Praise to the Lord, the Almighty

"Praise to the Lord, the Almighty" is a hymn based on Joachim Neander's German hymn "Lobe den Herren, den mächtigen König der Ehren", published in 1680.[2] John Julian in his A Dictionary of Hymnology calls the German original "a magnificent hymn of praise to God, perhaps the finest creation of its author, and of the first rank in its class."[3]

"Praise to the Lord, the Almighty"
Lutheran hymn
Words and music as published in The Chorale Book for England in 1865[1]
Native name"Lobe den Herren, den mächtigen König der Ehren"
Text
LanguageGerman
Based on
Published
  • 1680 (1680) (original)
  • 1863 (1863) (English)

The melody used by Neander, first published in 1665, exists in many versions and is probably based on a folk tune.[4] It is catalogued as Zahn number 1912c with several variants.[5] The text paraphrases Psalm 103 and Psalm 150.[2] Catherine Winkworth published her English translation of Neander's hymn in 1863.[6]

History

The common name given to this melody is "Lobe den Herren".[7] Several variants were published with various secular texts between 1665 and 1680, when Joachim Neander published his German hymn Lobe den Herren, den mächtigen König der Ehren, using its meter.[4]

It was the favorite hymn of King Frederick William III of Prussia, who first heard it in 1800.[3][6]

Text

Julian's A Dictionary of Hymnology lists more than ten English translations of "Lobe den Herren" printed in various nineteenth century hymnals.[3] The one most commonly appearing in modern hymnals, however, is by Catherine Winkworth.[8]

Adey uses Winkworth's translation as an example of translators' reshaping a text to their own era's tastes, noting that she discards the German Renaissance flavor of psaltery and harp to introduce a mention of "health" more typical of nineteenth-century Christianity. Although he praises other translations by Winkworth, and describes this one as a twentieth-century "classic," he critiques her changes to the sense of Neander's text as an example of "muscular Christianity tinged with Philistinism."[9]

Original German text[10] English translation by Catherine Winkworth[8]

1 Lobe den Herren, den mächtigen König der Ehren!
Meine geliebete Seele, das ist mein Begehren.
Kommet zu Hauf,
Psalter und Harfe wacht auf,
lasset die Musikam hören!

2 Lobe den Herren, der Alles so herrlich regieret,
der dich auf Adelers Fittigen sicher geführet,
der dich erhält,
wie es dir selber gefällt;
hast du nicht diese verspüret?

3 Lobe den Herren, der künstlich und fein dich bereitet,
der dir Gesundheit verliehen, dich freundlich geleitet;
in wie viel Noth
hat nicht der gnädige Gott
über dir Flügel gebreitet!

4 Lobe den Herren, der deinen Stand sichtbar gesegnet,
der aus dem Himmel mit Strömen der Liebe geregnet,
denke daran,
was der Allmächtige kann,
der dir mit Liebe begegnet!

5 Lobe den Herren, was in mir ist, lobe den Namen!
Alles, was Odem hat, lobe mit Abrahams Saamen;
Er ist dein Licht,
Seele, vergiß es ja nicht,
Lobende schliesse mit Amen!

1 Praise to the Lord, the Almighty, the King of creation;
O my soul, praise him, for he is thy health and salvation:
Come ye who hear,
Brothers and sisters draw near,
Praise him in glad adoration.

2 Praise to the Lord, who o’er all things so wondrously reigneth,
Shelters thee under his wings, yea, so gently sustaineth:
Hast thou not seen
All that is needful hath been
Granted in what he ordaineth?[lower-alpha 1]







3 Praise to the Lord, who doth prosper thy work, and defend thee;
Surely his goodness and mercy here daily attend thee;
Ponder anew
All the Almighty can do,
He who with love doth befriend thee.

4 Praise to the Lord! Oh let all that is in me adore Him!
All that hath life and breath, come now with praises before Him!
Let the Amen
Sound from His people again,
Gladly for aye we adore Him!

