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O rder N u m b er 9008958

T he extra-liturgical Geistliehes Lied, 1800—1915: A survey w ith m usical and theological analyses of fifty selected works Davidson, Paul Odgers, D.M.A. The Southern Baptist Theological Seminary, 1989

Copyright © 1989 by Davidson, Paul Odgers. A ll rights reserved.

U

M

I

300 N. Zeeb R& Ann Arbor, MI 48106

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THE EXTRA-LITURGICAL GEI STLI CHES LI ED 1 8 0 0 - 1 9 1 5 : A SURVEY WITH MUSICAL AND THEOLOGICAL ANALYSES OF FI FTY SELECTED WORKS

A Dissertation Presented the The S o u t h e r n

of

the

to

Faculty

of

Baptist

Theological

In P a r t i a l

Fulfillment

Requirements Doctor

for

the

Seminary

Degree

of Mu si ca l A r t s

by Paul

Odgers Davidson

December

19 89

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APPROVAL SHEET

THE EXTRA-LITURGICAL GEI STLI CHES LI ED 1 8 0 0 - 1 9 1 5 : A SURVEY WITH MUSICAL AND THEOLOGICAL ANALYSES OF FI FTY SELECTED WORKS

Paul

Re a d a n d A p p r o v e d

0.

Davidson

by: A

(Chairpers

Date

2 t .

"\

V5. iM.A. ' b ~ i Ll -A t j U

O

S’ i\r/\1.-J

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

(0 Paul

Copyright

by

Odgers Davidson 1989

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TABLE OF CONTENTS

Page

LI S T OF T A B L E S ................................................................................................. ACKNOWLEDGMENTS

ix

...........................................................................................

x

INTRODUCTION .................................................................................

1

...........................................................

1

Chapter 1.

Specific

Problems

Definition

o f T e r ms

Delimitations

.................................................

2

.................................................................

3

Basic

Assumptions

......................................................

5

Basic

H y p o t h e s e s ...........................................................

5

Th e Ne e d f o r

the

S t u d y .................................................

A Review of R e l a t e d

...........................

7

A n n o ta t e d Guides t o Vocal Solo L i t e r a t u r e ......................................................................

7

Histories Textual

the

L i e d ...........................................

Anthologies

10

.................................................

13

S t u d i e s .................................................................

14

M e t h o d o l o g y ...........................................................................

16

Other

2.

of

Literature

6

THE SOLO GEI STLI CHES LI ED BEFORE 1 8 0 0 Th e S o l o G e i s t l i c h e s A. D. 1 4 5 0 The E a r l i e s t

Lied

Evidence

. . .

20

before 21 ...........................................

21

The M i n n e s i n g e r s ...........................................................

22

The G e i s s l e r l i e d e r ...................................................... iii

24

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iv

Chapter

Page

C o n c l u s i o n ........................................................................... The

Solo G e i s t l i c h e s Lied

Liturgical

4.

5.

. . .

Mo n o p h o n y ...... .............................................

Mi x e d S t y l e M o n o p h o n i e s

3.

1450-1600

......................................

24 25 26 27

The

Solo G e i s t l i c h e s Lied

1600-1750

. . .

29

The

Solo G e i s t l i c h e s Lied

1750-1800

. . .

35

THE THEOLOGICAL SETTING OF THE GEI STLI CHES LI ED FROM 1 8 0 0 THROUGH1 9 1 5 ....................................

40

Th e B a c k g r o u n d o f N i n e t e e n t h - C e n t u r y T h e o l o g y ................................................................................

40

P i e t i s m ................................................................................

40

R a t i o n a l i s m ......................................................................

42

R o m a n t i c i s m ......................................................................

47

Basic Approaches to Theology in the N i n e t e e n t h C e n t u r y ......................................................

50

S c h l e i e r m a c h e r and t h e E x p e r i e n c e o f " F e e l i n g " ( G e f i i h l ) ................................................

51

Hegel

56

and

the R e l i g i o n of Phil os oph y

.

.

R i t s c h l and t h e R e l i g i o n o f P r a g m a t i c M o r a l i t y ...........................................................................

60

Summar y

64

...........................

LUDWIG VAN BEETHOVEN ( 1 7 7 0 - 1 8 2 7 )

.............................

66

" D i e L i e b e d e s N a c h s t e n " ( Op . 4 8 , No. 2; 1 8 0 3 ) ......................................................................................

66

" A b e n d l i e d u n t e r m g e s t i r n t e n Hi mme l " (WoO 1 5 0 , 1 8 2 0 ) ...........................................................

69

AUGUST H A R D E R .............................................................................

73

" D a s Wo r t "

( 1 8 0 7 ) .............................................................

" Di e Ahnung"

( 1 8 1 1 ) .......................................................

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74 79

V

Chapter

6.

Page

FRANZ XAVER SCHNYDER VON WARTENSEE ( 1 7 8 6 - 1 8 6 8 ) .................................................................. " Da s h o c h s t e

7.

8.

G u t " ..................................................

83

" H y m n e " ............................................................................

87

MAXIMILIAN JOSEPH LEIDESDORF ( 1 7 8 7 - 1 8 4 0 )

.

. 92

"Wenn a l l e u n t r e u w e r d e n " ( Op . 1 2 9 , No. 6 ) ..................................................

95

BERNHARD JOSEPH KLEIN ( 1 7 9 3 - 1 8 3 2 ) ist

unsre Zuversicht

"Wandrers N a c h t l i e d "

99

und S t a r k e "

( F r o m Op.

.

15, 1827)

.

99

.

102

CARL LOEWE ( 1 7 9 6 - 1 8 6 9 ) ............................................... "Gross

ist

der

Herr"

106

( 1 8 2 0 ) ........................

107

" K a i s e r O t t o ' s W e i h n a c h t s f e i e r " ( Op . 1 2 1 , No. 1; 1 8 5 3 ) ............................................................. 10.

FRANZ PETER SCHUBERT ( 1 7 9 7 - 1 8 2 8 ) "Abendlied"

( D.

499;

" De r W a c h t e l s c h l a g " 1822) 11.

Ill

.............................

1 8 1 6 ) ............................. ( Op .

68;

D.

117 117

742; 122

KARL GOTTLIEB REI SSI GER ( 1 7 9 8 - 1 8 5 9 ) . . . . " No a h "

( Op .

14,

No.

" We i n a u s W a s s e r " 12.

92

"Wenn i n b a n g e n , t r i i b e n S t u n d e n " ( Op . 1 2 9 , No. 1 ) ..................................................

"Gott

9.

82

2;

125

1 8 2 7 ) ........................

( Op .

121,

No.

3)

.

. .

126 .

129

FELI X MENDELSSOHN ( 1 8 0 9 - 1 8 4 7 ) "Morgenlied" "Trostung"

( Op .

( Op .

86,

71,

No.

No.

1;

132 2;

1828). . . .

1 8 4 5 ) ..............

133 136

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vi Chapter

13.

14.

Page

ROBERT SCHUMANN ( 1 8 1 0 - 1 8 5 6 ) " D e r f r o h e W a n d e r s m a n n " ( Op . 7 7 , No. 1; 1 8 4 0 ) ......................................................................................

139

"Requiem"

143

( Op .

90,

"Sei

still"

150 154

No. 6 ) .........................

155

" D i e H e r r l i c h k e i t d e r E r d e " ( Op . 1 4 2 b , No. 3 ; 1 8 6 0 - 1 8 6 7 ) ......................................................

157

( Op .

88,

FRANZ C0MMER ( 1 8 1 3 - 1 8 8 7 ) 65,

7 6 , No.

.

164

FRANZ ABT ( 1 8 1 9 - 1 8 8 5 ) .......................................................

167

du r u f s t "

( Op .

( Op .

No.

161 161

der

( Op .

.................................................. 1 ) .................................

" Av e M a r i a "

( Op .

211,

No.

"Arie"

( Op .

50,

1)

.

.

3 ) ............................

168

4 3 8 a ) .................................................

171

JOHANN GEORG HERZOG ( 1 8 2 2 - 1 9 0 9 ) "Passionsgesang"

20.

147

.

"Waldandacht"

19.

147

CARL GOTTLIEB WILHELM TAUBERT ( 1 8 1 1 - 1 8 9 1 )

"Herr,

18.

1 8 5 0 ) ......................

( 1 8 7 7 ) ............................................................

"Kreuz-Lied"

17.

7;

(1857)

"Christkindlein"

16.

No.

FRANZ LI S ZT ( 1 8 1 1 - 1 8 8 6 ) " Das V e i l c h e n "

15.

139

( Op . No.

50,

9;

No. 5 ;

............................. 1879)

.

.

1 8 7 9 ) .................................

PETER CORNELIUS ( 1 8 2 4 - 1 8 7 4 )

174 17 4 178 182

" E r l o s e u n s vom U b e l " ( Op . 2, No. 9 ; 1 8 5 4 ) .......................................................................

183

"Die

187

Konige"

( Op .

8,

No.

3;

1870)

. . . .

CARL REINECKE ( 1 8 2 4 - 1 9 1 0 ) ............................................

191

" W e i h n a c h t s l i e d " ..........................

192

"De r

194

liebe

Gott

i m H i m m e l " ......................................

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v ii C h a p te r

21.

Page

JOHANNES BRAHMS ( 1 8 3 3 - 1 8 9 7 ) "Die h e i l i g e

22.

Elisabeth"

...........................

197

"Wenn i c h m i t M e n s c h e n - u n d E n g e l s z u n g e n r e d e t e " ( Op . 1 2 1 , No. 4 ; 1 8 9 6 ) ......................

201

24.

( Op .

2 06

" Du , H e r r , b i s t u n s e r V a t e r " ( Op . 5 1 , No. 4 ) ......................................................................................

20 9

No.

.......................

213

" Da s Wo r t G o t t e s " ( Op . 5 6 , H e f t I , No. 1; 1 8 7 6 ) ......................................................................................

21 4

"Todessehnsucht"

.

216

.............................................

22 0

1 8 8 5 ) ......................

221

( Op .

138,

MICHAEL HALLER ( 1 8 4 0 - 1 9 1 5 ) ( Op .

32,

No.

6;

( Op .

32,

No.

No.

11;

1;

1909)

.

225

HUGO WOLF ( 1 8 6 0 - 1 9 0 3 ) .......................................................

2 30

"Zum n e u e n J a h r "

1885)

.

.

(1888)

" D i e du G o t t g e b a r s t "

27.

11,

ALEXANDER WINTERBERGER ( 1 8 3 4 - 1 9 1 4 )

"Meeresstern"

26.

20 5 2 ) ......................

" He i mwe h "

25.

(1858)

ALBERT BECKER ( 1 8 3 4 - 1 8 9 9 ) "Weihnachtslied"

23.

197

230

( 1 8 8 9 ) .................................

23 4

MAX GULBINS ( 1 8 6 2 - 1 9 3 2 ) ..................................................

23 8

" D e r du d i e e w ' g e L i e b e b i s t " ( Op . 2 9 , No. 3 ; 1 9 0 5 ) ......................................................................

23 8

" H e r r , u n s r e Z u v e r s i c h t " ( Op . 2 9 , No. 7; 1 9 0 5 ) ......................................................................................

241

MAX REGER ( 1 8 7 3 - 1 9 1 6 ) .......................................................

2 43

" V e r l a s s e n h a b ' i c h m e i n L i e b " ( Op . 1 5 , No. 9 ; 1 8 9 4 ) ......................................................................

24 4

" B i t t e um e i n e n s e l i g e n T o d " ( Op . 1 3 7 , No. 1; 1 9 1 4 ) ......................................................................

24 6

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viii Chapter

28.

Page

OTHMAR SCHOECK ( 1 8 8 6 - 1 9 5 7 ) "Marienlied"

( Op .

"Die V e r k l a r e n d e " 29.

6,

No.

( Op .

9,

............................................

250

5;

251

1907)

No.

1;

. . . . 1907)

.

.

25 3

C O N C L U S I O N S ..................................................................................

256

APPENDIXES A. B.

THE EXTRA- LI TURGI CAL GEI STLI CHES LIED 1800-1915: A LI STI NG BY COMPOSER . . . .

270

TEXTUAL SOURCES OF LIEDER DISCUSSED IN THIS S T U D Y ................................................................................

361

BIBLIOGRAPHY ..........................................................................................................

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36 6

LI S T OF TABLES

Table

1. 2.

Page

Number o f G e i s t l i c h e L i e d e r by C o m p o s e r s D i s c u s s e d i n T h i s S t u d y ................................................

257

Number o f G e i s t l i c h e L i e d e r by C o m p o s e r s P o te n tia lly E lig ib le for Inclusion in T h i s S t u d y ...............................................................................

258

ix

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ACKNOWLEDGMENTS

The c o m p l e t i o n o f litated first

by

the

a mo n g

work i s

define

the

those

Dr . J a y

type

of

study

to

work w i t h e n t h u s i a s t i c

not

too

to

say

of

that

ma n y

in

be u n d e r t a k e n

the

throughout th is

Southern Seminary

dissertation

written.

Special recognition

M c E l r a t h wh o g a v e c l o s e study

and

ma d e

A particular Alan

ma ny

and

wh o

agreed

to

although

work

a

areas

of

of the s t a f f s

at

Southern

also

the

was u n d e r t a k e n :

field

the

not

is and

years at have

details

on

been

of

the

suggestions.

this

this

student's

dissertation,

unrelated

benefited

following

from

to

his

main

Library

where t h e

research

t h e J a m e s P. B o y c e C e n t e n n i a l L i b r a r y a t

Baptist

of

the able a s s is ta n c e

libraries

Theological

Seminary;

L ibrary a t the Boston P u b lic L ib ra ry ; of

it

interest. The a u t h o r

The

the

serve

and to r e a d

in

guided

instruction w riter's

to

i s n e c e s s a r y f o r D r . R.

Instruction is

then

Indeed,

could

to

Committee of the

and

insightful

note of a p p r e c i a t i o n

Culpepper

completion

m u s t a l s o g o t o D r . Hu g h T.

attention

valuable

Of

the author

encouragement. without

been f a c i ­

the

who h e l p e d

g u i d a n c e o f Dr. W i l k e y this

has

individuals.

assisting

W. W i l k e y

the

muc h

dissertation

contributions

importance

of t h i s

this

Congress;

the

Musi c

the

Music

the Music D iv is io n Library

at

Harvard

x

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xi

University; Library

at

and

the

Yale

Beinecke

University.

Rare

Book

and

He i s

also

grateful

S a r a H a d l e y a n d t o Mr . a n d M r s . C a r l D a v i d s o n their

homes

to

while

research

his

family

and

wa s u n d e r t a k e n

A final

word

of

assisted in

their

and u n d e r s t a n d i n g

the necessary

ma d e i t

ti m e and e n e rg y

the

Ms .

wh o o p e n e d

transportation

must

support,

possible to

to

geographical

appreciation

a u t h o r ’s w i f e D i a n e w h o s e u n f a i l i n g ment ,

in

Manuscript

go

areas. to

the

encourage­

f o r him t o d e v o t e

completion

of

each

s t a g e o f t h e r e s e a r c h a n d w r i t i n g . T r u l y , " h e wh o f i n d s a wife

finds

(Prov.

a good

thing,

and

obtains

favor

from

the

Lord"

18:22).

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

•.Chapter

1

INTRODUCTION The musical

purpose

forms

characterize published

and

of

the

the

this

theological

geistliche

b e t w e e n and

of

this

particular

study

musical

are

literature

litu rg ic a l

understand the

composer

the

be

Lieder

context

whose

to

English of

these

Christ, (nature)

supply

work i t

the

songs the

for

Virgin

which

are

composed

years

studied,

Liede r ; for

study

the

Ma r y,

or

first 1915.

body of

the

extra-

and

analysis;

Lied

course

the

to

select

fifty (3)

selected output

of

of the s e l e c t e d texts

(6) t o

analyze

understandings

humankind,

and

and

the

of

to

works

(4) to p r o v i d e

German and

the

(2)

entire

thereof;

in

namely,

represents;

their

the

which

1800 and

(1) to c a t a l o g

original

translations

understandings

of e a c h of t h e f i f t y of

identify

considered

a n a l y s e s of the m u s ic a l s e t t i n g s (5)

to

Problems

follows: to

place

the

problems

geistliche

representative

within

as

is

Lieder

including

Specific The

study

the

brief

Lieder; literal

the

texts

Go d ,

Jesus

created

world

represented.

1

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

2

Definition

o f Ter ms

Lied keyboard text

designates

accompaniment

has

been

accompaniment equally this to

set

with a l l

the

total

study

the

terms

be s y n o n y m o u s ,

hereafter

used as

For

as

the

connection, the

to

song"

and

"lied"

and i t s

proper to

to

that

secular,

this

the

study

are

plural,

content,

the English

or

Within

considered are

language.

is

temporal, this

nearly

"lieder,"

English which

and

or

term

sacred

or

profane. im plies

inspiration,

a to

O

t r a d i t i o n 0 and i s language.

ed. W e b s t e r ' s .3 r_d. _Ne_ w £.A _t j l £ AHiiJLiJLli L a n g u a g e Unabridged (S p r in g f ie ld , M assachusetts: M e r r i a m Co. , 1976). See a l s o R u f u s H a l l m a r k , " L i e d , " i n The N ew H a rv a rd D i c t i o n a r y of M u s i c , ed. Don M i c h a e l R a n d e l (Cambridge, M as s a c h u s e tts : B e l k n a p P r e s s , 1 9 8 6 ) , pp. 4 4 6 4 5 0 , wh o s t a t e d , a l o n g s i d e t h r e e o t h e r d e f i n i t i o n s , t h a t th e te rm " l i e d " i s "most commonly, a song f o r s o l o v o ic e and p ia n o a c c o m p a n i m e n t in G e r m a n - s p e a k i n g c o u n t r i e s d u r i n g t h e C l a s s i c a l and R o m a n t i c p e r i o d s " (p. 446) . p Deutsches

B.

contributing

composition.^

of the J u d e o - C h r is tia n

P h ilip

melody

the

"lied"

be a wo r d i n

German-language

of

refers

of

lyric

elements

effect

to

a

s o l o v o i c e and

w ell-considered

by d e s c r i p t i o n ,

religions

considered

which

three

words

opposed

purpose

a

"art

and

G eistliche religious

in

to

to

a composition for

Gove,

Ibid. S e e a l s o J a c o b Grimm and W i l h e l m Gr i mm, Worterbuch (Leipzig: S. H i r z e l , 1 8 5 4 - 1 9 2 2 ) .

^Richard Cole Piano Music: A H i s t o L i s t i n g " (D. M. A. d i s Theological Seminary,

S h a d i n g e r , "The S a c r e d E l e m e n t i n r i c a l B a c k g r o u n d and an A n n o t a t e d s e r t a t i o n , The S o u t h e r n B a p t i s t 1 9 7 4 ) , pp. 2 - 3 .

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

3

"Extra-liturgical" conceived

or

composed

for

services.

This does not

be

s o me

used

at

literature

time

under

to

use

public

in

mean t h a t

in corporate

consideration

been used

in

h o me .

may a l s o

It

refers

private

or

a wor k

wa s

corporate

not

worship

such a work c o u l d public

here

family

which

worship,

would

have

devotional

have been p e r f o r m e d

not

but

the

primarily

life

within

in a public

the

recital.

Delimitations Within first

published

1915 a r e Ge r ma n, The

study

between

considered. Austrian,

Mew G r o v e

Musik

in

19.

and

those

D i c t i o n a r y of und

by H i l d e g a r d

Kunstliedes

£

Music

composed

the

years

18 00

only

those

songs

and

Jung,

listed

" Da s g e i s t l i c h e

Ein

Beitrag

are

discussed

^ The New G r o v e D i c t i o n a r y o f ed. S t a n l e y S a d i e ( London:

^Die Musi k i n G e s c h i c h t e ed. F ried rich Blume et a 1. Barenreiter, 1949-1979).

zur

or and of

in

M u s i c i a n s , ^ Die

G e g e n w a r t , ^ or

T h i s wor k c o m p i l e s a c a t a l o g

20 v o l s . ,

lieder

including

A dditionally,

Jahrhundert:

deutschen

only

o r S w i s s c o m p o s e r s who a r e t r e a t e d

Geschichte

dissertation im

this

in

the

Sololied

Geschichte

des

here. of

the

geistliche

Musi c and M u s i c i a n s , M a c M i l l a n , 1980).

un d G e g e n w a r t , 16 v o l s . , (Kassel and Basel:

H i l d e g a r d J u n g , " Da s g e i s t l i c h e S o l o l i e d i m 1 9 . Jahrhundert: Ein B e i tr a g zur G e s c h ic h te des d e u tsc h e n Kunstliedes" ( Inaugural-D issertat io n , U niversitat-K oln, 1951).

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

4

lieder

of

this

by c o m p o s e r . lieder of

From t h i s

period,

was

for and

forms

done

by

the

methodology

for

the

description.)

This s tu d y does not of

other tant

the

works,^ and

musical trace

nor

complex setting

the h isto ry

theological lieder

of

Rather,

for any this

does

their

include

lieder it

individual

theological described

detailed

such

concern

as

below.

musical

ma y

itself

contents.

with

be

(See

anal-

found

the

in

impor­

r e l a t i o n s h i p b e t w e e n t h e t e x t and t h e O thereof. N e ith e r does i t a t t e m p t to of the

thought

between

evidence case

individual

in a l i s t i n g

mor e c o m p l e t e c o n s i d e r a t i o n

musical

"Methodology"

yses

culminating

compilation f ifty

have been s e l e c t e d

their

This

historical

on

influence

the

1800 and

particular study

composition

1915,

establishing

of v a ry in g

nor

are

a change

theological

concentrates

of

on

the

of

the

schools

geistliche

lieder

influence

system

of

or

delineating

used in

as the

school. the

^ F or s u c h a s t u d y s e e R o b e r t J a m e s S e e l e y , "The S o n g C y c l e s o f P e t e r C o r n e l i u s ( 1 9 2 4 - 7 4 ) w i t h E m p h a s i s on t h e Two S a c r e d C y c l e s : V a t e r u n s e r and W e i h n a c h t s l i e d e r " ( D. M. A. d i s s e r t a t i o n , S o u t h w e s t e r n B a p t i s t T h e o l o g i c a l Seminary, 1980). ®The s t u d i e s by B e t t y S m i t h C a m p b e l l , " T h e S a c r e d S o l o L i e d e r o f Hugo W o l f : Th e I n t e r r e l a t i o n s h i p o f M u s i c a n d T e x t " ( Ed. D. d i s s e r t a t i o n , C o l u m b i a U n i v e r s i t y , 1968) and E l l e n C a r o l e B r u n e r , "The R e l a t i o n s h i p o f T e x t and M u s i c i n t h e L i e d e r o f Hugo W o l f a n d G u s t a v M a h l e r " ( Ph. D. d i s s e r t a t i o n , S y r a c u s e U n i v e r s i t y , 1974) a r e s u c h t y p e s of studies.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

extent

of

the genre,

theological

the

viewpoints

texts

thereof.

Basic

Assumptions

geistliches

lied,

which

to

come

Th e f o r e m o s t a s s u m p t i o n is

that

the

poetry

lied

expresses

also

carries

the

musical

chosen

a variety with

it

setting

s o me way r e f l e c t

the

chosen

the

of

theological

assumption

the

this

views.

that

mindset

the

study

This

the

of

in

geistliches study

poetry

by t h e c o m p o s e r f o r

theological

various

expression

which u n d e r l i e s

by c o m p o s e r s of

and t h e

the

the

and

wor k i n

musician.

Basic Hypotheses It

wa s

hypothesized

liche

lieder

were

under

consideration.

that

w ritten It

a large

during

wa s

also

the

period

understandings

diversity

which a r e

lieder

expressions

w ritten

theological

viewpoints

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Romantic the

sim ilar secular

between

which

to art

the

are

1915,

related

settings this

in

the

which same

to

held

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settings

song of

and

w e r e commonl y

period.

musical

1800

voiced

it

exist

in

historical

geist­ history

that

cer­

within

the

in the g e i s t l i c h e and the and

that

these

theological taught

during

was h y p o t h e s i z e d

geistliche

are

of

of

hypothesized

t a i n common t h e o l o g i c a l of

numbe r

lieder

evidence

in

period.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

are the

6

Th e Need f o r There liches the

lied

it

plishes

all

logical which

the

as

Romantic

a whole,

these

it

points

secular

often

study

of

the

of

this

time

the

a form to

of

lied

which could

in o th e r

of

the

texts This

accom­ In

theo­

literature

a

toward

basis

for

historical-

Conjointly,

the

of

solely

as

or

manner.

musical

be u s e d

catalogs

study

influence

within

geist­

thereof,

as a p o t e n t i a l

framework.

influence

period

of

either

be o r i e n t e d

serving

geistliches

a

the

Q

in a r e p r e s e n t a t i v e

thereby

information

which

theologically.

within

provides

study

toward ex ten siv e

theological-literary

study

or

considered

concerns,

period

translates

tasks

ideologies

is

Study

no E n g l i s h - l a n g u a g e

musically

addition,

a

of

material

analyzes

is

the

this

the

theological

contemporaneous a rt

study

basis

for

systems

of

forms,

as

w ell as g iv in g evidence of the im pact of the t h e o l o g i c a l systems level,

within thus

the

forming

society the

basis

on

a

for

This study also encourages geistliche

lieder

in r e c i t a l

popular, further

grass

roots

investigation.

the p e r f o r m a n c e of

and w o r s h i p ,

as w e ll as

^ T h e G e r m a n - l a n g u a g e l i t e r a t u r e w h i c h f o c u s e s on the g e i s t l i c h e l i e d e r is very l i m i t e d . The o n l y m a j o r s t u d y a v a i l a b l e i s H i l d e g a r d J u n g ' s d i s s e r t a t i o n . On a muc h s m a l l e r s c a l e a n d w i t h a m o r e p o p u l a r o r i e n t a t i o n i s t h e a r t i c l e by J u r g e n K i n d e r m a n n , "D as g e i s t l i c h e K u n s t l i e d i m 19. J a h r h u n d e r t , " S c h a l l p l a t t e un d K i r c h e ( 1 9 6 8 ) , 1 1 2 -119.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

enlarges

the r e p e r to ir e

Sim ilarly,

it

both

available

indicates

resources for devotional the

translations

of

the

reading

selected

tative

to

this

collection

nineteenth

century

any l a n g u a g e

nor

of

has

the

theological

extant

lite ra tu re is

the

there

and

lieder

has

and

of

be

represen­

texts

of

the

been a v a i l a b l e

these

related

will

or

systematic

affirmations

plentiful

through

Literature

translated

is

uses.

further

and m e d i t a t i o n

been any

which

supplies

no c o m p r e h e n s i v e

geistliche

examine

however,

study

pedagogical

texts.

A Review of Re la te d Prior

for

to

attempt poems.

such

a

considered

in to Th e

task,

here

by

categories. Annotated

Guides

t o Vocal

S o lo

Literature

Numerous a n n o t a t e d g u i d e s have

been

value in they

compiled.

specific

are

of

Most

of

consideration

some

help

in

to

these of

English-language

particular

note.

Katherine

to

songs

and

Repertory^ the

uses

gives

which

the works

Siebel's a brief

they

are

texts

isolating

Amo n g

vocal

works

the

analyzed.

Guide

solo

literature of

involved, lieder four

Sacred

in

^ K a th e rin e Siebel, Sacred Songs: Repertory (New Y o r k : H.W. G r a y , 1 9 6 6 ) .

a

but

to

be

are

of

Songs:

description

ma y h a v e

little

of

_A

the

liturgical

_A G u i d e

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

to

8

context. of

the

He r texts

literal songs

references which

translations.

which

will

Singer's work,

includes

listed ence

are

with

This

thirty-nine

volumes

V o i c e 19 a n d

give

brief

by

Vocal

musical

named.

The

texts

in

original

themes

or

in

the

versions

of

other the

Noni Solos

for

of

The

and e i g h t e e n

the

is

with

refer­

for

the

C h u r c h e s , 13 each

of

concerned

without of

are

text.

Repertoire

volume

along two

These

concerning

both

five-volume

without

Christian

languages

volume,

study.

song

Espina,

function,

songs.

on f o r t y - f i v e

version

preparing

lieder.

each

versions

thirty-five

Coffin's

geistliche

first-nam ed

liturgical

the

Berton

for

in

contains

during

inform ation

songs

the

assistance

guide

remarks

t o an E n g l i s h - l a n g u a g e

English-language

some

R e p e r t o i r e , ^^

Solo

tion

of

to

be c a t a l o g u e d

cursory

Two

ered

are

the with

reference

which

are

to

consid­

English-language

volumes

include

geistliche

informa­

lieder,

respec­

tively. Three Verzeichnis

vols.

G erm an-1anguage deutscher

Lieder

sources sei t

^ B e rto n Coffin, Singer's (New Y o r k : Scarecrow P ress, 19

(Metuchen,

should

Haydn

by

Repertoire, 1960).

Noni E s p in a , R e p e r t o i r e f. o.r. _t h. N.J.: Scarecrow P r e s s , 1977).

be

noted.

Franz

2nd Solo

13

3rd.

ed.

ed.,

A.

5

Vo i c e

Noni E s p i n a , V o c a l S o l o s f o r C h r i s t i a n C h u r c h e s , (Metuchen, N . J . : Scarecrow P re s s, 1984).

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

Stein^ date,

lists

cycle

concerning

given,

text

Martin Breslauer's

Das d e u t s c h e

Lied

bis

to

zum

18.

1700. each

there

is

in

study

1800

Q u e l 1 en

and

collection

und

present the

w h i c h poems h a v e

is

Ha y d n

und

annotated

lieder

printed

given s o me

of

the

texts

are

theological

views

presented

for

the

period

L i e d jLm 1 8 . J a h r ­

S t u d i e n by Max F r i e d l a n d e r . the

most

examinations

im portant

been s e t

of

texts

these of

lieder. the

therefrom,

note

provide

This monumental

deutscher

^ M a r t i n B r e s l a u e r , Das d e u t s c h e L i e d b i s zum 18. J a h r h u n d e r t ( H i l d e s h e i m :

^M ax Friedlander, I) a js J a h r h u n d e r t : Q u e l l e n und S t u d i e n a n d New Y o r k : Ge or g 01m s, 1 9 7 0 ) .

and

theological

Verzeichnis 1967).

His

798 c o l l e c t i o n s

by w h i c h c o m p o s e r s ,

no d i s c u s s i o n

^ F r a n z A. S t e i n , (Bern: A. F r a n c k e ,

weltlich 1966) .

the

i n Das d e u t s c h e

m u s i c a l e x a m p l e s o f s o me o f work c o n t a i n s

of

geistlich an

is

and

given

songs.

1700 and

lieder

discussion

no i d e n t i f i c a t i o n

A sim ilar

of

of

is

to

poet.

gives

editions

some

individual

the

volumes

and

While

of

hundert :

Jahrhundert^

collections

according

No i n f o r m a t i o n the

presented

three

and t i t l e .

composers

t h e n a me o f

of

between

by m a j o r

except

listing

history

songs

or opus, the

w eltlich

prior

the

views

Lieder

of

seit

g e i s t l i c h und Ge o r g 0 1ms ,

d e u t s c h e JL i^ e^d^ jn 1 8 . (1902; r p t . Hildesheim

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

10

the g e is tlic h e the

lieder,

m ethodical

but

study

it

of

is

the

a valuable resource lied

in

the

for

eighteenth

century. Histories

of

t h e Lied

Among G e r ma n l i e d

very

than

passing

able

which

tions.

the

seemingly

innumerable

few s t u d i e s

attention

are,

to

however,

Her mann

given

Kretzschmar's

wor k

well

composers

of

the

set

texts

by R i s t .

Hi s

des

neuen

deutsches

Liedes. ^

deutsche

Lied:

text.

mo r e

as

Walter

c a n be f o u n d

the

examples

as

an

extensive

seventeenth

V e t t e r ’s

and

study

is

en K u n s t l i e d e s of

i m 17.

the d i f f i c u l t y

geistliche musical

Jahrhundert

purely

Texts

are

on also

of

to

textual

includes

avail­

textual

of

those

centuries

be f o u n d

aus

mo r e

considera­

s o me

discussion

the

give

Some w o r k s a r e

treatment der

in

in

who

Geschichte

Da s

friih-

Ent w i c l c l u n g s -

u nd m e h r s t i m m i g e n d e u t s c h 1 ft

in d is ti n g u is h in g

lieder

style.

to

Kapitel

g e s c h i c h t e un d A e s t h e t i k d e s e i n -

which

eighteenth

historical

Ausgewahlte

histories

the

includes

a discussion

b e t we e n " w e l t l i c h " and basis

included,

of but

language these

^H erm ann Kretzschm ar, (1 s^c. Jl .i c..h t__e d^e^s deutsches Liedes (Hildesheim: Geor g 01m s, 1 9 6 6 ) .

or

are

neuen

^ W a lte r V etter, J) j3 XlliiJliL Jl S. L.JL : A u s g e w a h l t e K a p i t e l a u s d e r E n t w i c k l u n g s g e s c h i c h t e und A e s t h e t i k d e s e i n - und m e h r s t i m m i g e n d e u t s c h e n K u n s t l i e d e s im 1 7 . J a h r h u n d e r t , 2 v o l s . ( M i i n s t e r : H e li o s, 1928).

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

11

not

theologically In the

analyzed.

introductory

deutsche

Lied s e i t

tory

the

of

analysis chapter

the

on

the

to

lyrics

there

is

texts

were

set.

of

up

texts

Mozart

analysis

Mozart, ^

genre

of

section H .J .

of

in

the

an e x t e n s i v e There

these

texts

book,

some

those

works.

lieder

since

however, in

the

In the

no

and

century g e istlic h e s

of

itself

is

H ildegard Jung, dert:

Ein

liedes."

Although

liches

lied

secular

lied,

geistliche

her

which

of

the

primary

lieder is

from

there

the

whether same

this

to her

in of

or

not

the

forms

this

as

aspect,

of

the

geist­

listing

research.

no c o n s i d e r a t i o n

Kunst­

work i s

an e x t e n s i v e In

entity

deutschen

musical

period.

indebted is

of the n i n e ­

im 19. J a h r h u n ­

f o c u s of

wor k c o n t a i n s

heavily

however,

the

des

whose

dissertation

Sololied

Geschichte

of

study.

inaugural

the question

Jung's

were used.

(Berlin:

zur

manifested

study

study,

1951

time

poets

as an a r t i s t i c

"Das g e i s t l i c h e

Beitrag

consideration

current

the

lied

a later

theological

The o n l y e x t a n t s t u d y o f t h e h i s t o r y teenth

the h i s ­

theological

of r e l i g i o u s

included

Da s

sketches

with

list

is,

his

Mo s e r

Mozart

used

of

the of the

Within the

texts

9D

^ H a n s J o a c h i m Moser, A t l a n t i s , 1937).

Das d e u t s c h e

lied

seit

Mozart

9n

H i l d e g a r d J u n g , " Da s g e i s t l i c h e S o l o l i e d i m 19. Jahrhundert: Ein B e i t r a g zur G e s c h ic h t e des d e u t s c h e n

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

12

Two o f as a l i t e r a r y the

text.

deutschen wart,^ with

Gunther Liedes

treats

which

M uller's

vom

the

particular

mor e

studies

Zeitalter

history

attention

of to

focused,

Romantic

appears Here

of the major Romantic

side

deeper

these

works

provide

of

the

writers some

valuable

of

as

zur

Gegen-

a literary

form

R a l p h Ty mms '

are

and

A sim ilar,

works,

considered

information

but Ger­

thoughts,

works.

to des

rationalistic,

in

the

lied

attention

bis

text-types.

beliefs

analysis

lied

on t h e

Geschichte

Barock

pietistic,

study

Literature. ^

study,

des the

focused

pay c l o s e r

1925

and h u m a n i s t i c

narrowly

a

have

phenomenon n a t u r a l l y

naturalistic

man

the

and along­

Both

against

of

which

K unstliedes" (In a u g u ra 1 -D iss e rta tio n , Universitat-Koln, 1951). J u n g 's s tu d y c o n s i d e r s the g e i s t l i c h e l i e d e r of t h e p e r i o d by d i v i d i n g t h e c o m p o s e r s i n t o t h r e e g r o u p s : t h o s e who d e t e r m i n e d t h e d e v e l o p m e n t a l h i s t o r y o f t h e l i e d w i t h r e g a r d t o i t s m u s i c a l f o r m ; t h o s e wh o w e r e n o t o f i m p o r t a n c e i n t h a t d e v e l o p m e n t ; a n d t h o s e who c h o s e t o compose i n a p r e - C l a s s i c a l l i t u r g i c a l s t y l e . W i t h i n t h i s framework she shows t h a t th e g e i s t l i c h e s l i e d e r did not d i f f e r in m u s ic a l s t y l e from the s e c u l a r l i e d e r . Her a t t e n t i o n t o " m i n o r " c o m p o s e r s and t h e i r p a r t i c i p a t i o n i n the p r o d u c t i o n of n i n e t e e n t h c e n t u r y g e i s t l i c h e s l i e d e r i s o f g r e a t v a l u e f o r s h e t r e a t s i n d i v i d u a l s wh o a r e c u r ­ r e n t l y a b s e n t f r o m t h e New G r o v e D i c t i o n a r y o f M u s i c a n d Musicians and M u si k i n G e s c h i c h t e und G e g e n w a r t . W h i l e h e r l i s t i n g of l i e d e r i s e x t e n s i v e , i t l a c k s some of t h e songs which a r e under c o n s i d e r a t i o n in t h i s s t u d y owing to a d i f f e r e n t a p p l i c a t i o n of t h e t e rm " g e i s t l i c h . " ^Giinther Muller, G e s c h ic h t e des d e u tsc h e n vom Z e i t a l t e r d e s B a r o c k b i s z u r G e g e n w a r t ( Mi i n c h e n : Masken, 1 9 2 5 ) . Methuen,

^Ralph 1955).

Tymms ,

Ger man R o m a n t i c

Literature

Liedes Drei (London:

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13

textual

considerations

Textual

Anthologies In t e r m s

close

affinity

lieder

of

the focus

this

of

to

the

the

contents

various

period.

on t h e

accompanying

may be p u r s u e d .

of

textual

The c h i e f

geistliche

theological

this

study,

there

anthologies

differences

lieder

in

analyses

this of

for

and

a

the

reside

study

the

is

in the

translated

lieder. Maximilian the

texts

of

Schubert: und

the

is

is

o/

into

given.

lieder

for

together

all

i n F r a nz

einstimmig komponierten Lieder

each

complete

text,

bibliographic

no a n a l y s i s

or

trans­

presented. work

which g iv e s

Schubert

text

Schochow have g a t h e r e d

Although

given

A sim ilar

the

Schubert

D ichter.

information

companion

Lilly

Di e T e x t e s e i n e r

ihr e

lation

and

is

John

Reed's

a w ea lt h of i n f o r m a t i o n

lieder,

including

a prose

English,

although

the

Infrequently,

The S c h u b e r t

comments

are

on e a c h o f

translation

original made

on

song

of

the

text

is

not

some

of

the

^ M a x i m i l i a n Schochow and L i l l y Schochow, F r a n z Schubert; Di e T e x t e s e i n e r e i n s t i m m i g k o m p o n i e r t e n L i e d e r und i h r e D i c h t e r , 2 vols. (Hildesheim: Georg 01ms, 1974). o/ Universe

J o h n R e e d , Th e S c h u b e r t Books, 1 9 8 5 ) .

song companion

( New Yo r k :

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

14

religious the

ideas

text.

each

either

Cursory

held

musical

by t h e

poet

analysis

is

or e x p r e s s e d

also

for

song.

