Chapter V: Preface (1)

The aim of this book is to serve as a companion to the _Mennonite Hymnary_. It seeks to explain, as far as possible, the origin of the words and music of every hymn in the _Hymnary_.

The great lyrics of the church, contributed by every age since the days of the apostles, are a precious heritage, and a source of inspiration and power. This work is intended to foster an understanding of and love for our hymns, new and old, and to stimulate the time-honored and blessed practice of congregational singing in the church today.

The _Handbook_ may be found useful as an aid (1) in the private study of hymns or their use in family devotions; (2) in selecting suitable hymns for the many and varied services of public worship; (3) in preparing special music services or hymn sings where such occasions are planned to improve the singing in the church; (4) for study groups in hymnology in churches and schools. The historical development of hymnology may be followed in the brief “Introduction to Our Hymns and Tunes.”

The author has endeavored to make the work as comprehensive as possible without overburdening the reader with too many details. Many hymns have interesting stories connected with their origin and use while others, equally valuable, were just written, without drama or incident, the poet scarcely knowing how or why, except that the Inner Voice spoke. The apocryphal tales which have been circulated concerning some hymns have been studiously avoided. The aim has been to include only such material as seems to bear genuine marks of authenticity. The bibliography of “Principal Works Consulted,” found elsewhere in the book, indicates the main sources.

The original versions of translated hymns are not always readily available and for that reason they are reproduced in the _Handbook_. Translated hymns are usually selections from a much larger number of stanzas and it is often instructive to be able to study the whole structure of the original work.

_Acknowledgements._ I wish to acknowledge valuable help received from the following and to express hereby my gratitude to them: to Dr. Robert McCutchan, author of _Our Hymnody_, who generously responded to my request for information on a dozen or more hymns on which I had no data; to Dr. Henry Wilder Foote, of Harvard University, author of _Three Centuries of American Hymnody_, for biographical material on several hymn writers, and the use of books from his private library; to Dr. Reginald McAll, Executive Secretary of the Hymn Society of America for helpful material; to Dr. Ruth Messenger, Archivist for the Hymn Society of America, who furnished nearly all the Latin originals, and the Italian original of Savonarola’s hymn, and information concerning these hymns; to Dr. Armin Heussler, author of a forth-coming handbook to the _Evangelical hymnal_, for material on several of the chorales; to Wm. Runyan of the Hope Publishing Company, and to Dr. John Trowbridge of the Bible Institute of Los Angeles, for information concerning several of the gospel songs; to Dr. Cornelius Krahn who made the rich hymnic treasures of the Mennonite Historical Library at Bethel College available to me; to the late Rev. C. E. Krehbiel who loaned me material from his private library for this work but did not live to see its completion; to B. Bargen for help in preparing the manuscript for publication; to Mrs. Beatrice Buller for reading the manuscripts and proofs of the German chorales; to my wife, Charity Steiner Hostetler, who read all the manuscripts and proofs and whose constant interest and assistance were indispensable; and to others, too numerous to mention, who in any way facilitated the completion of the work.

The book, written during spare moments of a busy pastorate, is sent forth with the prayer that, in spite of errors and imperfections, it may inspire all who use it to sing with greater devotion the praises of Him who loved us and redeemed us.

Lester Hostetler

The Parsonage
Bethel College Mennonite Church
North Newton, Kansas
January 20, 1949

EXPLANATORY NOTES

In the interest of brevity and to avoid repetition, certain recurring words are abbreviated:

_Hymnary_ is used for _Mennonite Hymnary_.

_c._ (_circa_) means approximate date.

_Tr._ is prefixed to the names of all translators.

_Anon._ (anonymous) means without any name acknowledged, as that of author or composer.

The word “Number” has been omitted: thus Hymn 22 means Hymn No. 22.

_Cf._ means compare. (Latin: confer).

