Christi Blut und Gerechtigkeit

translated as
The Saviour’s blood and righteousness
Jesu, thy blood and righteousness

with
NUN LASST UNS DEN LEIB BEGRABEN
TALLIS’ CANON
GERMANY (GARDINER, WALTON, FULDA)

I. German Text: Origins

This German hymn is by Count Nikolaus Ludwig von Zinzendorf (1700–1760), the aristocrat-turned-missionary who established a community of Moravians (Unitas Fratrum, United Brethren) at Herrnhut and traveled extensively as a teacher and preacher. Hymnologist James Mearns summarized Zinzendorf’s religious leanings by saying “The keynote of Zinzendorf’s hymns, and of his religious character, was a deep and earnest personal devotion to and fellowship with the crucified Saviour.”[1] This is exemplified in one of his most enduring hymns, “Christi Blut und Gerechtigkeit.”

The hymn is said to have been written in 1739 on his journey back across the Atlantic after visiting a Moravian settlement on the island of St. Thomas. In the edition of Zinzendorf’s hymns published by Albert Knapp, Geistliche Gedichte des Grafen von Zinzendorf (Stuttgart: J.G. Cotta, 1845), for which he had access to Zinzendorf’s manuscripts, this hymn was headed “Auf St. Eustachius.” St. Eustatius was an important port in the Caribbean, through which Zinzendorf changed ships, both on his way into the islands and on his way out.[2] Therefore, this hymn was probably written while at St. Eustatius in late February of 1739.

“Christi Blut und Gerechtigkeit” was first published in the eighth appendix, Anhang VIII (1739 | PDF), to Das Gesang-Buch der Gemeine in Herrn-Huth (Daselbst: Waysen-Hause, 1735).[3] The appendix was published separately, then incorporated into the larger hymnal in 1741 (Fig. 1).

Fig. 1. Christliches Gesang-Buch der Evangelischen Brüder-Gemeinen von 1735 zum drittenmal aufgelegt und durchaus revidirt (1741).

II. German Text: Analysis

The opening lines of the hymn are closely based on an older hymn, “In Christi Wunden schlaf ich ein,” from New-Zugerichtetes Gesang Büchlein (Leipzig: Mintzel, 1638 | Fig. 2), sometimes attributed without evidence to Paul Eber (1511–1569). The resemblance is in the last two lines of the first stanza and the first two lines of the second stanza of the older hymn:

Ja Christi Blut vnd Herrligkeit
ist mein ornat vnd ehrenklied.
Damit wil ich für Gott bestehn,
wenn ich zum Himmel thu eingehn.[4]

Regarding Zinzendorf’s first stanza, J.R. Watson noted, “The boldness of the image, and the direct application to personal religious experience, are characteristic of the heady enthusiasm of the Moravian Gesang-Buch, with its emphasis on the glories of God in Christ, and on the wonders of his mercy and grace.[5]

The original text extended to 33 stanzas of four lines/phrases. Above the tenth stanza (see Fig. 1) was a reference to Romans 7:8 (“But sin, seizing an opportunity through the commandment, produced in me all kinds of covetousness. For apart from the law, sin lies dead,” ESV). The hymn is also informed by Isaiah 61.10:

I will greatly rejoice in the Lord;
    my soul shall exult in my God,
for he has clothed me with the garments of salvation;
    he has covered me with the robe of righteousness,
as a bridegroom decks himself like a priest with a beautiful headdress,
    and as a bride adorns herself with her jewels (ESV).

Another Scripture commonly associated with this hymn is 1 Peter 1.18–19:

. . . knowing that you were ransomed from the futile ways inherited from your forefathers, not with perishable things such as silver or gold, but with the precious blood of Christ, like that of a lamb without blemish or spot (ESV).

The original German text incorporates Revelation 5:9–10 into the twenty-fifth stanza:

And they sang a new song, saying,
“Worthy are you to take the scroll
    and to open its seals,
for you were slain, and by your blood you ransomed people for God
    from every tribe and language and people and nation,
and you have made them a kingdom and priests to our God,
    and they shall reign on the earth” (ESV).

