Im Frieden dein, o Herre mein

Last updated

"Im Frieden dein, o Herre mein"
Christian hymn
Im Frieden dein (1932).jpg
"Im Frieden dein", in Otto Riethmüller's Ein neues Lied, 1932
EnglishIn Your peace, O my Lord
Occasion Communion
TextJohann Englisch and Friedrich Spitta
LanguageGerman
Based on Nunc dimittis
Meter4 4 7 4 4 7 4 4 7
Melody Wolfgang Dachstein
Composedbefore 1530
Published
  • 1530
  • 1898

"Im Frieden dein, o Herre mein" (In Your peace, o my Lord) is a three-stanza German Christian communion hymn. In 1527 the early Reformer Johann Englisch (Johannes Anglicus) wrote two stanzas as a rhyming close paraphase of the Nunc dimittis, or Canticle of Simeon. The hymn is sung to a melody by Wolfgang Dachstein, written before 1530. Friedrich Spitta revised the lyrics in 1898 and added a third stanza. His revision transformed Englisch's prayer of an individual with a focus on a peaceful death to a communal one more about peaceful life in unity.

Contents

This version is part of the German Protestant hymnal, Evangelisches Gesangbuch , as EG 222. An ecumenical song, it is also part of the current Catholic hymnal, Gotteslob , as GL 216. It appears in several other hymnals.

History

The development of the hymn spans four stages within the history of Christianity. [1] Its initial inspiration draws from the account of Jesus being presented at the temple 40 days after his birth, in a ritual of purification depicted in the Gospel of Luke. On that occasion, Simeon praised the light that appeared by the baby. Centuries later, Simeon's canticle became a regular part of the Liturgy of the Hours as the Nunc dimittis, especially connected to the feast of the purification. [2]

Thirdly, during the Reformation, the Nunc dimittis was used as a prayer of thanks after communion, as documented in a Nördlingen liturgy of 1522 and a Strasbourg liturgy of 1524, the latter specifically calling for its use "after the meal" or communion ("nach dem Mahle"). [2] The rhyming paraphrase created by Johann Englisch, or Johannes Anglicus  [ de ], first appearing in 1527 on a now-lost leaflet, became a regular part of Strasbourg hymnals from 1530 on. [2] His version retains the theme of the Nunc dimittis, with its ideas of rest in peace after having seen the light of a saviour who came for all people and especially Israel. [3] The hymn is sung to a melody attributed to Wolfgang Dachstein, written before 1530. [4] It is one of three hymns described as Der Lobgesang Simeonis (Simeon's song of praise) appearing in an 1848 collection of Schatz des evangelischen Kirchengesangs im ersten Jahrhundert der Reformation ("Treasure of Protestant church singing in the first century of the reformation"). The first two are the Biblical canticle in Martin Luther's translation, and Luther's paraphrase " Mit Fried und Freud ich fahr dahin ", followed by "Im Frieden dein". A footnote marks the three songs as also suitable for funerals. [5]

Friedrich Spitta Friedrich Spitta.jpg
Friedrich Spitta

Finally, in 1898, Friedrich Spitta, a Protestant theologian, revised the song and added a third stanza, which is now usually placed between the older stanzas. [6] He shifted the meaning from an individual prayer for a good death to a communal prayer for a meaningful life. [7] The focus is on communion as a way for believers to see the light of Christ and thereby live in peace and unity. [6] [4] With additional minor changes, this version of the hymn is part of the German Protestant hymnal, Evangelisches Gesangbuch , as EG 222. [8] [9]

An ecumenical song, it is also part of the current Catholic hymnal, Gotteslob , as GL 216, in the section "Gesänge – Woche – Gesänge zur Kommunion / Dank nach der Kommunion" (Songs – Week – Communion – Thanks after Communion). [1] [4] It appears in several other hymnals. [10]

Text

The text of the hymn is as follows, on the left as in Tucher's 1848 publication which shows Englisch's two stanzas, [3] on the right the text from the current German hymnals: [6]

Tucher, 1848Modern

Im Frieden dein,
o Herre mein,
wollst mich nun ruhen lassen.
Als mir ward Bscheid
von dir geseit,
so hast mich jetzt begossen,
daß mein Gesicht
mit Freuden spricht,
den Heiland habs gesehen!