Musical settings

Johann Sebastian Bach used the chorale as the base for his chorale cantata Lobe den Herren, den mächtigen König der Ehren, BWV 137, in 1725. Although only the text of the outer stanzas was kept completely, he referred to the unusual melody in bar form with a Stollen of five measures and a climax at the beginning of the Abgesang in all movements but one.[12] John Eliot Gardiner assumes, looking at the festive instrumentation and the general content of praise and thanksgiving, that the cantata was also performed that year to celebrate Ratswahl, the inauguration of the Leipzig city council.[13] In 1729 Bach concluded his wedding cantata Herr Gott, Beherrscher aller Dinge, BWV 120a, with the final movement of the chorale cantata, transposed to D major.[12] Bach transcribed the second movement of cantata 137 as the last of his Schübler Chorales for solo organ, BWV 650.[14]

Several other notable composers used the tune in chorale preludes for organ, including Johann Gottfried Walther and Johann Philipp Kirnberger. Max Reger also wrote preludes on the tune, as No. 24 of his 52 Chorale Preludes, Op. 67 in 1902, and as part of his collection Op. 135a. He also used the tune in Sieben Stücke, Op. 145. Johann Nepomuk David composed a Toccata on the melody.

The German choral composer Hugo Distler produced a popular arrangement of the hymn for a cappella chorus, as part of his Drei kleine Choralmotetten. In 2015 a modern hardstyle remix was officially released by DJ Flubbel via the label Ecovata.[15]

Notes
  1. Stanza 2 corresponds with nos. 2 and 3 of the original.[11]
gollark: If you send a reminder to the past, you would expect to have been reminded of it in the past.
gollark: People would obviously notice when they hadn't received reminders.
gollark: There weren't really any nice ways to make this work.
gollark: It was obviously a joke. Nobody can use the Risch algorithm.
gollark: ↑

References
  1. Bennett, William Sterndale; Goldschmidt, Otto, eds. (1865). "The Chorale Book for England". Translated by Winkworth, Catherine. Longman, Green, Longman, Roberts, and Green. Cite journal requires |journal= (help)
  2. John Braisted Carman (1994). Majesty and meekness. p. 167. ISBN 978-0-8028-0693-2.
  3. Julian, John (1892). A Dictionary of Hymnology. . Scribner's Sons. pp. 683.
  4. Glover, Raymond (1990). The Hymnal 1982 Companion, Volume 3. Church Publishing, Inc. pp. 738–740. ISBN 978-0-89869-143-6.
  5. Zahn, Johannes (1889). Die Melodien der deutschen evangelischen Kirchenlieder. I. p. 512.
  6. Watson, John Richard; Dudley-Smith, Timothy (2002). An annotated anthology of hymns. Oxford University Press. pp. 79–81. ISBN 0-19-826973-0.
  7. The Harvard University Hymn Book. Harvard University. 1964-01-01. p. 290. ISBN 978-0-674-38000-4.
  8. "Praise to the Lord, the Almighty". Hymnary.org.
  9. Adey, Lionel (1986). Hymns and the Christian "myth". University of British Columbia Press. p. 161. ISBN 978-0-7748-0257-4.
  10. "Lobe den Herren, den mächtigen König der Ehren". Hymnary.org.
  11. "Praise to the Lord, the Almighty, the King of creation". The Canterbury Dictionary of Hymnology. Canterbury Press.
  12. Julius Mincham (2010). "Chapter 3 BWV 137 Lobe den Herren, den mächtigen König der Ehren". jsbachcantatas.com. Retrieved 9 September 2011.
  13. John Eliot Gardiner (2007). "Cantatas for the Twelfth Sunday after Trinity / Jakobskirche, Köthen" (PDF). monteverdiproductions.co.uk. p. 4. Retrieved 7 September 2011.
  14. Dürr, Alfred; Jones, Richard D. P. (2006). The Cantatas of J. S. Bach: With Their Librettos in German-English Parallel Text. Oxford University Press. p. 505. ISBN 978-0-19-929776-4.
  15. DJ Flubbel, Biotronix (2015). "Discogs: Christian Hardstyle". Flubbel.com. Retrieved 4 August 2015.
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