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Search Results

Text Identifier:"^who_puts_his_trust_in_god_most_just$"

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Texts

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Who puts his trust in God most just

Author: Catherine Winkworth, 1827-1878 Appears in 24 hymnals Topics: Christians Conflicts of; Christians Dependence on Christ; Christians Safety of; Deliverance; Dependence on God; Trust and Resignation Used With Tune: DOMINUS REGIT

Tunes

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DOMINUS REGIT

Appears in 387 hymnals Composer and/or Arranger: John B. Dykes, 1823-1876 Tune Key: G Major Incipit: 35433 22155 67132 Used With Text: Who Puts His Trust in God Most Just
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PARIS

Appears in 46 hymnals Composer and/or Arranger: J. Sebastian Bach Incipit: 57173 32332 14321 Used With Text: Who puts his trust in God most just
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WER GOTT VERTRAUT HAT WOHLGEBAUT

Appears in 1 hymnal Tune Key: F Major Incipit: 11233 43223 45765 Used With Text: Who puts his trust in God most just

Instances

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Published text-tune combinations (hymns) from specific hymnals
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Who puts his trust in God most just

Author: Anon. Hymnal: Chorale Book for England, The #145 (1863) Lyrics: Who puts his trust in God most just Hath built his house securely; He who relies on Jesus Christ, Shall reach His heav'n most surely; Then fix'd on Thee my trust shall be, For Thy truth cannot alter; While mine Thou art, Not death's worst smart Shal make my courage falter. Though fiercest foes my course oppose, A dauntless front I'll show them; My champion Thou, Lord Christ, art now, Who soon shalt overthrow them! And if but Thee I have in me With Thy good gifts and Spirit, Nor death nor hell, I know full well, Shall hurt me, through Thy merit. I rest me here without a fear, By Thee shall all be given That I can need, O Friend indeed, For this life or for heaven. O make me true, my heart renew, My soul and flesh deliver! Lord, hear my prayer, and in Thy care Keep me in peace for ever. Languages: English
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Who Puts His Trust in God Most Just

Author: Catherine Winkworth, 1829-1878; Joachim Magdeburg, c. 1525-after 1583 Hymnal: Hymnal and Liturgies of the Moravian Church #537 (1969) Topics: The Life in Christ Trust Languages: English Tune Title: DOMINUS REGIT
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Who puts his trust in God most just

Author: Johannes Magdeburg; Muehlmann Hymnal: Hymn Book #105 (1884) Lyrics: 1 Who puts his trust in God most just Hath built his house securely; He who relies on Jesus Christ, Heaven shall be his most surely. Then fixed on Thee My trust shall be, For Thy truth cannot alter; While mine Thou art, Not death's worst smart Shall make my courage falter. 2 Though fiercest foes My course oppose, A dauntless front I'll show them; My champion Thou, Lord Christ, art now, Who soon shalt overthrow them. And if but Thee I have in me With Thy good gifts and Spirit, Nor death nor hell, I know full well, Shall hurt me, through Thy merit. 3 I rest me here Without a fear; By Thee shall all be given That I can need, O Friend indeed, For this life or for heaven. O make me true, My heart renew, My soul and flesh deliver! Lord, hear my prayer, And in Thy care Keep me in peace for ever. Languages: English

People

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Authors, composers, editors, etc.

John Bacchus Dykes

1823 - 1876 Person Name: John B. Dykes, 1823-1876 Composer of "DOMINUS REGIT" in Hymnal and Liturgies of the Moravian Church As a young child John Bacchus Dykes (b. Kingston-upon-Hull' England, 1823; d. Ticehurst, Sussex, England, 1876) took violin and piano lessons. At the age of ten he became the organist of St. John's in Hull, where his grandfather was vicar. After receiving a classics degree from St. Catherine College, Cambridge, England, he was ordained in the Church of England in 1847. In 1849 he became the precentor and choir director at Durham Cathedral, where he introduced reforms in the choir by insisting on consistent attendance, increasing rehearsals, and initiating music festivals. He served the parish of St. Oswald in Durham from 1862 until the year of his death. To the chagrin of his bishop, Dykes favored the high church practices associated with the Oxford Movement (choir robes, incense, and the like). A number of his three hundred hymn tunes are still respected as durable examples of Victorian hymnody. Most of his tunes were first published in Chope's Congregational Hymn and Tune Book (1857) and in early editions of the famous British hymnal, Hymns Ancient and Modern. Bert Polman