George

Three

other

Bird's

and

Fischer-Dieskau

volumes

must

be

mentioned

Book o f

S t o k e s ' t r a n s l a t i o n o f The oc Lieder; The R i n g o f W o r d s : An by P h i l i p M i l l e r , ^

guin

edited

k_ o^f_ L i e d e r , 97

Prawer. selected

Each of

lieder

columns.

and

settings

of

which i s

very

Other

the

and

these

contains

their

literal

The l a t t e r

p o e t and t h e

here:

Richard

A n t h o l o g y of Song T e x t s

the

included

in

a n d The P e n ­

translated the

by

original

translations

S.S.

texts

in

of

parallel

two works g iv e i n f o r m a t i o n c o n c e r n i n g

composer. text

Th e f o r m e r

by v a r i o u s ,

helpful

for

this

t wo

often

works

minor,

list

the

composers

study.

Studies Among

individual geistliche

the

numerous

composers, lieder.

with the sacred a r t

Ev e n

studies

very

few

those

works

of

are

the

works

focused

which

are

s o n g s g e n e r a l l y f o c u s on t h e

on

of the

concerned musical

^ D i e t r i c h F i s c h e r - D i e s k a u , The F i s c h e r - D i e s k a u Bo o k o f L i e d e r , t r . G e o r g e B i r d a n d R i c h a r d S t o k e s ( Ne w Yor k: Limelight E d i t i o n , 1984). "^Philip L. M i l l e r , T h. *~L JL.1H.2. °.J. M.2.LiliL • A n t h o l o g y o f S o ng T e x t s (New Y o r k : W.W. N o r t o n , 1 9 6 3 ) . 97

Lieder

An

S.S. P r a w e r , e d. and t r a n s . , The P e n g u i n Book of (Baltimore: Penguin Books, 1964).

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

15

elements rather the of

texts two

fine

Sacred Music

and

than giving their

theological

studies:

Betty

Lieder and

mor e t h a n c u r s o r y

of

Hu g o

Text,"^

and

assertions.

Smith

Wolf:

attention

The

Robert

This

Campbell's

is

true

"The

Solo

Interrelationship

James

Seeley's

to

"The

of

Song

C y c l e s o f P e t e r C o r n e l i u s ( 1 8 2 4 - 7 4 ) w i t h E m p h a s i s on t h e Two S a c r e d C y c l e s : Minimal analysis

in

the

Vaterunser attention

essays

and W e i h n a c h t s l i e d e r .

is

which

also

comprise

nicht-liturgischen

Werken

although

e s s a y s 3 1 do g i v e

textual ing

and

two

of

content. analysis

the

Ev e n of

mo r e the

von

to

Religiose

Beethoven

important

literature

which dea l w it h th e r e l i g i o u s

given

some

29

textual Musi k

bis

Reger

attention

in 30 to

for

the

understand­

are

the

two

m e n t a l i t y of

essays

the n in e teen th

B e t t y S m i t h C a m p b e l l , " Th e S a c r e d S o l o L i e d e r o f Hu g o W o l f : The I n t e r r e l a t i o n s h i p of M u si c and T e x t " (Ed.D. d i s s e r t a t i o n , Columbia U n i v e r s i t y , 1 968) . ^ R o b e r t J a m e s S e e l e y , "The Song C y c l e s o f P e t e r C o r n e l i u s ( 1 8 2 4 - 7 4 ) w i t h E m p h a s i s o n t h e Two S a c r e d Cycles: V a t e r u n s e r a n d We i h n a c h t s l i e d e r " (D.M.A. dissertation, Southwestern B a p t is t Theological Seminary, 1980). ^W alter Wiora, Giinther M a s s e n k e i l , and K la us W o l f g a n g N i e m o l l e r , e d s . , R e l i g i o s e Mu s i k i n n i c h t l i t u r g i s c h e n We r k e n v o n B e e t h o v e n zum R e g e r ( R e g e n s b u r g : Gust av Bosse, 1978). H e r e a f te r c i t e d as R e l ig io s e Musik. ^ G iin th er M assen k eil, "R e lig io se Aspekte der G e l l e r t - L i e d e r B e e t h o v e n s , " i n R e l i g i o s e M u s i k , p p. 8 3 - 9 6 ; and W i n f r i e d K i r s c h , " R e l i g i o s e und l i t u r g i s c h e A s p e k t e b e i J o h a n n e s B r a h m s und A n t o n B r u c k n e r , " i n R e l i g i o s e M u s i k , pp. 1 4 3 - 1 5 6 .

R eproduced with permission o f the copyright owner. Further reproduction prohibited without permission.

c e n t u r y . 32 Methodology The i s o l a t i o n be s t u d i e d

of

began w i t h the

the

specific

geistliche

identification

of

those

wh o w r o t e l i e d e r d u r i n g t h e p e r i o d 1 8 0 0 t o 1 9 1 5 . accomplished New G r o v e in

im

Dictionary und

of

Music

and

Gegenwart;

and

" Da s

J a h r h u n d e r t . Ein B e i t r a g oc Kunstliedes."

Subsequently, which a r e

currently

America

were

catalogs

for

composers T h i s was

sources: The OO Musicians; Di e Mu s i k

19.

deutschen

to

t h r o u g h an e x a m i n a t i o n of t h r e e

Geschichte

lied

lieder

these

available

determined the

Library

geistliches

zur

composers' within

through

the

of C o n g r e s s ^

the

Solo­

Geschichte

published United

use

of

the

des

songs

States

of

printed

a n d The New Yo r k

^ O s k a r S o h n g e n , " T h e o l o g i s c h e , g e i s t e s - und m u s i k g e s c h i c h t l i c h e Voraussetzungen der Entstehung der a u s s e r liturgisch religiosen M u s i k im 19. J a h r h u n d e r t," in R e l i g i o s e M u s i k , pp. 1 9 - 4 6 ; and A d o l f Nowak, " R e l i g i o s e B e g r i f f e i n d e r M u s i k a s t h e t i k d e s 19. J a h r h u n d e r t s , " i n R e l i g i o s e Musik, pp. 47-58. - ^ The New G r o v e D i c t i o n a r y o f M u s i c a n d 20 v o l s . , e d . S t a n l e y S a d i e ( L o n d o n : Macmillan,

Musicians, 1980).

^ S i e M u s i k i n G e s c h i c h t e u n d G e g e n w a r t , 16 v o l s . , ed. F r i e d r i c h Blume ( K a s s e l and B a s e l : Barenreiter, 1949-1979). ^~*J ung,

" Das g e i s t l i c h e s

Sololied."

^^The L i b r a r y of C o n g r e s s i s c a t a l o g u e d th r o u g h a s e r i e s o f p r i n t i n g s c a l l e d The N a t i o n a l U n i o n C a t a l o g w h i c h b e g a n w i t h t h e 7 54 v o l u m e s o f t h e p r e - 1 9 5 6 i m p r i n t s

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

17 o

Public

Library

Online

Computer

Those

songs

Library

of

libraries

to

study,

lieder in

of

the

and

period.

a

the

Novalis')

time fact

the

( OCLC)

of

Dublin,

through

Boston

University

or

is,

Library,

Yale

of

the

Ohio. at

the

or

the

University

lieder

whether

use

OCLC o r

Public

which of the

wa y

so

for

as

were

were germane

or

notthey

represented

The

twenty-five

lieder

during

can

be

periods

were ch o s en

in

This

the

the

selection

geistliche

period

indi­

diversity

composers

the

fifty

lieder

wh o w r o t e

are

each

of

the

repre­

The s o n g s c h o s e n f o r e a c h c o m p o s e r

so a s

that

study.

to r e f l e c t

poets

have been s e l e c t e d

tion,

the

selected

by t w o s o n g s .

different

of

d e t e r m i n a t i o n had b e e n made,

were

most g e i s t l i c h e sented

Center

means

geistliche.

such

composers

by

available

that

When t h i s

made

are

determine

as

as

Library

Harvard

to

vidual

well

Congress, of

categorized

as

which

examined this

7

to of

reflect, the

some p o e t s ' with

and h as been c o n t i n u e d to subject catalogs, including

so f a r

composer's works

as

life.

(e.g.,

mor e f r e q u e n c y

possible,

than

In a d d i ­

Goethe's those

and

of

the present with a s e r ie s a s e r i e s f o r music.

of

^ T h e s e i n c l u d e T_h_e N_e_w Y o r k £ _u_b.l.i.c L i b r a r y P i c t i o n a r y C a t a l o g o f t h e M u s i c C o l l e c t i o n , 33 v o l s . (Boston: G. K. H a l l , 1 9 6 4 ) ; T h e New Y o r k P u b l i c L i b r a r y D i c t i o n a r y C a t a l o g of t h e Music C o l l e c t i o n : Cumulative Supplem ent, 1964-1971, 10 v o l s . (Boston: G. K. H a l l , 1973); and, b e g i n n i n g i n 1975 and c o n t i n u i n g to t h e present, an a n n u a l s u p p l e m e n t c a l l e d B i b l i o g r a p h i c G u i d e t o Music.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

wa s

18

the

others

has been c o n s i d e r e d .

Similarly,

the

songs

were

c h o s e n so a s t o a t t e m p t t o r e p r e s e n t a v a r i e t y of t h e o l o g ­ ical

views

Romantic

(e.g.,

traditional

study

the

following

the

importance

compositional

of

each

manner. of

song

for

translation

immediately

explicit

the

cussed

then of

the

and

a

This

within

poet.

poetic also

in

text

has

to

total

by b r i e f

Th e Ge r ma n form

with

poetic

a

form,

been a n a l y z e d

concerning,

humanity, of

the

followed

affirm ations

summary

given

in

Go d ,

and t h e c r e a t e d

those

statem ents

is

an a t t e m p t h a s b e e n made t o c a t e g o ­

poem a c c o r d i n g this

the

in

text,

thereafter.

Finally,

within

given

t h e V i r g i n Mary,

(nature),

presented. rize

and

presented

first

lied

concerning

theological

Jesus Christ, world

is

is

is

o u t p u t of t h e c o m p o s e r ,

text

given

song

the g e i s t l i c h e s

information

the

selected

Consideration

biographical

literal

Pietism,

theology). The

of

orthodoxy,

to

the

theological

movements

dis­

wor k.

Consideration

thereafter

of the song.

focuses

upon

a

brief

musical

analysis

The f o l i o wi n g a s p e c t s

of

the

s t r u c t u r e of the song a r e m e n t io n ed : length; OO form; t o n a l i t y ; vocal range; type of keyboard

musical

musical

OQ The a n a l y s i s o f t h e m u s i c a l f o r m o f e a c h o f t h e s o n g s a t t e m p t e d t o d e t e r m i n e w h e t h e r t h e f o r m wa s s t r i c t l y s t r o p h i c , a s i n a t r a d i t i o n a l hy mn ; m o d i f i e d s t r o p h i c , w i t h t h e melody and a c c o m p a n i m e n t r e p e a t e d f o r eac h s t r o p h e w i t h s m a l l c h a n g e s in t h e melody or t h e a c c o m p a n i m e n t , u s u a l l y a t t h e end o f t h e s ong; s t r o p h i c v a r i a t i o n , wh e r e

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

19

accompaniment; other by

composer

and

composition

also

of

lied

the

by t h e

in

has

sim ilarities within

the

with

Romantic

of

for

a

theological

the

text.

Finally,

of t h e song

respect

The to

any

are liste d m aterial

is

birthdate

of

the

with respect

to

the

date

of

composer.

methodology

allowed

the

composition.

individual

this

of

text

and s u b s e q u e n t l y

Through liches

date

of

chronologically

the composer,

styles

treatm ent

known s e t t i n g s

presented

It

and

the

period view

of

extent has the

affirmation

been

of

the

geist­

demonstrated.

diversities and

and

compositional

genre.

t h e melody i s r e p e a t e d b u t t h e a c c o m p a n i me n t c h a n g e s f o r each stro p h e ; rondo, where a m u sical r e f r a i n occurs i n t e r s p e r s e d w i t h e p i s o d e s o f new m u s i c a l m a t e r i a l on s o me s t r o p h e s ; a r i a , w i t h ABA f o r m ; o r t h r o u g h - c o m p o s e d , w i t h n e w m u s i c a p p e a r i n g f o r e a c h s t r o ph e . For f u r t h e r d i s c u s ­ s io n of t h e s e m u s i c a l forms, see the i n d i v i d u a l l i s t i n g s i n T h e New H a r v a r d D i c t i o n a r y o f M u s i c , e d . Don M i c h a e l Randel (Cambridge M a s s a c h u s e t t s : B e l k n a p P r e s s , 1986) and i n T h e New G r o v e D i c t i o n a r y o f M u s i c a n d M u s i c i a n s , 2 0 v o l s . , ed. S t a n l e y S a d i e (London: M a c m illa n , 1980). The d e f i n i t i o n of t h e s t r o p h i c v a r i a t i o n has been c hang e d f o r use in t h i s stu d y.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

Chapter

2

THE SOLO GEI STLI CHES LI ED BEFORE 1 8 0 0 Christianity

had

s p e a k i n g E u r o p e by t h e

reached

tim e of

what

the

bishop of the C h r i s t i a n s in G oth ia , is

only

natural

express of

their

is

gleaned date

any

that

spite

geistliches

lied,

c a n be t r a c e d history

four

(1)

the period

the

eras

the

the

Baroque e r a ;

people

which

had

begun

through

such

and

murkiness

the h is to ry

outlined

which w i l l before period

It

a

the

to use

development

little might

is

to

be

purport

to

era.

periods leading

Th e

1450-1600,

be

a r o u n d A. D. 3 8 0 . ^

Of

by

the

the

song

of

four

century.

chronologically are

the

medieval

Renaissance; Classical

the

study th i s

consideration

1450,

of

religious

Within th is

be c o n s i d e r e d

and (4) t h e

roots

up t o t h e n i n e t e e n t h

A. D. of

of

of the so lo

w i t h some c l a r i t y .

w ill

historical

of

tradition

German­ the

own l a n g u a g e

evidence

now

d eath of U l f i l a s ,

those

traditions.

oral

early

that

their

manuscript

from

In

in

musical

no

from

suppose

faith

indigenous

there

to

is

(3)

period

e r a ; (2)

1600-1750,

from

17 50 t o

1800.

^Kenneth Scott L a to u re tte , A^ HA s. _t ojr _y_ C h r i s t i a n i t y ( New Y o r k : H a r p e r & Row, 1 9 5 3 ) , p . 1 0 0 . 20

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

()

21

The S o l o G e i s t l i c h e s In

spite

Christian evidence cular

faith for

comes

evidence

of

a mo n g

the

The E a r l i e s t

at

before

relatively

the

Germanic

existence

from

which

the

Lied

of

least

receives

early

first

1450

arrival

peoples,

religious

500

A. D.

years

the

song

in

the

earliest

the

later.

consideration

of

It

verna­ is

that

here.

Evidence

From t h e w r i t i n g s of O t f r i d a r o u n d 865 i t i s c l e a r that

he

That, should

knew

no

however, not

existence

geistliche is

the

be t a k e n

at

the

a vernacular

to

time.

text

lieder

witness imply

of

that

6260) from th e n i n t h or t e n t h

person

lieder

manuscript

and

were in

containing

c o d e x (Cod. l a t .

century

monac.

which c o n t a i n s

the

probably

from

B a v a r i a n d i a l e c t and O b e t w e e n 836 and 854. The m a n n e r o f

this

song cannot

mined,

but

of its

structure

of

in

one

o

This

performance

is

only

vernacular.

"Petruslied." dates

text

the

no s u c h

Th e e a r l i e s t

is a Freisinger

in

the

be u n e q u i v o c a l l y

three

strophes

a "Kyrie e le is o n "

would seem to i n d i c a t e

of

or

a responsorial

antiphonal

each

the

deter­

ending

in

possibility

presentation.

^Joseph M iille r-B la tta u , "Zu Form und U berlie ferung der a l t e s t e n deutschen g e i s t l i c h e n Liedern," Z e i t s c h r i f t f iir M u s i k w i s s e n s c h a f t , 17 ( 1 9 3 5 ) , 129.

given

^ I b i d . , p. on p . 1 4 1 .

140.

The t r a n s c r i p t i o n

of

the

lied

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

is

22

Th e M i n n e s i n g e r s Beginning began led

to

to

in

be i n t r o d u c e d

the

tradition

composer-performers the

the

into

of

the

the

spoke

moralistic

they

texts.

t i o n of c o u r t l y Gedeonis

crusade

the

Germanic

and

sang

of

Troubadours

culture.

This

While

these

love

(hence

courtly

also

composed

Meyster

Holy

Rumelart

Walther ich,"

as

contemplating

or

assimila­

the Virgin

well

his

as

in

own d e a t h .

nature

God i s Typical

Vogelweide

which r e j o i c e s

Minnesinger ide als

1318).^

the

sacred

Ma r y i n

s e n t i m e n t s are seen in the

von d e r

traditional and

showed

to

wollenvlius."^

lebe

Land, -*

ma ny l i e d e r

lo v e to God's lo v e f o r

song of

"Nu a l e r s t

W.W.

of

Minnesingers.

Other c h a r a c t e r i s t i c

(d.

style

n a me " M i n n e s i n g e r s " f r o m t h e G e r ma n wo r d " Mi n n e " w h i c h

means " l o v e " ) ,

" Da s

1156

to

of

the

arrival

Tannhauser's

prayer

The h i g h e s t with

be f o u n d

works

in

(1170-1228),

in

his

the the

integration

works

of

the

upon

deep r e v e r e n c e

include

^ G u s t a v R e e s e , Mus i c i n t h e N o r t o n , 19 4 9 ) , pp. 2 3 5 - 2 3 6 .

in

of for

Frauenlob

"Dem Son G o t t e s

M i d d l e Ag e s (New Yo r k :

■*Ibid . , p . 23 4 . ^ G i l b e r t R e a n e y , " Th e M i d d l e A g e s , " i n A_ H i s t o r y o f S o n g , r e v . e d . D e n i s S t e v e n s ( Ne w Y o r k : W.W. N o r t o n , 1 9 6 0 ) , p. 35. ^Burkhard Kippenburg, "Fra ue nlob," D i c t i o n a r y of Music and M u s i c i a n s , v o l . S a d i e (London: M a c m i l l a n , 1 9 8 0 ) , p. 809.

The New G r o v e 6, e d . S t a n l e y

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

23

A l m e c h t i g " 8 and The in

the l a t e

"Unser

peak

of

the

anonymous

fourteenth

century

the

sa in ts.^

represented

the

text

Wolkenstein

is

8I b i d .,

Oswald

which

fifteenth Salzburg

twenty-four von

his

the

work

monophonic

sacred

"Menschleichen

got,

p.

from

close

late twenty

and f i v e

(1377-1445)

Minnesingers of

The

the

songs,

Wolkenstein the

reached

century.

sacred

on a v a r i e t y for

was

to the T r i n i t y ,

from

remembered

tune

representative

of

tradition

forty-nine

Writing

importantly and

Mo n k

transition

M eistersingers. most

and e a r l y

wrote

to th e V i r g i n Mary,

leich"^.

Minnesinger

fourteenth

otherwise

to

frauen

to

topics,

he

is

correlation

of

dem onstrated.^ song

the

of

beschniten

Oswald schon.

A von

10

810.

9 j . A . W e s t r u p , " M e d i e v a l S o n g , " New O x f o r d o f M u s i c , v o l . I I , e d . Dorn A n s e l m H u g h e s ( L o n d o n : U n i v e r s i t y P r e s s , 1 9 5 4 ) , p. 258.

History Oxford

^ F r a n z V i k t o r S p e c h t l e r , " Mo n k o f S a l z b u r g , " T h e New Gr o v e D i c t i o n a r y o f M u s i c a n d M u s i c i a n s , v o l . 12, e d . S t a n l e y S ad ie (London: M a c m i l l a n , 1 9 8 0 ) , p. 4 9 2 . ^ I v a n a P e l n a r and C h r i s t o p h P e t z s c h , W o l k e n s t e i n , " T h e New G r o v e D i c t i o n a r y o f M u s i c i a n s , v o l . 14, e d. S t a n l e y S a d i e ( L o n d o n : 1980), pp. 16-17.

" O s w a l d von Mu s i c a n d Macmillan,

19

Os wa l d von W o l k e n s t e i n : G e i s t l i c h e u nd W e l t l i c h e L i e d e r , D enkm aler der Tonlcunst in O s t e r r e i c h , J a h r g a n g I X / 1 , Band 18, e d . J o s e f S c h a t z and O s w a l d R o l l e r ( G r a z : A k a d e m i s c h e D r u c k - u. V e r l a g a n s t a l t , 1 9 5 9 ) , pp . 3 6 , 1 6 0 161.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

24

Th e G e i s s l e r l i e d e r In spread

1348-1349 the

throughout

Europe.

(G e i s s l e r ) banded throughout phonic

religious

recall have

and

Christ's been

sung

singing

which

soloists,

invoke

flagellants

the

with

town to

gave r i s e level

to

these

mo n o ­

Mary

songs

were

of

and

could

probably

a leader

remainder

town

of m u s i c a l

Virgin

settings

and t h e

or l e a d e r s the

group

From t h e c o n t e m p o r a r y

report­

i n g o f Hu g o v o n R e u t l i n g e n

and h i s n o t a t i o n of s i x

of the

songs

which

the f l a g e l l a n t s '

rites

the

Latin

l i t a n y 1^ and

Lutheran

with the re fra in .

from

the

Although

or a n t i p h o n a l l y

the changing v erses

answering

penitent

with a high

s u f f e r i n g s . 1^

sung r e s p o n s o r i a l l y

Black Death

pilgrimages

folksongs

by

of

the

and j o u r n e y e d

These

texts

known a s

Groups

together

Ge r many.

sim plicity

plague

were

used

in

G eisslerlieder

chorale

can

show t h e i r be

with regard

seen

to

travels

relationship be

to melodic

precursors

and to the of the

f o r m a n d o u t l i n e . 1 "1

Conclusion The

last

two

Minnesingers

mentioned

above,

the

^ W a l t e r Salmen, "Geisslerlieder," The New G r o v e D i c t i o n a r y o f M u s i c a n d M u s i c i a n s , v o l . 7, e d . S t a n l e y Sa di e (London: Macmi ll an, 1980), pp. 220-221. ^ R i c h a r d H. H o p p i n , Medieval W.W. N o r t o n , 1 9 7 8 ) , p p . 3 1 5 - 3 1 7 . 1^Reese,

M i d d l e A g e s , p.

Mu s i c

( Ne w

239.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

York:

25

Monk o f S a l z b u r g a n d O s w a l d v o n W o l k e n s t e i n , polyphonic ma r k

the

fullest

s o n g s as w e l l a s mon o p h o n i c s o n g s and a s su ch

end o f t h e

medieval

period.

development

1 f\

It

is

of

f o r m c a me a t

great

interest

in

a time

im portant

mo n o p h o n y

had

rise

humanism i n

been

the

the

years

and

development.

height

of

the

replaced

between

Minnesingers. Lutheran Catholic this

Council

era

three

of

the

secular,

from of

and a mi xed

^ R i c h a r d H. H o p p i n , N o r t o n , 1 9 7 8 ) , p. 312.

1600 it

European

the

which

Trent

classes

the

extralitur-

wa s

theolog­ with

the

was

the

began

in

monophony with

Medieval

times

of

the

period

of

of the Francowhile

begun w i t h t h e period 1517,

1545 u n t i l

type

were

continent,

traditions

it

and

of

1450-1600

and i n f l u e n c e

church

Reform ation,

liturgical,

W.W.

the

the

that

by p o l y p h o n y

and

Musically

continued

In

its

in

period.^

Lied

1450

development

Meistersingers

song in

Renaissance

Flemish school throughout the

note

Philosophically

Th e S o l o G e i s t l i c h e s The

to

song

wh e n m o n o p h o n y wa s no l o n g e r

the church.

ically,

turmoil

monophonic

f l o w e r i n g of t h e monophonic

gical

of

both wrote

of

the

and

the

1563. were

During extant:

religious

Music

( Ne w

texts

York:

^ A l b e r t S e a y , M u s i c i n t h e M e d i e v a l W o r l d , 2nd e d . (Englewood C l i f f s , N . J . : P r e n t i c e - H a l l , 1 9 7 5 ) , p. 71.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

26 I

set

in

a

musical

style

associated

with

secular

O

song.

W i t h i n t h e s c o p e of t h i s s t u d y o n l y t h e f i r s t and t h e l a s t of

these

are

Liturgical

of c o n c e r n and

this

distinguish

Lutheran

the

liturgical

collection

texts,

Ein

of

new

by M i c h a e l

songs.

of h i s t o r y

it

music

of

becomes n e c e s s a r y the

Catholic

and

liturgies.

Catholic

lished

period

between

Catholic

lar

be c o n s i d e r e d .

mo n o p h o n y

During to

will

monophony.

liturgical

In s u cc ee d in g

Leipzig.

years

1527

mo n o p h o n y

Gesangbuech1in

Ve h e i n

In

the

with

first

vernacu­

g e y s t l i c h e r , wa s p u b ­ It

contained

many s i m i l a r

fifty-two

collections

followed. ^ Protestant the

Bible

and

was one o f phonic

Geist," others were

ed.

the

used

in

centuries, as

well

expressly

collected

monophony.

congregational

the c e n t r a l

music

previous

liturgical

as

points

Lutheran

music

in

worship

vernacular

included

tunes

anthologies

in

the

Mono­

Leise

from

w i r den h e i l i g e n

written

fo r use in the reform ed into

the

of L u t h e r ' s r e f o r m .

s u c h a s " Nu n b i t t e n unison

The p l a c i n g o f

by

Luther

liturgy. 1520's

and

These

with

the

^ G u s t a v Reese, Music in the R e n a i s s a n c e , r e v is e d (New Y o r k : W.W. N o r t o n , 1 9 5 9 ) , p . 6 5 0 . ^ I b i d . , p . 651 .

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

27

first

three

followed years.

such

during

90

published the

Ge r ma n

in

1524.

Similar

p e r i o d of t h e n e x t t w e n t y

monophonic

psalters

also

anthologies to t h i r t y

appeared

in

the

1 5 3 0 ' s a n d 1 5 4 0 ' s . 21 Mi x e d s t y l e

monophonies

The music well

can as

setting

be s e e n

in

the

of

in

music

religious

the

of

lieder

century.

anthology ence

of

arose

The L o c h a m e r

Schedelsches

collection

from the

soprano solo

the

to

secular-styled

Liederbiicher

of

the

of

in

Renaissance. last

collection from

1470's

with

the

the

the

and

Franco-Flemish line

period

as

of the M e i s t e r s i n g e r s .

The L i e d e r b i i c h e r tions

texts

half

of

the

(1455-1460), 1460's,

1480's 22 a l l style

Three

in

the

and

collec­

fifteenth the

the

Glogauer

s ho w t h e setting

influ­ of

the

t wo a c c o m p a n y i n g i n s t r u m e n t a l

9 0

H o w a r d M. B r o w n , Mu_s^jL c^ jLji _t _h_e R e n a i s s a n c e (Englewood C l i f f s , N.J.: P r e n t i c e - H a 1 1 , 1 9 7 6 ) , pp. 2 7 3 274. For d e t a i l s c o n c e rn in g th e se a n t h o l o g i e s see F r i e d r i c h Blume, P r o t e s t a n t C h u r c h Mu s i c : A_ H i s t o r y (London: V i c t o r G o l l a n c z , 1975 ) , pp. 5 - 5 1 . 9 1

Brown,

Renaissance,

p.

274.

2 2 1 bi d ., pp. 2 3 0 - 2 3 1 , 254. Moder n e d i t i o n s o f t h e s e L i e d e r biicher a r e a v a i l a b l e . A Mo d e r n e d i t i o n o f t h e Lochamer L i e d e r b u c h i s a v a i l a b l e i n Denkmal er der T o n k u n s t i n B a y e r n , New S e r i e s , S o n d e r b a n d 2 ( W i e s b a d e n : Breitlcopf & H a r t e l , 1972). A f a c s i m i l e e d i t i o n of the S c h e d e l sc h e s L i e d e r b u c h i s a v a i l a b l e i n Das E r b e d e u t s c h e r M u s i k , v o l . 84 ( K a s s e l a n d B a s e l : B a r e n r e i t e r , 1978). A modern e d i ­ t i o n o f t h e G l o g a u e r L i e d e r b u c h i s a v a i l a b l e i n Das E r b e d e u t s c h e r M u s i k , v o l s . 4 , 8 , 8 5 , 86 ( K a s s e l a n d B a s e l : B a r e n r e i t e r , 1954, 1981).

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

28

l i n e s . 22

Although

compilations

of

these

sacred

collections

text

were

settings,

The M e i s t e r s i n g e r s .

not

primarily

s o me w e r e i n c l u d e d .

Beginning with Michael

B e h a i m ( 1 4 1 6 - 1 4 7 4 ) a n d c o n c l u d i n g w i t h Adam P u s c h m a n n (1532-1600), Hans

a pupil

Sachs

composers, begun

by

and the

the

of

song

texts

prolific

these

M innesingers.^

Christmas,

the

passion,

of

the

the the

based

upon

concerts scripture.

singers,

of

the

solo

was

song

Protestant

concerned

V irgin

with

Mary,

resurrection,

Reform ation.^

afternoon

to

primarily

including

the

of

tradition

Prior

were

Meistersinger,

guilds

Through Sachs' l e a d e r s h i p

Sunday

lieder

most

continued

subjects,

service

their

poets

the

religious

creation.

the

(1494-1576),

Reformation

Trinity,

of

the

and

the

t h e s e me n c a m e i n t o The the

These

focal solo

point

of

performance

performances

were

p a r t l y j u d g e d on c o n f o r m i t y o f t h e t e x t t o t h e c o n t e n t and the even

language

of

included

the the

Lutheran

B ible.2^

scriptural

Some

reference

as

such part

settings of

the

t e x t . 27

2 2 D e n i s S t e v e n s , " Th e R e n a i s s a n c e , " i n _A H i s t o r y o f S o n g , r e v . e d . , e d . D e n i s S t e v e n s ( Ne w Y o r k : W.W. N o r t o n , 1 9 6 0 ) , p. 87. o/

Reese,

R e n a i s s a n c e , p.

652.

^ H o r s t Brunner, "M eistergesang," T h e New G r o v e D i c t i o n a r y o f M u s i c and M u s i c i a n s , v o l . 12, ed. S t a n l e y S ad i e (London: M a c m i l l a n , 1 9 8 0 ) , p. 75. 2^ I b i d . ,

p.

77.

27R e e s e,

R e n a i s s a n c e , p.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

653.

29

Th e S o l o G e i s t l i c h e s The which the

was

150-year

controlled

forces

of

increasing

era.

The

generally high of

between

self

and

the

private

included

in

Christ

and of

solo

in

was

one

philosophically Fostered

were

these

by

by t h e between

were added.

have

the

solo

founded

Textually

dissolution Almost

all

in

there

on t h e of

the

these

with

this had was a

submersion boundaries

compositions

basso

ritornelli

continuo

or a d d i t i o n a l

30

schools been

issued

collections

focusing

m elodies

regional

school,

era

relationship

use

In some c a s e s ,

Germany to

and

eternity.

instruments

contributed German

for

self-expression

Three w ithin

of

of

accompaniment. melodic

Baroque

a s e e m i n g l y e n d l e s s number o f d e v o t i o n a l

songs

time

consisted

the

common a i m s a nd f o r m s .

degree

the

1600-1750

mysticism. 78

and

individualization

collections 9 Q

of

theologically

orthodoxy

God a n d h u m a n i t y , song

period

Lied

composition OI id en tified, and each

geistliches by T h o m a s

of

lieder

lied

genre.

Selle

The n o r t h

(1599-1663)

and

2 3 F r i e d r i c h B l u m e , " Th e Age o f C o n f e s s i o n a l i s m , " i n £_r o_t_e_s_Jt a__n t_ C h u r c h M u s i c : _A H i s t o r y , e d . F r . B l u m e (London: V i c t o r G a l l a n c z , 1 9 7 5 ) , p. 191. 29I b i d .,

p.

189.

30I b i d .,

p.

243.

^ M a n f r e d B u k o f z e r , Mu s i c i n t h e B a r o q u e E r a f r o m M o n t e v e r d i t o B a c h (Ne\*r Y o r k : W.W. N o r t o n , 1 9 4 7 ) , pp. 9 9 100.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

30

Johann

Schop

(1604-1651) musical the

lied.

and

secular

1667),^

Albert's of

1642.

main

eight

In

songs

nearly

syllabic.

Some,

ritornelli

also

included

wh o w a s c o n s i d e r e d

composition

1638

and

(d.

father

achievement

volumes

this all

the

Heinrich

of

works

however,

and w o r d - p a i n t i n g ,

are

has

Ar i e n

collection the

of

of

are

the

seen

as

published

in

sacred

short,

showing the

German

been

170

more

Albert

and

strophic,

elaborate influence

with of

the

c a n t a t a . 33 The

m ajor

notwithstanding father

of

Johann

Rist

use

the

poetic

Albert's

literary

extensive

lied,

(1607-1667).

worship,

teaching,

usually

strophic,

having

texts,

which

of

th is

the

S i m o n Da c h ( 1 6 0 5 - 1 6 5 9 ) , " ^

wa s

sacred

and

clear

emphasized

collaboration

group, with

His

in

These

fig u re

private

r hyme the

texts,

ego

and

w ritten

devotions, regular

and

^ I ( u r t S te p h e n s o n , "Johann Schop G r o v e D i c t i o n a r y o f M u s i c a n d Mu s i c i a n s , S ta n l e y Sadie (London: M a c m i l l a n , 1 9 8 0 ) , p.

for are

m e t e r . 35

celebrated

( i ) , " The v o l . 16, 732.

the

New ed.

■ ^ J o h n H. B a r o n , " A l b e r t , H e i n r i c h , " T h e Ne w G r o v e P i c t i o n a r y o f M u s i c a n d M u s i c i a n s , v o l . 1, e d . S t a n l e y S a d ie (London: Macmillan, 1980), p. 8 1 1 . See a l s o , H e i n r i c h A l b e r t , AmLe.IL I » 1 1 > e d . E d w a r d B e r n o u l l i , Denkmaler d e u tsc h e r Tonkunst, 1. F o l g e , B a n d 1 2 , 1 3 (Wiesbaden: B r e i tk o p f & H a r t e l , 1958). ^ T r a u t e M a a s s M a r s h a l l , " Da c h , S i m o n , " The New Grove P i c t i o n a r y o f Music and M u s i c i a n s , v o l . 5, ed. S t a n l e y Sadie (London: M a c m i l l a n , 1 9 8 0 ) , p. 144. ^ J o h n H. B a r o n , " R i s t , J o h a n n , " T h e New G r o v e D i c t i o n a r y o f M u s i c a n d Mu s i c i a n s , v o l . 1 6 , e d . S t a n l e y S a d ie (London: M a c m i l l a n , 1 9 8 0 ) , p. 55.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

31

self at

through highly

his

voice the

instruction and

north

a

Lieder

school,

verschmalte

simple

who s e t

in

two

Seelenlust,

1595-1663),

one

of

who s e t Eitelkeit

pictorial and

language, popular

accompaniment.^

Ge r ma n s c h o o l

(Sabbatische

organ

in

thoroughbass

(Himlische

(c.

emotional

Rist's

t wo

and

Di e

the

of

for

composers include

of

Schop

1641-1643),

of

collections and

manner

Heinrich

founders

(1658)

texts

volumes,

1651), the

Th e

were s e t

Selle

Scheidemann north

Rist

German

texts:

verlangte

Di e

Seeligkeit

( 1 6 5 8 ) . 37 The i n f l u e n c e of R i s t was n o t l i m i t e d German s c h o o l

of l i e d e r

composition.

to the north

S.T. S t a d e n

1655) of t h e s o u t h German s c h o o l c o n t r i b u t e d Rist of

texts

1651.

to

The i n f l u e n c e

(1616-1655) who

t h e Ne u e h i m l i s c h e r

wrote

affected

what

3^Bl ume ,

has

of

Staden

Wolfgang

been

Lieder

considered

"C onfessionalism ,"

settings

sonderbahres

and J o h a n n

Carl

Briegel the

p.

(1607-

only

of

Buch

Kindermann

( 1 6 2 6 - 1 7 1 2 ) 33 true

Baroque

238.

3 7 B a r o n , " R i s t , " p. 5 5 . See a l s o Werner B r i e g , "Scheidemann, H einrich," T h e New G r o v e d i c t i o n a r y o f Mu s i c a n d M u s i c i a n s , v o l . 1 6 , e d . S t a n l e y S a d i e ( L o n d o n : M a c mi l l an , 1980), pp. 6 0 1 - 603. 3 3 E l i s a b e t h N o a c k , " B r i e g e l , W o l f g a n g C a r l , " The Ne v/ G r o v e D i c t i o n a r y o f Mu s i c a n d M u s i c i a n s , v o l . 3 , e d . S t a n l e y S a d i e (London: M a c m i l l a n , 1 9 8 0 ) , pp. 2 8 2 - 2 8 3 . S e e also Friedrich Noack, "Wolfgang Carl Briegel als L i e d k o m p o n i s t , " Di e M u s i l c f o r s c h u n g , 2 ( 1 9 4 9 ) , 1 8 0 - 1 8 7 ; a nd E lisab eth B riegel, W. £ a_jr 1^ .§.JL : H B a r o c k k o m p o n i s t i n s e i n e r Ze i t ( B e r l i n : Merseburger, 1963), pp. 44-45.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

32

song

cycle,

voice,

G eistliche

basso continuo, R ist's

the

of

these

and well

as

1656.

in

The

the

of

also

prolific musical

published

with

those

musikalische

of

400

were

for

solo

issued

representative presentations o f S.T.

Katechismus-Andachten

of

work,

works

between

of

however,

in

fourteen

Mu s i k a l i s c h e

1639 and

works c o n t a i n

voice

of

Staden as

volumes

these

Andreas

1651

sacred five

solo

for

by

collection

H am m erschm idt's

volumes of

texts

the

set

His

including

and t h i r d

sacred

was

school.

over

which

Gr y p h i i

t w o v i o l i n s . 39

aforementioned

Ne ue

bulk

collections, Andachten

were

the

co n sisted

first

Ger man

texts

in

Andreae

(1611/12-1675),

central

others

and

poetry

Hammerschraidt of

Oden

with

1653.

