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Der gute Hirt
Appears in 15 hymnals Matching Instances: 15 First Line: Wie ein Hirt Dein Volk zu weiden Used With Tune: [Wie ein Hirt Dein Volk zu weiden]
Der gute Hirt
[Wie ein Hirt, dein Volk zu weiden]
Appears in 21 hymnals Matching Instances: 2 Incipit: 34532 12335 32543 Used With Text: Wie ein Hirt, dein Volk zu weiden
[Wie ein Hirt, dein Volk zu weiden]
[Wie ein Hirt Dein Volk zu weiden]
Appears in 373 hymnals Matching Instances: 1 Composer and/or Arranger: L. Mason Incipit: 55151 32255 51321 Used With Text: Der gute Hirt
[Wie ein Hirt Dein Volk zu weiden]
[Wie ein Hirt, dein Volk zu weiden]
Appears in 1 hymnal Matching Instances: 1 Composer and/or Arranger: S. L. Conde Incipit: 51172 13116 51121 Used With Text: Wie ein Hirt
[Wie ein Hirt, dein Volk zu weiden]
Wie ein Hirt, dein Volk zu weiden
Author: Carl Bernhard Garve Hymnal: Glaubens-Lieder #d561 (1890) Languages: German
Wie ein Hirt, dein Volk zu weiden
Wie ein Hirt Dein Volk zu weiden
Author: Karl Bernhard Garve, 1763-1841 Hymnal: Glaubenslieder #505 (2001) Languages: German Tune Title: [Wie ein Hirt Dein Volk zu weiden]
Wie ein Hirt Dein Volk zu weiden
Wie ein Hirt, dein Volk zu weiden
Author: Carl Bernhard Garve Hymnal: Unser Liederhort. I Teil. Sammlung auserlesener Lieder ... #d320 (1903) Languages: German
Wie ein Hirt, dein Volk zu weiden
Carl Bernhard Garve
1763 - 1841 Person Name: Karl Bernhard Garve, 1763-1841 Author of "Wie ein Hirt Dein Volk zu weiden" in Glaubenslieder Garve, Carl Bernhard, was born Jan. 24, 1763, at Jeinsen, near Hannover, where his father was a farmer. He was educated at the Moravian schools in Zeist, and Neuwied, at their Pädagogium at Niesky, and their Seminary at Barby. In 1784 he was appointed one of the tutors at Niesky, and in 1789 at Barby; but as his philosophical lectures were thought rather unsettling in their tendency, he was sent, in 1797, to arrange the documents of the archive at Zeist. After his ordination as diaconus of the Moravian church, he was appointed, in 1799, preacher at Amsterdam; in 1801 at Ebersdorf (where he was also inspector of the training school); in 1809 at Berlin; and in 1816 at Neusalza on the Oder. Feeling the burden of years and infirmities he resigned the active duties of the ministry in 1836, and retired to Herrnhut, where he died June 21, 1841. (Koch, vii. 334-342; (Allgemeine Deutsche Biographie, viii. 392-94, &c.)
Garve ranks as the most important of recent Moravian hymnwriters, Albertini being perhaps his superior in poetical gifts, but certainly not in adaptability to church use. His better productions are almost entirely free from typically Moravian features; and in them Holy Scripture is used in a sound and healthful spirit. They are distinguished by force and at the same time elegance of style, and are full of deep love and devotion to the Saviour. Many of them have passed into the German Evangelical hymnbooks, no less than 36 being included in the Berlin Gesange-Buch 1829; and of those noted below No. i. is to be found in almost all recent German collections. They appeared mostly in the two following collections, both of which are to be found in the Town Library, Hamburg: (1) Christliche Gesänge, Görlitz, 1825, with 303 hymns, a few being recasts from other authors. (2) Brüdergesange, Gnadau, 1827, with 65 hymns intended principally for use in the Moravian Communion.
Garve's hymns in English common use are:—
i. Dein Wort, 0 Herr, ist milder Thau. Holy Scripture. Perhaps his finest hymn. 1825, as above, p. 51, in 7 st. of 8 l. Included, as No. 410, in the Berlin Geistliche Lieder S., ed. 1863, and in the German hymnbooks for Hannover, 1883, for the kingdom of Saxony, 1883, for the province of Saxony, 1882, &c." Translated as:—
1. Thy Word, 0 Lord, like gentle dews. A good translation of st. i.-iii, by Miss Winkworth, in the first Ser., 1855, of her Lyra Germanica, p. 36. In the Pennsylvania Lutheran Church Book, 1868, it is No. 314 in full, but rewritten to D.C.M. In 1864 it was included, altered, and with 11. 5-8 of each stanza omitted, as No. 681 in Hymns of the Spirit, Boston, U. S., and this has been repeated in Dr. Martineau's Hymns of Praise & Prayer, 1873, and Dr. Allon's Children's Worship, 1878.
