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Abend ist es wieder
Author: S. Baring Gould Appears in 6 hymnals Used With Tune: [Abend ist es wieder]
Abend ist es wieder
Ach, bleib mit deiner Gnade
Author: Josua Stegmann Appears in 122 hymnals Used With Tune: [Ach, bleib mit deiner Gnade]
Ach, bleib mit deiner Gnade
Ach, mein Herr Jesu, dein Nahesein
Author: Ch. Gregor Appears in 28 hymnals Used With Tune: [Ach, mein Herr Jesu, dein Nahesein]
Ach, mein Herr Jesu, dein Nahesein
[Abend ist es wieder]
Appears in 516 hymnals Composer and/or Arranger: Joseph Barnby First Line: Abend ist es wieder Incipit: 55555 56656 76111 Used With Text: Abend ist es wieder
[Abend ist es wieder]
[Ach, bleib mit deiner Gnade]
Appears in 311 hymnals Composer and/or Arranger: M. Vulpius First Line: Ach, bleib mit deiner Gnade Incipit: 13234 53654 32356 Used With Text: Ach, bleib mit deiner Gnade
[Ach, bleib mit deiner Gnade]
[Ach, mein Herr Jesu, dein Nahesein]
Appears in 4 hymnals Composer and/or Arranger: Lauterburger First Line: Ach, mein Herr Jesu, dein Nahesein Incipit: 51354 32123 51354 Used With Text: Ach, mein Herr Jesu, dein Nahesein
[Ach, mein Herr Jesu, dein Nahesein]
Abend ist es wieder
Author: S. Baring Gould Hymnal: GB1911 #262 (1911) Languages: German Tune Title: [Abend ist es wieder]
Abend ist es wieder
Ach, bleib mit deiner Gnade
Author: Josua Stegmann Hymnal: GB1911 #296 (1911) Languages: German Tune Title: [Ach, bleib mit deiner Gnade]
Ach, bleib mit deiner Gnade
Ach, mein Herr Jesu, dein Nahesein
Author: Ch. Gregor Hymnal: GB1911 #255 (1911) Languages: German Tune Title: [Ach, mein Herr Jesu, dein Nahesein]
Ach, mein Herr Jesu, dein Nahesein
Joseph Barnby
1838 - 1896 First Line: Abend ist es wieder Hymnal Number: 262 Composer of "[Abend ist es wieder]" in Gute Botschaft Joseph Barnby (b. York, England, 1838; d. London, England, 1896) An accomplished and popular choral director in England, Barby showed his musical genius early: he was an organist and choirmaster at the age of twelve. He became organist at St. Andrews, Wells Street, London, where he developed an outstanding choral program (at times nicknamed "the Sunday Opera"). Barnby introduced annual performances of J. S. Bach's St. John Passion in St. Anne's, Soho, and directed the first performance in an English church of the St. Matthew Passion. He was also active in regional music festivals, conducted the Royal Choral Society, and composed and edited music (mainly for Novello and Company). In 1892 he was knighted by Queen Victoria. His compositions include many anthems and service music for the Anglican liturgy, as well as 246 hymn tunes (published posthumously in 1897). He edited four hymnals, including The Hymnary (1872) and The Congregational Sunday School Hymnal (1891), and coedited The Cathedral Psalter (1873).
Bert Polman
Joseph Barnby
Josua Stegmann
1588 - 1632 First Line: Ach, bleib mit deiner Gnade Hymnal Number: 296 Author of "Ach, bleib mit deiner Gnade" in Gute Botschaft Stegmann, Josua, D.D., son of Ambrosius Stegmann, Lutheran pastor at Sülzfeld, near Meiningen, and finally, in 1593, superintendent at Eckartsberga, near Merseburg, was born at Sülzfeld, Sept. 14,1588. He entered the University of Leipzig in 1608, M.A. in 1611, and was for sometime adjunct of the Philosophical Faculty. In 1617 he was appointed Superintendent of the district (Grafschaft) of Schaumburg, and also pastor at Stadthagen, and first professor of the Gymnasium there; and before entering on his duties graduated D.D. at Wittenberg, on Oct. 24, 1617. When the Gymnasium was erected into a university, and transferred (1621) to Rinteln, he became ordinary professor of Theology there. By the outbreak of war he was forced to flee from Rinteln, in 1623. After his return he was appointed, in 1625, Ephorus of the Lutheran clergy of Hesse-Schaumburg.