The hymn as a whole is a reflection of Moravian theology of the time. Madeleine Forell Marshall and Janet Todd explained the contextual significance:

While many Moravian hymns follow the traditional Lutheran model, the most distinctive carry the bloodiness and grotesquerie of the Pietist hymns to a difficult and unpleasant extreme, an enjoyment of the wounds of Christ. This phenomenon was the literary manifestation of an important hallmark of Moravian doctrine. Rejecting the tortured religious attitude of the Pietists, the painful abjection, they stressed the childlike joy of the Christian, freed from guilt and sin. In their hymns they retained the grotesque language and imagery, of blood and wounds, but in new combination with joyful liberation.[6]

III. German Text: Alteration

Within two decades of Zinzendorf’s death, the Moravian hymnic repertory was in need of paring and reorganization. The task of preparing a new standard hymnal for the Herrnhut Moravians was taken up by Christian Gregor (1723–1801), an organist and music director who eventually became part of the upper leadership of the Brethren. The new collection of texts was published as Gesangbuch zum Gebrauch der evangelischen Brüdergemeinen (1778). Gregor revised this hymn extensively and reduced it to 20 stanzas (Fig. 3). His revision is still used in German hymnals.

IV. German Tune

In the earliest printings (as in Fig. 1), Zinzendorf’s text was labeled “Mel. 31.” His hymnal contained only texts, so these numbers refer to a separate tune book. Although Zinzendorf drew heavily from Johann Freylinghausen’s Geistreiche Gesangbuch (Halle: multiple eds., 1704–1734) for texts and tunes,[7] the tune numbers in Zinzendorf’s collection do not correspond to Freylinghausen’s, either to individual tunes or to Freylinghausen’s metrical index (“Die 31 Art” refers to tunes 8.4.7.8.4.7, not 8.8.8.8). Zinzendorf’s chief musician, Tobias Friedrich (1706–1736), compiled a manuscript tune book containing about 200 tunes, but this was never published, probably for loss of direction after Friedrich’s death in 1736.[8]

An undated manuscript in the Herrnhut Archives, possibly from the late 1730s or 1740s,[9] shows the tune classification Art 31 (Fig. 4). The first of those, A, is the tune better known in hymnals as NUN LASST UNS DEN LEIB BEGRABEN. In the manuscript, the tune was given with a figured bass line. This tune was first printed in Georg Rhau’s Newe deudsche geistliche Gesenge (Wittenberg, 1544 | Fig. 5) with a text by Michael Weisse (1480–1534), and the tune was either written or arranged by Johannes Stahl.

When Christian Gregor overhauled the Moravian hymnal, he also revised the tune system and published a new tune book. In Gregor’s textual collection (1778 | Fig. 2), “Christi Blut und Gerechtigkeit” was assigned Melodie 22. In the tune book, Choral-Buch enthaltend alle zu dem Gesangbuche der Evangelischen Brüder-Gemeinen vom Jahre 1778 gehörige Melodien (Leipzig, 1784 | Fig. 6), there were fourteen tunes for this meter, Art 22:

Of particular interest here is the first tune, 22A, headed “Die Seele Christi heil’ge mich,” which is a text by Johann Angelus Silesius (1624–1677), but the tune is the same NUN LASST UNS DEN LEIB BEGRABEN by Johannes Stahl as in the previous manuscript. Out of these fourteen tunes supplied by Gregor, this one has been most closely associated with Zinzendorf’s text and its translation into English by Charles Kinchin.

For more detailed background on the German text and tune “Nun lasst uns den Leib begraben,” see MacKenzie & Herl (2019) and Zahn (1889).

V. English Translation: Kinchin / Swertner / Marshall

Among the English-speaking Moravians, Zinzendorf’s hymn was translated by Charles Kinchin (1711–1742) as “The Saviour’s blood and righteousness,” first printed in A Collection of Hymns by Several Authors, with Several Translations from the German Hymn-Book of the Ancient Moravian Brethren (London: James Hutton, 1741 | 2nd ed. shown at Fig. 7). Kinchin was an Oxford-trained Anglican minister, an acquaintance of the Wesleys, with sympathies also toward the English Moravians.

Fig. 7. A Collection of Hymns, with Several Translations from the Hymn Book of the Moravian Brethren, 2nd ed. (London: James Hutton, 1743).

In the first tune book printed for the English Moravians, The Tunes for the Hymns in the Collection with Several Translations from the Moravian Hymn-Book (1744 | Fig. 8), Kinchen’s text was printed with Stahl’s tune, NUN LASST UNS DEN LEIB. This pairing, therefore, dates much earlier than Gregor’s tune book (1784), and it seems likely that the English tune pairing was adopted from the Germans, even if this has not yet been confirmed with manuscript or printed evidence.