The

settings

basso

of

continuo

a c c o m p a n i m e n t . 40 Other wrote 1630)

members

geistliche used

(1618,1626).^

lieder.

chorale Adam

of

the

central

German s c h o o l

J o h a n n H e r ma n n S c h e i n m elodies

Krieger

in

his

(1634-1666)

set

(1586—

^£11.1.1. a. at

also

least

N. o._v a_ one

■^ R. H i n t o n T h o m a s , P o e t r y a n d S o n g i n t h e G e r m a n B a r o q u e : .A S t u d y i n t h e C o n t i n u o L i e d ( L o n d o n : Oxford U n i v e r s i t y P r e s s , 1963), pp. 80-81. ^Johannes Gunther Kraner, "Hammerschraidt H a m m e r s c h m i d , f l i a m m e r s c h m i e d ] , A n d r e a s , " T h e New G r o v e D i c t i o n a r y o f M u s i c a n d Mu s i c i a n s , v o l . 8 , e d . S t a n l e y S a d i e (London: M a c m i l l a n , 1 9 8 0 ) , p. 76. ^B ukof zer, B a r o q u e , p. 8 6 . See a l s o , Johann H e r m a n n S c h e i n s S a m t l i c h e We r 1ce , e d . A r t h u r P r i i f e r , v o l s . 5,6,7 (Leipzig: B reitkopf & H a r te l, 1901-1923).

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

33

religious solo

text,

voice

" De r

hat

gesieget,

den G o t t

vergniigt,"

and

thoroughbass

accompaniment

with

1700

a collection

of

lieder

for

string

ritornello.^ In texts as

culmination

the

opera

1710).^

In

of

his

composer

addition

the c o lle c tio n ,

Laurentius composer.^

were

(1675-1721),

were

manifesting

arranged

the

according

written

a

appeared

Franck

w e r e c o m p o s e d by t h e

and f o u r

with

collaboration

s e v e n t y - t h r ee

These G e i s t r e i c h L i e d e r , and

year

Wolfgang

F r a n c k ’s

twenty-three

Wockenfuss

strophes

sty le,^

twenty-five Johann

to

G e o r g Bohm ( 1 6 6 1 - 1 7 3 3 ) ^ ;

thirty

hundred

by t h e H a m b u r g c l e r g y m a n H i n r i c h E l m e n h o r s t

the

with

one

(1644-

songs

in

organist

by P e t e r

cantata

poet

and

s o me w i t h a s ma ny a s influence

to

the

of

operatic

liturgical

year

^ J o h n H. B a r o n , " K r i e g e r , Ad a m, " Th e New G r o v e D i c t i o n a r y of M u s i c and M u s i c i a n s , v o l . 10, ed. S t a n l e y S a d ie (London: M a c m i l l a n , 1 9 8 0 ) , p. 2 6 5 . S e e a l s o Adam K r i e g e r , Ar i e n , D e n l c m a l e r d e u t s c h e r T o n l c u n s t , v o l . 19 (Wiesbaden: B r e i t k o p f und H a r t e l , 1 9 5 8 ) , pp. 8 - 9 . ^ A n d r e w D. M c C r e d i e , " F r a n c k , J o h a n n W o l f g a n g , " T h e New G r o v e D i c t i o n a r y o f Mu s i c a n d M u s i c i a n s , v o l . 6 , ed. S t a n l e y S a d i e (London: M a c m i l l a n , 1 9 8 0 ) , pp. 7 8 5 - 7 8 7 . ^ ^ Hu g h J . M c L e a n , "Bohm, G e o r g , " T h e New G r o v e D i c t i o n a r y o f Mu s i c a n d Mu s i c i a n s , v o l . 2 , e d . S t a n l e y S a d i e ( L o n d o n : M a c m i l l a n , 1 9 8 0 ) , pp. 8 5 2 - 8 5 3 . ^ U w e H a e n s e l , " W o c k e n f u s s , P e t r u s L a u r e n t i u s , Th e New G r o v e D i c t i o n a r y o f Mu s i c a n d Mu s i c i a n s , v o l . 2 0 , e d . S t a n l e y Sadie (London: M a c m i l l a n , 1 9 8 0 ) , p. 4 7 0 . See a l s o F red Hamel, "Die K o m p o s i t i o n e n Johann S eb astian B a c h s im S c h e m e l l i s c h e n G e s a n g b u c h , " Z e i t s c h r i f t f u r M u s i k w i s s e n s c h a f t , 12 ( 1 9 2 9 - 1 9 3 9 ) , 2 3 2 - 2 3 7 . ^For

detailed

considerations

of

this

influence

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

see

34

with

each

song a s s o c i a t e d

After in

the

almost

Italian

ceased

as

a

Schemelli

medium

of

as

tunes

J.S.

(1685-1750),

Arnold

Schering

actually basso

the

continuo Bach,

also

from

only

original

to

the

it

of

having

with this

com positional of

smaller

devotion.^ 954 of

were

of

been

genre

with

solo

1736

the

songs

and

understanding. associated

these with

improved

major

and

movement,

In

been

Bach,

other

Ger man

scale

sacred

this

has

three

work

settings

contributed

of

Gesangbuch but

s o l o song

The P i e t i s t

containing

the

that

along

arias. view

of

influence

an e x p r e s s i o n

Sixty-nine Bach

line

the

personal

Gesangbuch,

appeared

this

under

its

text.

of German s a c r e d

century,

maintained

a biblical

output

o p e r a and c a n t a t a

however,

arias,

vast

seventeenth

activity

song

the

with

determined melodies the

by are

remaining

by h i m . ^

Baroque solo

with

composers,

cantatas

for

C a r o l Anne C r u m r i n e , " Th e K e y b o a r d a n d V o c a l s e t t i n g s o f G e o r g Boehm: An A n a l y s i s o f S t y l e a s D i c t a t e d by T e x t " (Ph.D. d i s s e r t a t i o n , Syracuse U n i v e r s i t y , 1972). ^ U w e Kraemer, "Program N ot es ," Johann S e b a s t i a n Bach: G eistliche L ieder, Elisabeth Speiser, soprano; P e t e r S c h r e i e r , t e n o r ; Hedwig B il g r a m , o r g a n i s t (A rchiv P r o d u l c t i o n , 2533 299, 1 9 7 5 ) . ^Ibid. F o r a r e p o r t o f a d i f f e r i n g o p i n i o n by t h e A m e r i c a n m u s i c o l o g i s t G r e g o r y G. B u t l e r s e e A l f r e d D u r r , "Qprogram N o t e s J , " Johann S e b a s t i a n Bach: S c h e m e l l i Song Book, A rleen Auger, soprano; Peter Schreier, tenor; Gunther P f i t z e n m a i e r , b a s s o o n is t; M artin O stertag, violincellist; Martha S ch uster, harpsichordist; Nans Joachim Echard, o rg a n is t; Gachinger K antorei S t u t t g a r t ; B a c h - C o l l e g i u m S t u t t g a r t ; H e l l m u t h R i l l i n g , c o n d u c t o r (CBS h a s t e r w o r k s , CBS D2 3 8 9 7 2 , 1 9 8 3 ) .

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

35

liturgical

use.

Heinrich

solo

works as a p a r t

well

as

The

for

his

Telemann

geistliche

Gottesdienst

solo

voice,

G. F.

H a n d e l ’s ( 1 6 8 5 - 1 7 5 9 )

included

his

operatic-style

sacred

Gott

of for

(1636,1639).^

of

Geor g

Philipp

seventy-two cantatas

and s o l o sole

deutsche

settings

s c h e Ver gni i gen i n solo

continuo,

Neun

wrote

Konzerte

(1725-1726)

(1681-1767) contained basso

(1585-1672)

o f h i s S y m p h o n i a e S a c r a e _I ( 1 6 2 9 ) a s

Kleine

Harmonische

SchUtz

melodic

instrum ents.^

contribution

to

Arien

(1724-1727).

texts

from

soprano

with

B.H.

for

this

form

These

were

BrocIces'

Irdi-

b a s s o c o n t i n u o and

violin. ^ The S o l o G e i s t l i c h e s During

the

last

fifty

Lied

1750-1800

years

of

the

eighteenth

century

over 1100 c o l l e c t i o n s of sacred l i e d e r were CO published, th e m a j o r i t y of which were d e s i g n e d e i t h e r

^ H e i n r i c h S c h i i t z , S y m p h o n i a e S a c r a e 1 / 1 6 2 9 , Neue A u s g a b e s a m t l i c h e r W e r k e , v o l s . 13, 14, e d . R u d o l f G e r b e r and G e r h a r d K i r c h n e r ( K a s s e l and B a s e l : B a r e n r e i t e r , 1957, 1965). Also, H e i n r i c h Schiitz, K le i n e g e i s t l i c h e K o n zerte 1 6 3 6 / 1 6 3 0 , Neue A u s g a b e s i i m t l i c h e r W e r k e , v o l s . 10, 11, 12, ed. W i l h e l m Ehmann and Hans H o f f m a n n ( K a s s e l and Basel: Barenreiter, 1963). ^ A n n e R o t h g e b - P e s c h e k , "The S a c r e d S o l o C a n t a t a s o f G e o r g P h i l i p p T e l e m a n n , " T h e NATS J o u r n a l , 42 ( 1 9 8 5 ) , 9-11. See a l s o , Geo rg P h i l i p p T e l e m a n n , M u s i k a l i s c h e W e r k e , v o l s . 2 , 3 , 4 , 5 ( K a s s e l and B a s e l : Barenreiter, 1953,1957). C1 W i n t o n D e a n , T h e Ne w G r o v e H a n d e l ( Ne w Y o r k : W.W. N o r t o n , 1 9 8 2 ) , p p . 1 4 6 - 1 4 7 . Konrad

Am e i n ,

Markus

Jenny,

and

W alther

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

36

for

congregational

intense

use

in

period of l i e d e r

worship or as c h o i r composition

saw th e r i s e

of the E n lig h te n m e n t

emphasis

rationalism .

would shape.

on

come

to

known

as

geistliche

the

impact

his

treatise

written

in

following

of

wa s a l s o a t i m e w h i c h with i t s

addition

accompanying

the

ideas

"Romanticism"

settings

lieder

the

ideas

Von

der

1747

and

ideals

folksong-like

for

of

of the t e x t , to

of

the

which

were

C. G.

Krause

published song

in

taking

and

his

of th e s e

Poesie

1752

he

In

which

was

espoused

the

strophic

expressivity,

the

vocal

form,

syllabic

line.^^

in

were two m ajo r

the penning of sacred

was C h r i s t i a n

followers,

s howed

and s i m p l e a c c o m p a n i m e n t s whi c h were

who w e r e a c t i v e

The f i r s t

era

(1720-1774).

composition:

Contemporaneously there figures

Classical

musikalischen

sim plicity

be s u b o r d i n a t e

He a n d

This

S3 The

to

be

In

books.

including

F. G e l l e r t Balthasar

literary poetry.

(1715-1769).

Mi i n t e r

(1735-

Lipphardt, Dji js d e u l s c h e JL ill : K ritische Ges amta usga be der M e l o d i e n , R e p e r t o i r e I n t e r n a t i o n a l des Sources M usicales, section B, vols. 8-8a (Basel: B a r e n r e i t e r , 1975). CO For a d i s c u s s i o n of t h e s e d e v e l o p m e n t s see C h a p t e r 3 of t h i s work. - ^ D o n a l d J . G r o u t , A_ H i s t o r y o f W e s t e r n M u s i c , 4 t h e d . w i t h C l a u d e V. P a l i s c a ( New Y o r k : W.W. N o r t o n , 1 9 8 8 ) , p. 5 7 8 . S e e a l s o R a y m o n d A. B a r r , " K r a u s e , C h r i s t i a n G o t t f r i e d , " T h e New G r o v e D i c t i o n a r y o f M u s i c a n d M u s i ­ c i a n s , v o l . 10, e d. S t a n l e y S a d i e ( L o n d o n : Macmillan, 1 9 8 0 ) , p. 2 4 4 .

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

37

1793) and J o h a n n

Peter

Uz ( 1 7 2 0 - 1 7 9 6 ) ,

rationalistic

tone.

F. G.

adherents

Cramer

(1723-1788),

and

J . A.

Lavater

sublime

in

(1741-1801)

half

The

first

two

major

century

were

Berlin

Schule, centered (1712-1786). Quantz

texts

schools

of

C.

1795),

J.P.

mor e

and

a

his

(1740-1786),

sentimental

F.

J.G.

Benda

Nichelmann

also

Graun

songs,

all

the

included (1774),

and

designed

of

major

co m p o sitio n of the g e i s t l i c h e s

and

as

in

and

these

settings

for

the Great

K. H.

Graun

Bach

(1714-

Marpurg

(1718-

J.G.

except

figure

lied

Sturm

and

Berlin.

group were J.J.

C.P.E. F. W.

Agricola J.G.

involved

Graun in

was C. P. E. B a c h . of

texts

(1786),

private

of

Norddeutsche

(1703-1771),

(1721-1783),

wrote r e li g io u s

Cramer

composition

of t h i s

(1717-1762),

Although

accompaniment

known

(1709-1786),

Kirnberger

lieder

lieder

around the c o u r t of F r e d e r i c k

(1720-1774).-^

(1758),

Sturm

successionally

The l e a d i n g f i g u r e s

(1704-1759), 1788),

centered

School,

(1697-1773),

over-300

with

(1724-1803)

C.C.

wrote

poetry

nature.^

The this

Klopstock

wrote

all

by

His

Gellert

with

devotional

the

piano use

in

^ G e o r g F e d e r , " D e c lin e and R e s t o r a t i o n , " in P„r £_t e jS_t a_n._t CJi ji r c h M u s i c : A. _H_i_s _t c^.r y_, e d . F r . B l u m e (London: V i c t o r G a l l a n c z , 1974), pp. 337-338. ■ ^ W illi Apel, " B e rlin S chool," Harvard D ic t i o n a r y o f M u s i c , 2nd ed . (Cambridge, Mass.: Belknap P ress, 1969), pp. 91-92.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

38

the

home.^ Later

composers the

in

arose

previously

variation

of

as

1774) and

and

of

of Krause

greater of

Schulz

this

Zweite

for

home

as

drama

of

texts in

the

by G . J .

which

Romantic

more

to

the

who s e t

poets

of

Berliner the

(1786) Co

worship;

w ritten

a wa y

limits

by u s i n g

(1747-1800),

texts

younger

prominence

folksongs wh o s e t

of

narrow

other

(1790-1795) and

the

and

1766 as w e l l

diversity

a group

(1784)

(1752-1814)

others

ideals

figures

Uz

era

against

giving

were J.A.P.

spiritual

in

reacted

main

texts

Reichardt

historical

mentioned

The

Liederschule

well

who

form

keyboard.

religious

this

as J.F.

Mark

(1726-

by L a v a t e r

(1790)

moved

lied;

toward

a n d C. F.

the

Zelter

( 1 7 5 8 - 1 8 3 2 ) . 59 The i n f l u e n c e spread.

Groups

Dessau,

Breslau,

of

in

their

in

d is tric t

Switzerland.

the

two B e r l i n

composers

Leipzig,

affected the

of

compositional of

in

these

Heinrich

Knecht

the

Dresden,

cities

Wei mar ,

style,

Swabia

Composition

occurred

in

and

of

schools

regions

(1752-1817),

Christoph

■^Feder,

"Decline,"

337.

58I b i d .,

pp.

~^Apel,

p.

were

the

geistliche

geographical

Hamburg,

and Vienna were

as

in

of

wa s w i d e ­

composers

country lieder

also

through

Justin

Rheineck

(1748-

338-339.

"Berlin

School,"

p.

of

92.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

39

1797), and J o h a n n R u d o l f Z u m st e e g ( 1 7 6 0 - 1 8 0 2 ) i n

Swabia,

Johann H e i n r i c h E g l i (17 4 2 -1 8 1 0 ) and Johann Anton S u l z e r (1752-1828) c.

in

Switzerland,

Ant on

Steffan

(1726-

1797) in Vienna. While

neither

Haydn ( 1 7 3 2 - 1 8 0 9 ) men

did

Mozart

Schopfer with

to

wrote a solo

e h r t ) in

religious

He a l s o

in

wrote

frechen

Mozart

VI.A.

were p r i m a r i l y

contribute

accompaniment

ihr

and J o s e f

the

1791

(Die

for

a sacred Sunder")

of

cantata

addition

texts

lieder

output

sacred

ihr to

(1756-1791)

the

for

with

soprano,

four

texts

Magd,

strings

the

and

n deutschen 1 9 66) , pp.

soprano

basso

aria

continuo.

"Ein' fs

both

geistliches soprano

bass aria

strings,

N u m b e r e d a mo n g H a y d n ’s w o r k s a r e and

composers,

written

German-language for

F.J.

songs ein'

lied.

with

unermesslichen

having

soprano

nor

piano

W eltalls

four

songs

accompaniment. ( " Ko mme t and with

her,

organ.^ religious

Dienerin"

with

9

Hermann K re tz s c h m a r, (2 e; .s cji _i c_ji _t e^ d_e^ s^ n e u e n L i e d e s ( 1 9 1 1 ; r p t . H i l d e s h e i m : Georg 01ms, 312-341.

^ S t a n l e y S a d i e , T h e New G r o v e Mo z a r t ( Ne w Y o r k : W.W. N o r t o n , 1 9 8 2 ) , p p . 1 7 8 , 1 8 0 . See a l s o M a u r i c e J.E. B r o w n , " M o z a r t ’s S o n gs f o r V o i c e and P i a n o , The M u s i c R e v i e w , 17 ( 1 9 5 6 ) , 1 9 - 2 8 . 9

J e n s P e t e r L a r s e n , The New G r o v e Ha y d n (New Yo r k : W.W. N o r t o n , 1 9 8 2 ) , p p . 1 2 5 , 1 4 0 . See a l s o P a u l M i e s , " J o s e p h H a y d n s g e i s t l i c h e L i e d e r fii r e i n e und m e h r e r e Singstimmen mit K la v ie rb e g le itu n g : Zu G e s c h i c h t e u n d A s t h e ti k des Liedes bei J. H a y d n , " Mu s i c a S a c r a , 7 7 (1957), 113-117.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

Chapter

3

THE THEOLOGICAL SETTING OF THE GEI STLI CHES LI ED FROM 1 8 0 0 THROUGH 19 15 The theological as

in

that

the

Romantic

backgrounds

subsequent

period

geistliches

of

time

of

the

lied

is

nineteenth

developments

which

century

took

different

background

for

theological

thought

Pietism,

in as

place

the well

within

itself.

The B a c k g r o u n d o f N i n e t e e n t h - C e n t u r y Three

rooted

the

Rationalism,

ideological

currents

developments between

1800

Theology

which and

form

occurred

1915.

These

the in are

and R o m a n t i c i s m.

Pietism The p i e t i s t i c the

seventeenth

ism

a s an a t t e m p t

the

apostolic

dogmatic

move ment

century.

arose

to recover

faith,

systems

It

of

as

began

the

opposed

Lutheran

in the l a t t e r

within

Ge r ma n L u t h e r a n ­

supposed to

the

p a r t of

sim plicity

highly

Scholasticism.-^

of

developed As m o s t

■^Claude Welch, P^c^_t e_j3_t a_ri t_ T h_o__u^h__t jl ii t h e N i n e t e e n t h C e n t u r y , V o l . I , 1 7 9 9 - 1 8 7 0 ( Ne w H a v e n : Yale U n i v e r s i t y P r e s s , 1 9 7 2 ) , p. 23. S e e a l s o , Egon W. G e r d e s , " T h e o l o g i c a l T e n e t s o f P i e t i s m , " C o v e n a n t Q u a r t e r l y , 34 (1976), 25, who f i n d s t h e p r e - h i s t o r y o f P i e t i s m in P u r i t a n i s m , Reformed o r t h o d o x y , and m y s t i c i s m , a s w e l l as 40

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

41

classically Phillip cern its to

expressed

in

the

Pia

Desideria

focus

the

"interiorization

on a c t i v e

articles

of

faith

belief

of

Christian

conviction informal

personal

of

spiritual

assemblies

an

immorality

was

personal which

experience

intolerance

of

often preceded

sin.^

The P i e t i s t s

placed

great

with

laxity,

underprivileged

member s

of

to

th e Romantic

movement ^ and grew t o l a r g e

in

Lutheranism.

^ Ib id .,

Protestant p.

a concern

T h o u g h t , p.

met

Within

for

the

Pietism

in

upon these

indifference,

with

society.^

by a

emphasis

Christ.^

coupled

We l c h ,

Wi t h

qua c r e d i t u r ) i n c o n t r a s t O quae c r e d i t u r ). Pietism held

(fides

groups

truth."

(fides

to a p e rs o n a l co n v ersio n e x p e rie n c e ,

small

of

Jakob Spener (1635-1705), P i e t i s m 's c e n t r a l con-

was

deep

(1675)

poor

and and

contributed

proportions

in

27.

23.

^Kenneth S cott L a t o u r e t t e , C h r i s t i a n i t y i n a_ R e v o l u t i o n a r y Age: A_ H i s t o r y o f C h r i s t i a n i t y i n t h e N i n e ­ t e e n t h and T w e n t i e t h C e n t u r i e s , Vol. I: The N i n e t e e n t h Century in Europe: B a c k g r o u n d a n d t h e Roma n C a t h o l i c P h a s e (New Y o r k : H a r p e r & B r o t h e r s , 1 9 5 8 ) , p. 78. I bi d ., pp. 7 9 - 8 0 . See a l s o G e r d e s , " T h e o l o g i c a l T enets," 29-30, who d e f i n e s the idea of C h r i s t i a n p e r f e c t i o n a s l o v i n g God w i t h a l l o f o n e ' s b e i n g . sr

Welch, P r o t e s t a n t T h o u g h t , p. 23. See a l s o , L a t o u r e t t e , C h r i s t i a n i t y , p. 8 0 . F u rth e r, see Gerdes, " T h e o l o g i c a l T e n e t s , " 3 0 - 3 3 , who u n d e r l i n e s t h e f a c t t h a t w i t h i n P i e t i s m o n e ' s l o v e f o r God w a s t o i s s u e f o r t h i n l o v e f o r one's neighbor.

teenth

^See K a r l B a r t h , P r o t e s t a n t T h e o l o g y i n t h e N i n e ­ Century: I t s Ba c k g r o u n d and H i s t o r y ( V a l l e y F o r g e :

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

42

the nineteenth zerland

than

century,

in

with

e v e n mo r e O Ger many.

central

influence

in

Swit-

Rationalism Beginning ing to All

throughout religious religious

reason

and

the

in

the

seventeenth

succeeding

century,

considerations teaching

examined

and

was

in

and

wa s

mindset

which

grew

of

an

from

wa s a p p l i e d

before

as

being

doctrine

and

and i n c r e a s ­

thoroughgoing

to r e lig io n

utilitarianism ,

indicative

reason

summoned

b e f o r e a s s e n t was g i v e n to t h e

secularization,

a

accredited

This "enlightened" approach

century

the

manner. bar

"reasonable"

being discussed.

was a c c o m p a n i e d

a strong

antidogmatic, disenchantment

of

moral

by

sense,

anti-enthusiastic with

religious

J u d s o n P r e s s , 1 9 7 3 ) , pp. 1 1 4 - 1 2 3 , who i d e n t i f i e s t h e b a s i c f o r m o f P i e t i s m as i n d i v i d u a l i s m and s a y s , " I n vi ew o f t h e later, new i n d i v i d u a l i s m o f t h e t i m e o f G o e t h e a n d o f R o m a n t i c i s m , one c a n n o t t a k e P i e t i s m s e r i o u s l y enough as a h i s t o r i c a l p r e l u d e . " O L a t o u r e t t e , C h r i s t i a n i t y , pp. 80, 84. See a l s o , K e n n e t h S c o t t L a t o u r e t t e , C h r i s t i a n i t y i n ei R e v o l u t i o n a r y Age: _A H i s t o r y o f C h r i s t i a n i t y i n t h e N i n e t e e n t h a n d T w e n t i e t h C e n t u r i e s , Vol. I I : The N i n e t e e n t h C e n t u r y i n Europe: T h e P r o t e s t a n t a n d E a s t e r n C h u r c h e s ( Ne w Y o r k : H a r p e r a n d B r o t h e r s , 1 9 5 9 ) , p p . 6 1 - 7 7 , wh o t r a c e s t h i s i n f l u e n c e of P i e t i s m t h r o u g h t h e a w a k e n i n g s and r e v i v a l s on t h e E u r o p e a n c o n t i n e n t d u r i n g t h e n i n e t e e n t h c e n t u r y . D. M a r t i n S c h m i d t ' s i n t r o d u c t i o n i n D a s Z e i t a l t e r d e s Pietism us, ed. M a r t i n S ch m id t and Wilhelm J a n n a s c h (Bremen: C a r l S c h i i n e m a n n , 1 9 6 5 ) , p p . XXXI X- XL I s k e t c h e s the in flu e n c e of P ietism through the n in e te e n th century and i n t o th e t w e n t i e t h c e n t u r y . This influence is also d e m o n s t r a t e d i n t h e c h a p t e r s on t h e i n d i v i d u a l t h e o l o g i a n s W i l h e l m M a r t i n L e b e r e c h t de W e t t e , F r i e d r i c h August G o t t r e u T h o l u c k , H e r ma n n F r i e d r i c h K o h l b r i i g g e , a n d J o h a n n C h r i s t o p h Blumhardt in B a r t h , P r o t e s t a n t T he ol og y.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

43

controversies,

persecutions,

reason

last

rise

to

gion:

as

"the

three

the

j u d g e and g u i d e

different

rationalistic

i s m . •*•-*■ O n l y

the

theology

the

two of

conform

though i t s

to

of

reason

contents

divine

revelation,

of

place

the

of

Mysterious that

be

transition

the

divine

t o Deism. or

concepts

of

a n t hr o po 1 o g i c a 1 discoveries,

and

®We l c h,

impact

on

supernaturalism , that

religion

Christianity

did

what r e a s o n ,

discover. 19

This

led

Toland

it.

so,

unaided

high

reason work

by

evaluation

(1670-1722),

This

had even

to C h r i s t i a n i t y

could not c o n t r a d i c t with

and a t h e -

strong

held

revelation

congruent

Deism

that

John

reli­

century.

transcended

true revelation

always

and

by

had

on gave

rationalistic

ra tio n a 1i s ti c

could

(1696)

to

these

i n c l u d i n g John Locke (1 6 3 2 -1 7 0 4 ), to

i n e v e r y t h i n g " - * -®

approaches

nineteenth

Adherents

This emphasis

super n a t u r a l i s m , Deism,

first

of

and w ar s . ^

not

wh o but

held would

marked

the

1^

"natural

religion,"

Newtonian

garnered

rationalism

Protestant

- *- ®I bi d. , p . 3 0 , Human U n d e r s t a n d i n g .

was

astrophysics,

inform ation the

which

of

T h o u g h t , pp.

quoting

John

John

the

from Locke

based

on

socio­ overseas and

his

30-34. Locke's

A_n E s s a y

in

-*--*-Harry E l m e r B a r n e s , jVn I n t e l l e c t u a l a n d C u l t u r a l H i s t o r y o f t h e W e s t e r n W o r l d , V o l . 2 ( Ne w Y o r k : Dover P u b l i c a t i o n s , 1 9 6 5 ) , p. 7 8 4 . -^Ibid.

^®Ibid.,

p.

786.

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44

followers,^ religion and

claimed

led

he

to

the

should

essential

to

sins;

(4)

and

be

that

reasonable

following

conclusions:

worshiped;

worship; there

(2)

(3) p e o p l e is

a

consideration

future

(1)

God e x i s t s

and

piety

repent

of

virtue should life

of

with

are

their

rewards

and

punishments. ^ Although profound period

Deism

effects

originated

upon

the

in

Germanic

of t h e E n l i g h t e n m e n t and

Ge r ma n the

Samuel Deist,

first

to

Reimarus

to

all

Wilhelm

reconcile

L u t h e r a n s and C a t h o l i c s

reason;

Moses M en d e ls s o h n

religion

is

(1729-1791), some

of

that

the

religion

Leibnitz

the

Gottfried

the

absolutely

wh o a t t a c k e d characters

teachings of love

14I b i d . ,

of

p.

who

via a fa ith

the

B ible,^ ranked

only te n e t

and

sought

as

that

^Latourette,

no

Lessing and

conceding a

natural

being the n e c e s s ity

787 C h r i s t i a n i t y , p.

H i s t o r y , p.

to

b a s e d upon

prophecies,

high

wa s

Jesus;"^

Ephraim

while

were

important

who h e l d

miracles,

among

ideas

"historical

and G o t t h o l d

Jesus

with i t s

^Latourette, ^Barnes,

in

the

first

(1646-1716),

the

during

religion

(1729-1786),

true;

had

Included

the

revealed

uncover

it

by D e i s t i c

(1694-1768),

who r e j e c t e d attempt

peoples

beyond.

t h o s e who w e r e m o s t d e e p l y i n f l u e n c e He r ma n n

England,

29.

801.

C h r i s t i a n i t y , pp.

33-34.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

45

to

love

one's

Further Enlightenment 1803),

proponents

included

Johann

Christoph

von

wh o, in

to

the

the

great

was

succession

of ("The

claim ed

that

in

organization

of

literature,

influential

the

work

theologians

were

In

people but

of

Johann

also

advanced

worked for

the of

are

human

it

wa s

first, Pure

by

the

thinker

1O Barnes,

the

rational

existence

and

H i s t o r y , p.

the

Reason,"

p.

to

lim ited

to

the

Go d .

reason. had been K ritik

801. 34.

134.

2 We 1 c h , P r o t e s t a n t

in

approach

which of

Kant

things

This

a

reinen

1781),

is

character

in

der

know

proofs

be

succeeding

to

mind.

1^ L a t o u r e t t e , C h r i s t i a n i t y , p. 20I b i d .,

with 91

theology.

K ritik

knowledge

Kant begun

prom ulgated

unable

sensations

against

the

Kant

were h i g h l y

w eak ened t h e c o n f i d e n c e w hic h had been p l a c e d i n It

(1744-

which were

of

the

Immanuel

t h r e e of th e se

most

Critique

them selves,

and

of Kantian thought

books.

Vernunft

Herder

(1749-1832),

of n in e te e n t h - c e n tu r y

im portance of

first

sphere

the

course

generations

Goethe

von

of

on t h e s t r e a m o f G e r ma n I d e a l i s m

The p r i n c i p l e s of

Gottfried

(1759-1805),

9n

the

rationalism

Schiller

while carrying

regard

Johann

the

von

within

Leibnitz,

of

Wolfgang

( 1 7 2 4 - 1 8 0 4 ) . While influential

1 ft

neighbor.

T h o u g h t , p . 45.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

46

der

practischen

Reason,"

1788)

of

based

Go d

presented

unconditional humankind. b1 o s s e n

the

the

"categorical

innerhalb

Kant's

contention

of

that

for

the

Jesus

conformity

Bounds that is

a son

that

is

that

though

has

the

im perative

from

God,

As a r e s u l t , For Kant, clinging

each

then,

part

of

Christian

with

to and i m i t a t i n g

Christ,

has

true

a perverted

belief consisted

of

God

humanity

it

each i n d i v i d u a l ' s

person liv e s

who

the OO sonship/4

to

become an e s s e n t i a l

Mer e

being

according moral

of

anyone

Christ

and

the

which f a c e s

The p r o b l e m , received

Kant,

existence

der Grenzen der

imperative"

with

Practical

the

moral o b l i g a t i o n

within

him,

of

im perative,"

("Religion

to

example

Critique

argument

"categorical

pleasing

highest

Kant's

1793 Di e R e l i g i o n

published to

("The

and u n q u a l i f i e d

Vernunft

conformed is

on

In

Reason")

and

Vernunf t

in

not

w ill.

w ill.

99

faithfully

the a rc h ty p ic a l

human

r\ /

who

has

overcome

this

"natural religion," for

and

the

Kant t u r n e d

utilitarian

9 S

derations.-

99

perversion.

Such

Latourette,

end

further

of

to

Thus,

while

morality

further

as the

theological

considerations

C h r i s t i a n i t y , pp.

ending basis consi-

included

133-134.

^ ^ P a u l T i l l i c h , P e r s p e c t i v e s on 1 9 t h a n d 2 0 t h C e n t u r y T h e o l o g y , e d . C a r l E. B r a a t e n (New Yo r k : Harper Row, 1 9 6 7 ) , p p . 6 7 - 6 8 . ^B arth, ^Welch,

Protestant Protestant

T h e o l o g y , pp. 2 8 8 - 2 8 9 . Thought , pp.

a

46-47.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

&

h i

Kantian wh o

doctrine

loves

of

because

performance;

which

is

favorably

as

toward

teenth

and

century.

Idealistic Hegel the

One wa s

(1770-1831).

nineteenth

to d is p u te

knowledge.

Barth

with

humanity's

the

human r a c e

and

causes

there

thought

perspective,

but r e v i t a l i z e d (1886-1968)

in

the

early

upon

approach

wa s done

(1822-1899). most

widely

experience

by

the

morality

pragmatic

Yet a n o t h e r

to in c lu d e

by t h e R o m a n t i c

for

further

concentration

followed,

Kant's

to

feeling

^Barth,

Protestant

^Ibid.,

pp.

on the

years

rather

work.

basis

enlarge

for

a

the

than

third

theology,

Albrecht

of a c t i o n ,

of

Building

morality,

theologian

course

was

theologian

as

in

by t h e N e o - o r t h o d o x

further

wa s

of

little-used

point

as

four

S u c h a v i e w w a s t a k e n by

the

adopt

act

the nine­

validity

reason,

to

to

9 f\

in

wa s t o ma k e r e v e l a t i o n ,

Kant's

Holy

remained

the tw entieth century, starting

the

him

pleased.

the

t h e one

i n c l u d i n g Georg Wi l h e l m F r i e d r i c h

A differing

century

Karl

which

theological

being

Father;

work of Kan t,

philosophers,

theologian

wisdom

to

view of t h e o r e t i c a l

by t h e

w i t h whom h e i s

the

approaches

Father

satisfaction

loved

those

the

Son r e p r e s e n t i n g

God's

Following possible

his

the

begotten

viewed

Trinity:

of

moral

Spirit

the

Ritschl

and t h e one category

of

( G e f i i h l ), s u c h a s was done

Friedrich

Schleiermacher.

T h e o l o g y , pp.

97

287-288.

47-48.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

48

Romanticism Arising critical

in

Idealism,

fundamentally emotional.^®

the

intellectual

teachers,

essential

element

to

wa s t h e the

agree

rather,

the

or

i n s t i n c t i v e and

rather

than thought

and w r i t e r s .

Romantic

disagree

ethos

was

with fe e lin g s

with

others.

the

with

yearning

results

oneself

and

caused

Protestantism

a swing to

ultim ately

n o

in

'

with from

union of the

ultimate Go d .

on

q

Art in the p. 214.

finite

Religiously,

a passionately

mystical

moved

the

with and this

orthodox O1 Catholicism,

ideas

B a r n e s , H i s t o r y , p. 8 4 7 , q u o t i n g The Ma k i n g o f t h e Mo d e r n M i n d , p p . 4 0 9 - 4 1 0 . n

feelings

reconciliation

a rationalistic

beyond

belief

OQ

for

which

an

wh o h a s t h e

Romantic

the

disparate Indeed,

prim acy of i n d i v i d u a l

longing

Kant's

people are not

bo nd u n i t i n g an o t h e r w i s e

philosophers, of

that

to

Accompanying the

infinite

peace

but

but,

e v e r y o n e i s an i n d i v i d u a l

right

reaction

T h i s e m p h a s i s on f e e l i n g

of

that

in

Romanticism claimed

beca me t h e p r e d o m i n a n t group

1790's

and

of

J.H.

Go d

as

Randall s

M i l o Wo l d e t a 1 . , A_n I n t r o d u c t i o n t o Mu s i c a n d W e s t e r n World (Dubuque: Wm. C. B r o w n , 1 9 8 7 ) ,

^ B e r n a r d M.G. R e a r d o n , R e l i g i o n i n t h e Ag e o f Romanticism: S t u d i e s in Ear ly N in et ee n th Century Thought (Cambridge: Cambridge U n i v e r s i t y P r e s s , 1985), pp. 4 - 5 . ^R oger Cardinal, German R o m a n t i c s i n C o n t e x t (London: S t u d i o V i s t a , 1 9 7 5 ) , p. 12. S e e a l s o , L. A. W i l l o u g h b y , T h e R o m a n t i c Mo v e m e n t i n G e r m a n y ( L o n d o n : Oxf or d U n i v e r s i t y P r e s s , 1 9 3 0 ) , p. 7.

R eproduced with permission o f the copyright owner. Further reproduction prohibited without permission.

49

exclusively

revealed

apprehension source

of

within

all

of

the

in

the

the

Bible

"divine

created

people.

Principle"

world

Hence,

toward

and in

of

nature

and

antagonistic

who

reconciled

final

system s"

of

in

his

was

spiritual

the life

analysis,

R o m a n t i c s s o u g h t a " p a n t h e i s t i c God who r e s i d e d in

personal

which

the

the

a

in

own

R ationalist

man a n d

person

and

the

the

Romantic

philosophy. These Romanticism writers. critical

twin were

forth

in

group,

whose

concerns

philosophical

rather

first

Johann Gottlob v on

Schelling

brothers, Friedrich

critic

Fichte

Schlegel

like

W ilhelm

than

were

literary,

Schlegel

Schlegels;

an the

1853) and N o v a l i s ( F r i e d r i c h

and

poets,

the

included Wilhelm Schlegel

wives;

von H a r d e n b e r g ,

Tieck

and

Wilhelm

theoretician

Ludwig

of

primarily

(1767-1845)

their

aesthetic

German

generations

philosophers;

(1772-1829),

(1773-1798), the

two

of

(1 762-1814) and F r i e d r i c h

(1775-1854), both

August

Wackenroder

notes

sounded

The and

ch aracteristic

and

(1773-

1772-1801);

R o b e r t M. W e r n a e r , R o m a n t i c i s m a n d t h e R o m a n t i c S c h o o l i n G e r m a n y (New Yo r k : D. A p p l e t o n , 1 9 1 0 ) , pp. 1 4 4 145. See a l s o T i l l i c h , P e r s p e c t i v e s , pp. 7 6 - 9 0 , who, i n o u t l i n i n g t h e n a t u r e of R o m a n t i c i s m , has i d e n t i f i e d and d is c u s s e d a s i m i l a r c o n f i g u r a t i o n of ideas. He b e g a n w i t h t h e r e l a t i o n s h i p b e t w e e n t h e f i n i t e and t h e i n f i n i t e as being of f i r s t im portance and c o n t i n u e d w ith the i m p o r t a n c e of e m o tio n and i n t u i t i o n , the p o s itiv e v a l u a t i o n of th e p a s t as a means of c o n t e m p o r a r y s e l f u n d e r s t a n d i n g , the e s t a b l i s h m e n t of a u t h o r i t y , the d e s i r e f o r r e l i g i o u s and p o l i t i c a l u n i t y , and c o n c l u d e d w i t h t h e r e a l i z a t i o n of t h e r e a l i t y of t h e r ea l m of t h e demonic.