Ein'n werthen Gast
bereitet hast
vor allen Völkern große.
Der Heiden G'sicht
im Licht bericht't,
macht sie des Glaubens G'nossen.
Ein Lob und Ehr,
groß durch dich, Herr,
wird Israel ein Volke.

Im Frieden dein,
o Herre mein,
lass ziehn mich meine Straßen.
Wie mir dein Mund
gegeben kund,
schenkst Gnad du ohne Maßen,
hast mein Gesicht
das sel'ge Licht,
den Heiland, schauen lassen.

Mir armem Gast
bereitet hast
das reiche Mahl der Gnaden.
Das Lebensbrot
stillt Hungers Not,
heilt meiner Seele Schaden.
Ob solchem Gut
jauchzt Sinn und Mut
mit alln, die du geladen.

O Herr, verleih,
dass Lieb und Treu
in dir uns all verbinden,
dass Hand und Mund
zu jeder Stund
dein Freundlichkeit verkünden,
bis nach der Zeit
den Platz bereit'
an deinem Tisch wir finden.

Englisch's lyrics are a close paraphrase of the Nunc dimittis, about being able to go in peace after having seen the light of the Saviour ("Heiland"). Simeon said so after actually seeing the baby Jesus, 40 days after his birth, and for him departing in peace could mean readiness to die. Englisch begins in the first person, addressing God as his Lord ("Herre mein"), who prays to be allowed to rest in God's peace ("Im Frieden dein ... wollst mich nun ruhen lassen"). [3]

Spitta transfers the thought to a more general meaning, of travelling one's roads after having seen the light, adding that His mercy is unmeasurable ("ohne Maßen"). [7]

The second stanza in Englisch's version is a paraphrase of the second part of Simeon's canticle, mentioning the dear guest ("werthen Gast"), alluding to Jesus, for all people including the heathen, and for the greatness of Israel. [3]

Spitta changes the focus, identifying the singer with the guest (instead of referring to Jesus), invited to a rich meal of mercy ("das reiche Mahl der Gnaden"). The meal offers the bread of life ("Lebensbrot"), which joins the invited believers to God and among each other, a reason to praise, filled with sense and courage ("Sinn und Mut"). [7] The heathen and Israel are not mentioned in his version. [11]

The final stanza is a prayer for love and faithfulness in God connecting "us all" ("uns all"), so that hand and mouth will show the friendliness of the Lord, until after this time all may find a seat at his table. [11]

The lyrics follow a pattern of two rhyming short lines followed by a longer line, repeated three times in a stanza, with the three longer lines all rhyming: aabccbddb. [12]

Melodies

From 1530, the hymn was associated with a melody attributed to Wolfgang Dachstein. The tune has an element often found in Strasbourg melodies, a rhythm of long-short-short-long, here used for the short lines. The first two long lines begin with a long note, followed by a sequence of equally short notes, ending on two long notes. [13] The first line begins with the lowest note and rises a fourth, step by step. The other short lines have similar patterns, such as the equal lines which begin the second and third section, moving a fourth downward. The last section begins an octave higher than the second ends, a feature often found in contemporary Strasbourg melodies, especially by Matthäus Greiter, sometimes accentuating a bar form's abgesang. [14] The last line, beginning like the first line, is the only one which has a melisma. In Dachstein's composition, it stresses the last word by dotted notes, rising to an octave above the first note. [15] The stressed word in the first stanza is "gesehen" (seen) and in the second "Volke" (people, meaning Israel). [3] Shortly before the end of the melisma, a ligature typical for German melodies of the 16th century moves around ("umspielt") the second to last note, then released to the key note. [15] While it is usually difficult to find a relation between words and music in strophic texts, it can be assumed that peace is expressed by the calm movement, up and down in symmetry. The last rising line might even be experienced as an expression of a vision of God ("Gottesschau"), although it seems unlikely that the composer had that in mind. [14]

The long and complex last line is difficult for congregational singing, and later versions therefore often abbreviate the melisma, in various ways. An 1899 hymnal for Alsace-Lorraine has a version with only the ligature before the end, the version in today's hymnals. [15] However, the first publication of Spitta's text came with Dachstein's melody. [15]

