Each week Considering Homeschooling recognizes the faithful service of someone getting the message out about homeschooling. This week we recognize Wayne Walker for his blog Hymn Studies, "studies of hymns that can be used in your homeschool as part of your devotions, Bible curriculum, or music study." Â
"All the Heavens Adore Thee" "And at midnight there was a cry made, Behold, the bridegroom cometh; go ye out to meet him" (Matt. 25.6) INTRO.: A hymn which aplies the thought of this parable to us is "All the Heavens Adore Thee." The text was written and the tune (Wachet Auf or Sleepers Awake) was composed both by Philipp Nicolai, who was born on Aug. 10, 1556, at Mengeringhausen in Waldeck, Germany, where his father, Dieterich Nicolai, was a Lutheran minister. After an early education at Mengeringhausen under Ludwig Helmbold and Joachim von Burgk, in 1575 Philip entered the University of Erfurt and in 1576 went to the University of Wittenberg, where he graduated in 1579. Living for some time at Volkhardinghausen neare Mengeringhausen, he frequently preached for his father. In 1583, he was appointed Lutheran preacher at Herdecke in Westphalia, where his father had been minister earlier, but found many difficulties there and resigned his post. In 1586 he became minister at Niederwildungen near Waldeck, and in 1588 moved to Altwildungen, where he also served as court preacher to the widowed Countess Margaretha of Waldeck and tutor to her son, Count Wilhelm Ernst. In 1596, he became minister at Unna in Westphalia. It is believed that he produced these words there in 1597 during a pestilence of bubonic plague which claimed some 1,400 victims. The song was first published, with the tune, along with two other hymns in the appendix to his devotional work Frewden-Spiegel dess ewigen Lebens, printed at Frankfurt-am-Main in 1599. In 1601, Nicolai was selected minister of St. Katherine's Church at Hamburg, where he married at age 44 in 1606 and died of a fever two years later on Oct. 26, 1608.
It is possible that this hymn is based on the Wachter-Lieder (Watch Songs), a form of lyric poetry popular in the Middle Ages and introduced by Wolfram von Eschenbach (1170-1220). However, while in the Watch Songs the voice of the watchman summons the workers of darkness to flee from discovery, with Nicolai it is a summons to the children of light to awaken to their promised reward. The translation was made by Catherine Winkworth (1829-1878). It was first published in her 1858 Lyra Germanica, Second Series, and revised in 1863 for her Choral Book for England. Several alterations, especially in the third stanza, have been made to Miss Winkworth's original translation, various ones attributed to illiam Cooke, Edward A. Dayman, Philip Pusey, and Frances E. Cox, which appear in the 1872 edition of the 1871 Hymnary. It is possible that the melody is based on the "Silberweisse," c. 1513, by Hans Sachs (1494-1576). The tune was sometimes ascribed to Jacob Praetorius, the music director of the St. Katherine's Church in Hamburg where Nicolai was minister. However, it is now known that Nicolai was the composer and Praetorious only arranged it. The song encourages us to wake, to watch, and to worship.
I. Stanza 1 is a call to awake A. Christians are to awake out of the sleep of darkness: Rom. 13.11-12 B. God's watchman, through the written word, is calling us to be alert: Isa. 52.8, Ezek. 3.17 C. Therefore, like the five wise virgins, we need to be vigilant: Matt. 26.7-13
II. Stanza 2 is a call to prepare A. We need to remember that someday the Lord will come down all glorious: Acts 1.11 B. He who will come is the bridegroom, God's own beloved Son, for whom we wait: Jn. 1.29, Phil. 3.20-21 C. And we must be prepared so that we can join Him in the marriage feast of heaven: Rev. 19.6-9
III. Stanza 3 is a call to praise A. All the heavens, both men and angels, will adore Christ: Rev. 5.8-14 (the original third line read, "With harp and cymbal's clearest tone," but Christian Hymnal uses a different version to eliminate the reference to instrumental music) B. This will be the primary activity in that eternal city where the gate is made of pearl: Rev. 21.1-21 C. As yet, no mortal eye or ear has experienced this: 1 Cor. 2.9 CONCL.: The latter passage is not talking about heaven, but the language can still be used in this regard to remind us that while we as yet have not been to heaven, it should be our desire, both here and in eternity, to let "All the Heavens Adore Thee." | ||||
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