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50

and

the

theologian

The s e c o n d into the

Friedrich

group,

practice

w h i c h was l e s s

the

collectors,

theories

the

1823) and H e i n r i c h Theodor

1822);

and

Ernst

Moritz

ironic

for

ne w

can

be

within

Zacharias

(1774-1811);

Wer ner

(1768-

the n o v e lis t,

Theodor

Korner

(1791-1813)

Arndt (1769-1860), (1787-1862), Heinrich

the

both p a t r i o t i c

Heine

a b o v e on p a g e 4 7 ,

eighteenth

period

century

development.

importance

in

with of

the the

time.

1776-

lyricist; Q/ (1799-1856).

the left

four

nineteenth work

of

As s u c h ,

one

and

in

work of Kant a t

Three

and

in focus;

Idealistic

Approaches to Theology the N ineteenth Century

identified that

( 1 7 7 8 - 1 8 4 2 ) a n d Ac h i m v o n

poets:

theological

significant

included

Hoffmann,

cynic,

the

group,

putting

(E. T.A.

As n o t e d of

older

while

Hoffmann

Basic

close

the

dramatists,

von K l e i s t

critical

(1768-1834).^

Wilhelm

the

Ludwig Uhland the

of

Clemens Brentano

Arnim ( 1 7 8 1 - 1 8 3 1 ) ;

Ernst

Schleiermacher

of

the

basic

options

these

were

century, seminal

alongside

of

and e a c h figure the

^ ^ P a u l Henry Lang, Music in W este rn C i v i l i z a t i o n ( Ne w Y o r k : W.W. N o r t o n , 1 9 4 1 ) , p p . 7 4 1 - 7 4 3 . See a l s o , W i l l o ug hb y, Romantic Movement, pp. 3 - 4 . ^ F . L i c h t e n b e r g e r , H i s t o r y of German T h e o lo g y in t h e N i n e t e e n t h C e n t u r y , t r a n s . W. H a s t i e ( E d i n b u r g h : T. & T. C l a r k , 1 8 8 9 ) , p p . 2 7 4 - 3 0 1 . S e e a l s o , L a n g , Mu s i c , p p . 743-745. In a d d i t i o n , s e e W i l lo u gh by , Romantic Movement, p . 4.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

continuing Pietism, eral

forces

r e v i t a l i z e d t r a d i t i o n a l orthodoxy, O Rationalism, t o g e t h e r they c om plete a gen­

and

picture

geistliches

of

lied

Schleiermacher of " F e e l i n g "

of

a

the

theological

G e r ma n

of f e e l i n g

youth,

the

theologian

by t h e

Schleiermacher's

which began w i t h P i e t i s m

expressed in

Schleiermacher

Protestant

to being shaped

which

and t h e E x p e r i e n c e (Gefiihl)

was m o s t i n f l u e n t i a l l y Friedrich

from

arose.

The r e l i g i o n

by

world

the

nineteenth

o7

century

(1768-1834), the dominant OQ of h i s time. In a d d i t i o n

Moravian P i e t i s t i c theology

wa s a l s o

education

of

his

formed under

the

^^The A p o s t l e s ’ C ree d and t h e N i c e n e Creed a r e e x p r e s s i o n s of " t r a d i t i o n a l o r t h o d o x y . " W ithin the c o n t e x t o f Roman C a t h o l i c i s m c e r t a i n d o c t r i n e s c o n c e r n i n g t h e V i r g i n Ma r y w h i c h o r i g i n a t e d d u r i n g t h e M e d i e v a l e r a belong under t h i s d e s i g n a t i o n as w ell. These i n c l u d e the d o c t r i n e of th e im m a c u la te c o n c e p tio n of Mary, her as s u m p tio n to heaven, her r o l e as the m e d i a t r i x between h u m a n i t y a n d G o d , a n d h e r c o - o p e r a t i o n w i t h God i n t h e a c c o m p l i s h m e n t o f human s a l v a t i o n . For a d i s c u s s i o n of such d o c t r i n e s see the f o ll o w i n g a u t h o r s : B. M. B i l l o n , D o g m a s on M a r y : _A H a r d a n d C a r e f u l A n a l y s i s ( D e v o n : A r t h u r H. S t o c k w e l l , 1 9 7 8 ) ; J u n i p e r B. C a r o l , ed., M a r i o l o g y , 3 volumes (Milwaukee: B r u c e , 1955); and H i l d a Graef, Mary: H i s t o r y o f D o c t r i n e a n d D e v o t i o n ( Ne w Yor k: S h e e d a n d Wa r d , 1 9 6 3 ) .

School

■ ^ We l c h , P r o t e s t a n t T h o u g h t , p p . 6 1 - 6 2 . o7 R o b e r t M. W e r n a e r , R o m a n t i c i s m a n d t h e R o m a n t i c i n Ge r ma n y (New Y o r k : D. A p p l e t o n , 1 9 1 0 ) , p . 1 4 7 .

^Kenneth Scott L atourette, Christianity i n a_ R e v o lu tio n a ry Age: _A H i s t o r y o f C h r i s t i a n i t y i n t h e Ni n e t e e n t h a^n. d^ ,T ej i _t jL ej: h_ u_^r^L_e s_, V o l . I I : The N i n e t e e n t h Century in Europe: The P r o t e s t a n t a n d E a s t e r n C h u r c h e s (New Y o r k : H a r p e r and B r o t h e r s , 1 9 5 9 ) , p. 12.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

52

impress

of

a family

conjunction Aristotle, the

close

first

history

with

Plato,

the

generation

unter

of Romantic

Ub e r

ihren

Cultured

die

its

were

Zusammenhange to

the

dargestellt

Fundam entals

System atically edition

which

Schleiermacher's religious

one's

theology

in

interchangeably)

as

and

1830).

via

The

De r

to

the

christliche Kirche

Faith

with key

two

Gebildeten

im

According

P ro te sta n t

1820-1822,

as

39

and c r i t i c s .

Religion,

Christian

the

well

him and t h e

evangelischen

Church a

revised

element

in

w a s Ge f i i h l , a t e r m w h i c h d e n o t e s

or e x p e r ie n c e .

of f a i t h ,

absolute

of

Forth,"

appeared

feeling

the essence used

Set

( " Th e

of

presented

on

1799);

G la u b e nach den G r u n d s a t z e n d e r

influences

Re d e n a n d i e

("Speeches

Despisers,"

in

between

philosophers

Religion,

uncertainties

and Ka n t ,

existed

views

Verachtern

a mo n g

Leibnitz,

which

Schleiermacher's publications:

doctrinal

philosophical

Spinoza,

relationships

of

According to h is view,

piety,

or r e l i g i o n

is

self-conscious

the

dependence

upon

Go d , ^ ^

(terms

w h i c h he

awareness

which

is

of

most

OQ J . L . N e v e a n d O. W. H e i c k , A. H i s t o r y o f C h r i s t i a n JL > V o l . I I : H i s to r y of P r o t e s t a n t Theology (Philadelphia: Muhlenberg P ress, 1 9 4 6 ) , p. 1 0 4 . See a l s o , L a t o u r e t t e , C h r i s t i a n i t y , V o l . I I , p. 1 2 ; a n d T. A. Burkill, The E v o l u t i o n o f C h r i s t i a n T h o u g h t ( I t h a c a : C o r n e l l U n i v e r s i t y P r e s s , 1 9 7 1 ) , p. 381. ^ S e e below fo r f u r t h e r " Go d" i n S c h l e i e r m a c h e r ' s w o r k .

discussion

of the id e a of

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53

successfully ship

is

expressed

characterized

in

Christianity.^

by a t t i t u d e s

of

Such a r e l a t i o n ­

reverence,

humility,

/ A

gratitude,

joy,

confidence,

Because of the

views

Bible

/ Q

of

to

statements

symbolically

ship.^

After

the

through Christ, the

believer

teachings

of

another

has

it

possible

made

The B i b l e , believer rience,

for

^Burkill, ^Neve

Barnes,

wh o

person

of

of the

faith

no

need

his

or

to her

the

God

adopt

the

experience

so

that

"consciousness,

the

expe­

Jesus.

381.

H i s t o r y , p.

107.

^Welch, Protestant H i s t o r y , p. 8 5 4 .

62,67.

Thought,

pp.

^ ■’L a t o u r e t t e , C h r i s t i a n i t y , V o l .

^Barnes,

in

"scripture."^

II,

and H e i c k ,

to

become a u t h o r i t a t i v e ; ^

^ L a t o u r e t t e , C h r i s t i a n i t y , Vol.

^Neve

rise

relation­

faith

becomes a g u i d e in

gives

attempting

a personal

E v o l u t i o n , p.

and H e i c k ,

of

has

write

the

as the e x p e r i e n c e of

because

participate

and c h a r a c t e r

neither

in

were the b a s i s of

experienced

then

Schleiermacher,

may a l s o

that

means

has

can

one

to

a

content

believer

is

experience

by t h e " i n f i n i t e , "

as

the

the Bible

held

religion,

and d e t e r m i n a t i o n

doctrinal

he

of d o c t r i n e

Rather,

describe

but

of r e l i g i o u s

Schleiermacher,

faith.

with

trust.

priority

nor any s t a t e m e n t s

Christian union

the

and

H i s t o r y , p.

H i s t o r y , p.

II,

p.

p.

14. See 14.

108.

854.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

also,

54

W ithin Schleiermacher He

this

general

delineated

viewed

God

as

the

underlies,

and

includes

the

of

"whole,"

or

the

m anifestations,

all

"whence"

including

understanding

marized

universe

he

has

"the

been

continues

charged

within

Because mental

is

with

scholarly God

apprehension,

is

of h i s

unity

things, reality

of

dogmatics.

which

o f God,

God,

being

designating as

the

this

"infinite,"

which has

God i s

the

on t h i s

essentially

Schleiermacher

been sum­

universe,"^

pantheistic,

circles

but

unknowable held

debate

matter.

that

George Matheson,Aids to the Study of Theology ( E d i n b u r g h : T.& T. C l a r k , 1 8 7 4 ) , p. a l s o , W e l c h , P r o t e s t a n t T h o u g h t , p. 67. H i s t o r y , p.

causes,

an i n f i n i t e number AO personality. Because of

A O

^Barnes,

thought

which has

Schleiermacher's as

details

unknown

u n k n o w a b l e and i n c o n c e i v a b l e the

framework

through

statements

German 41. See

850.

^ S e e Wel ch, P r o t e s t a n t T h o u g h t , pp. 7 9 - 8 1 , f o r a condensed d i s c u s s i o n of the d i f f i c u l t i e s of l a b e l i n g S c h l e i e r m a c h e r ' s v i e w o f God. T i l l i c h , P e r s p e c t i v e s , p p. 94-95, held t h a t the use of the term " p an th eism " i s problematic in i t s e l f . According to him, S c h l e i e r m a c h e r ' s s t a t e m e n t s a b o u t God a r e e x p r e s s i v e o f t h e R o m a n t i c i d e a s co n ce r n in g th e p r e s e n c e of th e i n f i n i t e w i t h i n t h e f i n i t e , that is, "the power of the divine is present in e v e r y t h i n g , . . . h e i s t h e gro u n d and u n i t y of e v e r y t h i n g . " I t d o e s n o t m e a n , a c c o r d i n g t o T i l l i c h , t h a t God i s t h e "sum of a l l p a r t i c u l a r s . " See a l s o S te p h e n S y kes, F r i e d r i c h S c h l e i e r m a c h e r ( R i c h m o n d , VA: J o h n Kn o x, 1 9 7 1 ) , pp. 18-30, wh o i n h i s d i s c u s s i o n o f S c h l e i e r m a c h e r ' s d o c t r i n e o f God p o i n t e d o u t t h a t S c h l e i e r m a c h e r r e v i s e d some p a s s a g e s i n h i s w o r k s in an a t t e m p t t o c l a r i f y h i s u n d e r s t a n d i n g o f God a n d s o a v o i d t h e c h a r g e o f b e i n g pantheistic .

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

55

about the a t t r i b u t e s God

himself

dependence

but

upon

o f God a r e

only

about

him .^

It

arising As

Schleiermacher including God. at

humanity,

There a

is

particular

definitely

lives,

point

Shortly after

its

perfect

relationship

with

of people

was s u b j u g a t e d

point

time

in

redeem life

itself.

and

In h i s

of J e s u s

Schleiermacher to

him,

to

the

has

the

world

but

could of

the

the

S c h l e i e r m a c h e r Ts

actualization

"^Ibid.,

pp.

■^Ibid.,

p.

44.

was

of

thought

race

by a n a c t

and

in

created

human

nature.

of

from nature

From t h a t unable

to

o f God t h r o u g h t h e life

the person

to h u m a n ity .^

of Jesu s

attribution

Christ, of d e i t y

Jesus'

humanity

is

which

saw C h r i s t

as

o f t h e human r a c e

o f a new o r d e r

77-79.

being

heavenly

corrupt

restore

affirm ation

order,

humankind f e l l

earthly

that

with a ll

its

the

instant

that

been

the c o m p le tio n of the c r e a t i o n as

the

shunned any f o r t h r i g h t

while

essential

God i n

discussion

view

created

has

tim e,

creation,

the

Only t h e i n t e r v e n t i o n

death

absolute

c a u s a l ity ,

and

a unique

to

humankind

of

whether

at

God.^

all

G od's

moves,

in

was c r e a t e d

of

about

CO

of t h i s . of

that

uncertainty

feelings

power or c a u s a l i t y ,

e x p re s s io n affirm ed

statements

Schleiermacher's

from a m o d i f i c a t i o n one

truly

our

wa s

God h a s o n l y o n e a t t r i b u t e , else

not

of

well

possibilities

^^Matheson, -^Ibid.,

as

pp.

A i d s , p.

42.

45-47.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

for

56

h u ma n e x i s t e n c e . ^

Within

this

" S e c o n d Adam" C h r i s t o l o g y

the

Jesus

was

seen

uniqueness

outlining

of

of

C hrist's

redemption,

the

importantly,

his

difference totally

which S c h le ie rm a c h e r essence

sinlessness, of

reconciler

mediator

the

the

between

which

held

of need f o r

origin,

and,

most

"God-conscioiisness"

t o be i d e n t i c a l

perfection

Scriptures^ of

regeneration

the

occurs

historical

experience

Christ

lack

undiminished

of the " i n f i n i t e "

Redemption,

in

his

his

with

the real

of h is r e l a t i o n s h i p

a b s o l u t e d e p e n d e n c e on God, C h r i s t

with

Schleiermacher's

o f God i n h i m . ^ Because of the

the

in

i s th e most e f f e c t i v e

and t h e f i n i t e ,

d i v i n e and e a r t h l y

and

of

Jesus

participates

God-consciousness,^ and

sanctification,

is

as

in

and,

the

confronted

testified

C hrist's

involves

but

hence,

realm s.^

wh e n a n i n d i v i d u a l

personality

of

not

very

to

own only

gift

of

him self.^

•^Welch, ^Neve

Protestant

and H e i c k ,

T h o u g h t , p.

H i s t o r y , pp.

■^BurkiH, Evolution, P e r s p e c t i v e s , pp. 110-114.

p.

83. 112-113.

382.

See a l s o ,

Tillich,

tr o

B e r n a r d M.G. R e a r d o n , R e l i g i o u s T h o u g h t i n t h e N i n e t e e n t h C e n t u ry I l l u s t r a t e d from W r i t e r s of t h e P e r i o d (Cambridge: Cambridge U n i v e r s i t y P r e s s , 196 6) , p. 21. ^Neve

and H e i c k ,

^Welch,

H i s t o r y , p.

Protestant

112.

T h o u g h t , p.

83.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

57

Hegel

and t h e

Religion

Beginning his

emphasis

feeling,^

of Phil os op hy

where

Kant

on m o r a l i t y

Georg

ended,

nor

Wilhelm

but

accepting

Schleiermacher's

Friedrich

Hegel

neither focus

(1770-1831)

e l e v a t e d t h e i n t e l l e c t and p h i l o s o p h y to t h e p o s i t i o n priority

in

theology.^

l o s o p h y and t h e o l o g y tianity,^

Hegel

under

rubric

the

S pirit,

the

existence,

fully,

sought of

can

details

of t h i s

in

publications:

in the

the

("Science

of

Logic,"

of

1807);

phischen W issenschaften Sciences

der P h i l o s o p h i e

in

universe

ground as

the

of

it

all

dialec-

w orld.^

The

were p r e s e n t e d

des G e i s t e s

Wissenschaft Encyclopadie

("Pheno­

der

der

Logik

philoso-

( " E n c y c l o p e d i a of

Outline,"

des Rechts

phi­

H e g e l ’s s y s t e m ,

Idealism

m Grundrisse

of

and C h r i s ­

entire

understood

history

1812-1816);

reconcile

the

Phanomenologie

Spirit,"

Philosophical

In

and

system of a b s o lu te

of

the

system.

reality

to

science

understand

a single

itself

menology

linien

attempt

be i n t e l l e c t u a l l y

unfolds

the

his

and t h e r e b y

to

ultim ate

tically

four

In

on

1817);

("Outlines

of

and

Grund-

the

Philo­

sophy of R i g h t , " 1821).

^R eardon,

^Barnes, ^Welch, Wel ch,

Religious

T h o u g h t , p.

H i s t o r y , p. Protestant

20.

850.

T h o u g h t , p.

* ^ Ne v e a n d H e i c k , H i s t o r y , p p . P r o t e s t a n t Th ou gh t, pp. 88-91.

87. 119-120.

See

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

also,

58

A l t h o u g h t h e work of Hegel has a

wide

variety

C h ristian

of

expression

to

so

that

claim

to

the ex p lic a tio n Incarnation

of

its

most

com plete

this

truth

could

central

of

the

to

in

be

tru th

a of

philosophical

have

an

In

this

validity.

observably

the T rin ity

undertaking and of

the

mind

was

importance.

upon t h e

the

him self

brought

the doctrines

were o f

after

understood

who

universal

Building built

he

philosopher

Protestantism

genuine

ways,

been i n t e r p r e t e d

tenet

image of the

that

the

human

mi n d o f God, H e g e l r e a s o n e d

t h a t j u s t a s i n t h e h u ma n m i n d e v e r y t h o u g h t i s ma d e up o f three and

elements,

one

divine

idea there

self

(Son),

them

both.

two

which must

contradictory

or c o m p l e m e n t a r y

unites

so

them,

be t w o r e a l i t i e s ,

which

are

Similarly,

united as

the

by

Universal

the

Soul

is

dwells.

eternally

Father.^ the

Soul

the

Hegel,

Jesus

is is

the

Protestant

^Matheson,

Spirit

which

contains is

a union

the Father the in

body

in

whom t h e

dwelling

place

wh o i s which Father of

"self-manifestation "that

T h o u g h t , p.

A i d s , pp.

the

and n on ­

unites

the

of

(Father)

Christ,

m i n d , " who e x p r e s s e d

^^Wel ch,

mind

self

S o n wh o i s

As a r e s u l t ,

incarnate,

For

absolute

and

the

h u ma n p e r s o n a l i t y

of b o th body and s o u l , so S p i r i t the

in

ideas

which

is

the of

universal

87.

92-97.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

59

and whi ch i s

potentially

Hegel independent the realm

held

true

that

although

of tim e in a s t a t e

the

Trinity

of p e r f e c t i o n ,

of t i m e so a s t o embody i t s e l f

wa y t h a t

a soul

infinite

Soul

through

the

7

fi

o f e v e r y huma n b e i n g . "

existed

it

entered

much i n t h e s a m e

must occ up y a body t o become known.

first act

expressed

concretely

of

creation.

At

itself

its

in

The

nature

inception

nature

s e e m e d t o be an e x p r e s s i o n o f G o d ' s g l o r y w h i c h was u n a b l e to

enter

nature

into

communi on w i t h

itself

shared

in

the

the

divine.

life

of

Because,

the

Soul,

however,

this

origi­

n a l l y l a t e n t l i f e g r a d u a l l y was a b l e t o be u n f o l d e d i n t h e developm ent from i n a n im a t e m i n e r a l s to the l i v i n g soul

through

animal

stages Prior

a

process

of e x i s t e n c e . to

the

not

exist,

the

possibilities

from

God

decide to

live

but as

which

whether a

life

to

humanity for

freedom The

exists

of

plant

human l i f e ,

and

for

to by

sin

and

beca me

an

existence

individual

is

did

personal

aware

apart of

and

God

transcend

the

difference

or

nature

it

life

P e r s p e c t i v e s , p.

134.

97-104.

^ N e v e and H e ic k , H i s t o r y , P e r s p e c t i v e s , p. 124.

of

See a l s o , p.

121.

and

the

self

the

^ M a t h e s o n , A i d s , pp. P e r s p e c t i v e s , pp. 1 1 8 - 1 2 3 . Tillich,

and

between

attempt

both

f\ ft

developed

controlled

^Tillich,

included

development

developed.^

separation

which

human

must

as

Tillich, See

also,

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

60

shows i t s e l f each

person

in

selfishness.

has

made,

This l a t t e r

constitutes

choice,

which

H e g e l ’s d e f i n i t i o n

of

sin. In

order

to

b e t w e e n God a n d ma n , by a n a c t still

with

tionship

possible

a supernatural

of s u p e r n a t u r a l

resident

be o n e

make

force

within nature.

humanity,

but

which e x i s t s

the

reconciliation

redeemer

in a d d itio n

must

to the power

This f i g u r e must not only

must a l s o

be a w a r e

b e t w e e n him and

the

of

to r e s t o r e humanity to fello w sh ip

This

role

entire

the life

selfish

to

the

life.

clearest

which will

For

in

that

removing

the

it

it

is

in

God w i t h to

the

or

her

the

o wn

of

both

that as

him

had

grace

freedom

and the

the

which and

by

his

in

true self

individual comprises goodness.

the

was

the

and

his

weakness his

while

divinity

re-established fellowship;^

unified

with

voluntarily the

real

On t h e

God,

of of

c o m m u n i o n w i t h God m o r a l b e h a v i o r o c c u r s . ^

^Matheson, ^Welch,

A i d s , pp.

Protestant

105-111.

T h o u g h t , p.

both and and

surrenders

power basis

his

natural

humanity

to v e il

h u ma n is

Father

submitting

his

served

rela­

w i t h Go d .

crucifixion

His r e s u r r e c t i o n

self,

divine

Christ's

showed

communion

worship

played

God a n d c r u c i f y i n g

proof

body w h ic h

f r om human s i g h t . divine-human

of

Hegel,

demonstrable

divinity

Jesus

the

infinite

as he l a b o r s is

be b o r n

96.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

his this

61

R i t s c h l and t h e R e l i g i o n of Pragmatic M orality In th e of

Idealism

Hegel The

part

of

associated

materialism

tant

with

theologian

corporate

K a n t ’s ,

of

as held

nature

importantly,

tionally,

but

an eye

to

most

due

to

human e x i s t e n c e . ^

79

with

the

concepts

to

it

was A l b r e c h t

influential

third

of

the

Protes­

nineteenth

be a c o n s t a n t

religion it

sim ilarly

was R i t s c h l ' s

k n o wn

neither

factor

meeting

the

in

Hegel.

the Most

perception, nor

e mo ­

value

judgments

of

h u ma n

needs, 7^ p a r t i c u l a r l y

Because

of

which l i e s and

this

H i s t o r y , pp.

^Burkill,

E v o l u t i o n , pp.

■^Reardon,

Religious

natural

are

like

as

spiritual

Ne ve a n d H e i c k ,

to

intellectually

the r e s o lu t io n of the c o n t r a d i c t i o n individual

ideas

79

the

religion

to

of Kant and h i s empha­

tempered

last

practically, the

return

by

wane.

by S c h l e i e r m a c h e r , a n d s t r e s s e d

of

God i s

a

background,

was

the

however,

that

now

expressed

w e r e on t h e

saw

thought

this

who

He b e l i e v e d

human l i f e ,

the

within

theologically

century

and p o s i t i v i s m .

(1822-1889)

century.

the

as

century the forces

respectively

although

Arising Ritschl

nineteenth

Romanticism

on m o r a l i t y ,

with

of t h e

and S c h l e i e r m a c h e r

closely

of

and

latter

sis

middle

formed

within

aspects

fundamental

148-149.

428-429.

T h o u g h t , p.

each

21.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

of

62

understanding, priority

Ritschl

in r e li g io u s

g a v e t h e h u ma n w i l l thought

e le m e n ts of m y s t i c i s m , or

speculative

and

with

holding

knowledge of G o d , ^

wor k i n t h e t h r e e

der

Rechtfertigung Justification

adding

further

("Theology

is

to

basis

of

his

race

of

the

published

volumes of h i s

und V e r s o h n u n g and

only

the

("The C h r i s t i a n

1881)

and

und

the

understanding

seen

a

God nor to

is

as

holiness

as

forgive

his

re-adm it

them

personal divine

Lehre

while

Me t a p h y s i k

three-volumed of of

Pietism," the

Chris­

Father

who

has

attributes,

but

who

h u ma n c h i l d r e n

to

of

Doctrine

1870-1874)

Theologie

in for

Die c h r i s t l i c h e

Reconciliation," in

source

mai n i d e a s

Ritschl's

fellowship

uncondition­

purely

on

the

love.

God's

from

be

Within

Because ideas

given h i s t o r i c a l l y

("The H i s t o r y

always ready and

to

as

Pietismus

wrath

ally

to exclude a l l

des

faith,

neither

Christ

Metaphysics,"

Die G e s c h i c h t e

tian

of

devotional sentimentalism,

gospel

reflections

and

1880-1886).

the

Ritschl

his

of

Pietism,

seeking

position

Rationalism.^

Beginning Christ,

while

the

humanity wrath

drawing

had

and

near

sinned

holiness to

him,

and

constructed

which

kept

God r e v e a l e d

the

false human

himself

in

^^Ibid. Tillich, P e r s p e c t i v e s , pp. 215-216, discussed th is as well, arriv in g at a s im ila r conclusion. See a l s o , B a r t h , P r o t e s t a n t T h e o l o g y , pp. 6 5 5 - 6 5 6 , 6 5 8 659. 7 f\

Latourette,

C h r i s t i a n i t y , Vol.

II,

p.

26.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

63

Christ tude

so t h a t of

all

people

unchanging

example of

the

would

love.

sacerdotal

k n ow o f

The

this

prophetic

service

of

7 ft

forgiveness ultim ate

by f a i t h ,

w ill

bring

ideal

by

for

to

ft 0

Thus

human l i f e , the

ju stifying

the

"childlike

feeling

spiritual

^Barth,

God

based

this

result

h u ma n r a c e

of

believer

as his

based utter

dominion

Protestant

in

on t h e

truth,

consists

of

him

moral

four

on

through

is,

acts:

T h e o l o g y , p.

(1) (2)

in d iv id u al's

(3)

the

the

action

or her F a th e r ;

trust;" over

fully

Ritschlian

divine

that

to

obedience

that

the

or

Father's

when in

the

had

justification

reconciliation,

person

and

wh o

K i n g d o m o f God,

of th e e n t i r e

love.

the

ultim ately the

to

atti­

to them as th e p r e l u d e

Ritschl,

about

God's c o n f r o n t i n g

believer

with

should

moral u n i f i c a t i o n inspired

of

which i s a v a i l a b l e

According

grasped

believers

reconciliation

love.^

which

convinces

word

Jesus, ^

p e r f e c t k n o w l e d g e o f God a n d w a s u n i t e d obedience,

divine

giving

world;

the

and

661.

^ ^ To n y L a n e , Har p e r ' s C o n c i s e Book o f C h r i s t i a n F ci _i t. _h ( S a n F r a n c i s c o : H a r p e r & Row, 1 9 8 4 ) , p. 1 7 4 . A c c o r d i n g t o B a r t h , P r o t e s t a n t T h e o l o g y , p. 6 6 1 , w i t h i n R i t s c h l ' s v i e w J e s u s i s h i m s e l f God i n s o f a r a s h e r e v e a l s t h e l o v e o f God t o h u m a n i t y , or i n so f a r as p e o p l e " e x p e r i e n c e and e v a l u a t e h i s h i s t o r i c a l e x i s t e n c e a s an a c t i o n r e v e a l i n g God. " ^Neve

also,

and H e i c k ,

H i s t o r y , p.

150.

®^Latourette, C h ris tia n ity , Lane, C h r i s t i a n F a i t h , p. 174.

Vol.

II,

p.

28.

R eproduced with permission o f the copyright owner. Further reproduction prohibited without permission.

See

64

(4)

engaging

the

person

Q1

i n t h e wo r k i n G o d ' s k i n g d o m .

Summar y The i n f l u e n t i a l nineteenth tifying

century

that

stre sse d

can

be

of

the

part

by

each

Schleiermacher's

theological

of

Romantic

but,

general,

in

contrast

and

to

the

stresses u p o n God.

cism

concerned

with

and

accepts

through

contact

both Romanticism is

also

tion tance

the

with

from

its

the

deep c o n s c i o u s n e s s

iden­

which

the

union

to focus

experience created

is

the

of

order.

the

it

with in

specifically feeling

hand, human

and

divine

theology

the

realm

in

are

but,

of

Romanti­

Pietism,

to re lig io n ,

successors,

on

Romanticism

other

of

is

which

rooted,

in d i s t i n c ­

recognizes

the

dis­

human and t h e d i v i n e as e x p r e s s e d i n a of

personal

conversion

thought,

it

out

of

believer's

On t h e

approach

Romantic

between the

is

the

mindset

and S c h l e i e r m a c h e r ' s

an e m o t i o n a l

by

the

view points.

c a n be s a i d

orientation

dependence

divine

in d iv id u al

of

of humankind i n r e l a t i o n s h i p

absolute is

classified

consciousness

theology

Schleierm acher's

christocentric

easily

human

the

t h e e m o t i o n s or f e e l i n g s God,

most

orientations

of

h u ma n

sinfulness

experience. this

and

the

need

According to

conversion

experience

for

a

pietistic that

the

^ B a r t h , P r o t e s t a n t T h e o l o g y , p. 6 5 7 . For f u l l e r t r e a t m e n t of the v a r i o u s e l e m e n t s of R i t s c h l i a n t h e o lo gy , c o n s u l t A l b e r t T e m p l e S w i n g , The T h e o l o g y o f A l b r e c h t R i t s c h l (New Y o r k : Longmans, Green & C o . , 1 9 0 1 ) .

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

65

b e l i e v e r e x p r e s s e s l o v e t o w a r d God a n d t o w a r d h i s o r h e r fellow

h u ma n b e i n g s . In c o n t r a s t

Romanticism, H e g e l ’s

and

Schleierm acher's

Idealism

while R itschl's ditional

to the emotional emphasis of P ietism ,

is

focused

on

concentration is

orthodoxy

able

is

to

Romantic

the

mind

theology,

or

intellect,

on t h e h u ma n w i l l .

subsume

the

three

Tra­

different

o r i e n t a t i o n s and m u s t be v i e w e d w i t h i n a p a r t i c u l a r expression emotions,

to the

Owing poetic

determine mind,

or

whether i t

the

generally

emotional

expression

and

because

the

approaches

theology,

that and

dominate

of set

love the

poets

devoid

talism, to

those

of

those

in

the

this

Ludwig

mysticism,

differing

-

of

the

chapter,

Pietism,

is

geistliche which

such

There Uhland

whose t e x t s

character

as

are, and

were s e t .

Pietism,

or

in

This

songs

by t h e

Romantic

is

which

Idealistic

moralizing poets texts

devotional

and P i e t i s t i c

like

tend

to

sentimen­

even w h i l e s o m e t i m e s d e a l i n g w i t h s u b j e c t s addressed

likely

sentiments

however,

These

not

Romantic

lied.

the

foci

is

most

express

of

theolo­

it

of R om anticism ,

songs

adoration,

Novalis.

Johann

Ha mme r

of

three

volitional

predecessor,

of

devoted of

and

influence

texts

true

texts

like

Julius be

and

their the

particularly

of

discussed the

the

will.

the

surprising

to

o rien ted toward

to

- em otional,intellectual, gical

is

poetic

similar poets.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

Chapter

4

LUDWIG VAN BEETHOVEN (1770-1827) Amo n g t h e a l m o s t n i n e t y o r i g i n a l and

piano

settings

which Beet hoven of r e l i g i o u s

wrote

texts.^

there

songs for voice

are

Two a r e

eight

discussed

which

are

below.

" Di e L i e b e d e s N a c h s t e n " ( Op. 4 8 . No. 2; 1 8 0 3 ) The 1769),

poet,

moral

In

addition

philosophy

at

fables,

songs,

novels,

the

six

Gellert

texts

the

Geistliche

Bach c h o s e

fifty-five

Gellert

texts,

to

plays set

Li e d e r of to

C a r l Loewe,

although

his

poetry,

and p o e t r y .

texts

O

he

for

rhetoric, also

wrote

The s o u r c e

in h is

1757 from

set

(1715-

o f t h e G e r ma n

University,

by B e e t h o v e n

texts

G ellert

figures

teaching

Leipzig

Oden und

F r a n z J o s e p h Haydn,

liche

Fiirchtegott

wa s o n e o f t h e m o s t i m p o r t a n t

Enlightenment. and

Christian

Opus 48 i s w h i c h C. P. E.

voice

and

piano.

and T c h a i k o v s k y a l s o were

most

of

popular

■^For a n i n d i v i d u a l l i s t i n g o f e a c h o f t h e l i e d e r by c o m p o s e r , s e e A p p e n d i x A b e l o w .

set

a mo n g

geist­

^ P e t e r Branscombe, " G e l l e r t , C h r i s t i a n F i i r c h t e g o t t , " Th e New G r o v e D i c t i o n a r y o f Mu s i c a n d M u s i ­ c i a n s , v o l . 7, e d . S t a n l e y S a d i e ( London: Macmillan, 1 9 8 0 ) , p. 223. 66

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

67

the

composers

of

the

first

Berlin

School

of

lieder

compo­

sition. Die L i e b e d e s N a c h s t e n So j e m a n d s p r i c h t : Ich li e b e Gott! Und h a f i t d o c h s e i n e B r i i d e r , De r t r e i b t m i t G o t t e s W a h r h e i t S p o t t , Und r e i B t s i e g a n z d a r n i e d e r . G o t t i s t d i e L i e b , und w i l l , dab i c h Den N a c h s t e n l i e b e , g l e i c h a l s m i c h .

Love o f

the

Neighbor

O

I f someone s a y s : I l o v e God! And y e t h a t e s h i s b r o t h e r He ma k e s f u n o f G o d ’ s t r u t h , And t e a r s i t down t o t a l l y . God i s l o v e , a n d d e s i r e s t h a t I Lo v e t h e n e i g h b o r j u s t a s m y s e l f . Theological k n o wn t o h u ma n b e i n g s is

to

love

other

h e r own s e l f . another

summary. the

God i s

truth

persons

as

of

the

his

love.

He h a s

will:

each

individual

loves

made

person his

or

T h e o n e wh o c l a i m s t o l o v e God w h i l e h a t i n g

person

is

a mocker

This

text

expresses

the

under

the

influence

of

and

ideas Kant's

a destroyer of

o f God' s

traditional

rationalistic

truth.

orthodoxy

moralism

and

Pietism. Mu s i c a l

analysis.

This

entire

song^

occupies

■^Anot her E n g l i s h t r a n s l a t i o n i s a v a i l a b l e i n D i e t r i c h F i s c h e r - D i e s k a u , The F i s c h e r - D i e s k a u Book L i e d e r , t r . G e o r g e B i r d a n d R i c h a r d S t o k e s ( New Y o r k : L i m e l ig h t E d i t i o n , 1984), pp. 336-337. ^The m u s i c a l

score

is

available

for

study

in

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

of

6 8

twenty-nine

measures

measure

coda

W ritten

in

range

of

vocal

to

of th e

section

and

unrepeated

"Gott

interlude

coda ist

is

the

the

sense

of

homophonic are

die

the

in

declaimed

in

the

an e i g h t -

the

piano.^

song has a vocal accompaniment

with a r t i c u l a t i o n text.

with

serving in

for

The f i r s t

texture,

polyphonic

Lieb"

with

The

almost completely

accompaniment

text

the

as the latter

but

t h e B-

four

germ part

note

of

the

of

the

a straightforward,

manner.^

Other tings

line

song i s

the

contrapuntal The

two-measure

underline

section

song.^

binary-form

key of E - f l a t m a jo r , I O m i n o r t e n t h (d t o f ).

doubles the

melody at

a

in

the

a

changing

and

and i s

of t h i s

s e t t i n g s . No o t h e r t e x t a r e known,

nineteenth-century

but i t

was s e t

set­

by C . P . E .

L u d w i g v a n B e e t h o v e n ' s We r k e : Vollstandige kritische d u r c h g e s e h e n e u b e r a l l b e r e c h t i g t e A u s g a b e , s e r i e s 23 (Leipzig: B r e i t k o p f & H a r t e l , 1 8 6 2 - 1 8 6 5 ) , p. 10. ^ S e e Ha n s B o e t t c h e r , B e e t h o v e n a l s L i e d e r k o m p o ni s t (Augsburg: Benno F i l s e r , 1 9 2 8 ) , pp. 8 9 - 9 3 , f o r mo r e d e t a i l e d d i s c u s s i o n o f t h e f o r m o f t h i s l i e d .

a

^Gi i nt her M a s s e n k e i l , " R e l i g i o s e A s p e k t e d e r G e l l e r t - L i e d e r B e e t h o v e n s " i n R e l i g i o s e Musi l c i n n i c h t l i t u r g i s c h e n We r k e n v o n B e e t h o v e n b i s R e g e r , e d . W a l t e r W i o r a , G u n t h e r M a s s e n k e i l , and K l a u s Wo l f g a n g N i e m b l l e r (Regensburg: G u s t a v B o s s e , 1 9 7 8 ) , p. 90. ^ H i l d g a r d J u n g , " Da s g e i s t l i c h e S o l o l i e d im 19. Jahrhundert: Ein B e i t r a g zur G e s c h i c h t e des d e u tsc h e n Kunstliedes" (Inaugural-D issertation, Universitat-Koln, 1 9 5 1 ) , p. 1 6 , n o t e d t h a t B e e t h o v e n ' s t r e a t m e n t o f t h e t e x t i s c l o s e l y in l i n e w ith G e l l e r t ' s d e s i r e t h a t the t e x t s be s u n g t o m e l o d i e s w h i c h w e r e " k n a p p , m a r k e n t und g e e i g n e t " ( s h o r t , s t r i k i n g , and a p p r o p r i a t e ) .

