What is Luther's Cradle Hymn more commonly known as
"'Hush my dear,' and 'Mother mine,' were heard all day in their alley, and now more lately, Luther's cradle hymn, 'Away in a manger, no cot for his bed,' has a place with them and is a favorite."" By 1891, Hill writes, ""the carol was sweeping the country [the United States]"", with at least four musical settings published that year. The great majority of early publications, including the earliest known to us, ascribe the words to German Protestant reformer Martin Luther. Many go so far as to title the carol ""Luther's Cradle Song"" or ""Luther's Cradle Hymn"", to describe the"
"human"" about Jesus' behavior. <score vorbis=""1""> \new Staff « \autoBeamOff \break \break \break \addlyrics { » </score> The most popular musical setting in the United States is commonly known as ""Mueller"". The melody was first published, under the title ""Luther's Cradle Hymn"", by James R. Murray in his collection ""Dainty Songs for Little Lads and Lasses"" (1887). Murray included a claim that the hymn was ""[c]omposed by Martin Luther for his children"". Hill writes: As a result of this ""tactical error"", Murray's melody appeared, without credit, in several subsequent publications. By 1914, the melody was attributed to ""Carl Mueller"", and"
"credited with the writing of the third stanza"". It has been suggested that Gabriel may have written the third stanza himself and attributed it to Luther. By Christmas of 1883, ""Luther's Cradle Song"" was already being performed as a recitation as part of a Sunday School celebration in a church in Nashville. The early popularity of the hymn may also be reflected in a report (published in 1885, but covering the year 1884) from an American mission in Maharashtra, India, stating that ""[t]he hymns and cradle songs learned in the school, are often sung at home. One woman said that"
"The Virgin's Cradle Hymn ""The Virgin's Cradle Hymn"" is a short lullaby text. It was collected while on a tour of Germany by the English poet Samuel Taylor Coleridge, and published in his ""Sibylline Leaves"" of 1817. According to his own note, Coleridge copied the Latin text from a ""print of the Blessed Virgin in a Catholic village in Germany"", which he later translated into English. The text, actually from a collection of devotional Flemish engravings by Hieronymus Wierix, has inspired a number of modern choral and vocal musical settings. Coleridge embarked upon his tour of Germany with his close"
"text has inspired a number of modern composers, and is usually titled ""The Virgin's Cradle Hymn"" or ""Dormi, Jesu"". These are mostly choral compositions, although occasionally rendered as art songs (""lieder""). These settings include: The Virgin's Cradle Hymn ""The Virgin's Cradle Hymn"" is a short lullaby text. It was collected while on a tour of Germany by the English poet Samuel Taylor Coleridge, and published in his ""Sibylline Leaves"" of 1817. According to his own note, Coleridge copied the Latin text from a ""print of the Blessed Virgin in a Catholic village in Germany"", which he later translated into English."
"""Luther's Cradle Hymn"", as a representative of ""The German Fatherland"". Kirkpatrick's melody was later published in numerous hymn-books, and was the setting that, in Hill's words, ""first carried the words beyond the confines of the United States"", being included in collections such as Carey Bonner's ""Sunday School Hymnary"" (1905). It remains the most popular musical setting of ""Away in a Manger"" outside the United States. In his article ""Not so far away in a Manger, forty-one settings of an American carol"", published in the ""Music Library Association Notes"" (second series) III, no. 1 for December 1945, Richard Hill identified no"
"The Lutheran Hymnal The Lutheran Hymnal (TLH) is one of the official hymnals of the Lutheran Church–Missouri Synod. Published in 1941 by Concordia Publishing House in St. Louis, Missouri, it was the LCMS' second official English-language hymnal, succeeding the 1912 ""Evangelical Lutheran Hymn-Book"". Development of ""TLH"" began in 1929 as a collaborative effort of the churches of the Evangelical Lutheran Synodical Conference of North America and became the common hymnal for both the LCMS and the Wisconsin Evangelical Lutheran Synod (WELS). Containing 668 chorales, hymns, carols, and chants, plus the liturgy for the Common Service, Matins, Vespers, the propers, collects"
"Wiegenlied (Brahms) Johannes Brahms's Wiegenlied, frequently referred to in English as Brahms's Lullaby or Cradle Song, is the composer's Op. 49, No. 4, originally written for voice and piano, published in 1868. The Lullaby was dedicated to Brahms's friend, Bertha Faber, on the occasion of the birth of her second son. Brahms had been in love with her in her youth and constructed the melody of the """" to suggest, as a hidden counter-melody, a song she used to sing to him. The lullaby was first performed in public on 22 December 1869 in Vienna by Louise Dustmann (singer) and"
"Martin Luther added in 1524 two stanzas following the same scheme. The hymn appeared first that year in , (booklet of spiritual song), collected by Johann Walter with a melody that Walter adapted from the antiphon. The same year it appeared also in ""Eyn Enchiridion"" in Erfurt, titled ""Der Lobsanck / Mitten wir ym leben synd."" (The song of praise /). Catherine Winkworth translated Luthers hymn to English in 1862, titled ""In the Midst of Life"". A translation titled ""In the Very Midst of Life"" appeared in 1941 in ""The Lutheran Hymnal"". It has appeared in hymnals of various denominations."