Kinchen’s version is valuable for translating the entirety of the German, although, as with Zinzendorf, it is never printed in full in hymnals. In the next major hymnal, A Collection of Hymns for the Use of the Protestant Church of the United Brethren (1789 | Fig. 9), this was reduced to twelve stanzas and largely rewritten, probably by the collection’s editor, John Swertner (1746–1813).

This was revised thoroughly again in the 1801 edition, with few stanzas left untouched (Fig. 10). The changes here mostly amount to improvements in the poetry and fidelity to the German.

This Kinchen/Swertner version continued to be printed into the 20th century until it was replaced in the American Moravian Book of Worship (1995 | Fig. 11) by a fresh translation (five stanzas only) with the same opening line by Madeleine Forell Marshall (1946–). Marshall is a hymn scholar with a background in English and German literature, author of English Congregational Hymns in the Eighteenth Century (1982) and Common Hymnsense (1993).

Regarding her translation, Marshall relayed the following account:

The life and writing of Zinzendorf was always really a Forell family project. My German grandparents loved his hymns. My father edited his sermons. My sister wrote about his work in her thesis. As an eighteenth-century scholar and something of a contrarian, I was drawn to baroque aesthetics in the period routinely oversimplified as the enlightenment. Affective poetry, the power of Bach, the rise of the sentimental novel, the work of Hogarth, to say nothing of the pietists and the revivals—these drew me to the century.

It was a great honor to be asked by John Geisler to retranslate the brilliant hymn “The Savior’s blood and righteousness.” Doing so, I tried to ground the text in common language and conserve the baroque radicalism of the text. As with all the German texts, composing a coherent and useful English hymn meant choosing which of the many stanzas fit in a concise English text. Always, when crafting a fresh translation, the text needs to seem both familiar and new.

My translation was based on Gregor’s version, sent to me by the Moravians. Stanza 1 is pretty exact and tracks well to both Gregor and Zinzendorf. Things go goofy with stanza 2. Again, I used Gregor, but Gregor has made a mess of the Zinzendorf original. Recognizable but heavily reworked. My stanza 3 is a composite of Gregor’s 4, 5, and 6. My stanza 4 weaves together Gregor’s 7 and 8, treating works and salvation. My 5 combines Gregor’s 17 and 19.[10]

VI. English Translation: Wesley

John Wesley’s life and work were greatly influenced by the Moravians, especially in the earliest part of his ministry. For a history of John’s early encounters with the Moravians and with Zinzendorf, see the article “Commit thou all thy griefs.” Curiously, although Zinzendorf passed through England in April 1739 on his way back to Germany, his name was not recorded in John Wesley’s diary (in which he noted every person with which he had a religious conversation) or his journal. Whether Wesley came into possession of a manuscript from Zinzendorf or the Anhang VIII later that year is unclear.

Wesley’s translation was first published in Hymns and Sacred Poems (1740 | Fig. 12) in 24 stanzas of 4 lines, without music, headed “The Believer’s Triumph.”

Fig. 12. Hymns and Sacred Poems (London: W. Strahan, 1740).

Wesley’s translation followed stanzas 1–4, 6–10, 12, 14–21, 24–25 (these two combined into Wesley’s 19), and 29–33 of Zinzendorf’s German. He mirrored Zinzendorf’s rhyme scheme and the false trochaic accent on the first word in an otherwise iambic hymn. James Mearns called Wesley’s hymn “a spirited but rather free translation.”[11] J.R. Watson believed Wesley’s translation of this hymn and others like it from the German repertoire added something new to the English canon of the time:

To the experience of Tate and Brady, of Baxter, Addison, and Watts, the world of Puritan devotion, high seriousness, and Newtonian physico-theology, they import an entirely new element—the spectacular.[12]

An extended analysis by Gerhart Teuscher included these observations of Wesley’s approach and technique:

In the above stanzas [1, 6–7, 21], Wesley kept fairly close to the original, rendering both images and spirit. . . . In the remaining stanzas, the German end rhyme scheme is again maintained, and so are the most important images and messages, i.e. the innocent Lamb and the ransom paid by the crucified Christ for the author and for all humanity. . . . Clearly, Wesley was able to convey in his version the same personal and unshakable faith in redemption through Christ’s “blood and righteousness,” and formulate this faith just as poetically.[13]