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69

Ba c h

(1758)

and J o h a n n e s "Abendlied

No Goeble,

is

Abendlied

Schmidlin

(1761).®

unterm g e s t i r n t e n ( WoO 1 5 0 , 1 8 2 0 )

inform ation

concerning

H i mme l "

the

poet,

Heinrich

available.

unterm g e s t i r n t e n

Hi mmel

Wenn d i e S o n n e n i e d e r s i n k e t , Und d e r Ta g z u r Ruh s i c h n e i g t , Lu n a f r e u n d l i c h l e i s e w i n k e t , Und d i e N a c h t h e r n i e d e r s t e i g t ; Wenn d i e S t e r n e p r a c h t i g s c h i m m e r n , Tausend S o n n e n s t r a h l e n f li mme rn: Fi i hl t d i e S e e l e s i c h so grofi, Wi n d e t s i c h vom S t a u b e l o s . S c h a u t so g e r n nach j e n e n S t e r n e n , Wi e zuri i cl c i n s V a t e r l a n d , Hi n n a c h j e n e n l i c h t e n F e r n e n , Und v e r g i B t d e r E r d e T a n d ; Wi ll nur r i n g e n , w i l l nur s t r e b e n , I h r e r H i i l l e zu e n t s c h w e b e n : E r d e i s t i h r e n g und k l e i n , Auf d e n s t e r n e n mo c h t s i e s e i n . Ob d e r E r d e S t i i r me t o b e n , F a l s c h e s Gliiclc d e n B o s e n l o h n t : Hoffend b l i c k e t s i e nach oben, Wo d e r S t e r n e n r i c l i t e r t h r o n t . K e i n e F u r c h t k a n n s i e me h r q u a l e n , K e i n e Ma c h t k a n n i h r b e f e h l e n ; Mi t v e r k l a r t e m A n g e s i c h t , S c h w i n g t s i e s i c h zum I l i m m e l s l i c h t . E i n e l e i s e Ah n un g s c h a u e r t Mi c h a u s j e n e n We 1 1 e n a n ; L a n g e , l a n g e n i c h t me h r d a u e r t Me i n e E r d e n p i l g e r b a h n ,

O Boettcher,

B e e t h o v e n , p.

90.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

Bald hab i c h das Z i e l e r r u n g e n , B a l d z u e u c h mi c h a u f g e s c h w u n g e n , E r n t e b a l d an G o t t e s Thron Me i n e r L e i d e n s c h o n e n Lohn. Evening

So n g b e n e a t h

the

Starry

Q

Heavens7

When t h e s u n s i n k s down And t h e d a y bows t o r e s t , Lu n a k i n d l y , g e n t l y b e c k o n s And t h e n i g h t d e s c e n d s ; When t h e s t a r s m a g n i f i c e n t l y A t h o u s a n d sunbeams g l i mme r : The s o u l f e e l s s o g r e a t , W r i t h e s f r e e from t h e d u s t ;

shimmer,

Looks so g l a d l y t o w a r d s t h o s e s t a r s As i f b a c k i n t o t h e f a t h e r l a n d , Ov e r t h e r e t o w a r d t h o s e s h i n i n g d i s t a n c e s , And f o r g e t s t h e t r i f l e s o f e a r t h ; Wa n t s o n l y t o s t r u g g l e , w a n t s o n l y t o s t r i v e , Of h e r c o v e r t o f l o a t f r e e : E a r t h i s t oo c l o s e and t o o s m a l l f o r h e r , S h e w a n t s t o be on t h e s t a r s . I f the storms of e a r t h r a g e , False fortune rewards the e v i l ones: Hoping s he l o o k s up, Wh e r e t h e j u d g e o f t h e s t a r s i s e n t h r o n e d . No f e a r c a n t o r m e n t h e r a n y m o r e , No p o we r c a n command h e r ; Wi t h t r a n s f i g u r e d f a c e , She s o a r s t o h e a v e n ' s l i g h t . A s l i g h t f o r e b o d i n g from t h a t world Ma k e s me s h u d d e r ; No mo r e w i l l my e a r t h l y p i l g r i m way Last a long time, So o n So o n S o on The

another

I have a t t a i n e d t h e g o a l , h a v e s o a r e d up t o y o u , a t God's t hr o ne have reaped b e a u t i f u l r e w a r d o f my s u f f e r i n g .

^See F i s c h e r - D i e s k a u , English t r a n s l a tio n .

L i e d e r , pp.

33-34,

for

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71

Theological stars'*'® and rules an

over

summary.

rewards

the

the created

individual,

life

God,

sufferer

order

on e a r t h

is

and

of

person

contem plates

hopefully

for

existence

so t h a t

lim itations beautiful to

the

with

the

and

reward

Deistic

Musical

strophes

as

the

the

from

God. ■*■■*•

measures, four

for

This the

of

free

poem

returning turbulent

life, or

For

when

she

a

longs

this

mortal

of a l l

bodily

existence:

gives

a

expression

Enlightenment

combined

u n i o n w i t h God.

Within

Beethoven

eight-line

he

the

death,

heaven. of

earthly sky

of

the

goal of m ortal

of

analysis.

this

ma y b e s e t

attain

longing

distant

com pletion

soul

time

m idst of

night

quick

rationalism

the Romantic

eighty-one

the

the

the

who j u d g e s

a pilgrimage

In the

circumstances

one

at

from

to the heavenly homeland. unjust

the

the

has

scope of

treated

strophes.

72

this

song's

Goeble's

eight

The r e s u l t i n g

Th e t r a n s l a t i o n o f t h e w o r d " S t e r n e n r i c h t e r " i s problematic. B i r d and S t o k e s , i n F i s c h e r - D i e s k a u , L i e d e r , p. 3 4 , t r a n s l a t e i t a s " S t a r r y J u d g e . " Such an i n t e r p r e ­ t a t i o n co u ld p o i n t t o w a r d t h e b r i l l i a n c e of God's g l o r y r a t h e r t h a n t o h i s r o l e a s t h e o n e wh o c o n t r o l s t h e created order, including the s ta rs . •^The a n t e c e d e n t of th e pronoun "euch" in the fin al strophe is unclear. Possible candidates for consid­ e r a t i o n i n c l u d e God, h e a v e n , a n d t h e s t a r s . Whichever c h o i c e i s s e l e c t e d s e e m s t o h a v e l i t t l e e f f e c t on t h e m e a n i n g o f t h e p o e m. •*^The s c o r e o f t h i s l i e d i s a v a i l a b l e B e e t h o v e n ' s Werke, s e r i e s 23, pp. 148-151.

for

study

R eproduced with permission o f the copyright owner. Further reproduction prohibited without permission.

in

72

lied

is

an e x a m p l e of

The r a n g e o f t h e n

f-sharp) the

within

piano

the

song the

is

of

strophe

ends

and

the

both

same

in

(c^-sharp

to

me l ody and

response

within

chordal

IO J

Th e v o c a l

change

imagery

form.

lied

eleventh

^

emotions with

a perfect

key of E m a jo r .

accompaniment

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strophic-variation

the

to

text.

accompaniment

the Each

for

the

l a s t two l i n e s of t e x t w h i l e th e piano u s e s a v a r i e t y of accompanimental each

strophe.

Alberti hands text

bass

of is

ecstatic

patterns

These

within

patterns

figurations,

the

pianist,

presented

restatem ent

schonen

Lohn"

quoting

the

which

same

of

moves

chordal

bald!

into

a

for

meiner

six-measure

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rhythms.

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include

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Leiden codetta

ends

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settings.

No o t h e r

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text

are

be e x t a n t .

IO See B o e t t c h e r , B e e t h o v e n , pp. 58, 6 4 - 6 5 , f o r d i a g r a m and b r i e f d i s c u s s i o n of t h e form o f t h i s s ong.

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a

Chapter

5

AUGUST HARDER (1775-1813) Although little - r e m e m b e r e d was one of t h e m o s t p o p u l a r studying turned

theology his

at

energies

successful

as

a

the

university

to

the

field

to composing ap p r o x im a te ly

for

solo

voice

with

Of

this

total

at

of r e l i g i o u s

which a r e

considered

The a u t h o r discussion

here

1845).

Raised

school

teacher,

addition

to

in

piano

least

in

texts

for

and

forty

was

volumes of

in

songs

a c c o mp a n i me n t . ' * '

and

songs

piano,

were two of

below.

of

the

texts

was F r i e d r i c h

of both

of t he songs

Adolph

Krummacher

a pietistic

family,

university

lecturer,

being

He

g u itarist

individual voice

Harder

music.

or g u i t a r

eleven

After

Leipzig,

of

pianist,

addition

either

August Harder

com posers of h is era.

teacher,

settings

today,

a

p ro lific

Kr ummac her

author.

and

a

under (17 6 7—

beca me a

pastor

Under

in

the

^ Gu d r u n B e c k e r - W e i d m a n n , " H a r d e r , A u g u s t , " The New Grove D i c t i o n a r y o f Mu si c and M u s i c i a n s , v o l . 8, ed. S t a n l e y Sadie (London: M a c m i l l a n , 1 9 8 0 ) , p. 1 5 9 . See a lso Heinz Becker, "Harder, A u g u s t , " Di e Mu s i k i n G e s c h i c h t e und G e g e n w a r t , v o l . 5, e d . F r i e d r i c h B l u m e ( K a s s e l and B a s e l : B a r e n r e i t e r , 19 56) , pp. 1502-1503.

73

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74

influence

of

expression and

Johann G o t t f r i e d

to

his

didactic

vocabulary Herder's below

manner

Der

he

com pleted

Krummacher's for

in

These

religious

composers

Neuner (1778-1839), and F r i e d r i c h

pietistic

of the

Eine

Schrift

with

the

than

of

two

sections

fiir

das

the

Da s

all

of

source

of

including

Ritter

Vol k

of

almost

been

Harder,

(1810),

additon

contain

have

a

p o e ms c o n s i d e r e d

first

and

and

rationalism

the

August G o t t f r i e d

Schneider

ideas

form

works

gave

allegorical

Christfest

poetry other

an

Das

1819 three

in

and

Festbiichlein:

Neujahrstagfest.

texts

(1805) they

Krummacher

humanistic

The s o u r c e s

Together

n

faith

combined

by t h e

Sonntag

Krummacher's

which

which

influenced

respectively. of

Bible-believing

philosophy.

are

von H e r d e r

Carl

(1811-1885),

(1786-1853).^ " Da s W o r t " ( 1807)

This H arder's contains

lied

is

£ .e.s a..n.g.je u..n ji songs

for

solo

the

second

Ljl je jd e^jr

in

a _ujs

voice with

that

section

d„e m S o n n t a ^ e

of

which

piano accompaniment.^

S e e p a g e 44 a b o v e . ^ E d u a r d E m i l Koch, " K r u m m a c h e r , Dr. F r i e d r i c h A d o l p h , " G e s c h i c h t e d e s K i r c h e n l i e d s und K i r c h e n g e s a n g s der c h r i s t l i c h e n , in s b es o n d ere der deutschen e v a n g e lis c h e n K irc h e , vol. 6 ( S t u t t g a r t : Chr . B e l s e r , 1 8 6 9 ) , pp. 5 1 9 524. S e e a l s o , H a n s - H e n r i l c K r u m m a c h e r , " K r u m m a c h e r , " Ne ue i L i l £. > vol. 13 ( B e r l i n : Dunlcer & Humblot, 1982), pp. 122-125. ^This

score

is

available

for

study

at

the

Library

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

75

Das Wo r t S c h o n b l t i h e t u n d d u f t e t d i e R o s ' am S t r a u c h , SuB t o n e n d e r N a c h t i g a l l L i e d e r , Und l i e b l i c h e n t s c h w e b e t d e r F r i i h l i n g s h a u c h Dern Hi mme l z u r E r d e h e r n i e d e r . Doc h w a h r l i c h ! n i c h t s g l e i c h e t a u f i r r d i s c h e m Dein r e d e n d e n Odem a u s L i p p e n u nd Mund.

Rund

Im s c h w e i g e n d e n B u s e n w i r d w u n d e r b a r Da s W o r t l e i n im S t i l l e n g e b o h r e n , Da w a c h s e t i h m h e i m l i c h e i n F l i i g e l p a a r , Vom H e r z e n zum B o t e n e r k o h r e n . Es o f n e t d e r L i p p e n v e r s c h l o s s e n e n Saum Und s c h w e b e t d a n n s a u s e l n d im l u f t i g e n Raum. Nun s u c h e t e s s e h n e n d e i n a n d r e s I l e r z , S i c h f r e u n d l i c h m i t i hm z u v e r e i n e n ; E r h o r e t d i e F r e u d e n , und l a B t d e n S c h m e r z Di e T h r a n e n d e r L i n d e r u n g w e i n e n ; Es I c i i h l e t d e s B u s e n s v e r s c h l o s s e n e G l u t , Und s t i l l e t d i e Wogen im w a l l e n d e n B l u t . Z u w e i l e n a u c h r a u s c h e t m i t B l i t z e s Ma c h t Das Wo r t a u f g e w a l t i g e n F l i i g e l n , E r h e l l e t des diisteren F r e v e l s Nacht, Und w a g e t T y r a n n e n z u z i i g e l n ! Wohl z i t t e r t d e r Sic l a v e u n d w i i n s c h e t e s f o r t , Doch f r e i e r n u r w a n d e l t d a s l e b e n d e W o r t . Wohl s c h w e b e t e s l i e b e r im z a r t e n D u f t De r L i e b ’ und d e s D a n k e s z u r E r d e , U m t o n e t m i l d k l a g e n d d i e s t u mme G r u f t , E r h e i t e r t die f i n s t r e Gebehrde, B e g e g n e t dem S e u f z e r m i t m i l d e m Geton, Und w a n d e l t i n F r e u d e d e s D a r b e n d e n F l e h n . J a , s c h w i n g t n i c h t h i n a u f s i c h i n k i i h n e r Ba h n Das Wo r t zu d e n h i m r n l i s c h e n T h o r e n ? Wohl d a r f e s dem h i m r n l i s c h e n T h r o n s i c h n a h n , Am T h r o n e d e r A l l m a c h t g e b o h r e n ! J a , e h ' i hn d i e H e e r s c h a a r der Welten ums chl ang, E r t o n t e des Wortes g e w a l t i g e r Klang. Da r i e f e s h e r n i e d e r d e s L i c h t e s S t r a h l , I hm s c h w a n d e n d i e e w i g e n Dunl cel ; Da s c h m i i c k t e s m i t Bl u me n G e b i r g u nd T h a i ,

of

Congress

in Washington,

D. C.

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76

D i e Hi mme l m i t S t e r n e n g e f u n k e l ! So w u r d e d i e S c h o p f u n g i n h e r r l i c h e r P r a c h t D u r c h s Wo r t d e s a l l m a c h t i g e n B u n d e s v o l l b r a c h t . Da h a u c h t e d e r S c h o p f e r e s i n d i e B r u s t De s s t e r b l i c h e n S o h n e s d e r E r d e , D a m i t i h m , d e s Odems a u s G o t t b e w u B t , S e i n Leben e i n g o t t l i c h e s werde! Du S p r o t z l i n g d e s H i m m e l s ! So b l e i b e d a n n a u c h Im i r r d i s c h e n Munde e i n g o t t l i c h e r I l a u c h !

The Word

B e a u t i f u l l y t h e r o s e on t h e b u s h b l o o m s a n d s m e l l s sweet, S we et l y t h e songs of t h e n i g h t i n g a l e r e s o u n d , And d e l i g h t f u l l y t h e b r e a t h o f s p r i n g s o a r s o u t o f sight To h e a v e n f o r t h e e a r t h b e l o w . Y e t t r u l y ! n o t h i n g on t h e e a r t h l y s p h e r e c o m p a r e s To t h e s p e a k i n g b r e a t h o u t o f l i p s a n d m o u t h . In the q u i e t h e a r t w o n d e r fu ll y Th e t i n y wo r d i s b o r n i n t h e s i l e n c e . T h e r e a p a i r of wings grows s e c r e t l y f o r i t , C h o s e n by t h e h e a r t f o r t h e m e s s e n g e r . I t o p e n s t h e l i p s ' c l o s e d seam And s o a r s t h e n w h i s p e r i n g i n t h e a i r y r o o m. Now i t s e e k s l o n g i n g l y a n o t h e r h e a r t I n a f r i e n d l y way t o u n i t e i t s e l f w i t h i t ; G r a n t t h e j o y , and a l i o w The t e a r s o f a l l e v i a t i o n t o we e p t h e p a i n ; It cools the h e a r t 's locked-up f i r e , And s t i l l s t h e w a v e s i n t h e a g i t a t e d b l o o d . S o m e t i m e s a l s o r o a r s w i t h t h e power o f t h e lightning flash Th e wo r d on p o w e r f u l w i n g s , Exposes the d a r k n e s s of mournful misdeeds, And d a r e s t o c h e c k t y r a n t s ! I n d e e d t h e s l a v e t r e m b l e s and w i s h e s i t g o n e , B u t o n l y mo r e f r e e l y w a n d e r s t h e l i v i n g w o r d . C e r t a i n l y i t f l o a t s mo r e p l e a s a n t l y i n t h e s w e e t breeze Of l o v e a n d g r a t i t u d e t o t h e e a r t h , Mildly p l a i n t i v e l y sounds around the s i l e n t grave, Cheers th e dark demeanor, Meets t h e s i g h w i t h g e n t l e s o u n d i n g ,

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77

And l i v e s i n t h e impoverished.

joy

of

the

prayer

of

the

Y e s , d o e s n o t t h e wo r d s o a r a b o v e i n a mo r e daring path To t h e h e a v e n l y d o o r s ? C e r t a i n l y i t may a p p r o a c h t h e h e a v e n l y t h r o n e , Bor n n e a r t h e t h r o n e o f t h e A l m i g h t y ! Yes, b e f o r e t h e h o s t s of t h e w o r l d e mb r a c e d i t , The mo r e p o w e r f u l s o u n d o f t h e wo r d r a n g o u t . At t h a t t i m e i t c a l l e d down a r a y o f l i g h t , The e t e r n a l d a r k n e s s v a n i s h e d b e f o r e i t ; Then i t a d o r n e d m o u n t a i n and v a l l e y w i t h f l o w e r s , The h e a v e n s w i t h t h e t w i n k l i n g o f s t a r s ! So t h e c r e a t i o n i n a mo r e g l o r i o u s d i s p l a y was finished T h r o u g h t h e wo r d o f t h e a l l - p o w e r f u l c o v e n a n t . Th e n t h e c r e a t o r b r e a t h e d i t i n t o t h e b r e a s t Of t h e m o r t a l s o n o f t h e e a r t h , So t h a t f o r h i m , c o n s c i o u s o f t h e b r e a t h f r o m God, H i s l i f e c o u l d b e c o me a d i v i n e l i f e ! You h e i r o f h e a v e n ! So t h e n a l s o A d i v i n e b r e a t h r e m a i n s i n t h e e a r t h l y mouth. Theological reigns

in

heaven

breath.

It

the

the

This

in

the

to

wo r d i s

related

of

before

dispel

which can

The

source

the c re a tio n

light

flowers

is

existed

instrum ental forth

s u mma r y .

to

God' s

the

word

creation process.

the

be s e e n

all-powerful

began

who

is

his

and

was

The wor d b r o u g h t

darkness

and

beautifying covenant

which

God

gave

the

with

rise

to

whole e a r t h .

humanity

whom

h e c r e a t e d a n d i n t o whom lie b r e a t h e d t h e w o r d s o t h a t e a c h person

might

possession of

this

This

and

same

text

experience become

word

shows

combined w i t h

one the

ideas

an

divine inheritor

ma y a l s o imprint

from P i e t i s m

life of

a

personal

heaven.

approach of

as

God

By me a n s in

traditional

prayer.

orthodoxy

and R o m a n t i c i s m .

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

78

Musical

analysis.

introduction,

this

twenty-eight measures.

song

measures

The

vocal

encompassing a major E-flat

major.

simple

guitar-like

The

seventh

strophes

retains

the

other

patterns. change

in

fortepiano measure presented style.

both

Other a r e known t o

is

a

to

line

marking hands

of

repetition

an e x a m p l e settings.

length

share

as

for

the

first

the

pianist.

and

which of the

arpeggiated

all

rhythmic having

note

of

The

text

a

each is

predominantly

of a t y p i c a l No o t h e r

sixth,

a slight

w ell

a

of

progression

as

in

consists

accompaniment

different

226

t h e key of

fourth,

harmonic

also

of

of

simplicity,

g^) i n

Th e

piano

strophes

accompaniment

having

strophes

eight

total

altered

the

two-measure

a folksong-like

(e^-flat

an

and

vocal

without

This

tenth

while

dynamic

for

for

has

a of

arpeggiation.^

same

the

line

keyboard

texture

Th e

consists

each

share

strophes

Following

Harder

settings

of

syllabic /: song. this

text

be e x t a n t .

^Harder has in c lu d e d a s i m p l i f i e d v e r s io n of the song f o r t h e l e s s - s k i l l e d s i n g e r and p i a n i s t . In t h i s s e t t i n g t h e e n t i r e v o c a l l i n e i s d o u b l e d by t h e r i g h t h a n d of the pianist while the le ft hand provides the a r p e g g i a t e d e l e m e n t s of t h e accompani ment. ^Becker-Weid mann, "Harder,

A u g u s t , " p. 1 59 .

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

79

" Di e A h n u n g " ( 1811) This Gesange songs

und

for

song

is

Lieder

solo

the aus

voice

with

sixth dem

in

that

section

Christfeste

of

which

Harder's contains

piano accompaniment.^

D i e Ah nu ng H e i l ' g e Ahnung, me i ne S e e l e s c h w e b e t Di r e n t g e g e n , meine Li p p e b e b e t . I c h v e r h i i l l e d i r me i n A n g e s i c h t N e i g e d i c h z u i ni r und s a u me n i c h t ! Kommst du a u s d e s h i m m e l s l i c h t e r F e r n e , S c h w e b e s t du im s t i l l e n G l a n z d e r S t e r n e , Di e am Hi mme l h o c h u nd s c h w e i g e n d s t e h n Und v o l l M i t l e i d a u f u n s n i e d e r s e h n . O d e r w i r s t im Uns zura T r o s t Ach i c h f i i h l e S o l i i c h denn

H e r z e n du g e b o h r e n im d u n k e l n T h a i g e k o h r e n ! d e i n e s F i t t i c h s Wehn! dein An gesicht n i c h t sehn?

H e i l ' g e Ahnung, wi e d e s L i i f t c h e n s S a u s e l n , Dem d e s B o r n e s W e l l e n s a n f t s i c h k r i i u s e l n , S c h w e b e s t du urn S e e l e n J c l a r und r e i n , D i e i n s t i l l e r De mu t h d i r s i c h w e i h n . D e i n e L i s p e l , G o t t l i c h e , u mw e h t e n Di e g e w e i h t e n L i p p e n d e s P r o p h e t e n . Er v e r s t u m m t e , g l u h e t e und r a n g B i s g e f l i i g e l t s e i n e Red' e r l c l a n g . H e i l ' g e A h n u n g , o daB i c h d i c h f a n d e ! DaB d e i n Odein n i e m a l s m i r e n t s c h w a n d e ! LaB a u c h m i c h d e i n g o t t l i c h A n t l i t z s e h n ! He b e mi c h ei npor zu j e n e n Kohn !

of

^This score is a v a i l a b l e C o n g r e s s i n W a s h i n g t o n , D. C.

for

study

at

the

Library

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

80

The I d e a H o l y I d e a , my s o u l i s i n s u s p e n s e T o wa r d y o u , my l i p t r e m b l e s . I v e i l my f a c e t o y ou I n c l i n e t o me a n d do n o t d e l a y . You c ome o u t o f t h e b r i g h t e r d i s t a n c e o f h e a v e n , You s o a r i n t h e s i l e n t s p l e n d o r o f t h e s t a r s , Wh i c h s t a n d h i g h a n d s i l e n t i n t h e h e a v e n And f u l l o f c o m p a s s i o n l o o k down on u s . Or y o u a r e b o r n i n t h e h e a r t Chosen f o r c o m f o r t t o us i n t h e d a r k Ah! I f e e l y o u r w i n g ' s f l u t t e r i n g ! Should I then not see your face?

valley!

Ho l y I d e a , l i k e t h e g e n t l e b r e e z e ' s w h i s p e r , To w h i c h t h e r i p p l e s o f t h e f o u n t a i n c u r l themselves , You h o v e r a r o u n d s o u l s c l e a r a n d p u r e , Wh i c h i n mo r e s i l e n t h u m i l i t y d e v o t e t h e m s e l v e s t o you . Yo u r w h i s p e r s , d i v i n e e s s e n c e , f a n n e d The c o n s e c r a t e d l i p s o f t h e p r o p h e t . He b e c a me s i l e n t , g l o w e d a n d s t r u g g l e d U n t i l winged h i s s p e e c h r a n g o u t .

-

Hol y I d e a , 0 t h a t I m i g h t f i n d you! T h a t y o u r b r e a t h m i g h t n e v e r v a n i s h f r o m me! L e t me a l s o s e e y o u r d i v i n e c o u n t e n a n c e ! L i f t me up t o t h a t h e i g h t ! Theological

summary.

comes from h eaven where i t comes it

to

brings

lips.

In

those

essence

to

the

presence

O

moves in f r e e d o m ,

wh o s e r v e God i n h u m i l i t y .

comfort God's

Go d ’s

heart the

and human

®I n t h i s poem t h e e s s e n c e o f hypostatically through th e use of ( Idea ) .

is

holy.

but i t

Wh e n i t

inspiration soul

is

It also

comes

for

the

reverently

God i s r e f e r r e d t o the term "Ahnung"

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

81

fearful

yet

longs

eternally.

The

compassion.

This

and H e r d e r ' s

rationalistic

Musical strophic

song

resulting of

the

span

major.

see

God' s

stars text

from

the

in a t o t a l

face

look

and

down

reflects

the

Harder

six

on

his

of

has fashioned

The

one

strophes

of

Pietism

the

individual

Krummacher's

poem

measures.

Most

strophes

c h a n g e s i n t h e melody. This 1 O o c t a v e (g to g ) in th e key

piano

with

a modified

rhythmic

of

presence

humanity

influence

l e n g t h of s i x t y - s i x for

know

vocabulary.^

analysis.

modifications

of s l i g h t a

to

accompaniment

consists

of

consist

mel ody has of

A-flat

single

notes

o r o c t a v e s s u s t a i n e d by t h e l e f t h a n d w h i l e t h e r i g h t h a n d plays nantly

broken chord syllabic

patterns.

The t e x t

with

last

the

line

setting of

is

predomi­

each

strophe

repeated. Other are

known t o

settings.

No o t h e r

settings

of

this

be e x t a n t .

^See p a g e s

73-74 above.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

text

Chapter

6

FRANZ XAVER SCHNYDER VON WARTENSEE (1786-1868) As a c o m p o s e r , Wartensee

was

one

important

musicians

Romantic e r a s . land

and

choral, lieder.^

of

the

am Ma i n

symphonic

The

fourth

of

w h i c h he w r o t e

gious

texts

by N o v a l i s .

consideration

wrote reared

under

in

this

Friedrich the

n

in

as

Schnyder

time

as

volumes

nine

and

early

his

wrote

h o me ­

operatic,

volumes

consisted

18 2 3 a n d

those

and

between he

von

versatile

Classical

well

Two o f

1827

songs are

of

of the

to

reli-

the

focus

chapter. Philipp

pseudonym

Pietism ,

most

G e r ma n y

between

vo n H a r d e n b e r g

Novalis.

i n a home c o n t r o l l e d

Moravian

his

those

songs

Geor g

late

works

seven

of

and t e a c h e r

Sw itzerland's

Whi l e d i v i d i n g

Frankfurt and

of

performer,

After

having

by t h e r e l i g i o u s

Novalis

became

part

(1772-1801)

of

been

insights the

of

first

■^Lui s e M a r r e t t a - S c h a r , " S c h n y d e r v o n W a r t e n s e e , ( F r a n z ) X a v e r , " T h e Ne w G r o v e D i c t i o n a r y o f M u s i c a n d M u s i c i a n s , v o l . 16, e d . S t a n l e y S a d i e ( L o n d o n : Macmillan, 1 9 8 0 ) , p. 6 9 6 . See a l s o , P e t e r O t t o S c h n e i d e r , " S c h n y d e r v o n W a r t e n s e e , F r a n z X a v e r , " D i e Mu s i k i n G e s c h i c h t e u n d G e g e n w a r t , v o l . 11, e d . F r i e d r i c h Bl u me ( K a s s e l a n d B a s e l : B a r e n r e i t e r , 1963), pp. 1922-1926. ^This volume is a v a i l a b l e fo r study in the B e i n e c k e R a r e Book and M a n u s c r i p t L i b r a r y a t Y a l e ' U n i v e r s i t y i n New H a v e n , C o n n e c t i c u t . 82

R eproduced with permission o f the copyright owner. Further reproduction prohibited without permission.

83

generation of the

o f Ger man R o m a n t i c s .

religious Night,"

latter,

source

sixteen

with

the

for

are

poetry

of

to

the

poems

and

lied

von W a r t e n s e e ' s

Da s h o c h s t e

is

the

Geistliche

(1799).

core

with a

a

Lieder

a hymnal

favorite

of

textual

with

over

discussed

respectively,

his G eistliche

The

volume

era

to

Romantic

of

The t w o t e x t s

seventh,

third

("Hymns

fellow

Romantic

extant.

" Das h o c h s t e This

became

of th e

which co m p ri s e

of

be t h e

accompany

Novalis

works

fifth

to

Nacht

Lieder

encouragement

song c o m p o sers of h i s

an d i e

G eistliche

intended

The

200 s e t t i n g s below

and

Hi s t wo ma i n c o l l e c t i o n s

H y mn e n

Schleierm acherw as

Novalis

sermons.

were

1797)

written

Friedrich which

poetry

O

of

the

Lieder

Gut" of

the

songs

in

Schnyder

v on N o v a l i s .

Gut^

Wenn i c h i h n n u r h a b e , Wenn e r me i n n u r i s t , Wenn m e i n H e r z b i s h i n zum G r a b e Seine Treue nie vergii3t: Wei B i c h n i c h t s vo n L e i d e , F i i h l e n i c h t s a l s A n d a c h t , L i e b un d F r e u d e .

^See p a g e s

47-49 above.

^See p a g e s

51-56 above.

^ A r t h u r H e n k e l , " N o v a l i s , " Di e Mu s i k i n G e s c h i c h t e u n d G e g e n w a r t , v o l . 9, e d . F r i e d r i c h B l u m e ( K a s s e l a n d Basel: B a r e n r e i t e r , 1961), pp. 1727-1729. See a l s o , Bernhard Pick, ed., T h e Devo t i o n a l S o n g s o f N o v a l i s : Ge r ma n a n d E n g l i s h ( C h i c a g o : Ope n C o u r t , 1 9 1 0 ) , p p . 3 - 1 8 . Seelig

^ [ N o v a l i s J , G e s a m me l t e W e r k e , (Zurich: Buhl, 1945) , pp. 36-37.

vol.

1,

ed.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

Carl

84

Wenn i c h i h n n u r h a b e , LaB i c h a l l e s g e r n , F o l g a n me i n e m W a n d e r s t a b e T r e u g e s i n n t n u r me i n e m H e r r n ; La s s e s t i l l d i e Andern B r e i t e , l i c h t e , v o i l e StraBen wandern. Wenn i c h i h n n u r h a b e , Schlaf ich fro h lic h ein, Ewi g w i r d z u s i i Be r L a b e S e i n e s H e r z e n s F l u t mi r s e i n , Di e m i t s a n f t e m Zwi ngen A l l e s w i r d e r w e i c h e n und d u r c h d r i n g e n . Wenn i c h i h n n u r h a b e , Hab i c h a u c h d i e W e l t , S e l i g wie e i n Hi mme l s k n a b e , De r d e r J u n g f r a u S c h l e i e r h a l t . K i n g e s e n k t im S c h a u e n , Kann m i r v o r dem I r d i s c h e n n i c h t

grauen.

Wo i c h i h n n u r h a b e , 1 s t mei n V a t e r l a n d ; Und e s f a l l t m i r j e d e Ga be Wi e e i n E r b t e i l i n d i e Ha n d ; L a n g s t v e r m i B t e Briider F i n d i c h nun i n s e i n e n J i i n g e r n w i e d e r . Th e H i g h e s t

Good^

I f I o n l y h a ve hi m, I f o n l y he i s m i n e , I f u n t i l t h e g r a v e my h e a r t Never f o r g e t s h i s f a i t h f u l n e s s : I know n o t h i n g o f s o r r o w , Feel nothing but d evotion, love,

and

joy.

I f I o n l y h a v e hi m, I gladly leave everything, F o l l o w on my p i l g r i m ' s s t a f f L o y a l o n l y t o my L o r d ; S ile n tly I leave the others To t r a v e l b r o a d , e a s y , f u l l s t r e e t s .

7

Three d ifferent English translations are a v a i l a b l e i n P i c k , D e v o t i o n a l S o n g s , pp. 8 8 - 9 2 . A prose t r a n s l a t i o n by N o r m a D e a n e a n d C e l i a L a r n e r c a n be f o u n d i n J o h n R e e d ' s T h e S c h u b e r t s o n g c o m p a n i o n ( Ne w Y o r k : U n i v e r s e B o o k s , 1 9 8 5 ) , p. 2 7 3 .

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

85

I f I o n l y h a v e h i m, I go t o s l e e p j o y f u l l y , E t e r n a l l y f o r s w e e t e r c o m f o r t t o me W i l l be t h e s t r e a m o f h i s h e a r t , Wh i c h w i t h g e n t l e f o r c e Wi l l soak and p e r m e a t e e v e r y t h i n g . I f I o n l y h a v e h i m, I a l s o have t h e wo r ld , Blessed l i k e a heavenly lad Who h o l d s t h e V i r g i n ' s v e i l . Ha v i n g s woone d a t t h e v i e w , I c a nn o t d r e a d the t h i n g s of

the e a r t h .

Wh e r e I o n l y h a v e h i m, I s my f a t h e r l a n d ; And e a c h g i f t d r o p s t o me L i k e a n i n h e r i t a n c e i n my h a n d ; Long m i s s i n g b r o t h e r s I now f i n d a g a i n i n h i s d i s c i p l e s . Theological loving, sonal

O

and

relationship

issues

forth

discipleship, Virgin human

gentle

in

summary. Lord

sorrow

lives

Christ gifts

t o him r e m o v e s a l l love,

comfort

Mar y i s a t t e n d e d being

who g i v e s

devotion, and

Jesus

in

a

as a p i l g r i m

arduous,

and

joy, the

world

while

time

path,

of

beings. is

faithful,

people. and d r e a d

Per­ and

loyalty,

death.

The

Each m o r t a l

conditioned

Within

following

sparsely-populated

the

sacrificial

which

events.

to

sorrow

by h e a v e n l y

and f e a r - p r o d u c i n g

can l i v e

at

is

this

life

by one

Christ

on a n a r r o w ,

or

may

one

take

the

The s p e c i f i c r e f e r e n t o f t h e t e r m " s e i n e s H e r z e n s F l u t " ( h i s h e a r t ' s s t r e a m or f l o o d ) i s u n c l e a r . Here the h e a r t s e e m s t o be t h e s o u r c e o f t h a t c o m f o r t w h i c h r e s u l t s in the a b i l i t y to face d eath u n a f r a i d which is not c o n t r a d i c t o r y t o t h e common u s e o f t h e t e r m " h e a r t " t o r e f e r to the lo c u s of the emotion of lov e .

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

86

broad,

less

follow

Christ

poem i s

an

strenuous, as

in

each

spans

a

the

key

of

Although the

it

monically, arpeggiated

with and

the

last

fifth

include

The

a diminished

five

1 (c-sharp

twelfth

partner

is

with

countermelodies, exploits

as

well

of

text

repeated

9 g )

in

complex. points, with

and p h r a s i n g s .

Har­

passing thirds

passages

The t e x t - s e t t i n g

melody

voice

parallel

and

meas­

to

highly

the

chromatic

as

syncopation

by

strophes

the vocal li n e at p a r t i c u l a r

piano

line

of

Italianate

The a c c o m p a n i m e n t

equal

common.^

espoused

eighty-eight

alike.

chords

Rhythmically,

of

and

rhythms, the

song

consists

an

as

This

roots.

This

end

T h o s e who

siblings.

theology

form

doubles is

independent

are

pietistic

D major.

piano

three

of

spiritual

strophic

begin

range

are

Romantic

summary.

modified

which

of

with

Musical ures

disciples

example

Schleiermacher

a nd mo r e common r o a d .

of

tones

and

and

sixths.

tw o-against-

is

primarily

in

the

syllabic

first,

second,

strophes.

Other

settings.

those

of

Schubert

Th e

extant

(1819),

settings

Louise

of

this

Reicharat

text

(1819),

^ A c c o r d i n g t o S c h n e i d e r , " S c h n y d e r vo n W a r t e n s e e , " p. 1 9 2 4 , t h e c o m p o s e r w a s r e c o g n i z e d a s o n e o f t h e m o s t g e n u i n e c o n t r a p u n t i s t s o f h i s t i m e by m u s i c o l o g i s t P h i l i p p Spitta. M a r r e t t a - S c h a r , " S c h n y d e r von W a r t e n s e e , " p. 6 9 6 , has c h a r a c t e r i z e d h is c o m p o s i t i o n s as " m e l o d i c a l l y c h a r m i n g and r i c h in u n u s u a l l y d e l i c a t e c o n t r a p u n t a l w r i t i n g , " b ot h t r a i t s which a p p l y d i r e c t l y t o t h i s l i e d .

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87 and

L oe we

(1821).^

" Hymne" This Geistliche

lied

Lieder

is

the

last

v on N o v a l i s

of by

the Franz

songs Xaver

contained

in

Schnyder

von

War t e n s e e . Ky mn e ^^ We n i g e w i s s e n Da s G e h e i m n i s d e r L i e b e , Fiihlen U n e r s a t t l i c h k e i t Und e w i g e n D u r s t . De s A b e n d m a h l s G o t t l i c h e Bedeutung 1 s t den i r d i s c h e n S i n n e n R a t s e l ; Ab e r wer j e m a l s Von h e i B e n , g e l i e b t e n L i p p e n At em d e s L e b e n s s o g , Wera h e i l i g e G l u t In z i t t e r n d e Wellen das Herz s chmol z, Wem d a s Auge a u f g i n g , DaB e r d e s Hi mme l s U n e r g r i i n d l i c h e T i e f e maB, Wi r d e s s e n vo n s e i n e m L e i b e Und t r i n l c e n v on s e i n e m B l u t e Ewiglich. Wer h a t d e s i r d i s c h e n L e i b e s Hoh e n S i n n e r r a t e n ? Wer k a n n s a g e n , DaB e r d a s B l u t v e r s t e h t ? E in s t i s t a l l e s Leib, Ein Lei b ; In himmlischen Blute Schwi r amt d a s s e l i g e P a a r . 0 ! daB d a s W e l t m e e r Schon e r r o t e t e

^ H e n k e l , " N o v a l i s , " p. 1 7 3 0 , r e f e r r e d t o t w e n t y settings of t h i s t e x t w ith the pronoun "ihn" in the o pe n i n g l i n e of each s t r o p h e changed t o " D i c h . " 11 j N o v a l i s ' J ,

Ge s a mme l t e

Wer I ce, v o l .