"Lutheran hymn Martin Luther was a great enthusiast for music, and this is why it forms a large part of Lutheran services; in particular, Luther admired the composers Josquin des Prez and Ludwig Senfl and wanted singing in the church to move away from the ""ars perfecta"" (Catholic Sacred Music of the late Renaissance) and towards singing as a ""Gemeinschaft"" (community). Lutheran hymns are sometimes known as chorales. Lutheran hymnody is well known for its doctrinal, didactic, and musical richness. Most Lutheran churches are active musically with choirs, handbell choirs, children's choirs, and occasionally change ringing groups that ring bells"
"put the hymn to a tune of his creation. Many hymnals use this arrangement, including ""The Lutheran Hymnal"", ""Lutheran Service Book"" (LCMS) and ""Christian Worship: A Lutheran Hymnal"" (WELS), though the ""Evangelical Lutheran Hymnary"" (ELS) has retained the original melody to the hymn. The hymn is also the school hymn of Michigan Lutheran Seminary. Click here to view Michigan Lutheran Seminary's Concert Choir sing this hymn. God's Word Is Our Great Heritage God's Word Is Our Great Heritage, is the title of a popular hymn sung in many churches, especially the Lutheran Church. This hymn was inspired by Psalm 16:6:"
"Herr Gott, dich loben wir """" (Lord God, we praise you) is a Lutheran hymn, which Martin Luther wrote in 1529 as a translation and partial paraphrase of the Latin . It is sometimes called the German Te Deum. The hymn was first published in 1529. It has appeared in 24 hymnals. Luther translated and slightly expanded the Latin text of the Te Deum, which is also known as the Ambrosian Hymn, but is currently credited to Nicetas of Remesiana, a bishop of the 4th century. Luther wrote 27 verses, intending it for two responsorial groups. The song of praise,"
"in the Apel Codex, a manuscript from around 1500. From the 14th century, ""Victimae paschali laudes"" and ""Christ ist erstanden"" were sung alternatively. From the 15th century, different versions with several stanzas were in print. Martin Luther codified a version in three stanzas in 1529 and 1533 in Klug's hymnal, in which Luther changed the line ""So freut sich alles, was da ist"" (So everything living is glad), frequently used in older versions, to ""So lobn wir den Vater Jesu Christ (So we praise the father of Jesus Christ), with an emphasis on Christology instead of universality. He also wrote"
"the Apostles' Creed in the ""Small Catechism"". Luther's hymn, adapted and expanded from an earlier German creedal hymn, gained widespread use in vernacular Lutheran liturgies as early as 1525. Sixteenth-century Lutheran hymnals also included ""Wir glauben all"" among the catechetical hymns, although 18th-century hymnals tended to label the hymn as Trinitarian rather than catechetical, and 20th-century Lutherans rarely used the hymn because of the perceived difficulty of its tune. Luther's 1538 hymnic version of the Lord's Prayer, ""Vater unser im Himmelreich"", corresponds exactly to Luther's explanation of the prayer in the ""Small Catechism"", with one stanza for each of the"
"it as a sample to encourage his colleagues to write psalm-hymns for use in German worship. In a collaboration with Paul Speratus, this and seven other hymns were published in the ""Achtliederbuch"", the first Lutheran hymnal. In 1524 Luther developed his original four-stanza psalm paraphrase into a five-stanza Reformation hymn that developed the theme of ""grace alone"" more fully. Because it expressed essential Reformation doctrine, this expanded version of ""Aus tiefer Not"" was designated as a regular component of several regional Lutheran liturgies and was widely used at funerals, including Luther's own. Along with Erhart Hegenwalt's hymnic version of Psalm"
"Erfurt Enchiridion The Erfurt Enchiridion (enchiridion, from , hand book) is the second Lutheran hymnal. It appeared in 1524 in Erfurt in two competing editions. One of them contains 26 songs, the other 25, 18 of them by Martin Luther, others by Elisabeth Cruciger, Erhard Hegenwald, Justus Jonas and Paul Speratus. While the songs of the ""Enchiridion"" could be used in churches, they were intended primarily for singing elsewhere, such as at home, at court, and in guild meetings. The songs of the reformer Luther and others were first sold as broadsheets, and contributed to the spreading of Protestant ideas."