Catherine Winkworth

1827 - 1878 Person Name: Catherine Winkworth, 1829-1878 Translator of "Who Puts His Trust in God Most Just" in Hymnal and Liturgies of the Moravian Church Catherine Winkworth (b. Holborn, London, England, 1827; d. Monnetier, Savoy, France, 1878) is well known for her English translations of German hymns; her translations were polished and yet remained close to the original. Educated initially by her mother, she lived with relatives in Dresden, Germany, in 1845, where she acquired her knowledge of German and interest in German hymnody. After residing near Manchester until 1862, she moved to Clifton, near Bristol. A pioneer in promoting women's rights, Winkworth put much of her energy into the encouragement of higher education for women. She translated a large number of German hymn texts from hymnals owned by a friend, Baron Bunsen. Though often altered, these translations continue to be used in many modern hymnals. Her work was published in two series of Lyra Germanica (1855, 1858) and in The Chorale Book for England (1863), which included the appropriate German tune with each text as provided by Sterndale Bennett and Otto Goldschmidt. Winkworth also translated biographies of German Christians who promoted ministries to the poor and sick and compiled a handbook of biographies of German hymn authors, Christian Singers of Germany (1869). Bert Polman ======================== Winkworth, Catherine, daughter of Henry Winkworth, of Alderley Edge, Cheshire, was born in London, Sep. 13, 1829. Most of her early life was spent in the neighbourhood of Manchester. Subsequently she removed with the family to Clifton, near Bristol. She died suddenly of heart disease, at Monnetier, in Savoy, in July, 1878. Miss Winkworth published:— Translations from the German of the Life of Pastor Fliedner, the Founder of the Sisterhood of Protestant Deaconesses at Kaiserworth, 1861; and of the Life of Amelia Sieveking, 1863. Her sympathy with practical efforts for the benefit of women, and with a pure devotional life, as seen in these translations, received from her the most practical illustration possible in the deep and active interest which she took in educational work in connection with the Clifton Association for the Higher Education of Women, and kindred societies there and elsewhere. Our interest, however, is mainly centred in her hymnological work as embodied in her:— (1) Lyra Germanica, 1st Ser., 1855. (2) Lyra Germanica, 2nd Ser., 1858. (3) The Chorale Book for England (containing translations from the German, together with music), 1863; and (4) her charming biographical work, the Christian Singers of Germany, 1869. In a sympathetic article on Miss Winkworth in the Inquirer of July 20, 1878, Dr. Martineau says:— "The translations contained in these volumes are invariably faithful, and for the most part both terse and delicate; and an admirable art is applied to the management of complex and difficult versification. They have not quite the fire of John Wesley's versions of Moravian hymns, or the wonderful fusion and reproduction of thought which may be found in Coleridge. But if less flowing they are more conscientious than either, and attain a result as poetical as severe exactitude admits, being only a little short of ‘native music'" Dr. Percival, then Principal of Clifton College, also wrote concerning her (in the Bristol Times and Mirror), in July, 1878:— "She was a person of remarkable intellectual and social gifts, and very unusual attainments; but what specially distinguished her was her combination of rare ability and great knowledge with a certain tender and sympathetic refinement which constitutes the special charm of the true womanly character." Dr. Martineau (as above) says her religious life afforded "a happy example of the piety which the Church of England discipline may implant.....The fast hold she retained of her discipleship of Christ was no example of ‘feminine simplicity,' carrying on the childish mind into maturer years, but the clear allegiance of a firm mind, familiar with the pretensions of non-Christian schools, well able to test them, and undiverted by them from her first love." Miss Winkworth, although not the earliest of modern translators from the German into English, is certainly the foremost in rank and popularity. Her translations are the most widely used of any from that language, and have had more to do with the modern revival of the English use of German hymns than the versions of any other writer. -- John Julian, Dictionary of Hymnology (1907) ============================ See also in: Hymn Writers of the Church

Johann Sebastian Bach

1685 - 1750 Person Name: J. Sebastian Bach Arranger of "PARIS" in The Evangelical Hymnal Johann Sebastian Bach was born at Eisenach into a musical family and in a town steeped in Reformation history, he received early musical training from his father and older brother, and elementary education in the classical school Luther had earlier attended. Throughout his life he made extraordinary efforts to learn from other musicians. At 15 he walked to Lüneburg to work as a chorister and study at the convent school of St. Michael. From there he walked 30 miles to Hamburg to hear Johann Reinken, and 60 miles to Celle to become familiar with French composition and performance traditions. Once he obtained a month's leave from his job to hear Buxtehude, but stayed nearly four months. He arranged compositions from Vivaldi and other Italian masters. His own compositions spanned almost every musical form then known (Opera was the notable exception). In his own time, Bach was highly regarded as organist and teacher, his compositions being circulated as models of contrapuntal technique. Four of his children achieved careers as composers; Haydn, Mozart, Beethoven, Mendelssohn, Schumann, Brahms, and Chopin are only a few of the best known of the musicians that confessed a major debt to Bach's work in their own musical development. Mendelssohn began re-introducing Bach's music into the concert repertoire, where it has come to attract admiration and even veneration for its own sake. After 20 years of successful work in several posts, Bach became cantor of the Thomas-schule in Leipzig, and remained there for the remaining 27 years of his life, concentrating on church music for the Lutheran service: over 200 cantatas, four passion settings, a Mass, and hundreds of chorale settings, harmonizations, preludes, and arrangements. He edited the tunes for Schemelli's Musicalisches Gesangbuch, contributing 16 original tunes. His choral harmonizations remain a staple for studies of composition and harmony. Additional melodies from his works have been adapted as hymn tunes. --John Julian, Dictionary of Hymnology (1907)
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