Teuscher also noted how both Wesley and Zinzendorf personalized the hymn by the extensive use of “I,” “me,” and “my.” Wesleyan scholar John Lawson saw in this hymn the key doctrine of Justification by Faith, writing, “The gracious message of our Lord is that the great God, who is the Judge and Father of mankind, does not wait for sinful human beings to embark upon the hopeless task of making amends for sin. There is no possibility of acquiring ‘merit’ in his sight, and he does not look for it.”[14]

For additional Scripture references, see John Lawson (1987; covering sts. 1–2, 6–8, 21–24) and J.R. Watson (1988; sts. 1–2, 6–7, 12).

VII. Wesley’s Textual Revisions

This hymn was repeated in Hymns and Spiritual Songs (1753 | Fig. 13), reduced to 16 stanzas divided into two parts (1–7, 11; 12–14, 19–21). Changes in this revised version include an inconsequential transposition of words at 2.3 (“thro’ these absolved” / “absolved thro’ these”), the addition of “meek” at 6.1 (“The holy, meek,” etc.), and a slight shift from “the” to “thy” at 7.1. More significant changes happened at 21.3, from “For me, and All Thy Hands have made” to “For me a full atonement made,” and at 22.1, from “Ah give me now, All-gracious Lord” to “Ah! give to all thy servants, Lord.” The line at 23.1 included a small change from “power” to “might.” Other minor changes were made in later editions of this collection.[15]

Fig. 13. Hymns and Spiritual Songs (London: William Strahan, 1753).

The hymn was given again in Select Hymns with Tunes Annext (1761), reduced even further to only ten stanzas (1–7, 11, 23–24), carrying over the alterations from 1753.

Finally, when this hymn appeared in their final, career-spanning collection, A Collection of Hymns for the Use of the People Called Methodists (1780 | Fig. 14), it was given in eleven stanzas (1–2, 6–7, 8.1–2 + 21.3–4, 12–13, 21–24), with a few additional revisions, notably a return of older language from the original 21.3 (here 8.3), and a new version of 22.1 (here 9.1).

VIII. Tunes for Wesley’s Text

1. TALLIS’ CANNON

The Wesleys first set “Jesu, thy blood and righteousness” to music in A Collection of Tunes, Set to Music, As They Are Commonly Sung at the Foundery (1742 | Fig. 15), where they used a version of the tune TALLIS’ CANON by English composer Thomas Tallis (1505–1585).

In the above image, the designation “Vol. 2” refers to Hymns and Sacred Poems (1740), the second of three collections of hymns printed with the same title. The Wesleys repeated this tune pairing in Select Hymns with Tunes Annext (1761) and in Sacred Harmony (1780). In spite of the lengthy relationship between this text and tune in the Wesleys’ lifetimes, later Methodists have not continued the tradition.

2. GERMANY / WALTON

In more recent years, the tune most commonly associated with “Jesu, thy blood and righteousness” has been GERMANY (or GARDINER, WALTON, FULDA, etc.), from William Gardiner’s Sacred Melodies, from Haydn, Mozart and Beethoven, Adapted to the Best English Poets, and Appropriated to the Use of the British Church, vol. 2 (London: 1815 | Fig. 16). William Gardiner (1770–1853) attributed the tune to Ludwig van Beethoven (1770–1827), who was still alive and actively composing at the time. The music was arranged for voice and strings, with a paraphrase of Psalm 23, “As a shepherd gently leads,” probably by Gardiner himself.

Gardiner was an ardent admirer of Beethoven. In a series of memoirs, he recalled the first time he was exposed to Beethoven’s music:

The Abbè [Dobler], who never travelled without his violin, had luckily put into his fiddle case a trio composed by Beethoven, just before he set off, which thus, in the year 1793, found its way to Leicester. This composition, so different from anything I had ever heard, awakened in me a new sense, a new delight, in the science of sounds. . . . It was a language that so powerfully excited my imagination, that all other music appeared tame and spiritless. When I went to town, I enquired for the works of the author, but could learn nothing more than he was considered a madman, and that his music was like himself.[16]

He also described part of his process of producing Sacred Melodies, after the departure of a skilled French musician, M. Guynemer, he had much admired:

