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The melody of the hymn in German was first printed in a 1613 hymnal from Ingolstadt and has been used unchanged. [1] The German version was revised by Heinrich Bone in 16 stanzas in 1847. Four of these stanzas (1, 2, 4 and 6) became part of the common Catholic hymnal in German, Gotteslob, as GL 526. [1]
The version in Gotteslob has three stanzas, and other prints usually also shorten the poetry. In the first stanza, Mary is addressed intimately as "du, Maria" (you, Mary), and is repeatedly requested to bless the singer, who identifies as "dein Kind" (your child). Lines 3 and 4 ask for blessing to find peace here (meaning: on earth), and heaven ...
The German text affirms that Mary is a "pure maiden" ("die reine Magd"), emphasizing the doctrine of the Virgin birth of Jesus. [ citation needed ] In Theodore Baker's 1894 English translation, on the other hand, the second verse indicates that the rose symbolizes the infant Christ.
A modern English version of the hymn's first stanza, which appears on the back cover of Hendrix's book Early Protestant Spirituality, is as follows: Salvation unto us has come by God's free grace and favor; Good works cannot avert our doom, they help and save us never. Faith looks to Jesus Christ alone, who did for all the world atone,
The song appeared first as "Vom Himmel kompt / O Engel kompt" (From Heaven come, O angels come) in a Catholic collection of songs printed in Würzburg in 1622. [1] Similar to the Advent song "O Heiland, reiß die Himmel auf", it belongs to a group of anonymous songs from the beginning of the 17th century which recent scholarship has attributed to Friedrich Spee, [2] [3] however without certainty.
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" Vom Himmel hoch, da komm ich her" ("From Heaven Above to Earth I Come") is a hymn text relating to the Nativity of Jesus, written by Martin Luther in 1534. The hymn is most often sung to the melody, Zahn No. 346, which first appeared in a 1539 songbook and was probably also composed by Luther.
In the narrative central part, the Evangelist's words are set for one to four voices, SATB, while the second tenor is the vox Christi, the voice of Christ. [9] According to an early manuscript, the instruments play only in the sinfonia and with the vox Christi, while the introduction, Evangelist and conclusion are accompanied only by the continuo.