Wake, Awake, for Night Is Flying
Wake, awake, for night is flying, the watchmen on the heights are crying
Wake, Awake, for Night Is Flying is a hymn text by Philipp Nicolai; tr. Catherine Winkworth (1599) in 8.9.8.8.9.8.6.6.4.4.8 meter. Found in CW21 486, CW93 206, ELH 544, elw 436. Sung to WACHET AUF.
The King of Chorales — a majestic Advent and eschatological hymn based on the parable of the ten virgins. The three stanzas depict the watchmen's cry, the virgins' procession, and the wedding feast of heaven. Bach's cantata BWV 140 based on this chorale is one of his most celebrated works.
History & Background
Written by Philipp Nicolai in 1599 during a devastating plague in Unna. The German original Wachet auf ruft uns die Stimme is based on Matthew 25:1-13 (the parable of the ten virgins). Bach used it as the basis for Cantata BWV 140 (Wachet auf). Translated by Catherine Winkworth in 1858.
Hymnal Appearances
- Christian Worship: Hymnal — 486
- Christian Worship — 206
- Evangelical Lutheran Hymnary — 544
- Evangelical Lutheran Worship — 436
- Lutheran Book of Worship — 31
- Lutheran Service Book — 516
- Lutheran Worship — 177
- The Lutheran Hymnal — 67
Bulletin Note
Wake, Awake, for Night Is Flying — Philipp Nicolai, 1599
Preaching Connection
Matthew 25:1-13 — the parable of the ten virgins; eschatological readiness.
Stanza Arc
The narrative or theological arc traced by this tune's stanzas: Eschatological awakening progressing from urgent call to watchfulness, through joyful recognition of Christ's coming, to doxological praise of the Trinity and union with the redeemed community
Background Research
Philipp Nicolai was pastor at Unna, Westphalia, when plague killed more than half of the town's c. 2,400 people (July 1597 – January 1598). He comforted his flock and himself by meditating on eternal life, and the result was the devotional book Frewden-Spiegel deß ewigen Lebens (Mirror of Joy of Eternal Life, 1599). It contains this hymn and 'Wie schön leuchtet der Morgenstern' (TLH 343). The stanza initials W–Z–G (reversed, 'Graf zu Waldeck') honor his former pupil Count Wilhelm Ernst of Waldeck, who died in 1598 aged 15. The text is built on the wise and foolish virgins (Matt 25), with the Bridegroom's coming and the wedding feast of heaven (Rev 19, 21). Nicolai's own tune is called the 'King of Chorales' (a title traced to C. D. F. Palmer). Bach: chorale cantata BWV 140 (1731), whose movement 4 tenor chorale became the famous Schübler organ chorale BWV 645. Winkworth: Lyra Germanica II (1858), Chorale Book (1863).
Sources: hymnologyarchive.com 'Wachet auf'.
In the Church Year
Hymn of the Day (Lutheran Service Book) for: Last Sunday of the Church Year; Proper 27
Suggested in the one-year series
- Last Sunday of the Church Year (7×)
- Trinity 20 (2×)
- Trinity 21 (1×)
Suggested in the three-year series
- Last Sunday of the Church Year (3×)
- Proper 27 (3×)
- Proper 16 (2×)
- Proper 23 (2×)
- Advent 1 (1×)
From LCMS Worship's published hymn suggestions, 2014–2026. The count is how many of those yearly lists suggested this hymn for that day.
Overview
Called the 'king of chorales.' Nicolai wrote it during a plague in Unna that killed some 1,300 of his parishioners, as a meditation on eternal life. It dramatizes the parable of the wise and foolish virgins: the midnight cry (st. 1), Zion's joyful response as the Bridegroom arrives (st. 2), and the eternal wedding feast in the heavenly Jerusalem (st. 3). It is the church's great hymn of readiness and longing for Christ's return.