1,

pp.

38-40,

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

88

Und i n d u f t i g e s F l e i s c h Aufquolle der Fels! Ni e e n d e t d a s silfie M a h l , Ni e s a t t i g t d i e L i e b e s i c h . N i c h t i n n i g , n i c h t e i g e n genug Kann s i e h a b e n d e n G e l i e b t e n . Von i mme r z a r t e r e n L i p p e n Verwandelt, wird das Genossene I n n i g l i c h e r und n a h e r . HeiBere Wollust Durchbebt die Seele. D u r s t i g e r und h u n g r i g e r Wi r d d a s I l e r z : Und s o w a h r e t d e r L i e b e GenuB Von E w i g k e i t z u E w i g k e i t . Hat t e n d i e N i i c h t e r n e n Einmal g e l c o st e t, Alles verlieBen sie Und s e t z t e n s i c h z u u n s An d e n T i s c h d e r S e h n s u c h t , De r n i e l e e r w i r d . Sie erlcennten der Liebe Unendliche Fiille Und p r e i s e n d i e N a h r u n g Von L e i b und B l u t .

Hymn^

Few know The s e c r e t o f l o v e , Th e y f e e l i n s a t i a b i l i t y And e t e r n a l t h i r s t . The L o r d ' s S u p p e r ' s Divine s i g n if i c a n c e I s a r i d d l e t o t h e e a r t h l y mi nd; B u t he who a t a n y t i m e Fr om h o t , b e l o v e d l i p s Imbibes the b re a t h of l i f e , F o r whom h o l y p a s s i o n I n t r e m b l i n g waves s o f t e n s t h e h e a r t , I n whom t h e e y e o p e n s , T h a t he h e a v e n ' s Unfathomable depths surveys, W i l l e a t o f h i s bo d y

19

An E n g l i s h p o e t i c t r a n s l a t i o n o f t h i s t e x t c a n be f o u n d i n P i c k , D e v o t i o n a l S o n g s , pp. 1 1 3 - 1 1 4 . A prose t r a n s l a t i o n c a n be f o u n d i n R e e d , S c h u b e r t , p. 2 7 2.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

89

And d r i n k o f h i s b l o o d Eternally. Who h a s g u e s s e d t h e e a r t h l y b o d y ' s Hi gh s i g n i f i c a n c e ? Who c a n s a y , T h a t he u n d e r s t a n d s t h e b l o o d ? I n d a y s t o come a l l i s t h e b o d y , One b o d y ; In h ea v e n l y blood Swi ms t h e b l e s s e d p a i r . 0 ! t h a t the ocean Wer e a l r e a d y r e d d e n e d And i n f r a g r a n t f l e s h The r o c k s w e r e s t e e p e d ! The s w e e t m e a l n e v e r e n d s , Lo v e n e v e r s a t i s f i e s i t s h u n g e r . Not i n t i m a t e l y , n o t i n d i v i d u a l l y e n o u g h Can s h e h a v e t h e b e l o v e d . On a l w a y s s w e e t e r l i p s T r a n s f o r m e d , t h e c o mp a n i o n becomes Mor e i n t i m a t e a n d c l o s e r . Hotter bliss Thoroughly a g i t a t e s the soul. T h i r s t i e r and h u n g r i e r Be c o me s t h e h e a r t : And s o t h e e n j o y m e n t o f l o v e c o n t i n u e s Fr om e t e r n i t y t o e t e r n i t y . I f t h e r e a s o n a b l e had Tasted once, They woul d l e a v e e v e r y t h i n g And s e a t t h e m s e l v e s b e s i d e u s At t h e t a b l e o f l o n g i n g , Wh i c h n e v e r b e c o m e s e m p t y . Th e y w o u l d h a v e r e c o g n i z e d l o v e ' s Unending abundance And p r a i s e t h e n o u r i s h m e n t Of f l e s h a n d b l o o d . Theological of u n l i i n i t e d l y breath his

of

beyond

human

blood

life in

into the

intellectual

which quenches a l l

longing

be

bound

to

It

Christ is

is

the

and o f f e r s

Supper.

I'his

comprehension,

but

h u ma n d e s i r e s

except

Christ

in

source

h e who b r e a t h e s

individuals

Lord's

experience to

Jesus

abundant love.

eternal

body and

summary.

loving

intimacy

the them

event

is

it

an

is for

for

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the both

90

time

and

highest

eternity.

priority

ual

nourishment.

all

of

of

and p r a i s e

the Lord's

the

Supper.

This

Roman C a t h o l i c

has

been

is

sections

substance

the

key

of E m a j o r ,

consistently achieved the

closing

of

in

while

the

middle

sections.

created

range,

and

built

on a n

supports while chords

the

well

as

at

and a r p e g g i o s

m e l o d i e s or l i n e s vals

the

of

a

consistently

sixth

mo r e

syllabic

a

third.

with

text

is

beginnings the

the

of

climactic

o p e n i n g and

compass

piano

of

the

sustained with

introduce

the voice at The

and i s

accompaniment

sections

occasionally

which p a r a l l e l

the

O

with

lyrical

in

the

Coherence

to g - s h a r p ) ,

The

primarily

which

or

(b

form

is

through both

form

G major

the

entire

the

arpeggio.

meas­

scheme.

are

in

nature.

It

recitatives

undergirding

which

in

E-major

by

as w el l

ABA'

arioso

section

sim ilarities

thirteenth

influenced

an

which a p p e a r s

a major

and

celebration

through-composed

*J

vocal

order

eighty-eight

sections

in

spans

spirit­

theology

around

last

phrase

of

strongly

song,

and

as

gift

the

transubstantiation.

first

passages

event

an e t e r n a l

recitative

ly rical

this

his

the

is

organized

through melodic

eight-measure

of

This

of

more

recitative

for

Schleiermacher's

doctrine

loosely

give

become

technically

Alternating of

all

text

analysis.

in le n g th ,

but

Christ

will

and r e f l e c t s

Musical ures

should

Ultimately

h u ma n e x i s t e n c e

Romanticism as

People

the

chords broken

counter­ inter­

tex t-settin g

repetition

occurring

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

is on

91

the

words " e w i g l i c h , "

on t h e

last

t wo l i n e s

Other this

text

is

and " a l l e s of

settings. by S c h u b e r t

well

as

The o n l y o t h e r known s e t t i n g

of

the

ist

ein

Leib,"

as

poem.

(1819).

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

Chapter

7

MAXIMILIAN JOSEPH LEIDESDORF (1787-1840) The A u s t r i a n well-known Italy, In

in h is

choral,

he

was

Vienna,

Joseph Leidesdorf

and

and as a t e a c h e r also

orchestral,

172 w o r k s t h e r e

Maximilian

native

as a p i a n i s t

addition

board

Jew

a music

were o n ly a few f o r but

his

by

A.

Geistliche are

Pollack Lieder

discussed

and

( Op.

below.

text

of

129).

works.

solo

composed Amo n g h i s

voice

compositional

eight

1

and

with key­ output

vom S c h i c k s a l "

songs

Two s o n g s

in

from

did to a

his

Novalis

this

volume

9

Q

" Wenn i n

The

the

Florence,

of p i a n o and g u i t a r .

c h a m b e r , and p i a n o

accompaniment,

in

publisher

i n c l u d e a m a n u s c r i p t of "Davids Lied text

later

wa s

bangen, triiben Stunden" ( Op. 1 2 9 , No. 1 ) this

song

is

the

thirteenth

poem of

^ W altraute Schmutzenhof e r , " Leidesdorf, Maximilian J o s e p h , " D i e M u s i k i n G e s c h i c h t e und G e g e n w a r t , v o l . 8, ed. F r i e d r i c h Blume ( K a s s e l and B a s e l : Barenreiter, 1960), pp. 5 15- 516. o

This score is a v Library in Boston, O S e e C h a p t e r 6, N o v a l i s and h i s G e i s t l i c h e Public

a ila b le for study Massachusetts. pp. 8 2 - 8 3 , Lieder. 92

for

at

the

Boston

information

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

on

93

the

sixteen

Wenn i n

in N o v alis1 G eistliche

baneen,

Lieder.

triiben Stunden^

Wenn i n b a n g e n , t r i i b e n S t u n d e n Unser Herz b e i n a h v e r z a g t , Wenn v o n K r a n k h e i t i i b e r w u n d e n Angst in unserm In n er n n a g t , Wi r d e r T r e u g e l i e b t e n d e n k e n , Wi e s i e Gr am u nd Kummer d r i i c k t , Wo l k e n u n s e r n B l i c k b e s c h r a n k e n , Die k e i n H o f f n u n g s s t r a h l d u r c h b l i c k t : 0! dann n e i g t s i c h G o t t h e r i i b e r , S e i n e L i e b e kommt u n s n a h , Sehnen wi r uns dann h i n i i b e r , S t e h t s e i n Engel vor uns da, B r i n g t den Kelch des f r i s c h e n Lebens, L i s p e l t Mut u n d T r o s t u n s z u ; Und w i r b e t e n n i c h t v e r g e b e n s Auch f u r d i e G e l i e b t e n Ru h .

When i n A n x i o u s ,

Troubled

Hours^

When i n a n x i o u s , t r o u b l e d h o u r s Our h e a r t a l m o s t g i v e s up h o p e , When o v e r c o m e by i l l n e s s F e a r g n a ws i n o u r h e a r t , We t h i n k o f t h e o n e s who a r e s i n c e r e l y How g r i e f a n d s o r r o w p u s h t h e m , Cl ouds r e s t r i c t our view Wh i c h no r a y o f h o p e s h i n e s t h r o u g h :

loved,

0! t h e n God b e n d s h i m s e l f o v e r , Hi s l o v e comes n e a r t o u s , We l o n g f o r o u r s e l v e s t h e n t o be o v e r t h e r e , An a n g e l s t a n d s b e f o r e u s t h e n , B r i n g s t h e cup of f r e s h l i f e , W h i s p e r s c o u r a g e and c o n s o l a t i o n t o us ; And n o t v a i n l y do we p r a y Also f o r r e s t f o r th e bel oved ones.

Seelig

^ j^No v a 1 i s J , G e s a mm e l t e We r k e , (Zurich: Bi i h l , 1 9 4 5 ) , p . 4 8 .

vol.

1,

ed.

Carl

^A p o e t i c E n g l i s h t r a n s l a t i o n o c c u r s i n B e r n h a r d P i c k , e d ., The D e v o t i o n a l S o n g s o f N o v a l i s : German and English (Chicago: Open C o u r t , 1 9 1 0 ) , p p . 5 1 - 5 2 .

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

94

Theological but,

in

heaven

above;

wh e n he s e e s huma n b e i n g s i n n e e d o f h e l p , he h u m b l e s

himself his

s u m m a r y . God l i v e s

t o c o me l o v i n g l y n e a r

heavenly

servants

them.

he o f f e r s

individuals

consolation,

and a r e n e w e d l i f e .

stances

of

cause

full

the

anxiety,

h u ma n h e a r t

Through t h e agency

encouragement,

People liv e

illness,

grief,

to experience

fear

of

in c i r c u m ­

and

sorrow

which

and

hopelessness.

Wh e n G o d ' s p r e s e n c e i s m a d e k n o w n t o u s , we d e s i r e o n l y t o be i n h e a v e n w i t h h i m .

O u t o f l o v e f o r o t h e r s we p r a y f o r

their

for

peace

answered.

as

well

This

text

with Romanticism's Musical fills

i s in

in a h a lf an The is

vocal

to

treated

mel ody

instances

one

in

the

covers

of

union

in

of

syllabic pairs

on

This

"sighing"

of

syllable

initial

motif

a

with

notes in

the

is

in

strophe,

for

in

The but

mainly

first ending

of

i n a ma nner text there

section

keeping

The

song

with

of

of the song. 1 O (c t o f ) and

a descending

first

as i s

divine.

the appearance

section

or

are

coupled

each phrase

eleventh

texture

fashion,

the

form.

comprised

guitar.

prayers

Pietism

with

binary

second

part

our

through-composed

a perfect

a homophonic

a of

ideas

preparing

by a p i a n o

sung

Novalis'

thereby

strumming in

and

This

measures

tonality

within

the

own,

t h e key of F m i nor

accompanied

played

for

analysis.

cadence,

F major

our

shows the

longing

thirty-eight

section

as

is

chords similar

prim arily

are

repeated

scale of the

the

being song.

mo o d

the minor t o n a l i t y

of

which

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

95

changes last

as

two

setting, the

the

emotional

lines as

is

of the

the

content

of

poem a r e

the

poem c h a n g e s .

repeated

wo r d " Wo l k e n " f r o m

in

the

The

Leidesdorf's

first

strophe

of

poe m. Other

Reger

in

settings.

This

text

was

also

set

by

Max

1900. " Wenn a l l e u n t r e u w e r d e n " ( Op. 1 2 9 , No. 6 )

poems

The t e x t

of

this

contained

in

the

lied

is

the six th

collection

of the s i x t e e n

G eistliche

Lieder

Novalis. Wenn a l l e

untreu

werden

£

Wenn a l l e u n t r e u w e r d e n , So b l e i b i c h d i r d o c h t r e u , DaB D a n l c b a r h e i t a u f E r d e n Nicht ausgestorben s e i . Fur mi c h u mf i n g d i c h L e i d e n , V e r g i n g s t f u r mi c h i n S c h m e r z ; Drum g e b i c h d i r m i t F r e u d e n Auf e w i g d i e s e s H e r z . O f t muB i c h b i t t e r w e i n e n , DaB du g e s t o r b e n b i s t Und m a n c h e r v o n d e n D e i n e n Dich l e b e n s l a n g v e r g i B t . Von L i e b e n u r d u r c h d r u n g e n , H a s t du s o v i e l g e t a n , Und d o c h b i s t du v e r k l u n g e n , Und k e i n e r d e n k t d a r a n . Du s t e h s t v o l l t r e u e r L i e b e Noch i mme r j e d e m b e i , Und wenn d i r k e i n e r b l i e b e ,

^[Novalis*J,

Gesammelte Werke, v o l .

1,

pp.

37-38.

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by

96

So b l e i b s t du d e n n o c h t r e u ; Die t r e u s t e L i e b e s i e g e t , Am E n d e f i i h l t man s i e , W e i n t b i t t e r l i c h un d s c h m i e g e t S i c h k i n d l i c h an d e i n Kn i e . Ich habe d i c h empfunden, 0 ! l a s s e n i c h t von m i r ; LaB i n n i g m i c h v e r b u n d e n Auf e w i g s e i n m i t d i r . E i n s t s c h a u e n me i n e Br i i der Auc h w i e d e r h i m m e l w a r t s Und s i n k e n l i e b e n d n i e d e r Und f a l l e n d i r a n s H e r z . If

A l l Be c o me U n f a i t h f u l ^ I f a l l b e c o me u n f a i t h f u l , Then I w i l l y e t s t a y t r u e t o you, So t h a t on e a r t h g r a t i t u d e M i g h t n o t be e x t i n c t . F o r my s a k e g r i e f e n c o m p a s s e d y o u , F o r me you d i e d i n p a i n ; T h e r e f o r e I j o y f u l l y g i v e you This h ea rt for e t e r n i t y . O f t e n I m u s t we e p b i t t e r l y , T h a t you d i e d And many o f y o u r p e o p l e F o r g e t y ou f o r l i f e . F i l l e d with only love, You h a v e d o n e s o mu c h , And y e t y o u d i e d And no o n e c o n s i d e r s t h a t . You s t a n d f u l l o f mo r e f a i t h f u l l o v e S t i l l b e s id e each one, And i f no o n e s t a y s w i t h y o u , Ye t you s t i l l r e m a i n f a i t h f u l ; Th e m o s t f a i t h f u l l o v e c o n q u e r s , F i n a l l y one f e e l s i t , We e ps b i t t e r l y a n d c l i n g s C h i l d l i k e to your knee.

^ T h r e e p o e t i c E n g l i s h t r a n s l a t i o n s c a n be f o u n d i n P i c k , D e v o t i o n a l S o n g s , pp. 9 6 - 1 0 0 . A prose t r a n s l a tio n by No r ma D e a n e a n d C e l i a L a r n e r i s i n c l u d e d i n J o h n R e e d , T h e S c h u b e r t s o n g c o m p a n i o n ( Ne w Y o r k : U n i v e r s e Books, 1 9 8 5 ) , p. 273.

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97

I have e x p e r i e n c e d you, 0 ! do n o t l e a v e me; L e t me i n t i m a t e l y be u n i t e d Wi t h y ou f o r e t e r n i t y . Some d a y my b r o t h e r s Will a l s o look heavenwards again And l o v i n g l y s i n k down And b e l o n g t o y o u i n t h e i r h e a r t . Theological died p a in fu lly grief

for

remains

summary.

for his

them,

he

faithful

unfaithfulness

toward

The f a i t h f u l

Christ

has

to

done.

Ultimately will

overcome

repent in

the

theology

of

lied

strophic line

le ft

twenty-two

song

spans

E-flat ment

is

full

of g r a t i t u d e

joyfully

united

with

of

the

children, text

Each

measures

thirteenth

followed

by

a

yet

be

forever.

demonstrated Th e y

kneeling

before

the

will him

Romantic

was a p r o p o n e n t . of

the

four

in length,

total

an

strophes

resulting

measures.

(b-flat

of

her

to

others.

voices

in

what

or

only

him has

for

he and

them

his

longing

which C h r i s t

This

consisting

entrusts

eternity,

The m a j o r c o m p o n e n t o f

a pattern

hand

is

eighty-eight

a major

major.

is

of

them;

beside

all

analysis.

by

standing

which S c h l e i e r m a c h e r

Musical this

forgotten

still

like

devotion.

love,

ingratitude

love

him

of

Although having suffered

faithlessness

to

full

of t h e i r

ardently

the

who i s

spite

one

for

supreme

a n d c o me

heartfelt

person

care

and

in

him,

This

Christ's

intim ately

been

them

love.

life

people.

has

to

Christ,

to g )

in

The the

of

in a vocal

key of

the piano accompani­

octave

played

th r ic e - repeated

with

chord

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

the for

98

the r i g h t

hand,

but

the

vocal

th e p ia n o in two p h r a s e s . syllabic

except

strophe.

The

strophes seventh

are and

the

final

third

and

fourth

eighth

a u n i f o r m manner

Schnyder

von W a r t e n s e e

16,

No.

von

Wi l m

chose

to

5;

1886), ( Op .

set

Josef

200)

this

of

throughout

settings.

are

doubled

clim actic poetic

and t h e r e

lines

is

in

The t e x t - s e t t i n g

for

repeated,

Other

line

is

text the

thirds

is prim arily

phrase

lines

of

of

well,

each

Novalis'

s o me r e p e t i t i o n

as

by

although

of

the

not

in

strophes.

Schubert

(1819),

(1823-1827),

Loewe

Felix

Draeseke

Rheinberger

(1888),

among

composers

those

(1822),

and

( Op.

Nicolai wh o

text.

R eproduced with permission o f the copyright owner. Further reproduction prohibited without permission.

also

Chapter

8

BERNHARD JOSEPH KLEIN (1793-1832) Having composer of

associated

Cologne,

Berlin" Music

begun

Klein

after and

included

choral

music,

string

quartet.

became

least

singing operas, in

as

a conductor

cathedral known to

in

the

instructor.

His

to

and

works

language,

40)

texts

of

settings

including

his

of

and

Palestrina

as

for a

city of

Church

teacher,

compositional

sacred for

choral

native

Institute city

oratorios,

his

"the

that

addition

twenty

in

as

He w r o t e m o r e t h a n

German to

the

university

and

output

were at

with

career

becoming r e l a t e d

the

conductor,

his

and

both

100 l i e d e r religious

() g e i s t l i c h e

secular

piano

and

a mo n g w h i c h texts

in

Lieder

the ( Op.

Novalis.^

"Gott

ist

unsre

Zuversicht

und S t a r k e "

This is

the

third

of K l e i n ' s

undated 5 g e i s t l i c h e

■' ■Rei nhol d S i e t z , " K l e i n , B e r n h a r d J o s e p h , " Die Mu s i k i n G e s c h i c h t e u n d G e g e n w a r t , v o l . 7, e d . F r i e d r i c h Blume ( K a s s e l and B a s e l : B a r e n r e i t e r , 1 9 5 8 ) , pp. 1 2 0 0 1203. S e e a l s o , R i c h a r d D. G r e e n , " K l e i n , B e r n h a r d (Joseph)," TJi _e N e w G r o v e D i c t i o n a r y o f Music and M u s i c i a n s , v o l . 10, e d . S t a n l e y S a d i e ( L o n d o n : Macmillan, 1 9 8 0 ) , p. 1 0 1 .

99

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100

Gesange

p

for

anonymous

text

Psalm 137:1-2, Gott

ist

soprano

with

paraphrases in

that

piano

Psalm

accompaniment.

46:1-4,

Psalm

32:11,

The and

order.

unsre Zuversicht

und S t a r k e

G o t t i s t u n s r e Z u v e r s i c h t und S t a r k e , Un s r e Hi i l fe i n g r o s s e r Not h d i e uns g e t r o f f e n ; Dr um f i i r c h t e n w i r u n s n i c h t Wenn a u c h d e r S t u r m b r a u s e t und t o b t , Wenn a u c h v e r s a n k e n d i e B e r g e i n ' s Me e r . G o t t ! G o t t i s t u n s r e Z u v e r s i c h t und S t a r k e , Da r um s o i l Z i o n s i c h f r e u e n Und f r o h l i c h j a u c h z e n im H e r r n s e i n e n G o t t . Als wi r i n Landen s c h m a c h t e t e n , An We i d e n h i n g e n d i e H a r f e n , Da w e i n t e n w i r u nd k l a g t e n dem H e r r n , De r H e r r e r l o s s t e u n s . God I s

Our C o n f i d e n c e a n d S t r e n g t h God i s o u r c o n f i d e n c e a n d s t r e n g t h , Our h e l p i n g r e a t n e e d w h i c h b e f a l l s u s ; T h e r e f o r e we do n o t s t a n d i n f e a r I f a l s o t h e s t o r m t h u n d e r s and r a g e s , I f a l s o t h e m o u n t a i n s s h o u l d be s w a l l o w e d in the sea. God! God i s o u r c o n f i d e n c e a n d s t r e n g t h , T h e r e f o r e Zion s h ou ld r e j o i c e And g l a d l y e x u l t i n t h e L o r d i t s God. When we l a n g u i s h e d i n f o r e i g n l a n d s , The h a r p s h u n g on w i l l o w s , T h e r e we w e p t a n d c o m p l a i n e d t o t h e L o r d , The L o r d s a v e d u s . Theological

confidence, a special shows

help,

relationship

by h e a r i n g

p

of

strength,

s u mma r y .

God

is

a

and d e l i v e r a n c e .

with

and a n s w e r i n g

his

people

their

This score is a v a i la b l e C o n g r e s s i n W a s h i n g t o n , D.C.

for

up

source

of

He s t a n d s

in

Israel

which

prayers.

Although

study

the

at

he

Library

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

101

believers natural

and

joyful the

experience

as

political

they

past

The

control,

place

in

the

pastiche

Go d .

that

forces

human

but

personal

th ey can

can

nature

God

be

as

well

order.

This

traditional

in

and

events text

them in

upon

powerful

the

as

be f e a r l e s s l y

relied

are

controls

represents

need

Wha t he h a s d o n e f o r he

of

created

which

of

disasters,

praise

indicates

present.

times

beyond

which

is

a

the

take

biblical

biblical

religious

thought. Musical this

The

forty-seven

s o n g a r e i n AB AC D AC' f o r m ,

The

song

through and

analysis.

begins the

use

and of

a modulation

textual

mo o d s

(f

half

into

are I

ends

evoked.

range

-sharp

active

and i n d e p e n d e n t .

melody

in

a homophonic

impact

of

K lein's

painting tion

on

which

is

Other k n o wn

to

syllabic

the

voice

is

texture,

The

it

but

and c h o r a l

except

for is

the

No o t h e r

cadences

to

piano

doubles it

but

the varying

asked

-sharp).

Sometimes

There

G major,

and d e c e p t i v e

also

cover

an

part

is

the

vocal

shows

interests. melismatic

consistent

s o n g an a r i a - l i l c e

settings.

of

O

polyphonic

"jauchzen." gives

f

key

of

rondo form.

in the D -section

The to

a modified

the

cadences

E minor

octave

text-setting

in

measures

text

the The

word-

repeti­

quality.

setting

of

this

text

be e x t a n t .

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

is

102

" Wandr e r s N a c h t l i e d " ( Fr om Op. 1 5 , 1 8 2 7 ) The Goethe

author

(1749-1832),

theater

poems,

in

novels,

"Wandrers

to

and p l a y s ,

Nachtlied"

Johann

a critic,

addition

educator,

being

the

including

was

cities.

Religiously,

the

Christian

not

believe

experienced saw a l l

written

the in

salvation

relationship

as v arying

religion.

viewed

who

a

His

Klein's

favorite

of

Faust.

between

the

duke C h a r l e s

along

the

capa­

Bible,

but

he

exclusively

to

be

with Jesus

scientist,

and he,

the

expressions

Goethe

a pantheistic O p e r s o n a l Go d .

was

poet,

widespread;

creator

masterpiece

Weimar

including

theistic had

natural

G o e t h e r e g a r d e d h i m s e l f as an h e i r

that

religions

and

literary

von

painter,

governmental organizational

tradition,

through

archetypical

of

Wolfgang

journalist,

1775 and 1786 w h i l e G o e t h e s e r v e d in a v a r i e t y

did

poem,

statesm an,

Augustus

of

this

was

manager,

philosopher,

years

of

with

himself and

literary

Wilhelm

of

Christ.

He

an o r i g i n a l as

a

poly­

a moral

being

influence

Miiller,

was

wa s o n e o f

poets.^

^ E l i z a b e t h M. W i l k i n s o n , " G o e t h e , J o h a n n W o l f g a n g v o n , " T h e New E n c y c l o p a e d i a B r i t a n n i c a , v o l . 8 ( C h i c a g o : B e n t o n , 1 9 7 4 ) , pp. 2 2 4 - 2 3 1 . For a d i s c u s s i o n of G o e t h e ' s v i e w o f and r e l a t i o n s h i p t o t h e e x c l u s i v e c l a i m s o f t h e C h r is ti a n message, see Paul A lthouse, G o e t h e und d a s E v a n g e l i u m ( Muni ch: C l a u d i u s , 1 9 5 1 ) , pp. 1 7 - 2 0 . ^Sietz,

"Klein,"

p.

1202.

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103

Wandr ers N a c h t l i e d De r du v o n dem Hi mmel b i s t , A l l e s L e i d und S c h m e r z e n s t i l l e s t , De n , d e r d o p p e l t e l e n d i s t , Doppelt mit Erquickung f u l l e s t , Ac h , i c h b i n d e s T r e i b e n s mi ide! Was s o i l a l l d e r S c h m e r z , d i e L u s t ? Siisser F r i e d e , Komm, a c h komm i n m e i n e B r u s t ! £ Wanderer’s Nightsong0 You, who a r e f r o m h e a v e n , S t i l l a l l s u f f e r i n g and p a i n , T h o s e who a r e d o u b l y m i s e r a b l e , Doubl y w i t h c o m f o r t f i l l , 0 , I am w e a r y o f s t r i v i n g ! What i s t h e m e a n i n g o f a l l t h e p a i n , Sweet p e a c e , Come, 0 come i n t o my b r e a s t ! Theological is

the

source

obliquely one's

the

by p r a y i n g

life.

misery

for

God,

peace. the

comfort

at

text

of j o y . in

the

live

pre-dates

He

amidst

of the

^The o r i g i n a l G o e t h e t h e end o f t h i s l i n e .

resides can

be

joy?

in

heaven,

addressed

personal suffering,

peace pain,

and m e a n i n g l e s s n e s s

The p e a c e midst

who

coming of

which b r in g s d e s p a i r

Goethe's

Lust"

true

Human b e i n g s

presence

bring

of

summary.

the

into a nd

even in

w h i c h c o m e s f r o m God c a n

s uc h an e x i s t e n c e . "official"

text

has

"der

Although

beginning

Schmerz

of

und

Other English t r a n s l a t i o n s are included in P h ili p L . M i l l e r , T h e R i n g o f W o r d s : A_n A n t h o l o g y o f S o n g T e x t s ( Ne w Y o r k : W.W. N o r t o n , 1 9 6 6 ) , p. 8 9 , a n d i n D i e t r i c h Fischer-Dieskau, The F i s c h e r - D i e s k a u Book o f L i e d e r , trans. George Bird and Richard Stokes (New Y o r k : L i m e l i g h t , 1 9 7 6 ) , p. 3 9 2 .

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

104

Romanticism,

the

the

of

longings

posers

as

can

the

is

sustained

a

chord

most

voice. last

all

Those

the

in

( Op .

19,

Klein,

of

of

with

chose

No.

the

6),

to

Franz

is text

is

Liszt

at

c o m­

text. lied

a minor

is

ninth

a sparse

a G-sharp set

so a s

The

consisting

and

passages

phrases

times.

with

of

The p i a n o a c c o m ­

lyrical

to

keyboard

of

a

repeated

in

the

upper­

syllabically

with

repeated.^ This

wa s

the

composers

set

the

Willy

this

providing

primarily

text

Max A n s o r g e

Wilhelm

the

postlude

position

text

and

the r e c i t a t i v e - 1ike

melody

settings.

No. 2 ) ,

Friedrich

vocal

root

Th e

line

wh o 19,

theologians,

range

chordal,

for

indicative

through-composed

vocal

with

two-measure

texts

( Op .

are

popularity

The

mo r e q u i c k l y

Other of

poets,

This

predominantly

double

tonic

the

long.

undergirding

movi ng

supplies

the

therein

to e ? ) i n t h e key of E m a j o r .

paniment

even

in

analysis.

measures

(d 1- s h a r p

and

expressed

Romantic

be s e e n

Musical thirty

ideas

one

of

of

the

the

include

( Op . 2 3 ,

Herrmann

Jahns

( Op.

13,

(three

settings:

Conrad

29,

No.

popular

Romantic

No. 5 ) ,

( Op .

most

2),

1843,

era.

Ansorge

H e r m a n n Go t z No.

2;

1898),

Bruno 1856,

Oskar 1860),

^This s e t t i n g i s an e x a m p l e o f w h a t S i e t z , " K l e i n , " p. 1 2 0 2 , h a s d e s c r i b e d a s t h e r e s u l t o f K l e i n ' s normal treatm ent of a Goethe text: "sinnvoll d ek lam ierten , aber m eist sparsam b e g le ite te n Liedern" (m eaningfully declaim ed, but u s u a ll y s p a r i n g l y accompanied songs).

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

105

K a r l L o e w e ( Op . 9 , No . 3 b ; Georg

Nageli,

Raff,

Johann

Rheinberger, Wenzel 5),

Viktor

Wo l f

Nessler

Friedrich

Franz

Tomaschek

Hugo

1 8 2 8 ) , J o s e p h Marx ( 1 9 0 6 ) ,

(1887),

8M iller, L i e d e r , p. 392.

58,

( Op . 4 ,

No.4),

and C a r l

Ring,

pp.

34,

Reichardt

Schubert (Op.

( Op .

2),

Joachim

(1809),

Joseph

No. 3 ; D. 2 2 4 ;

Karl

Friedrich

88-89,

No.

and

Hans

Weigl

(Op.

Zelter

1815), 1,

No.

(1807).8

Fischer-Dieskau,

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

Chapter

9

CARL LOEWE (1796-1869) L o e we i s m o s t c o m m o n l y k n o w n a s a c o m p o s e r o f b a l ­ lads

for

own

voice

and

compositions

Loewe

also

ensembles, sacred lic

as

well

through

Me d i a voice

vita with

religious ballads

and

26,

Of

accompaniment,

symphonies,

and

His

last

expressed string

melody

his

370

at

quartet,

incorporated

the

least

these

of

the

h y mn

works

for

solo

eighty

deal

with

geistliche

the

eighteen

as

a move­

lieder

a composer

and

4,

14;

career

his

f ou nd in t h e t w e n t y - t h r e e H e b r a i s c h e Ge sange of o p e r a and

entire

chamber

be

23,

his

of

for

flair.

can

5,

span

Many

and

Loewe

1830),

f i r mu s ,

dramatic

his

As a d e v o u t Roman C a t h o ­

musician

i n mo r t e .

subjects.

piano

oratorios,

music.

( Op .

he p e r f o r m e d

effective

solo

compositions.

sumus

which

for

church

a cantus

piano

highly

choral

his

on

a

as opera,

spirituel"

based

As a b a r i t o n e ,

works

and s e c u l a r

"Quatuor ment

with

wrote

theologian

faith

piano.

t h e t e n G e i s t l i c h e G e s a n g e of o p u s 22; and legends

comprising

opera

33 t h r o u g h

37 a n d

o p e r a 75 a n d 7 6 . ^

^Maurice J.E. Brown, "Loewe, (Johann) Carl ( G o t t f r i e d ) , " T h e New G r o v e D i c t i o n a r y o f Music and M u s i c i a n s , v o l . 11, e d . S t a n l e y S a d i e ( L o n d o n : Macmillan, 106

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

107

" Gross

The seventeen the

strophes

German

1759).

text

lyric

Having

for

this

i s t der C1 8 2 0 ) lied

Herr"

is

which c o m p r i s e poet

been

based

the

influences

were

first

matriculated

at

a Jesuit

school

later

undertook

the

study

philosophy

in

intellect

and

stoic

Konigsberg. emotion

resignation

directness based soldier

on as

of

well

as

caused

to

Kleist

law,

him to

life

and

went

on

being a noted

both

strongly

Ultimately

and r e a d i n e s s

approach

nature.

of

to

to

poet

the

(1715-

pietistic

felt,

Kleist

i n D e u t s c h - K r o n e a nd m athem atics, the

tension

attempt

suffer an

of

von K l e i s t

a h ome w h e r e

and r a t i o n a l i s t i c

four

1 7 5 8 poem " Hy mne " by

Ewald C h r i s t i a n

born i n t o

on

to

and

between unite

a

with a s e n s itiv e

impulsive have in h is

religion

a career own d a y .

as

a

His

1 9 8 0 ) , pp. 1 2 6 - 1 3 0 . A l s o , Hans E n g e l , " L o e w e , K a r l , " Di e M u s i k i n G e s c h i c h t e u n d G e g e n w a r t , v o l . 8, e d . F r i e d r i c h Blume ( K a s s e l and B a s e l : B a r e n r e i t e r , 1 9 6 0 ) , pp. 1 1 0 6 1112. In a d d i t i o n , Paul Leinbach A lth o u s e , J r . , "C arl Loewe ( 1 7 9 6 - 1 8 6 9 ) : His L i e d e r , B a l l a d s , and T h e i r P e r f o r m a n c e " ( Ph. D. d i s s e r t a t i o n , Yale U n i v e r s i t y , 1971), pp. 1 1 - 7 6 . For a g e n e r a l d i s c u s s i o n o f Lo e we ' s g e i s t l i c h e l i e d e r s e e H i l d g a r d J u n g , " Da s g e i s t l i c h e S o l o l i e d i m 19. Jahrhundert: Ein B e i t r a g zur G e s c h i c h t e des d e u ts c h e n K u n s t l i e d e s " ( I n a u g u r a l - D i s s e r t a t i o n , U n i v e r s i t a t Ko 1 n , 1951) , pp. 3 9- 42. O Max R u n z e , e d . C a r l L o e we s W e r k e , v o l . 16 ( 1 9 0 3 ; r p t . Westmead, England: G r e g g I n t e r n a t i o n a l , 1 9 7 0 ) , p. xiii. The f o u r s t r o p h e s used a r e the f i r s t , second, seventh, and s e v e n t e e n t h . C h a n g e s h a v e b e e n made i n t h e s e , p o s s i b l y by L o e w e . F o r d e t a i l s o n t h o s e c h a n g e s , s e e f o o t n o t e s 4, 5 , 6, a n d 7 b e l o w .

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

108

poems,

of

which

the

most

were

generally

idyllic

with

expression

of

der

Herr"

Gross i s t

is

the

an

only

famous

and

intense

is

Der F r i i h l i n g

elegaic love

Loewe s e t t i n g

in

of

(1749),

tone

and r e p l e t e O nature. "Gross i s t

of a K l e i s t

text.

der Herr

G r o s s i s t d e r H e r r ! D i e Hi mme l o h n e Z a h l S i n d s e i n e Wo h n u n g e n ; S e i n ' Wagen s i n d d i e d o n n e r n d e n G e w o l k ' Und B l i t z e s e i n G e s p a n n . Gross i s t der Herr, g r o s s i s t der Herr! Die M o r g e n r o t h i s t nur e i n W i e d e r s c h e i n Von s e i n e s K l e i d e s Saum, Und g e g e n s e i n e n G l a n z i s t a l l e s L i c h t De r S o n n e Da mme r u n g . Gross i s t der Herr, g r o s s i s t der Herr! De r W i e d e r h a l l l o b t i h n , und d i e N a t u r , S i n g t i hm e i n f r o h C o n c e r t ! Und d u , d e r E r d e n H e r r , 0 M e n s c h , z e r f l e u s s I n Harmonien g a n z . Gross i s t der Herr, g r o s s i s t der Herr!