"Aus tiefer Not schrei ich zu dir ""'"" (From deep affliction I cry out to you), originally """", later also ""'"", is a Lutheran hymn of 1524, with words written by Martin Luther as a paraphrase of Psalm 130. It was first published in 1524 as one of eight songs in the first Lutheran hymnal, the , which contained four songs by Luther, three by Paul Speratus, and one by Justus Jonas, and also appeared the same year in the Erfurt ""Enchiridion"". It is part of many hymnals, also in translations. The text inspired vocal and organ music from the"
"Phos Hilaron Phos Hilaron () is an ancient Christian hymn originally written in Koine Greek. Often referred to by its Latin title ""Lumen Hilare"", it has been translated into English as ""O Gladsome Light"". It is the earliest known Christian hymn recorded outside of the Bible that is still in use today. The hymn is part of vespers in the Byzantine Rite, and also included in some modern Anglican and Lutheran liturgies. The hymn was first recorded by an unknown author in the ""Apostolic Constitutions"", which was written in the late 3rd or early 4th century AD. It is found"
"Christe, du Lamm Gottes """" (Christ, you Lamb of God) is a Lutheran hymn, often referred to as the German Agnus Dei. Martin Luther derived the words as a translation of the Latin Agnus Dei from the liturgy of the mass, and the tune from an older model. The hymn was first published in 1528. It has been the basis for several musical settings by composers such as Bach, Mendelssohn and Hessenberg. It appears in the current German hymnals, both the Protestant ""Evangelisches Gesangbuch"" (EG 190:2) and the Catholic ""Gotteslob"" (GL 208). When Luther introduced the Reformation, he tried to"
"with Luther. The hymnal comprised originally 32 songs, 24 of which were written by Luther, including """" and """". The settings are for three, four, and five parts (SATTB), with the melody in the tenor. Nine of the songs are psalms paraphrased in metric stanzas, such as """", a paraphrase of Psalm 130. The order of the songs does not seem to follow a plan, but groupings are apparent, such as Latin songs being placed at the end, preceded by five songs about the topics of the creed and the Trinity: Four of the songs had been part of the"
"hymns including ""Ein feste Burg ist unser Gott"" (""A Mighty Fortress Is Our God""), which is sung today even by Catholics, and ""Gelobet seist du, Jesu Christ"" (""Praise be to You, Jesus Christ"") for Christmas. Luther and his followers often used their hymns, or chorales, to teach tenets of the faith to worshipers. The first Protestant hymnal was published in Bohemia in 1532 by the Unitas Fratrum. Count Zinzendorf, the Lutheran leader of the Moravian Church in the 18th century wrote some 2,000 hymns. The earlier English writers tended to paraphrase biblical texts, particularly Psalms; Isaac Watts followed this tradition,"
"called a ""song of holy confidence""; it is also known as ""Luther's Psalm"", as Martin Luther wrote his popular hymn ""Ein feste Burg ist unser Gott"" (""A Mighty Fortress Is Our God"") as a paraphrase of Psalm 46. Luther's hymn has been quoted in many musical works, both religious and secular, including Bach's cantata ""Ein feste Burg ist unser Gott"", BWV 80. Johann Pachelbel set the psalm in German and Jean Philippe Rameau in Latin, among many others. According to Henry, this psalm may have been composed after David defeated the enemies of ancient Israel from surrounding lands. Spurgeon notes"
"likely that Luther thought of a scenic representation. The text of the hymn was first published in 1535, the melody most commonly associated with it in 1539. ""Vom Himmel hoch"" was first published as a hymn with 15 stanzas of four lines in the ""Wittenberg hymnal"" of 1535, under the header """" (""A children's song on the Nativity of Christ""). In that publication, the text was coupled to the melody of the then well-known secular song ""."" It was Luther's only contrafactum, reusing a tune of a secular composition for a religious text. In 1539, the hymn was published with"
"Lutheran chorale A Lutheran chorale is a musical setting of a Lutheran hymn, intended to be sung by a congregation in a German Protestant Church service. The typical four-part setting of a chorale, in which the sopranos (and the congregation) sing the melody along with three lower voices, is known as a ""chorale harmonization"". Starting in 1523, Martin Luther began translating worship texts into German from the Latin . He composed melodies for some hymns himself, such as ""Ein feste Burg ist unser Gott"" (""A Mighty Fortress Is Our God""), and even a few harmonized settings . For other hymns"
"Te Deum The Te Deum (also known as Ambrosian Hymn or A Song of the Church) is an early Christian hymn of praise. The title is taken from its opening Latin words, ""Te Deum laudamus"", rendered as ""Thee, O God, we praise"". The term can also refer to a short religious service, held to bless an event or give thanks, which is based upon the hymn. The hymn remains in regular use in the Catholic Church, Lutheran Church, Anglican Church and Methodist Church (mostly before the Homily) in the Office of Readings found in the Liturgy of the Hours, and"