When I lost my companion, the charm of this music was gone, having no one that could succeed in bringing out the meaning of that mighty genius Beethoven. I withdrew into my shell, and made myself acquainted with the literature of the science, and the works of the German masters. I employed myself in giving many extracts from them in an English form, to which I wrote the words in the Sacred Melodies and Oratorio of Judah. I have refrained from exhibiting myself as a composer farther than was necessary to complete my design.[17]

In discussing this piece in particular, for which he couldn’t remember the original source, he offered these notes:

“As a shepherd gently leads” is somewhere in the works of Beethoven, but where I cannot now point out. The style is sweet and pastoral, and the harmony, upon the rising semi-tones of the bass, though learned, is smooth and easy.[18]

The best attempt to identify this tune was made by eminent hymnologist Leonard Ellinwood, who believed it was derived from Beethoven’s piano trio, op. 70, no. 2 (1809), Allegretto ma non troppo, saying “the theme on which the movement is built bears marked resemblance to the beginning and end of Gardiner’s tune.”[19] Hymn tune scholar Nicholas Temperley was less convinced, demurring, “the only real resemblance is with the last phrase, which can hardly be called the ‘subject.’ The only theme from the Viennese classical masters that comes close to the opening phrase of the tune is the four-measure introduction to Sarastro’s aria, ‘O Isis und Osiris,’ from Die Zauberflöte.”[20] Scottish scholar James Love was the first to equate the tune with Mozart’s Magic Flute, calling the air by its Italian name, “Possenti numi.”[21]

The name GERMANY was assigned by Lowell Mason in the Boston Handel and Haydn Society Collection of Church Music (1822). It has also been known as GARDINER, WALTON, FULDA, and other names.

by CHRIS FENNER
for Hymnology Archive
25 August 2020
rev. 10 September 2020

Footnotes:

1. James Mearns, “Count Nicolaus Ludwig von Zinzendorf,” A Dictionary of Hymnology, ed. John Julian (1892), p. 1302: HathiTrust

2. John R. Weinlick, Count Zinzendorf (Nashville: Abingdon, 1956), p. 146. “Because of adverse winds, it took eight days in a crowded vessel to reach St. Eustatia, a distance he had covered in one day in the opposite direction. . . . Upon transferring to the second ship at St. Eustatia, Zinzendorf had difficulty in securing accommodations for his party but at length was assigned to a stateroom and half of the cabin.”

3. Joseph Herl (2019), p. 604, notes three early surviving sources, each with the same content but different pagination. Source 1 being the earliest, Anhang VIII, where no. 1258 appears on pp. 1105–1108 (PDF); Das Gesang-Buch Der Herrnhut: und anderer Brüder-Gemeinen. Mit denen Cöthnischen Liedern vermehret (1741), at pp. 1029–1032; and Christliches Gesang-Buch der Evangelischen Brüder-Gemeinen von 1735, as in Figure 1 above.

4. Transcribed in Joseph Herl (2019), p. 604, n. 2.

5. J.R. Watson, The English Hymn (Oxford: University Press, 1997), p. 213, n. 4.

6. Madeleine Forell Marshall & Janet Todd, English Congregational Hymns in the Eighteenth Century (Lexington, KY: University Press of Kentucky, 1982), p. 22.

7. Gerhart Teuscher, “Jesus still lead on: Count von Zinzendorf,” The Hymn, vol. 47, no. 3 (July 1996), p. 42, n. 31; also correspondence from Olaf Nippe at the Unitätsarchiv Herrnhut, 4 Sept. 2020.

8. Nola Reed Knouse, The Music of the Moravian Church in America (University of Rochester Press, 2008), p. 48.

9. The image was supplied by Olaf Nippe, 4 Sept. 2020, who was unable to name the author or date of the MS, saying, “The older system of numbers belongs to the Friedrich/Grimm period, but I cannot say that this particular tune book is from Friedrich or Grimm,” and “The number system was changed during the 1740s.”

10. Correspondence with Madeleine Forell Marshall, 21–22 August 2020. Marshall had been given a 17-stanza reduction of Gregor’s text; the numbers in the quote above refer to the full 20-stanza version.