By the Edict of Restitution, promulgated by the emperor on March 6, 1629, he was greatly harassed; for the Benedictine monks, after they had settled in Rinteln, in 1630, claimed to be the rightful professors, and demanded the restoration of the old church lands, and especially the property formerly belonging to the nunnery at Rinteln, but which had been devoted to the payment of the stipends of the Lutheran professors. They sent soldiers into Stegmann's house to demand that he should refund his salary, and on July 13, 1632, compelled him to hold a disputation, at which they annoyed him in every possible way. Soon after he was seized with fever, and died Aug. 3, 1632. (Koch, iii., 128; Wetzel, iii., 251; Einladungsschrift des Gymnasium Bernhardinum, Meiningen, 1888; manuscript from Pastor A. Bicker, Rinteln; Dr. Förstemann, Leipzig), &c.
Stegmann was known as a writer of Latin verse while yet a student at Leipzig, and by his contemporaries was reckoned as a hymn writer. It is, however, very difficult to discriminate his productions. The hymns interspersed in his devotional works are given without any indications of authorship, and many of them are certainly by earlier writers, or recasts founded on earlier hymns….Two hymns, which are usually ascribed to Stegmann, and are not found earlier than in his works, have passed into English as follows:—
i. Ach bleib mit deiner Gnade. Supplication. In 1630 it is given in 6 stanzas of 4 lines, as a "Closing Hymn," after the "Prayer for the Preservation of the Doctrine, and of the Church of God." It is a simple and beautiful hymn, and is found in most recent German hymnals, e.g. as No. 208 in the Unverfälschter Liedersegen, 1851. Lauxmann, in Koch, viii., 146, relates various incidents regarding its use (it was, e.g., a favourite hymn of king Friedrich Wilhelm IV. of Prussia), and thus analyses it:—
"It has as its keynote the saying of the two disciples at Emmaus, 'Abide with us.' St. i. puts this prayer simply before the Lord Jesus; st. ii.—vi. develop it in detail: Abide with us with Thy Word as our Saviour (ii.); with the illumination of Thy Spirit as our ever-guiding Truth (iii.) ; with Thy blessing as the God rich in power (iv.); with Thy protection as the Conqueror in battle (v.); and with Thy Faithfulness as our Rock in the time of need (vi.).
The translations are:—
1. Abide with us, our Saviour. This is a free translation of st. i.-iii., as No. 51, in the Dalston Hospital Hymn Book, 1848; and repeated in the Pennsylvania Lutheran Church Book, 1868.
2. 0 Saviour, go beside us. This is a free translation of st. i., iv.,i v., with an original " Shepherd " st., as st. ii., by J. S. Stallybrass, in the Tonic Solfa Reporter, July 1857.
3. Abide among us with Thy grace. This is a good and full translation, in CM., by Miss Winkworth, in her Lyra Germanica, 2nd ser., 1858, p. 84; and her Chorale Book for England, 1863, No. 14.
4. Abide with us, Lord Jesus! Thy grace. This is a complete translation, as No. 8 in the Ohio Lutheran Hymnal, 1880, and marked as a compilation.
5. Come, abide with Thy grace, in our hearts, 0 Lord. By Dr. R. Maguire, 1872, p. 197.
ii. Wie schon leuchtet der Morgenstern, Vom Firmament des Himmels fern. Morning. Included in 1630, as above, p. 10, in 8 stanzas of 10 lines, entitled, "Morning Hymn." The translation in common use is —
How beautiful the Morning Star shines from the firmament afar. This was contributed by Philip Pusey to A. R. Reinagle's Psalm & Hymn Tunes, Oxford, 1840, p. 130. Other trs. are :—(1) "How fair shines forth the Morning-star." By H. J. Buckoll, 1842, p. 24. (2) "How lovely now the morning-star." By Miss Cox, 1864, p. 3. (3) “How beautiful the morning star, Shines in." By R. Massie, in the Day of Rest, 1876, p. 472. [Rev. James Mearns, M.A.]
--Excerpts from John Julian, Dictionary of Hymnology (1907)
Josua Stegmann
Melchior Vulpius
1570 - 1615 Person Name: M. Vulpius First Line: Ach, bleib mit deiner Gnade Hymnal Number: 296 Composer of "[Ach, bleib mit deiner Gnade]" in Gute Botschaft Born into a poor family named Fuchs, Melchior Vulpius (b. Wasungen, Henneberg, Germany, c. 1570; d. Weimar, Germany, 1615) had only limited educational opportunities and did not attend the university. He taught Latin in the school in Schleusingen, where he Latinized his surname, and from 1596 until his death served as a Lutheran cantor and teacher in Weimar. A distinguished composer, Vulpius wrote a St. Matthew Passion (1613), nearly two hundred motets in German and Latin, and over four hundred hymn tunes, many of which became popular in Lutheran churches, and some of which introduced the lively Italian balletto rhythms into the German hymn tunes. His music was published in Cantiones Sacrae (1602, 1604), Kirchengesangund Geistliche Lieder (1604, enlarged as Ein schon geistlich Gesanglmch, 1609), and posthumously in Cantionale Sacrum (1646).
Bert Polman
Melchior Vulpius
