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"Now thank we all our God" is a popular Christian hymn. Catherine Winkworth translated it from the German "Nun danket alle Gott", written c. 1636 by the Lutheran pastor Martin Rinkart. Its hymn tune, Zahn No. 5142, was published by Johann Crüger in the 1647 edition of his Praxis pietatis melica. [1] [2]
When Crüger published "Nun danket all und bringet Ehr" in the 1647 edition of his hymnal Praxis pietatis melica, it was possibly without a melody. The hymn appears in the 1653 edition with a melody by Crüger and a figured bass. The melody is close to tunes from the Genevan Psalter, for Psalm 75 and Psalm 97, which also express thanks. [3]
"Nun lasst uns Gott dem Herren" ("Now let us thank God, the Lord" or "Now let us come with singing") is a Lutheran hymn of 1575 with words by Ludwig Helmbold. It is a song of thanks, with the incipit: "Nun lasst uns Gott dem Herren Dank sagen und ihn ehren" (Now let us say thanks to God, the Lord, and honour him).
New Britain (tune) Nun bitten wir den Heiligen Geist; Nun danket all und bringet Ehr; Nun freut euch, lieben Christen g'mein; Nun komm, der Heiden Heiland; Nun laßt uns Gott dem Herren; Nun lob, mein Seel, den Herren
A more complex setting of a hymn(-like) tune (e.g. chorale fantasia form in Bach's Schübler Chorales, or a combination of compositional techniques in César Franck's Three Chorales ) The chorale originated when Martin Luther translated sacred songs into the vernacular language (German), contrary to the established practice of church music near ...
The earlier pieces, published by Augener, include Contemplation (1913), the Prelude in F sharp minor (1914), Lune de Miel (1919, a wedding piece with the title a play on the words 'Honey Moon'), Canticle (Deus Miseratur) (1919), Three Hymn Tune Meditations (1924), and the Phantasy: Prelude and Chorale (1924, using the chorale melody 'Nun danket').
Johann Sebastian Bach's chorale harmonisations, alternatively named four-part chorales, are Lutheran hymn settings that characteristically conform to the following: four-part harmony; SATB vocal forces; pre-existing hymn tune allotted to the soprano part; text treatment: homophonic; no repetitions (i.e., each syllable of the hymn text is sung ...
He included the first stanza from Martin Rinckart's hymn " Nun danket alle Gott" and as the closing chorale the final stanza of Ludwig Helmbold's hymn "Nun laßt uns Gott dem Herren ". [4] According to the Bach scholar Klaus Hofmann, the first of these hymns was sung regularly after the sermon on Reformation Day in Leipzig. [5]
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