Musical settings

Samuel Mareschall composed a four-part choral setting in 1606, published by Carus-Verlag. [16] Herbert Beuerle composed a setting for three parts in 1953. [17] In 1980, Aldo Clementi wrote a motet for eight voices. [18] Bernhard Blitsch composed a motet for four parts in 2013. [19] Gaël Liardon published an organ work in 2014. [20]

Related Research Articles

<span class="mw-page-title-main">Nunc dimittis</span> Passage from the Gospel of Luke

The Nunc dimittis, also known as the Song of Simeon or the Canticle of Simeon, is a canticle taken from the second chapter of the Gospel of Luke, verses 29 through 32. Its Latin name comes from its incipit, the opening words, of the Vulgate translation of the passage, meaning "Now you let depart". Since the 4th century it has been used in Christian services of evening worship such as Compline, Vespers, and Evensong.

<span class="mw-page-title-main">Mit Fried und Freud ich fahr dahin</span>

"Mit Fried und Freud ich fahr dahin" is a hymn by Martin Luther, a paraphrase in German of the Nunc dimittis, the canticle of Simeon. Luther wrote the text and melody, Zahn No. 3986, in 1524 and it was first published in the same year. Originally a song for Purification, it has been used for funerals. Luther included it in 1542 in Christliche Geseng ... zum Begrebniss.

<span class="mw-page-title-main">Gott sei gelobet und gebenedeiet</span> Lutheran hymn composed by Martin Luther

"Gott sei gelobet und gebenedeiet" is a Lutheran hymn of 1524 with words written by Martin Luther who used an older first stanza and melody. It is a song of thanks after communion. Luther's version in three stanzas was printed in the Erfurt Enchiridion of 1524 and in Johann Walter's choral hymnal Eyn geystlich Gesangk Buchleyn the same year. Today, the song appears in German hymnals, including both the Protestant Evangelisches Gesangbuch, and in a different version in the Catholic Gotteslob.

"Herr, deine Güt ist unbegrenzt" is a Catholic hymn by Maria Luise Thurmair, based on Psalm 36 and set to a 1525 melody by Matthäus Greitner, the same as "O Mensch, bewein dein Sünde groß". The hymn in two stanzas of twelve lines was written in 1971. It appeared in the Catholic hymnal Gotteslob in 1975 as GL 289. In the current Gotteslob is GL 427, in the section "Vertrauen und Trost".

"Den Herren will ich loben" is a Christian hymn by Maria Luise Thurmair, based on the Magnificat and set to a 1613 melody by Melchior Teschner, which was used for "Valet will ich dir geben". The hymn in three stanzas of eight lines was first written in 1954, and revised in 1971. It appeared in the Catholic hymnal Gotteslob in 1975, and in the current Gotteslob, but also in a German Protestant hymnal. A general song of praise, it has been set to music several times.

"Ob ich sitze oder stehe" is a Christian poem by Eugen Eckert, written in 1988, and made a hymn of the genre Neues Geistliches Lied with a melody and setting by Torsten Hampel the same year. It is based on Psalm 139. The song is also known by its refrain "Von allen Seiten umgibst du mich". It is included in song books and the Catholic hymnal Gotteslob.

"Mein ganzes Herz erhebet dich" is the beginning of German hymns to a melody from the 16th century, which paraphrase Psalm 138. They are part of Protestant and Catholic hymnals.

<span class="mw-page-title-main">Das Weizenkorn muss sterben</span>

"Das Weizenkorn muss sterben" is a poem by Lothar Zenetti, based on The Grain of Wheat. With a 1972 melody by Johann Lauermann, it became a Christian hymn of the genre Neues Geistliches Lied (NGL), appearing from 1975 in German hymnals. It is popular, and is regarded as Zenetti's signature work.

"Christus ist erstanden! O tönt" is a Catholic hymn for Easter. It was written as a paraphrase of the Easter sequence Victimae paschali laudes, and appeared in 1816 by Johann Weinzierl. A melody was composed by Paul Schniebel in 1826. The first of six stanzas begins: Christus ist erstanden! O tönt, ihr Jubellieder, tönt!. The hymn is similar to Schubert's Deutsche Messe in its idea to provide singable hymns in German for the congregational.