2. Thy Word, 0 Lord, is gentle dew. A good translation of st. i.-iii., based on the Lyra Germanica, by Miss Winkworth, as No. 102 in her Chorale Book for England, 1863, and thence, in the Ohio Lutheran Hymnal, 1880.
ii. Hallelujah, Christus lebt. Easter. 1825, as above, p. 105, in 8 st. of 6 1. Included in Knapp's Evangelical Lutheran Songbook, 1850, No. 565. Translated as:—
Hallelujah! Jesus lives! A good translation (omitting st. iv., vi.) by Miss Borthwick, in the 4th Ser., 1862, of the Hymns from the Land of Luther, p. 30 (1884, p. 201). In Lyra Messianica, 1864, p. 295, and in G. S. Jellicoe's Collection, 1867, No. 103, it begins, "Alleluia ! Jesus lives."
iii. O Vater der Gemeine. Trinity Sunday. 1825, as above, p. 18, in 3 st. of 7 l. Included as No. 107 in Knapp's Evangelischer Lieder-Schatz, 1837. Translated as: --
Father of all created. In full, as No. 159, in Dr. Pagenstecher's Collection, 1864, signed " F. C. C."
Another translation is, "0 Father, we adore Thee," in the British Herald, Oct. 1866, p. 324, repeated as No. 416 in Reid's Praise Book, 1872.
Hymns not in English common use:— «
iv. Der Herr ist treu, Der Herr ist ewig treu. God's Faithfulness. 1825, p. 5, in 6 st., repeated in the Berlin Gesang-Buch, 1829, No. 60, beginning "Gott ist treu." Translated by N. L. Frothingham, 1870, p. 253.
v. Geduld! Geduld! ob's stürmisch weht. Trust in God. 1825, p. 180, in 3 st., repeated in the Berlin Gesang-Buch 1829, No. 593, beginning "Geduld! wie sehr der Sturm auch weht." Translated by N. L. Frothingham, 1870, p. 265.
vi. Sagt was hat die weite Welt. Holy Scripture. 1825, p 49, in 6 st. Translated as “Tell me, can the world display," in the British Herald, Nov. 1866, p. 360, repeated as No. 420 in Reid's Praise Book, 1872.
vii. Wer bin ich, Herr, in deinem Licht. Self-Examination, 1825, p. 216, in 15 st. Translated by N. L. Frothingham, 1870, p. 258.
viii. Zur Arbeit winkt mir mein Beruf. Before Work, 1825, p. 233, in 9 st. Translated by E. Massie, l861.
A hymn sometimes ascribed to Garve is noted under "Gib deinen Frieden uns." [Rev. James Mearns, M.A.]
-- John Julian, Dictionary of Hymnology (1907)
Carl Bernhard Garve
Friedrich August Schulz
1810 - 1893 Person Name: Friedrich August Schulz, 1810-1893 Composer of "[Wie ein Hirt Dein Volk zu weiden]" in Glaubenslieder
Friedrich August Schulz
Lowell Mason
1792 - 1872 Person Name: L. Mason Composer of "[Wie ein Hirt Dein Volk zu weiden]" in Perlen und Blüthen Dr. Lowell Mason (the degree was conferred by the University of New York) is justly called the father of American church music; and by his labors were founded the germinating principles of national musical intelligence and knowledge, which afforded a soil upon which all higher musical culture has been founded. To him we owe some of our best ideas in religious church music, elementary musical education, music in the schools, the popularization of classical chorus singing, and the art of teaching music upon the Inductive or Pestalozzian plan. More than that, we owe him no small share of the respect which the profession of music enjoys at the present time as contrasted with the contempt in which it was held a century or more ago. In fact, the entire art of music, as now understood and practiced in America, has derived advantage from the work of this great man.
