the 1975 edition, to a very plain simplified version of the JAF melody, with none of the passing-notes which enliven the original.
37-40 Nicht so traurig, nicht so sehr
Gerhardt's words were translated by Sarah Findlater (sister of Jane Borthwick) for their Hymns from the Land of Luther, 1854; the tr. was repeated, abridged, in a hymn-book edited by the Congregational minister R.W.Dale (English Hymn Book, 1875). Apart from this, they do not appear to have been used in English hymn-books generally. The Freylinghausen tune, however, has appeared in a number of English books, generally with some minor simplification of the melody line and with varied harmony. The five books identified in the Tables each set the tune to different words - mostly in hymns written for Requiem or funeral occasions.
J.S.Bach included Freylinghausen's tune in the Schemelli Gesangbuch 1736 (BWV 489), where it is associated with Gerhardt's words. In the 1769 "371 Vierstimmige Choralegesänge" another tune was provided, which also has been known by the hymn name "Nicht so traurig"; and this also appears in a number of English hymn-books to various texts, including books which also have the Freylinghausen tune to another hymn.
Confusingly, both tunes have also been known by the same alternative English name "Pressburg".
41, 42 O der alles hat verlohren
This melody appears in JAF 1705 in triple rhythm, and in the 4th edition 1708 in duple ("common time"). In the two English books which contain it (EH 1906/33 and SPE 1931, both by the same editors) the duple version is used; this, however, was taken from the 1863 collection Chorale Book for England compiled by Catherine Winkworth, W.Sterndale Bennett and Otto Goldschmidt, where the tune was attributed to the 1698 Darmstadt Geistreiches Gesangbuch. The editors of SPE 1931 believed that the melody probably was Freylinghausen's, but may have been influenced by the similar and familiar Darmstadt tune. (Songs of Praise Discussed, 1933). In the English books mentioned, the tune has the alternative name "Goldschmidt".
Gottfried Arnold's text has been translated by Sarah Findlater (see note above on "Nicht so traurig"), and by Catherine Winkworth for Lyra Germanica 1855 and C.B.E. 1863. No other English translations have been located; and in EH and SPE the melody is set to hymns by 19th century English writers - Edward Caswall (1814-78) "Days and moments quickly flying" (EH), and Mrs C.F.Alexander (1823-95) "Jesus calls us" (SPE).
43, 44 O der Hüter Israel
[ The German text is not yet identified ]
The melody occurs twice in JAF - to this text and as an alternative for "Mein Jesu dem die Seraphinen" (see note on lines 29-31 above). It was in triple rhythm, and is much altered and shortened in English hymn-books, where it is much used. The usage, however, is mainly in books of Non-conformist churches, the melody not having been included in the English Hymnal nor in any edition of A&M until the year 2000 (Common Praise). A version of the original, under its German text name, is in the British Moravian Hymn Book 1975, but we have not yet been able to view this; it is set there to a tr. by John Gambold (1711-71) of Zindendorf's "Mache uns zu deinem Dienst".
The shortened version in other English hymn-books is in the 8.8.8.8 iambic "Long Metre", very common in English hymn texts, and is named "Festus". Its original appearance in this form was in a book of hymn-tunes published in 1863 (the Bristol Tune Book), which was much used by Non-conformist churches; at that time it was unusual to publish words and tunes in the same volume, a practice which became more common from about 1880 onwards. The "Festus" version was further adapted in some hymn-books (and in a later edition of the Bristol book) to a 7.7.7.7 metre, and in this form sometimes re-named "Bonn".
45 O reines Wesen, lautre Quelle
Catherine Winkworth translated this for her Lyra Germanica 1855 and the Chorale Book for England 1863. It has not been found in any other English hymn-book; and the melody likewise is untraced.
46 Wer ist wohl wie du
[ The melody has not been identified, but may be the Darmstadt 1698 tune to Drese's "Seelingbräutigam, Jesu Gottes Lamm" (see Julian 311b). ]
John Wesley translated six of Freylinghausen's stanzas for his 1737 Psalms and Hymns, beginning "O Jesu, source of calm repose" (JAF's vv. 1, 3-5, 8, 13). They were repeated in later Wesley hymn-books, including his 1780 Collection, and in subsequent Methodist books up to 1904; the last of these, however, contained only three stanzas (1, 8 and 13). As often in his translations of German hymns, Wesley did not attempt to retain the metre of the original; this tr. was in six equal lines, iambic 888.888 in two groups of three lines, with the rhyming scheme "aab.ccd".
