This is one of those elaborate four-part chorales from the 1600s, although it's not as dark as the subgenre of "morbid Germans from the 1600s." The phrases are all the same duration musically, six half-notes, so it could be divided into measures nicely. They don't do that, instead they just do (evenly-spaced) breath marks. The reason this kind of matters is because in normal time-signature style, if a note is unexpectedly sharp or flat, by default further appearances of that note in the same measure are also sharp/flat, unless tagged with a natural sign. But if the note doesn't show up again until the next measure, it goes back to normal. In this case, however, it's not clear what the "next measure" is, so there are several cases of erring on the safe side to go "okay, this is sharp, now this next one is natural again, now this is sharp."

The narrator is amazed "that the bread of life is boundless though the souls it feeds are countless" (sort of a rhyme). I feel like this isn't a case where "though" is necessary? In order for anything to be miraculously capable of feeding generation upon generation, it pretty much has to be "boundless" in some way. I guess it's like how there were twelve baskets of leftovers after the five loaves and two fishes fed five thousand people; at that point you might as well go big!

I was surprised to learn (just now) that this is actually the older of two texts that go with this melody--the other one, which we'll get to relatively soon, sounds a lot more old-timey in its language (and that one isn't a translation, either). Anyway, this music stands out for its 8/2 triplets. That means, the main "beat" we feel is a half-note (twice as long as the "traditional" beat), and there are four of those to every measure (so the first beat of four gets the stress). But, a lot of those notes, rather than get subdivided into two equal units like usual, get subdivided into three equal units. To make matters worse, there are lots of other cases where they get broken into two unequal units, and those are written as 1.5+.5 = 2 rather than 2(2/3)+2/3  = 2 (the latter being what you would expect seeing so many triplets). I wonder if it's actually performed that way or if organists just know to break it all into equal thirds or two-thirds.

The main theme of the text seems to be how we are all one in our struggle to follow Jesus, looking to one God, lots of unity.

Wojtkiewiecz??

Yes, that's the tune name.

Wasn't he, like, the Pope?

Easy mistake to make (I actually thought that this was correct and this was written for his election or something, but no). That's the music composer's family surname, which was Anglicized to Wood. The Pope was Wojtyła, which makes this a hymn tune that actually has fewer diacritics than the thing I confuse it with...

Other than that, how are the lyrics?

Quite good actually! The line about "freedom, light and life and healing" flows well with the music, because all of the stressed syllables are coming on the first and third beats of the measures (usually stressed more) which makes them land nicely. Same for "your songs and prayers against the darkness hurling."

So the time signature is pretty consistent then?

Actually no, it jumps back from 4/4 to 6/4, but in an unobtrusive and nice way!

What is the time signature?

Well, it starts in 4/4, which is very common. But then at the end of the first long phrase there's a 6/4. The second phrase is basically the same as the first phrase, except they put the 6/4 measure in the middle instead of at the end. The last phrase has a different melody, but same pattern as the second.

Why?

It's German?

I mean why did they break it up that way?

No idea.

How about the feminine rhymes?

Well, we get a lot of repetition between verses; the end has given/heaven twice, and ever/forever followed by sever/forever.

Duly and truly is pretty good though.

I think duly is technically related to "due," but it's an etymology that doesn't come up too often.