11. James Mearns, “Christi Blut und Gerechtigkeit,” A Dictionary of Hymnology, ed. John Julian (1892), p. 230: HathiTrust

12. J.R. Watson, The English Hymn (Oxford: University Press, 1997), pp. 212–213.

13. Gerhart Teuscher, “Jesus still lead on: Count von Zinzendorf,” The Hymn, vol. 47, no. 3 (July 1996), pp. 42–43.

14. John Lawson, “Justification by Faith,” A Thousand Tongues: The Wesley Hymns as a Guide to Scriptural Teaching (1987), pp. 109–112.

15. See the document edited by Randy L. Maddox for John Wesley’s Poetry, Hymns, and Verse, Duke Divinity School: https://divinity.duke.edu/initiatives/cswt/john-wesley

16. William Gardiner, Music and Friends, vol. 3 (London: Longman, Brown, Green, and Longmans, 1853), p. 143: Archive.org

17. William Gardiner, Music and Friends, vol. 2 (London: Longman, Orme, Brown, and Longman, 1838), p. 510: HathiTrust

18. William Gardiner, Music and Friends, vol. 2 (London: Longman, Orme, Brown, and Longman, 1838), pp. 842–843: HathiTrust

19. [Leonard Ellinwood,] “GARDINER,” The Hymnal 1940 Companion, 3rd ed., rev. (1956), p. 306.

20. Nicholas Temperley, Companion to the Hymnal 1982, vol. 3B (1994), p. 1123.

21. James Love, “WALTON,” Scottish Church Music (1891), p. 78.

Related Resources:

William Gardiner, Music and Friends, 3 vols. (London: 1838–1853): HathiTrust

Johannes Zahn, “Nun lasst uns den Leib begraben” Die Melodien der deutschen evangelischen Kirchenlieder, vol. 1 (Gütersloh: C. Bertelsmann, 1889), no. 352: Archive.org

James Love, “WALTON,” Scottish Church Music (Edinburgh: William Blackwood & Sons, 1891), p. 78: Archive.org

James Mearns, “Christi Blut und Gerechtigkeit,” A Dictionary of Hymnology (London: J. Murray, 1892), p. 230: HathiTrust

[Leonard Ellinwood,] “GARDINER,” The Hymnal 1940 Companion, 3rd ed., rev. (NY: Church Pension Fund, 1956), pp. 305–306.

John Lawson, “Justification by Faith,” A Thousand Tongues: The Wesley Hymns as a Guide to Scriptural Teaching (London: Paternoster, 1987), pp. 109–112.

J.R. Watson & Kenneth Trickett, “Jesus, thy blood and righteousness,” Companion to Hymns & Psalms (Peterborough: Methodist Publishing, 1988), p. 156.

Fred L. Precht, “Jesus, your blood and righteousness,” Lutheran Worship Hymnal Companion (St. Louis: Concordia, 1992), pp. 381–382.

Nicholas Temperley, “GARDINER,” Companion to the Hymnal 1982, vol. 3B (NY: Church Hymnal Corp., 1994), p. 1123.

Gerhart Teuscher, “Jesus still lead on: Count von Zinzendorf,” The Hymn, vol. 47, no. 3 (July 1996), pp. 32–43: HathiTrust

Bert Polman, “GERMANY,” Psalter Hymnal Handbook (Grand Rapids: CRC, 1998), pp. 245–246.

Carl P. Daw Jr., “GERMANY,” Glory to God: A Companion (Louisville: Westminster John Knox, 2016), p. 348.

Robert Cottrill, “Jesus, thy blood and righteousness,” Wordwise Hymns (9 May 2018):
https://wordwisehymns.com/2018/05/09/jesus-thy-blood-and-righteousness-2/

Joseph Herl & John W. Matthews Jr., “Jesus, thy blood and righteousness,” Lutheran Service Book Companion, vol. 1 (St. Louis: Concordia, 2019), pp. 603–605.

Joseph Herl & Cameron A. MacKenzie, “This body in the grave we lay,” Lutheran Service Book Companion, vol. 1 (St. Louis: Concordia, 2019), pp. 1104–1107.

“Jesu, thy blood and righteousness,” Hymnary.org:
https://hymnary.org/text/jesus_thy_blood_and_righteousness

“The Savior’s blood and righteousness,” Hymnary.org:
https://hymnary.org/text/the_saviors_blood_and_righteousness

The Hymn Tune Index: https://hymntune.library.uiuc.edu/default.asp