The original texts of German hymns found throughout the _Handbook_, especially in the section of Chorales, Book IV, are the versions used in one or more of the following works: _Gesangbuch mit Noten_, (Berne, Ind., 1890); _Gesangbuch der Mennoniten_, (Canadian, 1942); _The Handbook to the Lutheran Hymnal_, (Concordia Pub. House, 1942); _Gesangbuch zum gottesdienstlichen und häuslichen Gebrauch in Evangelischen Mennoniten-Gemeinden_, (Konferenz der süddeutschen Mennoniten zu Ludwigshafen a. Rh. 1910); and Knapp, _Evangelischer Liederschatz_. Many variations occur in the texts as found in these versions, the explanation of which would require a much greater knowledge of German hymnody than the author possesses. An effort has been made to bring the spelling into conformity with the modern German practice of omitting the “h” where it was formerly used with the “th”; the use of “ss” instead of “sz”; and printing the initial letter of the pronouns referring to Deity, in lower case rather than with capitals.

AN INTRODUCTION TO OUR HYMNS AND TUNES

With Illustrations From the _Hymnary_

1. Definition of a Hymn.
2. The Beginnings of Christian Song.
3. Hymns of the Eastern Church: Greek and Syriac.
4. Hymns of the Western Church: Latin.
5. Hymns of the Bohemian Brethren.
6. Hymns of the Reformation: The German Chorales.
7. Hymns of the Reformation: The Metrical Psalms.
8. Psalm Versions.
9. English Hymnody.
10. American Hymns.
11. The Gospel Songs.
12. Women Hymn Writers.
13. Mennonite Hymnody.
14. Antecedents of the _Mennonite Hymnary_.
15. The Translation of Hymns.
16. Church Unity in the Hymn Book.
17. Hymn Meters.
18. Hymn Tunes.
19. John Wesley’s Rules for Singing.

1. Definition of a Hymn.

St. Augustine, 354-430, gave a definition of a hymn, which has been widely accepted:

A hymn is the praise of God by singing. A hymn is a song embodying the
praise of God. If there is merely praise but not praise of God it is
not a hymn. If there be praise, and praise of God, but not sung, it is
not a hymn. For it to be a hymn, it is needful, therefore, for it to
have three things—praise, praise of God, and these sung.

A recent definition, accepted by the Hymn Society of America, is that of the late Carl F. Price:

A Christian hymn is a lyric poem, reverently and devotionally
conceived, which is designed to be sung and which expresses the
worshiper’s attitude toward God, or God’s purposes, in human life.

L. F. Benson, America’s foremost hymnologist, defines a hymn in these simple words:

The Christian hymn ... is a form of words appropriate to be sung or
chanted in public devotions.

A hymn is to be sung _by a congregation_. Its message must be simple, not subtle. It must read well and sing well. In modern usage, the hymn is not limited to the praise of God but includes other moods of worship such as resignation and consecration.

2. The Beginnings of Christian Song.

Hymn singing has always been associated with Christian worship. Jesus and the Twelve sang a hymn, presumably a portion of the _Hallel_ (Ps. 115-118), after the Supper was ended. Paul and Silas sang hymns, “songs of the night,” during the midnight hours of their imprisonment in Philippi. The great Apostle recognized the value of song when he exhorted the churches thus:

Be filled with the Spirit; speaking to yourselves in psalms and hymns
and spiritual songs, singing and making melody in your heart to the
Lord. Eph. 5:18, 19.

Let the word of Christ dwell in you richly in all wisdom; teaching and
admonishing one another in psalms and hymns and spiritual songs,
singing with grace in your hearts to the Lord. Col. 3:16.

I will sing with the spirit, and I will sing with the understanding
also. I Cor. 14:15.

The Jewish converts who at first composed the church had a rich heritage of song in the Book of Psalms. This was their hymnbook, used in the Temple worship and in the home and probably also in the synagogue services. The use of the Psalms, carried over from the Jewish service, forms to this day an important element in Christian worship.

Besides the Psalms, the early church sang the nativity lyrics that adorn the first two chapters of the Gospel of Luke. It also made extensive use of _Hallelujah_ as a part of the people’s praise, adding, in the course of time, the _Gloria Patri_, the _Sanctus_, the _Te Deum_, and other canticles.