Early Moravian books in England included Wesley's version, sometimes with a different form of the opening line ("Jesus, thou source . . . "). A different English tr. by the (Welsh) Moravian Bishop, John Gambold (1711-71), which still appears in the British Moravian Hymn Book 1975, was first published in 1754 (the year in which he was consecrated Bishop), and its first line "Who is like thee, Who?" was altered to "Jesus, who with thee" (the form in MOR 1975) in 1801.
A later tr. by a Baptist scholar F.W.Gotch (1807-90) appeared in the Baptist Psalms and Hymns (Supplement, 1880). It was dropped from Baptist denominational hymn-books after 1933, but still appears in the independently published Grace Hymns 1977/84.
Fragments of Freylinghausen's hymn have appeared in centos formed mainly from other hymns. Into a tr. by John Wesley of Zindendorf's "Seelen-bräutigam", in which he translated five stanzas from Zindendorf (vv. 1, 2, 4, 10, 11), Wesley inserted a tr. in four lines of stanza 12 of "Wer is wohl wie du" ("Wenn der Wellen macht / in der trüben Nacht", tr. as "When rising floods my soul o'erflow"), which he had not included in his 6-line tr. mentioned above. This cento survived into MHB 1933 and is still to be found in ChrHy 1985 and some other current hymn-books.
A more complicated trace derives from a hymn beginning "Father, who on high". This has a mixed history, being partly from a hymn by the Swedish Lutheran/Moravian L.T.Nyberg (1720-92), and partly from additional verses inserted from time to time by different editors. One version of this composite hymn, published in a collection dated 1864 (Dr Pagenstecher), contains as its third stanza a Moravian tr. of v.5 of Freylinghausen's "Wer ist wohl wie du" ("Höchste Majestät!", tr. as "Highest King and Priest").
47-49 Zeuch meinen Geist
This first appeared in Christian Knorr von Rosenroth's Neuer Helikon 1684. It was a florid triple-time melody, and was slightly modified, though still in triple time, in the Darmstadt Gesangbuch 1698, from which Freylinghausen took it without significant change. A much plainer form in duple time was given in J.B.König's Harmonischer Lieder-Schatz (1738). In all these, lines 1 and 2 of the melody repeated the final note, to accommodate the unstressed final syllable of the words, the metre being 9.9.8.8 iambic.
John Wesley used the melody in his "Foundery" tune-book (1742), setting it there to his tr. of C.F.Richter's "Hier legt mein Sinn sich vor dir nieder" (which was also in JAF 1704), and giving it the name "Second German Tune". (His "First German Tune" was a 16th century melody for a funeral hymn "Nun lasset uns den Leib begraben", which he took for one of his translations from Zindendorf.)
For the first edition of A&M 1851, W.H.Monk took König's version of "Zeuch meinen Geist" (restoring the high F in lines 1 and 3 which König had lowered), and cut the line-endings to fit it to the English Long Metre 8.8.8.8 iambic. It was set in A&M to a tr. of a Latin hymn by Charles Coffin (1676-1749), where it was named "St Gregory". The English Hymnal (1906/33, 1986) retained the rhythm and melody line from Monk's version, but restored an elaborate harmonisation, keeping the harmonic progressions of the original, but with more florid part-writing in the alto and bass lines. Other hymn-books - Baptist, Congregational and Methodist, have stayed with the simpler (and less interesting) A&M version.
50 Zeuch mich, zeuch mich mit dem armen
See note on line 25 above.
Freylinghausen's Hymns tr. into English (list in Julian p.396a)
(v.12 Wenn der Wellen macht in der truben Nacht; tr. J.Wesley and incl. as v.4 of his (JW) tr. of Terstegen's Seelenbrautigam, O Du Gotteslamm (O Thou, to whose all-searching sight), PMH.441; WH.339; MHB.505 v.3)
Herr und Gott der Tag und Nächte / H.J.Buckoll 1842
Mein Herz, gieb dich zufrieden / G.Walker 1860
O Lamm, das meine Sündenlast getragen
Zu dir, Herr Jesu, komme ich / H.Mills 1845
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(The Rejoice & Sing Enchiridion:edited by David Goodall; last amended 21/9/04)