Central theme: Joyful readiness for Christ's return as Bridegroom and the eternal wedding feast
Structure
Call (1), arrival and procession (2), eternal celebration (3) — a narrative of the Last Day in three scenes.
Law & Gospel Shape
Gospel with an implicit call to watchfulness; no explicit Law.
Confessional Connections
AC XVII: Christ will return to judge and give eternal life and joy to believers. The church as bride (Eph 5).
Liturgical Use (Study Notes)
Last Sundays of the church year; Advent; All Saints; funerals; Sundays with Matt 25:1-13.
Historical Notes
Published 1599 in Nicolai's 'Freudenspiegel des ewigen Lebens' (Mirror of Joy of Eternal Life), with his 'O Morning Star, How Fair and Bright.' Bach's Cantata 140 is built on it.
About the Tune
WACHET AUF — Nicolai's own tune, majestic bar form; Bach's 'Sleepers, Wake' setting in BWV 140/645 is famous.
Scripture References
Matt 25:1-13 Isa 52:1-2, 8 Isa 60:1 Rev 19:6-9 Rev 21:2, 21 1 Cor 2:9 Mal 4:2
Stanza by Stanza
Watchmen on the heights cry out for Jerusalem to wake; at midnight the call goes out to the wise virgins: the Bridegroom comes, take your lamps, prepare for him.
Two Scripture scenes are fused: the watchmen of Zion (Isa 52:8; 62:6) and the midnight cry of Matt 25:6. 'Jerusalem' is the church. The watchmen can be understood as preachers whose task is to proclaim Christ's coming (Ezek 33:7). 'Ye virgins wise' — those whose lamps have oil, commonly read as faith. 'Your lamps with gladness take' shows that readiness is joyful, not anxious. The call to 'prepare' is not earning admission but being ready in faith.
- Scripture
- Matt 25:1-13, Isa 52:1-2, 8, Isa 62:6, Rom 13:11-12, Ezek 33:7
- Imagery & language
- Watchmen on walls; midnight; lamps; bridal preparation.
- Law / Gospel
- Gospel call to readiness (watchfulness).
- Connection to previous
- Opening scene: the cry.
Zion hears and rejoices, rising from gloom; her Lord comes in glory, strong in grace and truth; her star and light have come; she greets him with Hosanna and follows to the wedding hall.
The church responds with joy. 'Strong in grace, in truth victorious' recalls John 1:14 ('full of grace and truth'). 'Her Star is risen, her Light is come' quotes Isa 60:1 and the morning star of Rev 22:16. The 'Hosanna' joins Palm Sunday to the Last Day — the King who came humbly will come in glory. 'Follow to the nuptial hall' completes the parable: the wise enter the feast with the Bridegroom (Matt 25:10).
- Scripture
- Isa 60:1, John 1:14, Rev 22:16, Matt 21:9, Matt 25:10, Rev 19:7
- Imagery & language
- Rising from gloom; star and light; procession to the wedding hall.
- Law / Gospel
- Gospel — the Bridegroom's arrival.
- Connection to previous
- The response to st. 1's cry.
Heaven, people, and angels praise Christ with harps and cymbals; the gates are each made of one pearl; gathered around his throne, the redeemed see and hear unimaginable glory and sing forever.
The scene moves into the heavenly city (Rev 21:21: 'each of the gates made of a single pearl'). 'Men and angels' worship together (Rev 5:11-13). 'No vision ever brought, / No ear hath ever caught' paraphrases 1 Cor 2:9 (Isa 64:4). The hymn ends in eternal praise — the purpose of human life fulfilled. Nicolai, surrounded by death in a plague, set before his people the joy of eternal life.
- Scripture
- Rev 21:21, Rev 5:11-13, 1 Cor 2:9, Isa 64:4, Rev 14:2-3
- Imagery & language
- Harps, cymbals, pearl gates, throne.
- Law / Gospel
- Gospel — eternal glory.
- Connection to previous
- Final scene: the feast and eternal praise.
Themes
Advent Eschatology Parable Bach