<span class="mw-page-title-main">Gott ist gegenwärtig</span> 1729 Christian hymn by Gerhard Tersteegen

"Gott ist gegenwärtig" is a Christian hymn in German by the Reformed writer Gerhard Tersteegen, published in 1729, based on a 1680 melody by Joachim Neander. The hymn, with the melody simplified, is part of the Protestant hymnal Evangelisches Gesangbuch as EG 165 and the 2013 Catholic hymnal Gotteslob as GL 387. Seven of its eight stanzas are part of the Mennonite hymnal as No. 1. The hymn is regarded as an expression of Christian mysticism. It was translated to English in various versions.

<span class="mw-page-title-main">Dein Lob, Herr, ruft der Himmel aus</span> German Catholic hymn

"Dein Lob, Herr, ruft der Himmel aus" is a German Catholic hymn. Adolf Lohmann adapted a 1659 hymn by the Jesuit astronomer Albert Curtz, who paraphrased Psalm 19. The melody appeared in Augsburg in 1669. It was No. 1 in the 1938 hymnal Kirchenlied and is part of the German Catholic hymnal Gotteslob as GL 381.

"Nun lässest du, o Herr" is a Christian hymn by Georg Thurmair written in 1966 as a paraphrase of the Nunc dimittis canticle. It was part of the German Catholic hymnal Gotteslob of 1975 as GL 660 with a 16th-century melody by Loys Bourgeois. With this melody, it is also part of the Protestant hymnal Evangelisches Gesangbuch as EG 695. It is part of the second edition of the Gotteslob as GL 500, with a new 1994 melody.

"O Licht der wunderbaren Nacht" is a Christian Easter hymn by Georg Thurmair written in 1963. It was part of the German Catholic hymnal Gotteslob of 1975 as GL 208, with a melody from the 14th century. It is part of the second edition of the Gotteslob as GL 334, also of regional sections of the Protestant hymnal Evangelisches Gesangbuch.

<span class="mw-page-title-main">Liebster Jesu, wir sind hier</span> Lutheran hymn

"Liebster Jesu, wir sind hier" is a Lutheran hymn with text written by Tobias Clausnitzer in 1663, and a hymn tune, Zahn No. 3498b, based on a 1664 melody by Johann Rudolph Ahle. A prayer for illumination, it is suitable for the opening of a church service and to be sung before a sermon. The song is part of the Protestant hymnal Evangelisches Gesangbuch as EG 161. It is also part of the Catholic hymnal Gotteslob as GL 149. It is popular also in English translations such as "Blessed Jesus, at your word" by Catherine Winkworth.

Friedrich Dörr was a German Catholic priest and professor of theology, who is known as a hymnwriter. He shaped the first common German Catholic hymnal, Gotteslob, published in 1975.

"Lobpreiset all zu dieser Zeit" is a Christian hymn in German for a new year with text by Heinrich Bone written in 1851. It is contained in the Catholic hymnal Gotteslob. It is sung to a melody that Martin Luther created in 1529.

"Lob Gott getrost mit Singen" is a Lutheran hymn in German, a paraphrase of the Latin Te Deum, by the Bohemian Brethren. The hymn is part of the current Protestant hymnal. The hymn was translated into English as "Praise God, praise God with singing". The hymn tune was used for several hymns in different languages, denominations and centuries.

"Nimm, o Gott, die Gaben, die wir bringen" is the beginning of a Christian offertory hymn with German text by Raymund Weber, and a melody that Andrew Lloyd Webber composed for his musical Jesus Christ Superstar. The song, of the genre Neues Geistliches Lied (NGL), is part of German hymnals, including Gotteslob. Two other songs use the same melody.

"Manchmal feiern wir mitten im Tag" is a Christian hymn written in 1974 with German text by Alois Albrecht and a melody by Peter Janssens. The song, of the genre Neues Geistliches Lied (NGL), is part of German hymnals, including Gotteslob, and songbooks including ecumenical collections and books for young people. It begins: "Manchmal feiern wir mitten im Tag ein Fest der Auferstehung".

"Öffnet eure Tore" is a Christian hymn in German, written by Christoph Bernhard Verspoell for the Feast of the Ascension. The text is based on Psalm 24. While the text was written in Münster in 1810, the melody was composed for a Trier hymnal of 1846. It became part of the regional sections of the German Catholic hymnal Gotteslob.

References

Citations

Cited sources