The nativity hymns in Luke, five in all, are extensively used in Roman Catholic and Anglican services.

_Ave Maria_ (Hail Mary). 1:28-29, 42-45. The salutation of Gabriel and
of Elizabeth.

_Magnificat._ “My soul doth magnify the Lord....” 1:46-55. Hymn of the
Virgin Mary.

_Benedictus._ “Blessed be the Lord God of Israel....” 1:68-79. Song of
Zacharias.

_Nunc Dimittis._ “Lord, now lettest Thou thy servant depart in peace.”
2:29-32. Song of Simeon.

_Gloria in excelsis._ “Glory to God in the highest....” 2:14. Song of
the Angels. Used as a part of the Roman mass and often found in
Protestant hymns, e.g., “Angels we have heard on high” 82.

Beginnings of Christian Song in the Hymnary

_Psalms._ Book Five. 575-600.
_Gloria Patri_ 606-7.
_Ter Sanctus_ (_Trisagion_) “Holy, holy, holy” 601-2.
_Te Deum._ “Holy God we praise Thy name” 519. A metrical translation
of an ancient version.

3. Hymns of the Eastern Church: Greek and Syriac.

The ancient Eastern Church developed a rich hymnody, rising steadily in the fourth century until it reached its culmination in the eighth and ninth centuries. Since it employed the Greek and Syriac languages, its hymnic treasures remained almost completely hidden and unknown to the English speaking churches for many centuries. It is only in recent years, through the efforts of scholars like John Mason Neale and Edward Caswall that some of the Eastern hymns have been translated and made available for modern use. Eastern hymns are characterized by an objective, dignified, contemplation of God. Except when confessing sin and unworthiness, they contain nothing of the subjective feelings of the worshipper such as is found in many modern hymns. Though there is very little in the _Hymnary_ from the Eastern Church, our collection is enriched by the inclusion of a small number of hymns from this source.

Greek Hymns in the Hymnary

Clement of Alexandria, 170-220, “Shepherd of tender youth” (398)
Candle Lighting Hymn, “O gladsome light” (34)
Synesius, c. 375-430, “Lord Jesus, think on me” (196)
St. Germanus, 634-734, “A great and mighty wonder” (526)
St. John of Damascus, 8th century, “The day of resurrection” (115)
“Come, ye faithful, raise the strain” (113)
St. Stephen the Sabaite, 725-94, “Art thou weary, heavy-laden” (143)
Candle Lighting Hymn, “Darkening night, the land doth” (32)

4. Hymns of the Western Church: Latin.

Two great names are associated with the music of the Western Church: Ambrose, c. 340-97, known as the “Father of Hymnody in the Western Church;” and Gregory the Great, 540-604, the missionary-minded pope, and reformer of church music.

Ambrose, Bishop of Milan, not only composed hymns and music but stimulated others to do the same. Under his leadership there developed a large body of church music based upon four scales, which came to be known as Ambrosian Chant. Although widely known as a scholar, theologian, and preacher, Ambrose’s most lasting influence was upon the music of the church. None of his hymns are found in our collection.

Gregory the Great, two centuries later, carried forward the work of Ambrose. He added four more scales or modes to the Ambrosian system, thus giving to the repertory of church music more definiteness and variety. The music that developed during the papacy of Gregory came to be known as Gregorian Chant, or plainsong, or plainchant. It is “plain” because unadorned, unharmonized and unmeasured. Its rhythm is the free rhythm of speech, the beats falling irregularly. The Gregorian Chant remained the music of the church for a thousand years and forms the basis of all Roman Catholic music today. Some of these chants were adapted by Luther for congregational singing, and set to words in the vernacular of the people. A few of the tunes, usually in a form scarcely recognizable from the original, are used today in Protestant hymnals, as for instance, the tune “Hamburg.” Some of the music in the Amish church services is traceable to the Gregorian Chant.