Lowell Mason was born in Medfield, Mass., January 8, 1792. From childhood he had manifested an intense love for music, and had devoted all his spare time and effort to improving himself according to such opportunities as were available to him. At the age of twenty he found himself filling a clerkship in a banking house in Savannah, Ga. Here he lost no opportunity of gratifying his passion for musical advancement, and was fortunate to meet for the first time a thoroughly qualified instructor, in the person of F. L. Abel. Applying his spare hours assiduously to the cultivation of the pursuit to which his passion inclined him, he soon acquired a proficiency that enabled him to enter the field of original composition, and his first work of this kind was embodied in the compilation of a collection of church music, which contained many of his own compositions. The manuscript was offered unavailingly to publishers in Philadelphia and in Boston. Fortunately for our musical advancement it finally secured the attention of the Boston Handel and Haydn Society, and by its committee was submitted to Dr. G. K. Jackson, the severest critic in Boston. Dr. Jackson approved most heartily of the work, and added a few of his own compositions to it. Thus enlarged, it was finally published in 1822 as The Handel and Haydn Society Collection of Church Music. Mason's name was omitted from the publication at his own request, which he thus explains, "I was then a bank officer in Savannah, and did not wish to be known as a musical man, as I had not the least thought of ever making music a profession." President Winchester, of the Handel and Haydn Society, sold the copyright for the young man. Mr. Mason went back to Savannah with probably $500 in his pocket as the preliminary result of his Boston visit.
The book soon sprang into universal popularity, being at once adopted by the singing schools of New England, and through this means entering into the church choirs, to whom it opened up a higher field of harmonic beauty. Its career of success ran through some seventeen editions. On realizing this success, Mason determined to accept an invitation to come to Boston and enter upon a musical career. This was in 1826. He was made an honorary member of the Handel and Haydn Society, but declined to accept this, and entered the ranks as an active member. He had been invited to come to Boston by President Winchester and other musical friends and was guaranteed an income of $2,000 a year. He was also appointed, by the influence of these friends, director of music at the Hanover, Green, and Park Street churches, to alternate six months with each congregation. Finally he made a permanent arrangement with the Bowdoin Street Church, and gave up the guarantee, but again friendly influence stepped in and procured for him the position of teller at the American Bank.
In 1827 Lowell Mason became president and conductor of the Handel and Haydn Society. It was the beginning of a career that was to win for him as has been already stated the title of "The Father of American Church Music." Although this may seem rather a bold claim it is not too much under the circumstances. Mr. Mason might have been in the average ranks of musicianship had he lived in Europe; in America he was well in advance of his surroundings. It was not too high praise (in spite of Mason's very simple style) when Dr. Jackson wrote of his song collection: "It is much the best book I have seen published in this country, and I do not hesitate to give it my most decided approbation," or that the great contrapuntist, Hauptmann, should say the harmonies of the tunes were dignified and churchlike and that the counterpoint was good, plain, singable and melodious.
Charles C. Perkins gives a few of the reasons why Lowell Mason was the very man to lead American music as it then existed. He says, "First and foremost, he was not so very much superior to the members as to be unreasonably impatient at their shortcomings. Second, he was a born teacher, who, by hard work, had fitted himself to give instruction in singing. Third, he was one of themselves, a plain, self-made man, who could understand them and be understood of them."
The personality of Dr. Mason was of great use to the art and appreciation of music in this country. He was of strong mind, dignified manners, sensitive, yet sweet and engaging.
Prof. Horace Mann, one of the great educators of that day, said he would walk fifty miles to see and hear Mr. Mason teach if he could not otherwise have that advantage.
Dr. Mason visited a number of the music schools in Europe, studied their methods, and incorporated the best things in his own work. He founded the Boston Academy of Music. The aim of this institution was to reach the masses and introduce music into the public schools. Dr. Mason resided in Boston from 1826 to 1851, when he removed to New York. Not only Boston benefited directly by this enthusiastic teacher's instruction, but he was constantly traveling to other societies in distant cities and helping their work. He had a notable class at North Reading, Mass., and he went in his later years as far as Rochester, where he trained a chorus of five hundred voices, many of them teachers, and some of them coming long distances to study under him. Before 1810 he had developed his idea of "Teachers' Conventions," and, as in these he had representatives from different states, he made musical missionaries for almost the entire country. He left behind him no less than fifty volumes of musical collections, instruction books, and manuals.
As a composer of solid, enduring church music. Dr. Mason was one of the most successful this country has introduced. He was a deeply pious man, and was a communicant of the Presbyterian Church. Dr. Mason in 1817 married Miss Abigail Gregory, of Leesborough, Mass. The family consisted of four sons, Daniel Gregory, Lowell, William and Henry. The two former founded the publishing house of Mason Bros., dissolved by the death of the former in 19G9. Lowell and Henry were the founders of the great organ manufacturer of Mason & Hamlin. Dr. William Mason was one of the most eminent musicians that America has yet produced.
Dr. Lowell Mason died at "Silverspring," a beautiful residence on the side of Orange Mountain, New Jersey, August 11, 1872, bequeathing his great musical library, much of which had been collected abroad, to Yale College.
--Hall, J. H. (c1914). Biographies of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company.
Lowell Mason