"the hymn tune in several hymnals. Luther wrote the hymn for Pentecost as a paraphrase of the Latin in his effort to establish German equivalents to the Latin parts of the liturgy. He derived the melody from the chant of the Latin hymn. The hymn in seven stanzas was first published in 1524, both in the ""Erfurt Enchiridion"" and in a setting by Johann Walter in ""Eyn geystlich Gesangk Buchleyn"". The number in the current Protestant hymnal ""Evangelisches Gesangbuch"" (EG) is 126. Johann Sebastian Bach composed a chorale prelude on the hymn included in his ""Orgelbüchlein"" as BWV 631, and"
"Sonata No.2 in D minor, Op. 121, changing the meter to triple time. Gelobet seist du, Jesu Christ """" (""Praise be to You, Jesus Christ"") is a Lutheran hymn, written by Martin Luther in 1524. It was first published in 1524 in the . For centuries the chorale has been the prominent hymn (Hauptlied) for Christmas Day in German speaking Lutheranism, but has also been used in different translations internationally. It has appeared in hymnals of various denominations including the Catholic Church. Luther expanded a pre-Reformation stanza which is attested in Northern Germany in the 15th century, mainly in prayerbooks"
"(lost). It was one of eight hymns of the first Lutheran hymnal, published 1524 in Nuremberg under the title (Some Christian songs), also called Achtliederbuch. The same year it appeared in Erfurt in ""Eyn Enchiridion"". The hymn was soon used as a Protestant ""Kampflied"" (battle song). The chorale became the Lutheran (main hymn) for the second Sunday after Trinity. In the first Lutheran hymnal the melody was the same as for """" by Paul Speratus (Zahn No. 4430). In Johann Walter's hymnal in Wittenberg in 1524, it appeared with a different melody (Zahn No. 4432a). In the Erfurt ""Enchiridion"", also"
"was often republished without credit to the original composer, with the melody sometimes even being misattributed to Luther himself. Charles H. Gabriel, already mentioned as being the first to publish the third verse in 1892, is also notable for having published more different musical arrangements of the hymn than any other known composer. His 1896 setting, reprinted in many different collections, is based on his 1892 melody but adds a chorus at the end of each verse, with the word ""asleep"" sung antiphonally. Another popular arrangement, found at least as early as 1897, sets the words to Jonathan E. Spilman's"
"and by adding two stanzas. The second stanza mentions the anamnesis of the gifts of redemption, the third stanza is a prayer for spiritual fruits of the sacrament for the individual life of the Christian, and for the community. Luther's version appeared in the ""Erfurt Enchiridion"" of 1524 and in Johann Walter's choral hymnal ""Eyn geystlich Gesangk Buchleyn"" the same year. In the current German hymnal ""Evangelisches Gesangbuch"", it appears as EG 214. The hymn is in three stanzas of eight lines each, with ""Kyrieleis"" repeated every four lines. Johann Walter published a four-part setting of the melody in ""Eyn"
"The hymn was originally written as a Christmas hymn. On the afternoon that Joseph Smith and his brother, Hyrum, were killed by a mob in prison in Carthage, Illinois, the Smiths requested Taylor sing the hymn twice. After he became president of The Church of Jesus Christ of Latter-day Saints (LDS Church), Taylor asked Ebenezer Beesley to compose new music for the hymn. The results were published in the church's 1889 hymnal, and the hymn has been included in every subsequent edition of the church's hymnal. In the LDS Church's 1985 English-language hymnal, it is hymn number 29. The original"
"). Luther and his contemporaries referred to these vernacular hymns as ""geistliche Lieder"" (spiritual songs), ""Psalmen"" (psalms), ""christliche Lieder"" (Christian songs), and ""geistliche"" (or ""christliche"") ""Gesänge"" or ""Kirchengesänge"". The German word ""Choral"", which was originally used to describe Latin plainchant melodies, was first applied to the Lutheran hymn only in the later sixteenth century . In the modern era, many Lutheran hymns are used in Protestant worship, sometimes sung in four-part harmony. Composers of tunes for Lutheran hymns, or who adopted such tunes in their compositions: Chorales also appear in chorale preludes, pieces generally for organ originally designed to be"
"in ""Eyn Enchiridion"". A version in five stanzas, with the ideas of stanza 2 as two stanzas developing the theme of ""grace alone"" more fully, was first published in 1524 in Wittenberg in . Scholars debate if the shorter version is actually Luther's, or reduced by an editor from the longer version. The version in five stanzas, expressing essential Reformation doctrine, was designated as a regular component of several regional Lutheran liturgies. It was widely used at funerals, including Luther's own on 20 February 1546 in Halle. Along with Erhart Hegenwalt's hymnic version of Psalm 51, Luther's hymn was also"