The singing in the medieval church was liturgical in character and confined to the clergy and trained choirs. This was its weakness. The laity was not expected to sing, neither were they able to do so. Congregational singing, so important in our worship today, had for centuries been unknown in the Roman Catholic Church. Reform was inevitable and it came in due time.

While only remnants of the music survive, many hymns from the Western Church have been translated from the Latin and a few choice ones have found their way into the _Hymnary_.

Latin Hymns in the Hymnary

Prudentius, 348-c. 413, “Bethlehem, of noblest cities” (88)
Gregory the Great, 540-604, “Father, we praise Thee” (24)
Anonymous, 6th or 7th century, “Christ is made the sure” (277)
“Joy dawned again on Easterday” (415)
Theodulph of Orleans, 9th century, “All glory, laud, and honor”
(100)
Bernard of Clairvaux, 1091-1153, “Jesus the very thought” (155)
“O sacred Head, now wounded” (539)
Bernard of Cluny, 12th century, “Jerusalem, the golden” (262-3)
Anonymous, 12th century, “O come, O come, Emmanuel” (67)
Savonarola, 1452-98 (Italian), “Jesus, Refuge of the weary” (536)
Anonymous, 17th-18th centuries, “O come, all ye faithful” (80)
“The year is gone beyond recall” (382)

5. Hymns of the Bohemian Brethren.

The followers of John Hus who came to be known as the Bohemian Brethren, and later as the Moravians, were the first Protestant group to introduce congregational singing into their worship. They also published the first Protestant hymnbooks, one in 1501 and another in 1505, containing 89 and 400 hymns, respectively, in their native Bohemian tongue. Their efforts to introduce congregational singing were sternly opposed by the Roman hierarchy. The Council of Constance condemned Hus to be burned at the stake and warned his successor, Jacob of Misi, to cease the singing of hymns in the churches. It decreed:

If laymen are forbidden to preach and interpret the Scriptures, much
more are they forbidden to sing publicly in the churches.

As a result of their persecution, the Brethren in 1508 sent out messengers to search for true Christian people into whose communion they might apply for admission—one to Russia, one to Greece, one to Bulgaria, and one to Palestine and Egypt. All returned unsuccessful. No such Christians had been found. They therefore remained in their own country, giving themselves assiduously to the translation and printing of the Bible.

In 1522 the Brethren sent two messengers to Luther to greet him and ask his advice. Luther became interested in them and welcomed their fellowship. He was impressed with the hymnbook the Brethren had published, and later used some of the hymns in his own work.

Two centuries later, the Brethren, known now as the Moravians, settled on Count Zinzendorf’s estates in Saxony, spreading rapidly from thence into other countries in Europe and to the United States. One of England’s foremost hymn writers and hymnologists, James Montgomery, was an adherent to their faith.

Bohemian Brethren and Moravian Hymns in the Hymnary

Michael Weisse, 1480-1534, “Christ, the Lord, is ris’n again” (544)
Tunes: “Mit Freuden Zart” (512), “Ravenshaw” (292)
von Zinzendorf, Nikolaus L., 1700-60, “Jesus, still lead on” (574)
von Zinzendorf, Christian R., 1724-62, “Man of sorrows” (537)
Henriette Luise von Hayn, 1724-82, “I am Jesus’ little lamb” (430)
James Montgomery, 1771-1854, “Hail to the Lord’s Anointed” (65)
“Angels from the realms of glory” (81)
“Go to dark Gethsemane” (107) and many others

6. Hymns of the Reformation: the German Chorales.

The movement toward congregational singing, inaugurated by the Bohemian Brethren, was soon to be merged into the greater Reformation movement. Luther’s influence on the worship and music of the church was revolutionary. For a thousand years the laymen had had no part in church song. Congregational singing was unknown. Ambrosian music had at first been introduced for congregational use but it became more and more liturgical, thrusting the laity into the background. The Gregorian Chant which followed was never intended for use except by the priests and trained choirs. The followers of Hus pioneered in congregational singing; but it was Luther and his followers who brought it into full fruition.

