Lord of Our Life, and God of Our Salvation

Matthäus Apelles von Löwenstern (1594–1648)

Matthäus Apelles von Löwenstern was a remarkable figure of the German Baroque era, distinguishing himself as a statesman, poet, and composer. Born the son of a saddler in Silesia, his natural musical and administrative talents propelled him into the highest circles of European nobility. He served as a director of music and finance for Duke Heinrich Wenzel, eventually rising to the rank of royal counselor for Emperors Ferdinand II and Ferdinand III, the latter of whom ennobled him. His career was set against the turbulent backdrop of the Thirty Years' War, a conflict that deeply informed the urgent, prayerful nature of his hymns.

Löwenstern's hymnological legacy consists of thirty hymns, which he published around 1644 in his collection Symbola oder Gedenck-Sprüche. These works are unique for their formal sophistication; he often wrote in antique verse forms, such as Sapphic and Alcaic odes, and composed his own melodies to accompany the texts. His work bridge the gap between the complex art-poetry of the Renaissance and the practical, congregational needs of the Reformation church. Many of his hymns were based on the personal mottoes (symbola) of the princes he served, turning political loyalty into spiritual devotion.

While he wrote only thirty hymns, several have achieved international status through English translations, particularly during the 19th-century revival of interest in German chorales.

"Lord of Our Life": A Transformation

The most enduring legacy of Löwenstern in the English-speaking world is the hymn "Lord of Our Life, and God of Our Salvation." It is a fascinating example of how hymns evolve:

• The Original: Löwenstern wrote it during the Thirty Years' War as a "Sapphic Ode" pleading for peace amidst the literal destruction of war.

• The Translation: In 1840, Philip Pusey provided an English version that was more of a "paraphrase" than a strict translation. Pusey shifted the focus from the physical wars of the 17th century to the spiritual and ecclesiastical struggles facing the 19th-century Church of England.

• The Result: It became a staple of Anglican hymnody, often sung to an "old Latin melody" or modern tunes like Iste Confessor or Cloisters.

Notable Translators

Löwenstern’s work was a favorite of the great 19th-century collectors who brought German pietism to English ears:

• Catherine Winkworth: The most influential translator of German hymns, she included three of Löwenstern’s works in her Lyra Germanica and Chorale Book for England.

• William Mercer: Included a version of Löwenstern's Sapphic ode in his widely used Church Psalm & Hymn Book.

Löwenstern was one of the few hymn writers of his time to provide both the text and the tune. His melodies were often as sophisticated as his verse, utilizing the rhythmic flexibility of the Baroque period. His hymns were admired by figures such as the historian Niebuhr and the diplomat Bunsen, who valued Löwenstern’s ability to combine high literary art with the "simple heart" of Protestant faith.