Free Lead Sheet – Christ Receiveth Sinful Men

Free Lead Sheet – Christ Receiveth Sinful Men

Free Sheet Music for Christ Receiveth Sinful Men by James McGranahan and Erdmann Neumeister. Enjoy!


Free Lead Sheet - Christ Receiveth Sinful Men

Wrongdoers Jesus Will Receive


Neumeister, Erdmann, son of Johann Neumeister, schoolmaster and organist at Uechtritz, close Weissenfels, was born at Uechtritz, on May 12, 1671. He joined the University of Leipzig in the year 1689, graduated M.A. in the year 1695, and was then for some time University lecturer. In the year June 1697 he was assigned as an assistant pastor at Bibra, and in 1698 pastor there, and assistant superintendent of the Eckartsberg district. He was then, in the year 1704, called by Duke Johann Georg, to Weissenfels as teacher to his only daughter, and assistant court churchman and shortly afterwards court preacher. After the demise of this princess, Neumeister was invited by the Duke's sister (she got married to Count Erdmann II. von Promnitz) to Sorau, where on New Year's Day, in the year 1706, he entered on the offices of a senior court - preacher, consistorial rath, and superintendent. Finally, in the year 1715, he received the appointment of Pastor of Saint James's Church in Hamburg, entering on his obligations there on September 29, 1715. He passed away in Hamburg, on August 18 (not 28), 1756.


Neumeister was well-known in his day as a dedicated and expressive preacher, as a vehement upholder of High Lutheranism, and as a discerning conversationalist against the Pietists and the Moravians by means of the pulpit as well as the press. His underlying purpose was doubtless to maintain the simplicity of the trust from the subjective novelties of the period. He was the author of one of the earliest historic-critical works of German Poetry (in the year 1695); and of many Cantatas for use in church, of which form of Fervice he may be regarded as the inventor. He had started to write songs of praises throughout his student days, and in later years their composition was a favorite Sunday employment.


He takes high rank among the German song of praise-writers of the eighteenth century, not only for the number of his productions (over 650), but also for their upholding values. A number is originated on well-known songs of praises of the 16th and 17th century; and many of his later productions are inferior. Of his earlier efforts, many soon took and still hold their place as standard German songs of praises; and rightfully so, for their clear, musical style, scripturalism, poetic fervor, and depth of belief and Christian experience, and for their clear-cut sayings which have almost passed into proverbial use. They occurred mainly in the following works: — 1. DerZugang zum Gnadenstuhle Jesu Christo. This was a sacred manual of preparation for Holy Communion, with interspersed songs of praises. The first edition occurred in Weissenfels in the year 1705, the 2nd 1707, 3rd 1712, and 4th 1715.


The earliest edition of which accurate details are available is the 5th edition in the year 1717, from which Wetzel, ii. 231, quotes the first lines of all the 77 songs of praises; and the earliest edition available for collation was the 7th edition, 1724 [Göttingen University Library]. In the later editions many songs of praises are repeated from his other works. 2. Fünffache Kirchen-Andachten, Leipzig in the year 1716 [Wernigerode Library], a collected edition of his Cantatas (Wernigerode Library has the 1704 edition of his Geistliche Cantaten), and the same productions. A second set (Fortgesetzte) occurred in Hamburg in the year 1726 [Hamburg Town Library]; and a third set (Dritter Theil) in Hamburg in 1752 [Hamburg Town Library]. 3. Evangelischer Nachklang in Hamburg, in the year 1718 [Hamburg Town Library], with 86 songs of praises on the Gospels for Sundays and Festivals, initially written to form conclusions to his sermons. A 2nd set of 86 occurred as the Anderer Theil in Hamburg, year 1729 [Hamburg Town Library].


Mrs. Bevan produced in the year 1858 a series of translations from the German as Songs of Eternal Life (Lond., Hamilton, Adams, & Co.), in a volume which, from its not usual size and relative costliness, has got less attention than it deserves, for the trs. are definitely above the average in merit. A number have come into usual use, but almost consistently without her name, the well-known being those eminent under the “O God, O Spirit, O Light of Life," and under "Jedes Herz will etwas li ben." Most of these are interpreted during this Dictionary under their authors' names, or German first lines. That's at page 630, "O past is the fast-days,—the Feast-day, the Feast-day is coming," is an interpretation through the German from the Persian of Dschellaleddin Rumi in the year 1207 to 1273. Mrs. Bevan also produced Songs of Praise for Christian Pilgrims (London, Hamilton, Adams, 1859), the translations in which are also interpreted throughout this Dictionary as far as possible.


James McGranahan was a 19th-century American musician and songwriter, well-known for his various songs of praise. He was born on July 4 1840, in West Fallowfield or Adamsville, Pennsylvania, and passed away on July 9 1907 at his home in Kinsman, Ohio.


He composed over 25 songs of praise. For example, in one work he is listed as the songwriter of 3 notable songs: "He Will Hide Me" by Mary Elizabeth Servoss, "Revive Your Work, O Lord" by Albert Midlane, and "Come" by "James Gibson Johnson"; and he wrote the music for at least 39 of the 79 songs of praise in a work co-authored with Ira D. Sankey.


The music of his song of praise "My Redeemer," written for lyrics by P. P. Bliss, is used as the accompaniment for the Latter-day Saints song of praise "O My Father."


In Hawaii, McGranahan is well-known for writing the music to the song of praise "I Left It All With Jesus," which, when joined to the words "Hawaii Aloha" by the Reverend Lorenzo Lyons (an early missionary to Hawaii) began to be one of Hawaii's best known and best loved songs. In Hawaii the melody is called Hawaii Aloha and the texts were penned by Lorenzo Lyons, a minister. Lyons was known as "Makua Laiana" or simply "Laiana." The song is often sung at the close of public governmental, sacred, academic and sporting events.

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