Luther was a born music lover and a musician of adequate training. Moreover he possessed a remarkable gift for writing hymns in clear thought to bring the Word of God home to the hearts of the common people. He and his followers put songs on the lips of the German people and they sang themselves into the Reformation. So effective were these songs that his enemies in the Roman church declared that “Luther’s songs have damned more souls than all his books and speeches.”

_Chorales._ The word “chorale” (“choral” in German) refers to the hymn tunes of Lutheran Protestantism, though in common usage the term includes the words associated with the tunes. The melodies had much to do with the popularity of the songs. They came from various sources. Many of them were original compositions by Luther and others; some were borrowed from the hymn books of the Bohemian Brethren; a considerable number were adaptations of plainsongs used in the Catholic Church; still others were adopted from beloved folksongs. Luther was an eclectic in his choice of music. He used any tune from any source that suited his purpose. Many thousands of chorales came into existence in Germany during his time and the two centuries that followed. The hundreds still in use represent the best in church music today. They are characterized by a plain melody, a strong harmony, and a stately rhythm; all of which adapts them well for effective congregational singing.

The chorales at first did not have the regular rhythms that they later took on. The steady progression of even notes, invariable in Bach’s day, had come only gradually into use. Some of the recent hymnbooks, in the interest of greater variety of rhythm, are returning to the original “rhythmic chorales.”

Though _unison_ singing has been widely practiced and is advocated today by some good authorities in church music, Luther encouraged part singing. In his first Preface to the _Geystliches Gesangbücklin_, 1525, he wrote:

These songs have been set in four parts, for no other reason than
because I wished to provide our young people (who both will and ought
to be instructed in music and other sciences) with something whereby
they might rid themselves of amorous and carnal songs, and in their
stead learn something wholesome, and so apply themselves to what is
good with pleasure, as becometh the young.

The period of the German chorales may be said to have begun with Luther, 1483-1546, and ended two centuries later with J. S. Bach, 1685-1750. Bach brought the chorale tunes to their highest perfection, using many of them in his larger choral works. He composed about 30 original chorale melodies, wrote reharmonizations for approximately 400, and composed many chorale preludes for the organ which are in wide use today.

The German hymns and chorale tunes, used constantly in the home and school, as well as in the church, have been of great importance in our Mennonite worship in the past. They constitute the main body of material in all our German collections of hymns. In an effort to preserve and emphasize this rich heritage, there was incorporated into the _Hymnary_, a special section, Book III, made up exclusively of chorales.

German Chorales in the Hymnary

16th Century
Martin Luther, 1483-1546, “A mighty fortress is our God” (549)
“From heaven above to earth I come” (527)
“Out of the depths I cry to Thee” (531-2)
Nicolaus Selnecker, 1532-92, “Now cheer our hearts” (557)
Philipp Nicolai, 1556-1608, “Wake, awake, for night is flying” (522)
“How brightly shines the Morning Star” (529)
17th Century
(_1_)—_Period of The Thirty Years War—1618-48_
Johann Heerman, 1585-1647, “Ah, dearest Jesus” (534)
Josua Stegman, 1588-1632, “Abide with us, our Savior” (559)
Matthaus von Löwenstern, 1594-1648, “Lord of our life” (278)
Georg Weissel, 1590-1635, “Lift up your heads” (523)
Heinrich Albert, 1604-51, “God who madest earth” (573)
Ernst Homburg, 1605-81, “Christ, the life of all the living” (535)
Michael Schirmer, 1606-73, “O Holy Spirit, enter in” (546)
Paul Gerhardt, 1607-76, “O sacred Head, now wounded” (539) and
others
Gerhard Tersteegen, 1697-1769, “God reveals His presence” (506)
“O power of love, all else transcending” (517)
(_2_)—_Later 17th Century_
Johann Franck, 1618-77, “Deck thyself, my soul,” (552)
Tobias Clausnitzer, 1619-84, “Liebster Jesu, wir sind hier” (553a)
Georg Neumark, 1621-81, “He who would be in God” (571)
Johann Scheffler, 1624-77, “I am the Lord, O hear my voice” (565)
Joachim Neander, 1650-80, “Heaven and earth, the sea” (510)
_18th Century_
Johann Mentzer, 1658-1734, “O that I had a thousand voices” (509)
Erdmann Neumeister, 1671-1756, “Sinners Jesus will receive” (466)
Benjamin Schmolck, 1672-1737, “My Jesus, as Thou wilt” (250)
Philipp F. Hiller, 1699-1769, “O Son of God, we wait for” (524)
“What mercy and divine compassion” (562)
Christian F. Gellert, 1715-69, “How great, almighty is Thy” (516)
Johann Sebastian Bach, 1685-1750. The life of the great musician
marks the close of the German Chorale period and for that
reason his name is placed here. None of Bach’s original
chorale melodies are found in the _Hymnary_ but use is made of
a number of his harmonizations. See 539, 545, 556, 557, 564,
566.