^ R i i d i g e r F r o m m h o l z , " K l e i s t , v . , " Neue d e u t s c h e B i o g r a p h i e , v o l . 12 ( B e r l i n : D u n k e r & H u m b l o t , 1 9 8 0 ) , pp. 10-12. S e e a l s o , [ ^ K l e i s t , E w a l d C h r i s t i a n v o n ^ j Ged i c h t e (Aachen: F. W. F o r s t m a n n , 1 8 1 6 ) , p p . v - x i v . ^ [K1 e i s t ] , G e d i c h t e , p. 1 3 1 . , g a v e t h e s e c o n d a n d t h i r d l i n e s of t h i s f o u r - l i n e s t r o p h e as f o l l o w s : "Sind S a l e s e i n e r B u r g / S e i n Wa g e n S t u r m u n d d o n n e r n d e G e w o l k " ( a r e h a l l s of h i s c a s t l e / h i s c h a r i o t i s t h e storrn and thundering clouds). Loewe has added t h e l i n e " G r o s s i s t der Herr, gross i s t der Herr!" as a r e f r a i n . ^ £ k 1 e i s t j , G e d i c h t e , p. 1 3 1 , g a v e t h e t h i r d a n d f o u r t h l i n e s of t h i s f o u r - l i n e s t r o p h e as f o l l o w s : " Un d gegen s e i n e n Glanz i s t Dammerung/Der Sonne f l ammend L i c h t ” ( An d c o m p a r e d t o h i s b r i g h t n e s s t w i l i g h t i s / T h e s u n ' s flaming light). A g a i n , Loewe h as a d d e d " G r o s s i s t d e r Kerr, g r o s s i s t der H e r r ! " as a r e f r a i n . fi

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as

109

Ich w ill entziickt auf Felsen Z e r r i s s n e Wo l k e n s e h n , Und s u c h e n D i c h d e n T a g , b i s I n h e i l ' g e T r a u me w i e g t . Great

Is

the

kli mmen,

durch

mi c h d i e

Nacht

Lord

G r e a t i s t h e Lord! The h e a v e n s w i t h o u t Ar e h i s d w e l l i n g s ; His c h a r i o t s a r e t h e t h u n d e r i n g c l o u d s And t h e l i g h t n i n g h i s t e a m . G r e a t i s t h e Lord, g r e a t i s t h e Lord! The dawn i s o n l y a r e a p p e a r a n c e Of t h e hem o f h i s g a r m e n t , And c o m p a r e d t o h i s b r i g h t n e s s a l l t h e Of t h e s u n i s t w i l i g h t . G r e a t i s t h e Lord, g r e a t i s t h e Lord!

n u mb e r

light

The e c h o p r a i s e s h i m , and n a t u r e S i n g s t o hi m a j o y f u l concert, And y o u , t h e l o r d o f t h e e a r t h , 0 huma n b e i n g , dissolve In t o t a l harmony. G r e a t i s t h e Lord, g r e a t i s t h e Lord! E n r a p t u r e d I want t o c l i m b Broken c l o u d s t o s ee And a s k y ou a b o u t t h e d a y , R o c k s me i n h o l y d r e a m s . TheoloRical heaven.

His

summary.

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storm,

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brightest

God

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is

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jj( 1 e i s t ^ , G e d i c h t e , p. 1 3 5 , g a v e t h e o p e n i n g l i n e s o f t h i s s t r o p h e a s f o l i o ws : "Auf F e l s e n s o l i m e i n t a u m e l n d Auge d u r c h / Z e r r i s s n e Wo l k e n s e h n " ( At t h e r o c k s h o u l d my g i d d y e y e s t h r o u g h / b r o k e n c l o u d s l o o k ) .

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

110

praise

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See A u g u st H e i n r i c h K ober, s. .ch. jL£ ti _t ie d e r r e l i g i o s e n D i c h t u n g i n D e u t s c h l a n d ( E s s e n : G. D. B a d e k e r , 1 9 1 9 ) , p. 1 5 6 , f o r a d i s c u s s i o n o f K l e i s t ' s t h o u g h t i n t h i s poem a s r e p r e s e n t a t i v e o f h i s r e l i g i o u s e x p r e s s i o n i n h i s t w o o t h e r p o e m s d e a l i n g w i t h God a n d n a t u r e , " Lob d e r G o t t h e i t " ( 1 7 4 5 ) a n d " Hymne " ( 1 7 5 9 ) . ^See P s a l m 104: d e s c rip tiv e language.

1 -3 f o r an e x a m p l e of t h i s

use of

■^The s c o r e o f t h i s l i e d i s a v a i l a b l e f o r s t u d y i n [ C a r l L o e w e J , W e r k e , v o l . 1 6 , e d . Max R u n z e ( 1 9 0 0 ; r p t . We s t m e a d , E n g l a n d : Gr egg I n t e r n a t i o n a l , 1 9 7 0 ) , p p . 4 6 - 4 7 .

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I l l

are

known t o

be e x t a n t . "Kaiser O tto 's ( Op. 1 2 1 .

Loewe of

the

eleven

Heinrich this

iation

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O tto ’s Weihnachtsfeier Zu Q u e d l i n b u r g im Dome e r t o n e t G l o c k e n k l a n g , De r O r g e l S t i mme n b r a u s e n zum e r n s t e n C h o r g e s a n g , Es s i t z t d e r K a i s e r d r i n n e n m i t s e i n e r R i t t e r Macht, V o l l A n d a c h t zu b e g e h e n d i e h e i l ’ ge W e i h e n a c h t . Wohl i s t a u c h j e t z t vom S i e g e e r w i e d e r h e i m g e k e h r t , Doch n i c h t d e s R e i c h e s F e i n d e n h a t m a c h t i g e r gewehr t ; Es i s t d e r e i g n e B r u d e r , d e n s e i n e Wa f f e s c h l u g , De r d r e i m a l d e r E mp o r u n g b l u t r o t h e s B a n n e r t r u g . Da o f f n e n s i c h d i e P f o r t e n , e s t r i t t e i n Mann herein , Es h i i l l t d i e s t a r k e n G l i e d e r e i n B i i s s e r h e m d e e i n , Er s c h r e i t e t a u f d e n K a i s e r , e r w i r f t s i c h v o r i hm h i n , D i e K n i e e r i hm u m f a s s e t m i t t i e f g e b e u g t e m S i n n .

1 [C a r 1 L o e w e ] , We r k e , v o l . 4, e d . Max R u n z e (1900; rpt. Westmead, England: Gregg I n t e r n a t i o n a l , 1 9 7 0 ) , p. 1 8. F o r t h e c o m p l e t e t e x t , s e e H e i n r i c h v o n Mi i h l e r , G e d i c h t e ( B e r l i n : Voss, 1 8 4 2 ) , pp. 3 1 3 - 3 1 5 .

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112

"0 B r u d e r , meine F e h l e , s i e l a s t e t s chwer a u f m i r ; I c h l i e g e h i e r zu F i i s s e n , V e r z e i h u n g f l e h e n d , d i r ! Was i c h m i t B l u t g e s i i n d i g t , d i e Gn a d e m a c h t e s rein, Vergieb, 0 s t r e n g e r K a i s e r , v e r g i e b , 0 Bruder me i n - " Doch s t r e n g e b l i c k t d e r K a i s e r d e n s i i n d ' g e n B r u d e r an: " Z w e i m a l h a b ' i c h v e r g e b e n , n i c h t f i i r d e r me hr fortan! Di e Ac h t i s t a u s g e s p r o c h e n , d a s Lebe n d i r g e r a u b t , Na c h d r e i e r T a g e w e e h s e l , da f a l l t d e i n s c h u l d i g Haupt! " B l e i c h werden r i n g s d i e F i i r s t e n , der Heinrich bleich, Und S t i l l e h e r r s c h t im K r e i s e g l e i c h reich; Man h a t t e moge n h o r e n j e t z t w o h l e i n Denn l c e i n e r w a g t z u w e h r e n dem Lowen

Herzog wi e

im T o d t e n -

f a l l e n d Laub, s e i n e n Raub.

Da h a t s i c h e r n s t zum K a i s e r d e r f r o mme Abt g e w a n d t , Das e w ' g e Bu c h d e r B u c h e r , d a s h a l t e r i n d e r Ha n d ; Er l i e s t m i t l a u t e m Munde d e r h e i l ' g e n Wo r t e K l a n g , D a s s e r i n a l l e r H e r z e n w i e G o t t e s S t i mme d r a n g : "Und P e t r u s s p r a c h zum H e r r e n : ' N i c h t so? Ge n i i g t i c h hab ' , Wenn i c h dem s i i n d ' g e n B r u d e r s c h o n s i e b e n m a l v e r g a b ?' Doch J e s u s i hm a n t w o r t e t : 'Nicht siebenmal vergieb, N e i n , s i e b e n m a l z i g s i e b e n , d a s i s t dem V a t e r l i e b . ' " Da s c h m i l z t d e s K a i s e r s S t r e n g e i n T h r a n e n u n b e wusst, Er h e b t i h n a u f , d e n B r u d e r , e r d r i i c k t i h n a n d i e Brust; E i n l a u t e r Ru f d e r F r e u d e i s t j u b e l n d r i n g s e r w a c h t , N i e s c h o n e r wa r d b e g a n g e n d i e h e i l ' g e W e i h e n a c h t . Emperor O t t o ' s

Christmas

Celebration

At Q u e d l i n b u r g i n t h e c a t h e d r a l s o u n d s t h e r i n g i n g of b e l l s , The o r g a n ' s v o i c e s r o a r f o r t h e s o l e m n c h o i r s o n g , The e m p e r o r s i t s w i t h i n w i t h t h e f o r c e s o f h i s knights, F u l l of d e v o t i o n i n o r d e r to c e l e b r a t e t h e holy Christmas.

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113

I n d e e d he a l s o now h a s r e t u r n e d home f r o m t h e victory, But he h a s n o t p o w e r f u l l y c o n t r o l l e d t h e k i n g d o m ’ s enemy; I t i s h i s own b r o t h e r , who s t r u c k h i s w e a p o n , Who t h r e e t i m e s c a r r i e d t h e b l o o d - r e d b a n n e r o f rebellion. T h e n t h e d o o r s o p e n , a man s t e p s i n , A h a i r s h i r t covers the strong limbs, He s t r i d e s t o w a r d t h e e m p e r o r , h e t h r o w s h i m s e l f down b e f o r e h i m , He e m b r a c e s h i s k n e e s w i t h d e e p l y h u m b l e d m i n d . "0 b r o t h e r , I l i e here ness! The w r o n g I forgive, 0

my f a u l t s , t h e y w e i g h h e a v i l y on me; a t your f e e t , e n t r e a t i n g f o r f o r g i v e ­ d i d w i t h b l o o d , g r a c e ma k e s i t p u r e , s t r i c t e r e m p e r o r , f o r g i v e , 0 my b r o t h e r . "

Ye t s t e r n l y t h e e m p e r o r l o o k s a t h i s e r r i n g brother: " T w i c e I h a v e f o r g i v e n , n o t h i n g mo r e i s i n t h e future! The s e n t e n c e i s p r o n o u n c e d , l i f e i s r o b b e d f r o m you, A f t e r t h r e e d a y s , t he n your g u i l t y head d r o p s ! " The p r i n c e s a r o u n d b e c o me p a l e , Duke H e i n r i c h pales, And s i l e n c e r e i g n s i n t h e c i r c l e e v e n a s i n t h e kingdom of d e a t h ; One c o u l d now h a v e c e r t a i n l y h e a r d a f a l l i n g l e a f , F o r no o n e d a r e s t o f o r b i d t o t h e l i o n h i s p r e y . Then t h e p i o u s a b b o t s o l e m n l y a d d r e s s e d h i m s e l f to the emperor, The e t e r n a l Book o f B o o k s he h o l d s i n h i s h a n d ; He r e a d s w i t h s o n o r o u s mo u t h t h e s o u n d o f t h e h o l y words, So t h a t he p l e a d e d w i t h e v e r y h e a r t l i k e t h e v o i c e of God: "And P e t e r s p o k e t o t h e L o r d : " Not s o ? have I done enough, I f I a l r e a d y f o r g a v e my s i n n i n g b r o t h e r s e v e n t i m e s ? 1" " Ye t J e s u s a n s w e r e d hi m: ' Do n o t f o r g i v e s e v e n times, No, s e v e n t y t i m e s s e v e n , t h a t i s l o v e f o r t h e Father . ’"

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114

Th e n t h e e m p e r o r ' s s t e r n n e s s m e l t s a wa y i n i n v o l ­ untary te a rs , He l i f t s up h i s b r o t h e r , he p r e s s e s h i m t o h i s breast; A l o u d e r c r y of j o y i s awakened e x u l t i n g l y a r o u n d , N e v e r was t h e h o l y C h r i s t m a s c e l e b r a t e d mo r e beautifully. Theological people's the

hearts

ability

of

through

Go d .

Individuals that

revenge

keeping

be t h e at

is

to

with

Savior

of

be r e p l a c e d

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and

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and

strict

Such b e h a v i o r

sending

the

world,

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expresses

for

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r e a l i t y o f God' s the event

that

warfare

by f o r g i v e n e s s , by g r a c e .

for

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This text

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Christmas.

tional

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Father

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live

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number of ti m e s offending

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1O

1S4

measures. The v o i c e p a r t s p a n s a d i m i n i s h e d O t h i r t e e n t h (a t o f ) , b e g i n n i n g in t h e key of D m i n o r ,

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for

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1 15

unified

by t h e

motives

which

piano also

recurrence are

shared

retains

its

KOMM,

DER I i EIDEN HEI LAND

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by t h e

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hymntune

in the f i n a l

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address

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I n t h e i n t r o d u c t i o n o f t h e s o n g Lo e we h a s m a r k e d th e i n c i p i t of the hymntune w ith the opening t e x t u a l p h r a s e o f t h e L a t i n t e x t o f A m b r o s e o f M i l a n ' s A d v e n t h y mn " V e n i r e d e m p t o r g e n t i u m " ( Come , R e d e e m e r o f t h e n a t i o n s ) . In t h e c l o s i n g m e a s u r e s of t h e l i e d t h e e n t i r e hymntune i s u n d erla id with the fo llo w in g Latin te x t: " De o pa t r i s i t g l o r i a e t f i 1 i o q u i a mo r t u i s s u r r e x i t a c p a r a c l e t o i n s e mp i t e r n a s e c u 1 a . Am e n . " ( G l o r y b e t o God t h e F a t h e r a n d t o t h e S o n who a r o s e f r o m d e a t h a n d t o t h e H o l y S p i r i t t h r o u g h o u t e t e r n a l a g e s . Ame n . ) ^ T h i s b a l l a d i s t y p i c a l of Loewe's s t y l e in i t s u s e o f s h o r t m o t i v e s , key s h i f t s , c o n t r a s t i n g d r a m a t i c and ly rical passages, and in i t s r e m o l d i n g of m o d i f i e d stro p h ic s ty le into a s o n a ta - lik e through-com posed t e c h n i q u e of c o m p o s i t i o n . For d i s c u s s i o n of t h e s e f e a t u r e s as a s p e c t s of Loewe's c o m p o s i t i o n a l s t y l e , see Drown, " L o e w e , " p. 1 2 7 . S e e a l s o , Engel, " L o e w e , " pp. 1110- 111 1 .

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116

Other are

kno wn t o

settings.

No o t h e r

settings

of

this

be e x t a n t .

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

text

Chapter

10

FRANZ PETER SCHUBERT (1797-1828) Of sixty-three

the

over-600

are

settings

lieder of

of

Schubert

religious

at

least

texts.

"Abendlied" ( D. 4 9 9 ; 1 8 1 6 ) The G e r ma n the

son of

law

at

a Lutheran

the

journal

secured

time

for

a

of

toleration,

the

basic

and

grace

blending

of to

and

retain

a

his

Schubert

for

Claudius' other

faith,

and

people,

alike

for

and

to

chose

texts,

the at

and

the

afforded with

him their

justice

were their

and

elements.

and

valued

by

treatment

in a manner

a unique

subjective

of

and

Subsequently

works

peace

with

editor

s till

wa s

theology

Bothe.

which

of

natural

reaction

song

became

o f human e x i s t e n c e

objective

in

poems

love

(1740-1815)

studying

Wandsbecker

simplicity

literature day.

he

Jena

intellectuals

issues

combined

strove

in

endeavors.

Christian

c o mmo n p e o p l e of

After

position

nature,

Claudius

pastor.

De r

banking

literary

emphases

Matthias

university

influential he

poet

which

sensitive Claudius

Christian

character

in

rationalistic

classicism

of

least

including

one

eleven of

the

of

Claudius'

poet's

117

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

most

1 18

famous,

"Abendlied"

Abendlied

(1778),

which i s

discussed

below.^

o

De r Mond i s t a u f g e g a n g e n , Die g o l d n e n S t e r n l e i n p r a n g e n Am Hi mmel h e l l und k l a r ; De r Wal d s t e h t s c h w a r z u nd s c h w e i g e t , Und a u s d e n W i e s e n s t e i g e t De r we i B e N e b e l w u n d e r b a r . Wi e i s t d i e We l t s o s t i l l e Und i n d e r Dammr ung H i i l l e So t r a u l i c h und s o h o l d A l s e i n e s t i l l e Kammer , Wo i h r d e s T a g e s J a mme r V e r s c h l a f e n und v e r g e s s e n s o l l t . S e h t i h r d e n Mond d o r t s t e h e n ? ISr i s t n u r h a l b z u s e h e n Und i s t d o c h r u n d und s c h o n ! So s i n d w o h l ma n c h e S a c h e n , Di e w i r g e t r o s t b e l a c h e n , W e i l u n s r e Au g e n s i e n i c h t s e h n . Wi r s t o l z e M e n s c h e n k i n d e r S i n d e i t e l a r me S u n d e r Und w i s s e n g a r n i c h t v i e l ;

■'•Urban R o e d l , " C l a u d i u s , M a t t h i a s , " Ne ue d e u t s c h e D io g ra p h ie , vol. 3 (B erlin : D u n c k e r & H u m b l o t , 1 9 5 6 ) , pp. 266-267. Also, "Claudius, M a tth ia s ," Encyclopaedia B rita n n ic a (15th ed.), 2:976. In a d d i t i o n , D. C l a r k Me a s e l s , "The P o e t M a t t h i a s C l a u d i u s and S c h u b e r t ' s S e t t i n g s of iiis P o em s," in "Songs o f Sc h u b e r t " , e d . J e n n i f e r L. H e s s , T h e S o u t h e r n B a p t i s t T h e o l o g i c a l Seminary, Louisville, Ky . , a c o l l e c t i o n o f m a t e r i a l s p r e p a r e d a t t h e S c h o o l o f C h u r c h M u s i c , 1 9 7 9 , pp. 2 1 - 2 8 . Further, Max F r i e d l a e n d e r , D a s d e u t s c h e L i e d i_rn 1 8 . Jahrhundert: Q u e 1 1 e n und S t u d i en , v o l . 2 ( B e r l i n : J.G. C o t t a , 1902), pp. 255 - 2 5 6 . ^S c h u b ert chose to s e t only the f i r s t f iv e of Claudius' seven p o e tic s tro p h e s. The c o m p l e t e t e x t i s g i v e n i n D i e t r i c h F i s c h e r - D i e s k a u , The F i s c h e r - D i e s k a u B o o k o f L i e d e r , t r . G e o r g e B i r d a n d R i c h a r d S t o k e s ( Ne w York: L i m e l i g h t E d i t i o n s , 1984) , pp. 3 2 - 3 3 .

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119

Wi r s p i n n e n L u f t g e s p i n s t e Und s u c h e n v i e l e Ki i n s t e Und kommen w e i t e r v on dem Z i e l . G o t t , l a b d e i n I l e i l uns s c h a u e n , Auf n i c h t s V e r g a n g l i c h s t r a u e n , N i c h t E i t e l k e i t uns f r e u n . La£ u n s e i n f a l t i g w e r d e n Und v o r d i r h i e r a u f E r d e n Wi e K i n d e r f r omm und f r o h l i c h s e i n . ^ Evening

Song^ Th e moon h a s r i s e n ; The s m a l l g o l d e n s t a r s s h i n e B r i g h t and c l e a r i n h e a v e n ; The f o r e s t s t a n d s b l a c k a n d i s And o u t o f t h e me adow a s c e n d s The w o n d r o u s w h i t e m i s t .

silent,

Kow v e r y s t i l l t h e w o r l d i s , And i n t h e t w i l i g h t ' s c o v e r i n g So i n t i m a t e a n d s o l o v e l y ! Li k e a q u i e t chamber Wh e r e you s h o u l d s l e e p away And f o r g e t t h e d a y ' s d i s t r e s s . Do y ou s e e t h e moon s t a n d i n g t h e r e ? I t i s only h a l f - s e e n , And y e t i s r o u n d a n d b e a u t i f u l ! So c e r t a i n l y a r e many t h i n g s , Wh i c h we c o n f i d e n t l y l a u g h a b o u t , B e c a u s e o u r e y e s d o n ' t s e e t he m. We p r o u d human c h i l d r e n Ar e o n l y p o o r s i n n e r s , And do n o t know v e r y mu c h .

O In the second l i n e of t h i s s t r o p h e th e t e x t as g i v e n i n F i s c h e r - D i e s k a u , L i e d e r , p. 3 3 , h a s t h e w o r d "ba ue n" ( t o b u i l d ) i n p l a c e of " t r a u e n " ( t o t r u s t ) . There i s no s i g n i f i c a n t c h a n g e i n t h e m e a n i n g o f t h e t e x t a s a result thereof. ^Other English translations are a v ailab le in F i s c h e r - D i e s k a u , L i e d e r , pp. 3 2 - 3 3 , a n d i n J o h n R e i d , The S c h u b e r t s o n g c o m p a n i o n (New Yo r k : U n i v e r s e Books, 1985) , p. 3.

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120

We s p i n a i r y n o t h i n g s And s e e k many a r t s , And a r r i v e f a r t h e r f r o m t h e

goal.

God, l e t u s s e e y o u r s a l v a t i o n , And t r u s t i n n o t h i n g o f t h e t r a n s i e n t , Let v a n i t y not c a u s e us to r e j o i c e ! L e t u s be s i m p l e And b e f o r e y ou h e r e on e a r t h Be j o y f u l a n d p i o u s l i k e c h i l d r e n . Theological salvation.

He c a n

assistance

in

God's

individuals

who o u g h t

separated

Nature but a

in

its

as

their

and in t h e c o n s t r u c t s them

their

presence put

from

beauty

source

of

by p e o p l e

who

request

his

in the

can s peak

to

theology

which

t o Go d .

joyfully

Unfortunately,

things

of

has

this

with

people concerning This

been

text

called

world

which keeps

relationship

existence.

Hu ma n

and d e v o t i o n -

o wn i n t e l l e c t of

pietistic

pleasing

live

goal

of

God.

unseen

represents a

type

of

Romanticism.

Musical each

the

children.

of t h e i r

realities

with

to

trust

the

is

lives

his

concrete

"nascent"

God

be a d d r e s s e d

making

beings are sinners a l l y in

s u mma r y .

of

analysis. the

five

This

lied

strophes

is

in

strophic

consisting

of

form

sixteen

R e e d , S c h u b e r t , p. 4 6 3 . The t w o u n u s e d s t r o p h e s c o n t i n u e a s a p r a y e r f o r an e a s y d e a t h , entrance to h e a v e n , f r e e d o m f r o m p u n i s h m e n t , and a p e a c e f u l s l e e p f o r t h e one p r a y i n g and f o r h i s or h e r s i c k n e i g h b o r . ^ The s c o r e o f t h i s s o n g i s a v a i l a b l e f o r s t u d y i n [S c h u b e r t J , S c h u b e r t - A l b u m , v o l . 7, e d . Max F r i e d l a e n d e r (Frankfurt: C . F . P e t e r s , n . d . ) , p. 3 0 .

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121

measures

for

a

melody

covers

major,

although

major ken

measure the

for

the

lowest

is

brief

voice

text-setting

is

hone

Other

of

the

settings.

numbe r o f c o m p o s e r s Friedrich

Christoph

(1784),

Johann

Schulz

(17 9 0 ) ,

iiornhardt

poem i n c l u d e d

(1779),

Friedrich

text

52,

1936-37).

of

G. E. G.

wa s

^Friedlaender, mentioned in t h i s source settings.

also

bro­

The f o u r -

countermelody measures'

six

although

reminiscent

of a

repeated. text

was

set

era,

Johann

(1790), von

the

the

counter­

syllabic,

large Johann Hobein

Wilhelm Abraham

(17 9 3),

and

settings

Kallenbach set

a

Friedrich

Johann

Dal b e r g

by

including

Friedrich

Nineteenth-century

those

This

of

F in

subtle hand.

treatment

(1780),

Adam H i l l e r

Rei necl ce. / 10;

This

Rheineck

(1794).

each

of

B-flat

features

right-hand

of t h e C l a s s i c a l

Reichardt

(1779),

is

a

left

basically

text

text

the a

of

with

angular

key of

tonicization

hand

for

portion

The

accompaniment

right

a use of n eu m at ic

folksong.

No.

a

incorporates

unaccented The

is

The k e y b o a r d

postlude

beats. there

the

of

there

figurations in

eighty measures. "I O o ctav e (f to f ) in th e

one

modality.

melody

on

total

(1801)

by O t h m a r

Rust Peter J.H.C.

of

this

and

Carl

Schoeck

(Op.

L ie d , vol. 2, p. 255. Also a r e s i x o t h e r unnamed c o m p o s e r s '

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

122

" Per W a c h t e l s c h l a g " ( Op. 6 8 ; D. 7 4 2 ; 1 8 2 2 ) Samuel schoolmaster satirized

in

Friedrich

from

Baden.

the

figure

Sauter

(1766-1846)

Because of

of

Gottlieb

Munich F l i e g e n d e

Blatter.

This

1796,

one

wa s s e t

Per

is

the

only

which

his

wa s a v i l l a g e

lifestyle

he

wa s

Biedermeier

in

the

Sauter

text,

written

by S c h u b e r t .

in

O

Wachtelschlag Ac h , w i e s c h a l l t ' s d o r t e n s o l i e b l i c h h e r v o r : Fiirchte Gott! Fiirchte Gott! R u f t mi r d i e Wa c ht e l i n s O h r . S i t z e n d im Gr i i n e n , von I i a l me n u m h i i l l t , Ma h n t s i e d e n H o r c h e r im S a a t e n - g e f i l d : Liebe Gott! Liebe Gott! Er i s t s o g i i t i g , s o m i l d . Vv1i e d e r b e d e u t e t i h r h i i p f e n d e r S c h l a g : Lobe G o t t ! Lo b e G o t t ! P e r d i c h zu l o h n e n v e r ma g . S i e h s t du d i e h e r r l i c h e n F r i i c h t e im F e l d ? Nimm e s z u H e r z e n , B e w o h n e r d e r W e l t : Ua n k e G o t t ! Da n k e G o t t ! P e r d i c h e r n a h r t und e r h a l t . S c h r e c k t d i c h im W e t t e r d e r H e r r d e r N a t u r : B it te Gott! B i t t e Gott! Ruft s i e , er sch onet die F l u r . Ma c h e n G e f a h r e n d e r K r i e g e r d i r b a n g ’ : Traue Gott! Traue Gott! S i e h ', er verzieh et nicht l a n g '.

The Q u a i l 1s Cr Ah,

p

how i t

John Reed,

Q

sounds

forth

S c h u b e r t , p.

so s w e e t l y

yonder:

475.

•"An E n g l i s h p r o s e t r a n s l a t i o n a v a i l a b l e i n Reed, S c h u b e r t , p . 135.

of

this

text

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

is

123

f e a r God! F e a r God! The q u a i l c a l l s t o me i n my e a r . S i t t i n g i n t h e g r e e n , e n v e l o p e d by g r a s s , She a d m o n i s h e s t h e l i s t e n e r i n t h e c o r n f i e l d : Lo v e God! Lo v e God! He i s s o g o o d , s o m i l d . Agai n h e r i n t e r m i t t e n t song means: P r a i s e God! P r a i s e God! He who i s a b l e t o r e w a r d y o u . Do you s e e t h e m a g n i f i c e n t f r u i t i n t h e Take i t t o h e a r t , c i t i z e n of t h e w o r l d : Th a n k God! T h a n k God! He who n o u r i s h e s a n d p r o v i d e s f o r y o u .

field?

The L o r d o f n a t u r e f r i g h t e n s you i n t h e w e a t h e r : P r a y t o God! P r a y t o God! Sh e c a l l s , h e s p a r e s t h e f i e l d . D a n g e r s t o t h e s o l d i e r ma ke y o u w o r r i e d : T r u s t God! T r u s t God! S e e , he d o e s n o t h e s i t a t e l o n g . Theological lie

is

good,

needs,

kind,

s u mm a r y . God and

provides

b o t h human and a n i m a l .

is

the

Lord

for

all

his

He i s

active

of

nature,

creatures'

on b e h a l f

t h o s e wh o t r u s t h i m a n d i s t h e r e w a r d e r o f p e o p l e . teaches

the

observer

fear,

love,

praise,

is

text

which

a

coupled

with

the

Musical modified with

a

thanksgiving, exhibits

beliefs

of

analysis.

strophic brief

how t o r e l a t e

use

form. of

the

the

t o Go d ,

prayer,

a nd

of

relative

in

is,

with This

Pietism

orthodoxy.

forty-measure

Written

Nature

trust.

influence

traditional This

that

of

the minor

song^

key in

of

is

in

A major

the

third

^ T h e m u s ic a l score i s a v a i l a b l e fo r study in [ S c h u b e r t j , S c h u b e r t - A1 b u m, v o l . 2, e d . Max F r i e d l a e n d e r ( Ne w Y o r k : C. F. P e t e r s , n . d . ) , p p . 1 3 4 - 1 3 5 .

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

124

strophe, sharp

to f

dotted cry.

th e song has a v o c a l r a n g e of a minor t e n t h ).

(d^-

The a c c o m p a n i m e n t m a k e s r e p e a t e d u s e o f a

rhythmic Schubert

figure set

which

the te x t

is

imitative

of

the

in a s tr a i g h tf o r w a r d

quail's manner,

h a v i n g r e p e a t e d o n ly t h e l a s t l i n e of m u s ic and t e x t p r i o r to

a

with the

brief only final

postlude slight

text

for

mirrors

changes of

the

the

song's

rhythmic

introduction

alignment

within

measures.

Other (1811),

which

settings.

and C a r l solo

Beethoven (1804), Ludwig A b e i l l e

Eduard Kering

voice

(1822)

have

also

set

with piano acc om panim ent.^

■'•■'■Max F r i e d l a e n d e r , L i e d , v o l .

2,

p.

451.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

this

Chapter

11

KARL GOTTLIEB REI SSI GER (1798-1859) Reissiger, first

studied

Subsequently success last in

music he

son at

briefly

years

musical

of

an

organist- choirm aster,

Thomasschule

studied

of h is

life

of

the

was a s a p i a n i s t ,

thirty

the

the

theology,

singer, life

the

in

Leipzig.

but

his

and c o m p o s e r .

For

he wa s an i m p o r t a n t

city

of

Dresden

first the

figure

where

he

was

n a me d t o be C a r l M a r i a von W e b e r ' s s u c c e s s o r a s t h e d i r e c ­ t o r o f t h e c o u r t o p e r a a n d l a t e r c a m e t o be t h e H o f k a p e l l rne i s t e r

in

music,

sacred

Although public

which

his

music,

Ilis

received,

but

symphony,

Reissiger

solo

many

number of works

settings of

of

of

discussion

^John

in

was

wrote works

chamber

solo

lieder

this

Rutter,

responsible for

the

the

texts,

songs

were

eight for

of

of

particularly

piano

as

least

which

c o m­ well-

well

included

at

his

an o r a t o r i o ,

ilis

of

theater.

popular

ensembles.

t wo

chamber

most

and

operas,

solo

for

court

source

was a p r o l i f i c

for

religious

wa s

music

choral

he a l s o

and

collections

and

he

and

conducting

acclaim,

poser.

capacity

are

as

a a

fifty-eight seventeen the

subject

chapter.^

"Reissiger, 125

Karl

Gottlieb,"

Th e

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

New'

126

( Op. Th e t e x t

of

14,

this

" Noah" No. 2;

lied

is

1827) anonymous.

Noah A l s Noah a u s dem f a s t e n w a r , Da t r a t z u i hm d e r H e r r e d a r , De r r o c h d e s Noah O p f e r f e i n Und s p r a c h : ich w ill d ir gnadig sein, Und w e i l du e i n s o f r o m m e s H a u s , So b i t t d i r s e l b s t d i e Gn a d e a u s ! Da s p r a c h d e r No a h : l i e b e r Herr, Das W a s s e r s c h m e c k t m i r g a r n i t s e h r , Dieweil darinn e r s a u f e t sind, A l l ' s u n d h a f t Vi eh und M e n s c h e n k i n d , Drum m o c h t i c h a r m e r a l t e r Mann Ein a n d e r w e i t G e t r a n k e han. Da g r i f f d e r H e r r i n s P a r a d i e s Und g a b i hm e i n e n W e i n s t o c k s u s s Und g a b i hm g u t e n R a t h u nd L e h r , Und s p r a c h : d e n s o l l s t du p f l e g e n Und w i e s i h m a l l e s s o und s o , De r Noah w a r d o h n ' M a a s s e n f r o h ,

sehr,

Und r i e f z u s a mme n Wei b un d K i n d , Da z u s e i n g a n z e s l l a u s g e s i n d , P f l a n z t W e i n b e r g r i n g s urn s i c h h e r u m , De r Noah was f i i r w a h r n i t dumm, B a u t K e l l e r d a n n und p r e s s t d e n Wei n Und f i i l l t i h n g a r i n P a s s e r e i n !

G r o v e D i c t i o n a r y o f Mu s i c a n d Mu s i c i a n s , v o l . 1 5 , e d . S ta n le y Sadie (London: M a c m i l l a n , 1 9 8 0 ) , p p . 72 9 - 7 3 0 . A l s o , F o l k e r G o t h e l , " R e i B i g e r , K a r l G o t t l i e b , " Di e Mu s i k i n G e s c h i c h t e und G e g e n w a r t , v o l . 11, e d . F r i e d r i c h B l u me ( K a s s e l and B a s e l : B a r e n r e i t e r , 1 9 6 3 ) , pp. 2 0 9 - 2 1 0 . O No d a t e o f p u b l i c a t i o n wa s g i v e n on t h e s c o r e o f t h i s song. T h e y e a r 1 S 2 7 w a s g i v e n by Max F r i e d l a e n d e r , Da s d e u t s c h e L i e d jlni 1 S . J a h r h u n d e r t : Q u e 11 e n u n d S t ud i e n , v o l . 2 ( B e r l i n : J . G . C o t t a , 1 9 0 2 ) , p. 444.

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Der Noah wa r e i n f r o m m e r Ma nn, S t a c h e i n F a s s n a c h dem a n d e r n a n , Und t r a n k e s a u s z u G o t t e s E h r , Da s m a c h t i hm e b e n I cei n B e s c h w e r , Er t r a n k n a c h d e m d i e S i i n d f l u t h g a r D r e i h u n d e r t n o c h un d f i i n f z i g J a h r . E i n k l u g e r Mann h i e r a u s e r s i e h t , Da s s W e i n ' s g e n u s s i h m s c h a d e t n i c h t , Und i t e m d a s s e i n k l u g e r C h r i s t I n Wei n n i e m a l e n W a s s e r g i e s s t , Dieweil darinn e r s a u f e t sind A l l s i i n d h a f t Vi e h und M e n s c h e n k i n d !

No a h When Noah was o u t s i d e o f t h e a r k , When t h e L o r d w e n t t o hi m t h e r e , Who s m e l l e d N o a h ' s f i n e s a c r i f i c e And s p o k e : I w i l l be g r a c i o u s t o you And s i n c e you a r e s u c h a p i o u s h o u s e , Therefore request the favor for yourself! T h e n Noah s p o k e : Dear L o r d , I do n o t l i k e t h e t a s t e o f t h e w a t e r Whi l e t h e r e i n a r e drowned A l l t h e s i n f u l b e a s t s and p e o p l e , T h e r e f o r e may I , a p o o r o l d ma n, Ha ve a d i f f e r e n t d r i n k .

at

all,

Then t h e Lor d r e a c h e d i n t o P a r a d i s e And g a v e t o hi m a s w e e t g r a p e v i n e And g a v e t o hi m good c o u n s e l a n d i n s t r u c t i o n , And s p o k e : you s h o u l d r e a l l y c u l t i v a t e i t , And s h o we d h i m e v e r y t h i n g t h u s a n d s o , Noah b e c a me e x c e s s i v e l y j o y f u l And c a l l e d t o g e t h e r w i f e a n d c h i l d , In a d d i t i o n a l l h i s d o m e st i c s e r v a n t s , P l a n t e d a v i n e y a r d r o u n d a b o u t h i m, I n d e e d Noah was n o t s t u p i d , Th e n b u i l t a c e l l a r a n d p r e s s e d t h e wi n e And p o u r e d i t t o t a l l y i n t o k e g s . Noah was a mo r e p i o u s man, Tapped one keg a f t e r a n o t h e r , And d r a n k i t up t o G o d ' s h o n o r , Wh i c h c a u s e d hi m q u i t e c e r t a i n l y no t r o u b l e , A f t e r t h e f l o o d he d r a n k e v e n Ye t t h r e e h u n d r e d a n d f i f t y y e a r s .

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128

Fr om t h i s a s h r e w d e r man l e a r n e d T h a t t h e e n j o y m e n t o f w i n e d o e s hi m no h a r m , And l i k e w i s e t h a t a mo r e i n t e l l i g e n t C h r i s t i a n Never p o u r s w a t e r i n t o wi ne, As l o n g a s t h e r e i n a r e d r o w n e d A l l s i n f u l b e a s t s and p e o p l e . Theological and

give

also

good

teaches

given.

gifts

summary. to

people

People

can

those

how

please

Go d , t h e L o r d , with

to

use

is

whom h e i s the

gifts

God t h r o u g h

gracious

pleased. which

offering

he

He has

sacrifices.

At a t i m e o f n e e d t h e r e l i g i o u s p e r s o n c a n c a l l o u t t o God and

receive

the necessary

ing,

and

This

poem d e m o n s t r a t e s

theology

enjoying

based

on t h e

Musical form

six

spans minor.

in

motif

for

the

entire

and

the

piano

gifts

of

a popularized

events

narrated

The

110

in

the l e f t

song. in

hand.

The

God

(F-sharp

one

in

honors

Genesis

measures

of

form.

to d ^) in

him.

orthodox 7-9.

this The

song

O

mel ody

t h e key of B

w i t h a r h y t h m i c and

hand which s e r v e s as th e b a s i s

This

motif

a dialogical

is

ma nner

shared and

by

appears

the

voice

consist­

w i t h r e p e a t e d c h o r d s p l a y e d by t h e

text-setting

of

this

humorous^

O The s c o r e o f t h i s s o n g i s a v a i l a b l e L i b r a r y o f C o n g r e s s i n W a s h i n g t o n , D. C.

element

cultivat­

traditional

rnodified-strophic

thirteenth

e n t l y in t h e l e f t hand

the

By a p p r e c i a t i n g ,

The p i a n o a c c o m p a n i m e n t b e g i n s

melodic

right

good

analysis.

s t r o p l i es

a major

the

help.

for

study at

^ G o t h e l , " R e i B i g e r , " p. 2 0 9 , n o t e s t h i s h u m o r o u s o f R e i s s i g e r ' s wo r k a s p a r t o f h i s p o p u l a r a p p e a l .

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129

ballad text

is

strictly

repeated

in a l l

Other are

syllabic but

the

settings.

with

the

last

t wo m i d d l e

No o t h e r

two l i n e s

of

strophes.

settings

of

this

text

k nown t o be e x t a n t . " Wei n a u s W a s s e r " ( Op. 1 2 1 . Ho. 3 ) Most w i d e l y

Grotto"

on

Capri,

a transitional On t h e

basis

as

of

forms

developing

chose

at

the

poet

figure

international literary

known a s

least

a

in

with

the

Kopisch

history

those

of

his

in f a i r y

wa s

o f G e r ma n l i t e r a t u r e . and

interests tales

realistic poems a s

of t h e "Blue

(1799-1853)

education

he c o m b i n e d

humorous

five

discoverer

August

wide-ranging

travel

a

the

in c l a s s i c a l

as w ell

style.^

song

extensive

as

well

Reissiger

texts.^

We i n a u s Wa s s e r Auf d e r l i o c h z e i t z u K a n a a n , Da f i n g d e r Wei n z u f e h l e n a n , W i e ' s nun g e s c h a h : B r a u t , obs Br aut igam v e r s a h ? Es war z u w e n i g d a !