7. Hymns of the Reformation: The Metrical Psalms.

While the German people, under the leadership of Luther, were singing chorales set to original religious poems, a large section of Protestantism, under the influence of John Calvin, confined itself to the singing of Psalms. To the French reformer, now preaching at Geneva, hymns were “man-made,” whereas the psalms were the inspired word of God and the only proper vehicle for the praise of God. Calvin, unlike Luther, was not a musician, and at first permitted only unison singing, unaccompanied. Part singing and instrumental accompaniment seemed to savor of the frivolous and worldly, an opinion which Calvin, however, was soon to modify. For two hundred years the Calvinistic churches on the Continent and in Britain were influenced in their worship song by the strict views of Calvin, limiting themselves to the metrical psalms and scriptural paraphrases. The German people in the meantime produced a rich treasury of original religious lyrics, contributed by some of their best poets.

Psalter Tunes and Metrical Psalms in the Hymnary

_Genevan Psalter_ Tunes, 1551.
O Seigneur (19)
Old 134th (128, 132, 616)
Rendez à Dieu (306)
Old 124th (354)
Old 100th (594)
_Scottish Psalter_, 1650.
Book Five (575 to 600) with a few exceptions
_New Version_, 1696, Tate and Brady.
“Through all the changing scenes of life” (583)
“As pants the hart for cooling streams” (586)
“O come, loud anthems let us sing” (18)
“While shepherds watched their flocks by night” (73-4)

8. Psalm Versions.

The use of the psalms in singing, first on the Continent, then in England and Scotland, and later in America, brought forth many metrical versions of the psalter, the principal ones being the following:

a. _The Genevan Psalter_, begun 1539, published complete in 1562. It was made at the request of John Calvin by Clément Marot, court poet of France, and Theodore Beza, a French scholar. It became the psalm book for the Reformation churches on the continent, and is spoken of as the most famous book of praise the Christian Church ever produced. It was issued in at least one thousand editions and translated into a number of tongues. Some of the original tunes are still in use, e.g., “Old Hundredth.”

b. _The Anglo-Genevan Psalter_, Geneva, 1556. This was used by John Knox, the Scottish reformer, and his followers who fled the persecutions of “Bloody Mary,” and formed a congregation at Geneva. The book incorporated some of the Sternhold and Hopkins versions which were in use in England, and added others.

c. _The Old Version_, Sternhold and Hopkins, completed in 1562. Used in England for 134 years. It is entitled, _The Whole Booke of Psalmes_, but came to be known as the “Old Version.”

d. _The Bay Psalm Book_, Boston, 1640. This was the first book printed in English-speaking America. It was made to obtain greater literalness to the Hebrew original than was found in the versions then in use. The book reigned supreme among the English churches in New England for over a century. Seventy editions of it were printed in America, the last in 1773. Eighteen editions appeared in England, and twenty-two in Scotland. There were no tunes given it until 1698, then only 13, with the air in the bass.

e. _The Scottish Psalter_, completed 1650. Special mention is made of this version of the Psalms because it is the source of nearly all the selections of metrical psalms which constitute 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.