^Hans- Wolf J a g e r , "Kopisch, August," .Ne. u_e. d e u t s c h e B i o g r a p h i e , v o l . 12 ( B e r l i n : Uuncker & Ilumblot, 1979), pp. 5 6 4 - 5 6 6 . Also, Ernst Alker, Die d e u t s c h e Literatur i_m 1 9 . Jahrhundert (1832-1914) (Stuttgart: A l f r e d K r o n e r , 1 9 6 9 ) , p. 3 9 3 . J a g e r , p. 5 6 5 , n o t e d t h a t mu c h o f K o p i s c h ' s i n d i v i d u a l i t y c o m e s t h r o u g h i n h i s t e x t s d e a l i n g w i t h wi n e and t h e s o c i a l l i f e . ^ R e i s s i g e r ' s o t h e r s e l e c t i o n s of Kopisch's t e x t s , i n c l u d i n g " R o l a n d , " " He l d S a m s o n , " a n d " De r e r s t e R a u s c h , " a r e a l s o c o m b i n a t i o n s o f h i s t o r y , humor , and d i d a c t i c i s m .

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130

Doch d e r H e r r m i t z u T i s c h e w a r , Und m a c h t e We i n a u s W a s s e r k l a r . Wi e d a s g e s c h a h ? I c h g l a u b e , d a s s es niemand s a h ; Ge nu g nu n wa r e r d a ! Nehmt i h r C h r i s t e n e s w o h l i n A c h t : Aus W a s s e r w a r d da Wei n g e m a c h t ; Wi e w u n d e r n s w e r t h ! Schenken h a t ' s der Feind g e l e h r t , I h r macht es u m g e k e h r t !

Wine out of Water At t h e w e d d i n g i n C a n a a n , T h e r e t h e w i n e b e g a n t o be w a n t i n g , As i t now h a p p e n e d : Wh e t h e r b r i d e o r g r o o m ma de a m i s t a k e ? T h e r e v/as t o o l i t t l e t h e r e ! Ho we v e r t h e L o r d wa s l i k e w i s e a t t a b l e And ma de w i n e o u t o f c l e a r w a t e r . How d i d i t h a p p e n ? I b e l i e v e , s i n c e no o n e s a w i t ; T h e r e was now e n o u g h w i n e t h e r e ! You The liow The You

C h r i s t i a n s , be w e l l on y o u r g u a r d : w i n e wa s ma de f r o m w a t e r ; worthy of wonder! ene my h a s t a u g h t i t t o p o u r o u t , make i t o p p o s i t e !

Theolo g ic al miraculous experience including power

of

powers needs

to

in

meet

Christ. is

In

his

traditional

Those

worthy

wary of th e a c t i v i t y

lives

such

of

of

needs.

for

needs

cases,

Lord,

has

Individuals

a variety

of

c a n be m e t

the

praise.

the

reasons,

through

miraculous

answer

Christians

are

the to

t o be

t h e d e v i l a n d do w h a t t h e y c a n t o

efforts.

theology

Jesus,

people's

their

h uma n e r r o r .

the s i t u a t i o n

nullify

summa r y .

based

This on t h e

poem

is

narration

expressing of

the

events

R eproduced with permission o f the copyright owner. Further reproduction prohibited without permission.

a

of

John

2:1-11.

Mu s i c a l

an aly sis.

measures

are

strophes

having

concludes

with

the

key

octave

of

to

d ■*■).

the

the

the

right in

repeated.

Other

settings.

29,

No.

melody

piano

syllabic

younger

with

of f o u r

The

strophe

R eissiger's ( Op .

for

form

song's7

eight-measure

figurations

in a s t r i c t l y poetic

an

a postlude

chords

turn-like

strophie

D major,

(d

repeated

in

This

the

each

left

the

covers

a

punctuated hand.

with

the

This

text

has

Friedrich

also

song

W ritten range

of

consists

in one of

by r e c u r r e n t

The t e x t last

three

The

measures.

manner

brother,

of

prelude.

accompaniment hand

sixty-three

line

set

of each

been

August

is

set

by

Reissiger

2).

7 The s c o r e o f t h i s s o n g i s a v a i l a b l e L i b r a r y o f C o n g r e s s i n W a s h i n g t o n , D. C.

for

study at

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Chapter

12

FELI X MENDELSSOHN (1809-1847) After in

1816,

faith solo are

being

Mendelssohn

through voice in

Schools

born i n t o

his

with

the

works

piano.^

orchestra,

to

organ,

His s e v e n t y - t h r e e of

the

first

his

and

Protestant chorus,

published second

and

songs Berlin

composition,

to

him v i a

his

teacher

on

two

the

eight

religious

expression

for

tradition

of l i e d

of

gave

a J e w i s h f a m i l y and b a p t i z e d

w h o s e i n f l u e n c e wa s m e d i a t e d O Carl Zelter. This chapter focuses

of

these

lieder

which

reflect

his

orientation.

K arl-H einz K ohler and E v e lin e B a rtlitz , "Mendelssohn ( - B a r t h o l d y ) , ( J a c o b L u d w i g ) F e l i x , " Th e New G r o v e D i c t i o n a r y o f M u s i c a n d Mu s i c i a n s , v o l . 1 2 , e d . S t a n l e y Sadie (London: M a c m i l l a n , 1 9 8 0 ) , pp. 1 3 4 - 1 5 9 . A l s o , E r i c We r n e r , " M e n d e l s s o h n , J a k o b Lud wi g F e l i x , " Di e M u s i k i n G e s c h i c h t e und G e g e n w a r t , v o l . 9, e d . F r i e d r i c h Bl u me ( K a s s e l a n d B a s e l : B a r e n r e i t e r , 1961), pp. 59 -9 8. p See p a g e s 37 - 3 8 a b o v e . O F r a n c i s L e w i s Wo o d w a r d , " Th e S o l o S o n g s o f F e l i x M e n d e l s s o h n " (D.M.A. d i s s e r t a t i o n , The U n i v e r s i t y o f T e x a s a t A u s t i n , 1972), pp. 4 - 5 , 8-31.

132

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133

"M o r g e n l i e d " 8 6 , No. 2 ; 1 8 2 8 ) 4

( Op. The possibility 1884),^ and

the

text

exists

this that

song the

is

poet

anonymous, is

son o f an army c h a p l a i n ,

philosophy

alongside

of

at

the

university

Mendelssohn,

Mendelssohn s e le c te d a t basis

of

songs

years

18 2 8 a n d

during

whose

least

the

J.G.

home

two t e x t s

period

Droysen

who s t u d i e d in

but

Berlin he

the

(1808-

philology in

1828^

frequented.^

by D r o y s e n a s

bet we e n and i n c l u d i n g

the the

1830.

The s o n g was p u b l i s h e d p o s t h u m o u s l y i n 1851. Woodward, " M e n d e l s s o h n , " pp. 61, 65, follow s the s u g g e s t i o n s o f Max F r i e d l a e n d e r , Da s d e u t s c h e L i e d i m 18. Jahrhundert (Berlin: J.B. C o t t a , 1902), and L u i s e Leven, Mendelssohn a ls Lyriker (K refeld: B. M a h l e r , 1 9 2 6 ) a n d " M e n d e l s s o h n ' s U n p u b l i s h e d S o n g s , " T h e Mo n t h l y M u s i c Q u a r t e r l y , 88 ( 1 9 5 8 ) , 2 0 6 - 2 1 1 , t h a t i t w a s c o m p o s e d a s a c o m p a n i o n p i e c e t o " A b e n d l i e d " ( Op . 8 , No. 9 ) w h i c h w a s composed i n 1828. ^ Se e Woodward, " M e n d e l s s o h n , " pp. 61, 63, 65, f o r the d i s c u s s i o n of t h i s d e t e r m i n a t i o n . On e k e y f a c t o r i n t h e a r g u m e n t i s t h e u s e o f t h e p s e u d o n y m , " J . H . V o s s , " by Droysen. W o o d w a r d ' s own s o u r c e s a r e d i v i d e d on t h i s w i t h L eve n e v e n s u g g e s t i n g t h a t "J.H. Vo ss " i s M e n d e l s s o h n ' s pseudonym. J o h a n n H e i n r i c h Vo s s ( 1 7 5 1 - 1 8 2 6 ) wa s a Ge r ma n p o e t , t r a n s l a t o r , and p r o f e s s o r i n J e n a and H e i d e l b e r g . ^ T h e o d o r S c h i e d e r , " D r o y s e n , J o h a n n G u s t a v , " Neue deutsche B io g ra p h ie, vol. 4 (B erlin: Duncker & Humblot, 1957) , pp. 135-137.

Kohler,

^Woodward, "M endelssohn," " M e n d e l s s o h n , " p. 136.

p.

65.

See

also,

®The t o t a l n u m b e r o f D r o y s e n t e x t s u s e d by M e n d e l s s o h n woul d r i s e t o s e v e n i f t h i s anonymous t e x t and t h e f o u r V o s s t e x t s ( O p . 8 , No. 9 , 1 1 ; Op. 9 , No. 6 , 9) w e r e a l l by D r o y s e n .

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134

Morgenlied Erwacht in neuer S ta rke Begriiss i c h , G o t t , d e i n L i c h t Und w e n d ' a u f d e i n e We r k e Me i n f r o h e s A n g e s i c h t . Wi e h e r r l i c h s t r a h l t d i e S o n n ' e mp o r Und wecl ct d e s L e b e n s l a u t e n C h o r ! Von J u b e l l i e d e r n s c h a l l e n S c h o n F e l d , Ge b i i s c h und L u f t , Und a u s d e s Wa l d e s H a l l e n Stromt f r i s c h der Morgenduft. Da s V o g l e i n s c h i i t t e l t a b dem T h a u , F l i e g t a u f u nd s i n g t im h e l l e n B l a u . S c h o n ho h e r s c h w e b t d i e S o n n e In ihrem S i e g e s l a u f , Was l e b t d a s a t h r n e t Wonne , Und was da s c h l i e f , w a c h t a u f . 0 G ott , in deinem S o n n e n s c h e i n , Wi e h e r r l i c h i s t ' s l e b e n d i g s e i n !

M o r n i n g So n g Awa k e n e d i n new s t r e n g t h I g r e e t , Go d , y o u r l i g h t And t u r n t o y o u r wo r k My j o y f u l c o u n t e n a n c e . iiow g l o r i o u s l y b e a ms t h e s u n a b o v e And a w a k e n s t h e l o u d c h o r u s o f l i f e ! Fr om j o y o u s s o n g s r e s o u n d s Al r e a d y f i e l d , b u s h e s , and a i r , And o u t o f t h e f o r e s t ' s h a l l F r e s h ly flows the f r a g r a n c e of morning. The l i t t l e b i r d s h a k e s o f f t h e dew, F l i e s up a n d s i n g s i n t h e c l e a r b l u e s k y . A l r e a d y h i g h e r s o a r s t h e sun In i t s tri u m p h a l p r o c e s s i o n . Whatever l i v e s , i t b r e a t h e s j o y ; What ever s l e p t t h e r e , a wa k e s . 0 God, i n y o u r s u n s h i n e How g l o r i o u s i t i s t o be a l i v e . Theological varied

elements

s u m ma r y .

of n a t u r e .

God i s

the

I he r e j o i c i n g

creator of

the

of

the

created

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

135

order

brings

joy

it.

This

smells theology

of

to

t h e human b e i n g

text

represents

song^ c o n s is t

analysis.

of a b r i e f

strictly

strophic

folklike

melody

The

form,

spans

features

accompaniment

m o v i n g on t h e

pedal

tone

on

repeated repeated

of

a

form

Other are

the

except to

known t o

half

of

the

a

measures three

two

the

the

hands or

w i t h minor lyrical

of

this

strophes

in

right-hand beat.

in

the

last

the

basis

of

addition The

in

to

bass

answer­ half

from

of

parallel

a repeated

text-setting

The

two l i n e s

No o t h e r

last

played

variations

the

chords

In th e

tonic.

the

n o t e or o c t a v e

folksong.

for

settings.

a single

countermelody

dominant

syllabic

manner

with

is

fifty

b e g i n n i n g of each s t r o p h e

beat

there

between

basically the

weaker

strophe

sixths

orthodox

a se v e n -m e a s u re coda. The I O a minor n i n t h ( f - s h a r p to g ) in

lively

each

and

and

At t h e

on t h e

a traditional

introduction,

t h e icey o f D m a j o r .

ing

hears,

creation.

Mu s i c a l

line

who s e e s ,

that

v/ords

of t e x t

is

norm i n are

not

which are

coda. settings

of

this

text

be e x t a n t .

o yTh e s c o r e o f t h i s s o n g i s a v a i l a b l e f o r s t u d y i n e 1 i x i - i e n d e l s s o h n ] , S e v e n t y - N ine S ongs f o r V o i c e and Piano ( M e l v i l l e , N.Y.: Be l wi n M i l l s , n . d . ) , p. 84.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

136

"Trostung" 7 1 . No. 1; 1 8 4 5 )

( Op. This August

song

Heinrich

is

based

Hoffmann

which Mendelssohn chose only wrote

a highly

had an e m i n e n t l y

historian.

resulted

in

1i eds bis stood

in

His

well to

auf the

as in

Luther

lyrical

two

and

(1798-1874)

Ge r ma n

iiber a l l e s , "

studies

of

H o f f m a n n wa s n o t

patriotic

career

poems

poet

but

who

he a l s o

as a p h i l o l o g i s t in

this

latter

and area

collections

of

folk

his

the

German-language

study

Ze i t ,

of

a simple,

added

the

of

write

simple melodies

of

poetry

des d e u t s c h e n

1832).

tradition

which em phasized element

the

to music.

(G eschichte

Luthers

of

Fallersleben

Deuschland

numerous

as

h y mn p r i o r

to s e t

successful

literary

one

von

nationalistic

"Deustchland,

folksong

on

As

a

poet

Romantic

tunefulness,

even

to accompany h i s

going

KirchenHoffmann

G e r ma n

f o 1k 1ike q u a lity

to so

and

poetry

w h i c h he far

as

to

vol.

9

words.^

Trostung We r d e h e i t e r , me i n Ge mi i t e , Und v e r g i s s d e r A n g s t un d P e i n ! G r o s s i s t G o t t e s G n a d ' und Gi i t e , G r o s s mu s s a u c h d e i n H o f f e n s e i n . Komrnt d e r h e l l e , Hicht hervor aus

gold'ne dunkler

Mor g e n Racht?

A d a l b e r t L l s c h e n b r o i c h , " H o f f m a n n von F a l l e r s l e b e n , H e i n r i c h , " Ke u e d e u t s c h e B i o g r a p h i e , (Berlin: D u n c k e r & Hum b l o t , 1 9 7 1 ) , pp. 4 2 1 - 4 2 3 .

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137

Lag n i c h t e i n s t im S c h n e e v e r b o r g e n Tief des Friihlings Bliitenpracht? Durch d i e F i n s t e r n i s d e r Kl a ge n B ric h t der Freude Morgenstern; B a l d w i r d a u c h d e i n Mo r g e n t a g e n , G o t t e s Gi i t ' i s t n i mme r f e r n ! Consolation Become mo r e s e r e n e , my s o u l , And f o r g e t t h e a n x i e t y a n d p a i n ! G r e a t i s G o d ' s g r a c e and g o o d n e s s ; G r e a t m u s t a l s o be y o u r h o p i n g . Do e s n o t t h e c l e a r g o l d e n m o r n i n g Come o u t o f d a r k e r n i g h t ? Di d n o t o n c e h i d d e n d e e p i n s now Lay t h e b l o o m i n g s p l e n d o r o f s p r i n g ? Through t h e d a r k n e s s of l ament Breaks t h e morning s t a r of j o y . S oo n a l s o y o u r m o r n i n g w i l l s h i n e . G o d ' s g o o d n e s s i s n e v e r f a r away. Theological he

is

close

lives.

at

hand

God

and

work

Because of t h i s

anxiety,

pain,

hope

serenity

and

Even

seasonal,

affirm

emotion

influence

of

is

and

as

the

they

the

those

is

wait

for

of

truth. nearness

of

and

good

who l i v e can

better

nature,

This

good

for

and d e s p a i r

cycles

this

at

fact

lamentation,

tim es.

on

s u m ma r y .

text, God,

gracious,

in

people's

in a w o rld of find

and both

with

cause

for

mo r e j o y f u l daily its

and

emphases

demonstrates

the

Romanticism.

Musical

analysis.

This

^ T h e s c o r e of t h i s song | i ' *i e nde l s s ohn^J , S o n g s , p p . 6 0 - 6 1 .

song's^

is

minimally

available

for

study

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

in

138

modified-strophic range Th e

is

a major

piano

plays

arpeggiated bass

line

setting each

f i l l s f i f t y measures. I O t e n t h (c to e ) in th e key

an

idiomatic

diminished

which is

form

features

strophe

strophe

a

further

becomes

incorporated Other

are

known t o

muc h o c t a v e syllabic

repeated.

appearance into

settings.

of

vocal

C major.

consisting

of

s e v e n th chords above a c h r o m a tic

predominantly

poetic

accompaniment

The

of

doubling. with

In the

the last

a codetta-lilce iMo o t h e r

the

The

last

final line

text-

line

of

musical

the te x t 1p extension.

settings

of

of

this

text

be e x t a n t .

19

Both of t h e s o n g s of t h i s c h a p t e r a r e t y p i c a l of M e n d e ls s o h n 's song s t y l e as d e l in e a t e d by K o h l e r , "M endelssohn," p. 147, with strophic structure, c h a r a c t e r i s t i c p i a n o a c c o m p a n i m e n t , and a p l e a s i n g l y shaped, sin g a b le melodic l i n e .

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

Chapter

13

ROBERT SCHUMANN (1810-1856) Schumann's accompaniment sixteen text. this

of

number

these

Two o f

compositions in excess

dealing

these

for of

with

lieder

are

solo

voice

270 s o n g s

religious the

with

with

at

subjects

center

of

piano least in

discussion

the in

chapter. " P e r f r o h e Wande r s mann" ( Op. 7 7 , No. 1; 1 8 4 0 ) The Ge r ma n R o m a n t i c

18 5 7 ) was one of t h e

poet

Joseph Eichendorff

most p o p u la r a u t h o r s

of h i s

(178S-

day,

not

only

among song c o m p o s e r s b u t a l s o among t h e g e n e r a l y populace. E i c h e n d o r f f wa s a d e v o u t Roman C a t h o l i c w h o s e

faith

permeated his

approach

to

life

and

wa s e x p r e s s e d

in

G e r a l d Abraham and E r i c Sams, "Schumann, R o b e r t ( A l e x a n d e r ) , " T h e Ne w G r o v e D i c t i o n a r y o f Mu s i c a n d M u s i c i a n s , v o l . 16, e d . S t a n l e y S a d i e ( L o n d o n : Macmillan, 1 9 8 0 ) , pp. 8 5 9 - 8 6 0 , n o t e d t h a t t h i s s o n g was o r i g i n a l l y t h e f i r s t s o n g i n S c h u m a n n ' s E i c h e n d o r f f L i e d e r l c r e i s (Op. 39 ) b u t wa s d r o p p e d f r o m t h a t c y c l e i n 1 S5 0 a n d p u b l i s h e d i n 1 8 5 1 a s a p a r t o f Op. 7 7 . Jurgen Thym, "The Solo Song Settings of E ichendorff's Poems by S c h u m a n n a n d Wolf," (Ph.D. d i s s e r t a t i o n , C a s e W e s t e r n R e s e r v e U n i v e r s i t y , 1 9 7 4 ) , pp. 1 , 16. 139

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

140

his

writings.

expressions perfect cially and

in

the

Stimmung,

appeared

in in

"Der

the

novella,

texts

1817.^ of

which

at

frohe

of

and

after

religious

of

h u ma n e m o t i o n a l

states

This

ideal

which

having

Taugenichts probably of

others their

sixteen besides

is

originally

of E i c h e n d o r f f 's

a total

in

a state

espe­

eines

three

striking

object,

Wandersmann"

Leben

least

ideal

n a tu re /

chapter

dem

are

subject

between

Schuma nn s e t

Wande r s mann" a r e De r

frohe

poems

Romantic

w ithin

opening Aus

lyric

between

a Good-for-Nothing")

around

the

relationship

conditions

expressed

of

of

folklike

correspondence

the

prose

His

important (" h e r a o i r s

been

written

Eichendorff "Der

frohe

content/

Wa n d e r s m a n n

Wem G o t t w i l l r e c h t e G u n s t e r w e i s e n Den s c h i c k t e r i n d i e w e i t e W e l t , Dem w i l l e r s e i n e Wu nd e r w e i s e n I n b e r g und Wal d und S t r o m u nd F e l d . Di e T r a g e n , d i e zu Ha u s e l i e g e n , Erquiklcet n i c h t das fiorgenrot, S i e w i s s e n n u r vom K i n d e r w i e g e n , Von S o r g e n , L a s t und Not urn B r o t .

O Hermann K u n is ch , " E i c h e n d o r f f , F r e i h e r r e n v.," i\; e u e d e u t s c h e ii i o g r a p h i e , v o l . 4 (Berlin: Duncker & Humblot, 1957) , pp. 37 1 - 3 7 2 . ^Th ym,

detailed

"Eichendorff,"

pp.

ii,

49-87.

■’ I b i d . , p. 3 8 2 . See a l s o , pp. 3 9 - 4 0 d e s c r i p t i o n of t h e l i t e r a r y c o n t e x t .

^These i n c l u d e " F r i i h l i n g s f a h r t " ( Op . ( Op . 8 3 , No. 3 ) .

for

a more

" De r S c h a t z g r a b e r " (Op. 45, No. 1 ) , 4 5 , No. 2 ) , a n d " D e r E i n s i e d l e r "

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

141

Di e Di e was Aus

B a c h l e i n von d e n B e r g e n s p r i n g e n , Le r c hen s c h w i r r e n hoch vor L u s t , s o l l t ' i c h n i c h t ini t i h n e n s i n g e n v o l l e r K e h l ' u nd f r i s c h e r B r u s t ?

Den Der Und Ha t

l i e b e n Gott nur l a s s ' ich w a l t e n ; B a c h l e i n , L e r c h e n , Wi nd u n d F e l d , E r d ' und Hi mmel w i l l e r h a l t e n , auch mein' Sach' a u f s B e s t ' b e s t e l l t .

The J o y f u l To He He In

Wanderer^ wh o me v e r God w a n t s t o s how t r u e f a v o r , s e n d s hi m i n t o t h e w i d e w o r l d , w a n t s t o s how h i s w o n d e r s t o h i m m o u n t a i n and f o r e s t and r i v e r and f i e l d .

The l a z y o n e s , who r e s t a t h ome , The dawn d o e s n o t r e v i v e , Th e y o n l y know o f t h e c r a d l e , Of w o r r y , b u r d e n a n d n e e d f o r b r e a d . The b r o o k l e t l e a p s f r o m t h e m o u n t a i n , The l a r k s f l y h i g h f o r e n j o y m e n t , Why s h o u l d I n o t s i n g w i t h t h e m Loudly and f r e s h - h e a r t e d ? I l e t t h e d e a r God do a s h e p l e a s e s ; lie who b r o o k l e t , l a r k s , wi n d a n d f i e l d , And e a r t h a n d h e a v e n w i l l p r e s e r v e , A l s o h a s o r d e r e d my a f f a i r s f o r t h e b e s t . Theological ta in er power. favor

of He

nature

has

in

chooses

by l e a d i n g

chosen.

which some

them

w onderful works. he

summary.

into

God he

the

creator

m anifests

people the

is

to

world

his

recieve and

and

sus­

miraculous his

showing

special them

his

God w o r k s f o r g o o d i n t h e l i v e s o f t h o s e

People

who a r e

lazy

and

occupy

themselves

^Another E n g l i s h t r a n s l a t i o n i s a v a i l a b l e i n Sams, T h e S o n g s o f R o b e r t S c h u m a n n ( Ne w f o r k : H o r t o n , 1 9 6 9 ) , p. 106.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

Eric W. W.

142

with

the

mundane

experience Those to

experience

the

his of

by t h e

to

it

whole

concept

of

O

are

in

song.

The are

and the

their

v/onders protected

and

family

cannot

created

order.

lives

oneness

This

theology

text

and

uespond

w i t h n a t u r e and of

nature,

and,

by God a n d

show

shows

a

Romanticism

combina­

undergirded

election. analysis.

ABA' C

form the

The

fifty

with

intimated

at

the

end

of

disjunct

melody

has

a range

sharp)

in

a joyous

abilities.

traditional

home with

hand

universe,

creative

Musical song

in

of

spirit

leading

indeed,

tion

of

God a f r e e

voice

forth

unity

who g i v e

his

give

a

realities

elements

final of

in t h e key of D m a j o r ,

measures

section. a major

but

of

of

this

rondo

form

Th e

moderately

tenth

(d

the t o n a l i t y

1

to

also

f

9

-

moves

to t h e d o m i n a n t as w e l l as to E m in o r and F- s h a r p m inor in response

to

a

rhythm

march

interludes,

textual

and

ideas.^

which the

The a c c o m p a n i m e n t

occurs

postlude.

in

the

Within

is

based

introduction, the

first

and

on the

third

O The s c o r e o f t h i s s o n g i s a v a i l a b l e f o r s t u d y i n [ S c h u mann' J , S a m t l i c h e L i e d e r f ii r e i n e S i n g s t i m me m i t K l a v i e r b e g l e i t u n g , v o l . 2 , e d . A l f r e d D o r f e l ( Ne w Y o r k : 0 . F . P e t e r s , n . d . ) , pp. 167-169. ^Thym, " E i c h e n d o r f f , " s e e m e d t o f o l i o w W o l f g a n g B o e t t i c h e r , Robert Schumann: E i n f ii h r u n g i n P e r s o n l i c h k e i t u n d Wer I t ( B e r l i n : H a h n e f e l d , 1 9 4 1 ) i n u n d e r s t a n d i n g 1) m a j o r a s a key of " f r e s h n e s s and y o u t h f u l e n t h u s i a s m " f o r Schumann. Thym, pp. 1 8 7 - 1 8 9 , a l s o saw t h e s e q u a l i t i e s e x p r e s s e d i n t h e m e l o d i c r a n g e and s t y l e a s w e l l a s in t h e harmonic s u b t l e t i e s of the song.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

143

sections

the

disconnected is

changed

which

beginning

the

the of

line

is

In

by

first

each

section

mention

is

chords.^

slightly

quote

fourth

texture

basically the

the

imitative

five

of

notes

the

of

trust an

i n God.

entries

of

the

Onl y a t

appearance

postlude.

folksong

this

section's

o v e r l a p p i n g of v o c a l and p i a n o

in

of

section

vocal

two

with

texture

the

line

piano at

phrases.

the The

uses a hymnlike chordal accompaniment at

there

typical

second

homophonic

The

style

of

the

Schumann's

melodies

text-setting

with

only

end o f

the

the

characteristic

which l e a d s is

vocal

mostly

final

into

a

syllabic

poetic

line

repeated. Other Schoeck

( Op .

s e t t i n g s . This 17,

No.

8;

( Op. The of

three

which

text

of

depicts

lamenting

the

of

Heloise,

over

was a l s o

set

by O t h m a r

1909). " Keq u i e m " 9 0 , No. 7; 1 8 5 0 )

this

nine

text

lied

is

an

strophes accompanied

anonymous

of

an

old

translation Latin

by a c h o r u s

of

text mo n k s ,

Ab el ar d. 12

•*-^Thym, " E i c h e n d o r f f , " p p . 1 7 9 , 195-196, noted t h e s e as c h a r a c t e r i s t i c of Schumann's t r e a t m e n t of t h i s type of t e x t . 11

elements

A b r a h a m , " S c h u m a n n , " p. 8 5 1 , n o t e d of Schumann's song s t y l e .

12Sams,

S c h u ma n n ,

p.

256.

He a l s o

t h e s e as two included

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

the

144

Requiem R u h ' v o n s c h m e r z e n s r e i c h e n Miihen Aus un d h e i B e m L i e b e s g l i i h e n ! De r n a c h s e l i g e m V e r e i n Trug V e r l a n g e n , 1 s t gegangen Zu d e s H e i l a n d s Wohnung e i n . Dem G e r e c h t e n l e u c h t e n h e l i e S t e r n e in des Grabes Z e l l e , I h m, d e r s e l b s t a l s S t e r n d e r N a c h t Wi r d e r s c h e i n e n , Wenn e r s e i n e n Herrn e r s c h a u t in H immelspracht. Seid Fiirsprecher, h e i l ' g e Seelen! H eil'g e r Geist, lab Trost nicht fehlen. I l o r s t d u? J u b e l s a n g e r k l i n g t , Feiertone, Darein die schone Engelsharfe singt: R u h ' v on s c h m e r z e n s r e i c h e n Miihen Aus und h e i B e m L i e b e s g l i i h e n ! De r n a c h s e l i g e m V e r e i n Trug V e r l a n g e n , 1 s t gegangen Zu d e s H e i l a n d s Wohnung e i n . Requiem 1 3 Res t from s o r r o w f u l t o i l And h o t f i r e s o f l o v e ! He who f o r b l e s s e d u n i o n Carried longing, Has g o n e Into the S av io r's dwelling.

Latin

text

of

the

three

strophes

used

by t h e

translator.

^For another English tra n s la tio n , s e e Sams, S c h u ina n n , pp. 2 5 5 - 2 5 6 . O t h e r E n g l i s h t r a n s l a t i o n s c a n be f o u n d i n D i e t r i c h F i s c h e r - D i e s k a u , The F i s c h e r - D i e s k a u b o o k o f L i e d e r , t r . G e o r g e B i r d a n d R i c h a r d S t o k e s ( New Yo r k : L i m e l i g h t E d i t i o n s , 1 9 8 4 ) , p. 3 2 1 , a n d i n [ [ S c h u m a n n ] , 9 0 S o n g s , e d . S e r g i u s K a g e n ( Ne w Y o r k : International Mus i c , n . d . ) , p. x x i .

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

145 To t h e r i g h t e o u s s h i n e c l e a r S t a r s i n t h e c e l l of d e a t h , To h i m, who h i m s e l f a s a s t a r o f t h e n i g h t Will ap pe a r, When h e h i s Lord b e h o l d s i n h e a v e n ' s s p l e n d o r . Be i n t e r c e s s o r s , h o l y s o u l s , Ho l y S p i r i t , l e t c o m f o r t n o t be l a c k i n g ! Do you h e a r ? j o y o us song r e s o u n d s , Festive tones, In which t h e b e a u t i f u l Ha r p o f t h e a n g e l s s i n g s : Rest from s o r r o w f u l t o i l And h o t f i r e s o f l o v e ! He who f o r b l e s s e d u n i o n Carried longing, Has g o n e Into the S a v io r 's dwelling. Theological wh o

dwells

Spirit,

in

the

blessed.

heaven angelic

longing,

dies,

those

taken

to heaven

to

into

those

This

in

and

text

a shining

expresses

are

in

are

the

lives

are

This

form.

Savior

by t h e

souls full

This The

Holy

of

the

of l a b o r , person

as th e i n d i v i d u a l Jesus

fact

grieving

a traditional

_s _s.

the

Wh e n a r i g h t e o u s

she sees

on e a r t h ,

Lord i s

and

put a s id e

entity.

ABCA'

the

accompanied

earthly

w h e r e he or

H jj_s_i£ a 1__ a^ji a_ measures

glory,

passion.

realities

who r e m a i n

Jesus

musicians,

Hu ma n b e i n g s '

sorrow,

formed

summary.

and

can

bring

over

orthodox

trans­ comfort

their

loss.

theology.

song's^ melody

is

is

sixty-five

spans

^ T h e s c o r e of t h i s song i s a v a i l a b l e f o r QjchumannJ, S a m t l i c h e L i e d e r , v o l . 3, pp. 5 0 - 5 3 .

a

major

study

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

in

146

tenth

I ( e - f l a t

piano

accompaniment

sound

of

a

supported into or,

this

harp)

fabric

sometimes, being

text

is

strophe

o g )

in is

are

treated

key

of

E-flat

consists

of

sustained

octaves.

melodic

double

totally

the

major.

m a r ke d "Wie H a r f e n t o n "

and

by o r g a n l i k e

ally

the

lines

vocal

syllabically

(like

arpeggiated

of

with

as the

the

Incorporated

well

as

voice entire

the

chords

which for eshad ow ,

line,

independent

The

echo,

occasion­ part.

first

The Latin

repeated.^ Other

are

to

known t o

settings.

No o t h e r

settings

of

this

text

be e x t a n t .

•'•■’T h i s r e p e t i t i o n s e e m s t o h a v e e x i s t e d i n t r a n s l a t i o n as i t came to Schumann r a t h e r th a n being decision, although th is is not t o t a l l y c e rta in .

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

the his

Chapter

14

FRANZ LI SZT (1811-1886) Although composer

for

for

voice

of

solo these

Liszt's mately

are

the

led

with

Liszt

church

a p i a n i s t and

al s o wrote

piano accompaniment.

religious

in

nature

and

quest

for

spiritual

take

the

four

him t o

discussed

p r i m a r i l y as

piano,

lifelong

Catholic are

noted

in

186 5. *

Two o f

At l e a s t

thirteen

expression

security orders

his

a

a l m o s t 10 0 s o n g s

give

minor

as

which of

ulti­

the

geistliche

to

Roman lieder

below. " Da s V e i l c h e n " ( 1857)

texts

in

While

in

Aac he n

in

the

mail

from

the

Muller.

These

became

May o f

otherwise

the

M uttergottes-StrauClein

Blessed

Virgin's

which were

written

later

Bouquet that

received

u n k n o wn

basis for

Liszt's

Little

1857 L i s z t

the

poet

t wo

Joseph

two songs

of

z u m Ma jL m oji a t e^ ( " T h e in

y e a r and

the

Month

first

of

Ma y " )

published

in

^ H u m p h r e y S e a r l e , " L i s z t , F r a n z , " The N e w G r o v e D i c t i o n a r y o f Hu s i c a n d M u s i c i a n s , v o l . 11, e d . S t a n l e y S a d i e ( L o n d o n : M a c m i l l a n , 1 9 8 0 ) , p p . 2 8 - 7 4. A l s o , Hans E n g e l , " L i s z t , F r a n z v o n , " D i e Mu s i i c i n G e s c h i c h t e u n d G e g e n w a r t , v o l . 8, ed. F r i e d r i c h B l u me ( K a s s e l and B a s e l : B a r e n r e i t e r , 1960) , pp. 9 6 4- 9 88. 147

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

148

1860.^

"Das V e i l c h e n "

Schliisselbluinen"

is

the f i r s t

(The P r i m r o s e s )

of the p a i r

being

the

w i t h "Die

second.

Da s V e i l c h e n S p e n d e , V e i l c h e n , d e i n e Dr i f t e Zu M a r i a s P r e i s und Ruhm! S t a t t d e s W e i h r a u c h s , s t a t t d e r Myr r he n Bring ich dich i n ' s Keiligtum. E i t l e r P r u n k und b u n t G e s c h m e i d e Sind n i c h t d e i n e r Scho nhe it Z i e r , I n dem e i n f a c h b l a u e n K l e i d e P r a n g s t du e d l e r a l s S a p h i r . S t i l l e bliihst D e i n e r Tugend Einsam w i l l s t A l l e r Mens chen

du und b e s c h e i d e n , unbewusst, du g e r n e v/ ohne n, F r e u d ' und L u s t .

So a u c h b l i i h t e s t d u , M a r i a , E i n s t e n a l s des Herren B ra ut , G o t t h a t a l l e r Wel t en Segen , A l l e l i i mmel d i r v e r t r a u t . K e u s c h e J u n g f r a u , Hi i n me l s p f o r t e , L a s s mi c h wi e d a s V e i l c h e n s e i n , Ohne S t o l z u n d o h n e H o f f a r t , S t e t s b e s c h e i d e n , k e u s c h und r e i n ! L a s s mi c h w i e d i e b l a u e n Bl i i mc h e n I mmer s a n f t s e i n , f r omm und g u t , D i e , M a r i a , s t e t s zu E h r e n Leben u n t e r d e i n e r Hut . Th e V i o l e t Give, v i o l e t , your perfume To M a r y ' s p r a i s e a nd g l o r y ! I n s t e a d of f r a n k i n c e n s e , i n s t e a d I b r i n g you i n t o t h e h o l y p l a c e .

of i nyrrh

Empt y s p l e n d o r a n d c o l o r e d j e w e l s Ar e n o t t h e o r n a m e n t o f y o u r b e a u t y ,

O Franz L i s z t s m usilcalische ¥ e r k e , vol. 7 (Leipzig: B r e i t k o p f u K a r t e l , n . d . ) , pp. x i - x i i .

part

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

2

149

In t he s i m p l e blue garment You s h i n e n o b l e r t h a n s a p p h i r e . Q u i e t l y you bloom and m o d e s t l y , Unconscious of your v i r t u e , A l o n e you d e s i r e g l a d l y t o l i v e , The j o y a n d d e s i r e o f a l l p e o p l e . T h u s a l s o y ou b l o o m e d , Ma r y , Once a s t h e L o r d ' s b r i d e , God h a s e n t r u s t e d a l l t h e w o r l d ' s And a l l o f h e a v e n t o y o u .

blessings,

Chaste v i r g i n , door of heaven, L e t me be l i k e t h e v i o l e t , W i t h o u t p r i d e and w i t h o u t a r r o g a n c e , C o n t i n u a l l y mo d e s t , c h a s t e and pu r e ! L e t me be l i k e t h e b l u e l i t t l e f l o w e r Al ways g e n t l e , p i o u s and goo d , You, Ma r y , c o n t i n u a l l y t o h o n o r To l i v e u n d e r y o u r c a r e . Theological of

the

his

blessings

bride,

perpetual is

the

of

earth

the

virginity,

worshipper

under

ma k e s

to

an

violet.

text

tic

This

concerning

impulses

the

the

lives

in

chaste

to heaven

Virgin

As

of

a

and

heaven

to

state

of

pure,

and

is gained.

aspires

the

analysis.

act

to

of

element

qualities

The

be c o n s i s t ­

Ma r y

created The

six

adoration of n a t u r e

o f Ma r y ,

traditional

Virgin the

an

that

espouses

concerning

Mu s i c a l

She

of

a n d g o o d s o a s t o h o n o r Ma r y a n d t o

offering

reflects

entirety

humble,

protection.

most p e r f e c t l y

theology

Mary.

whom a c c e s s

devout,

her

and

always

who p r a y s

ently gentle,

devotee

God t h e L o r d h a s g i v e n a l l

Virgin

t h e one t h r o u g h

live

s u mma r y .

which

namely,

Ro ma n

accompanied

the

the

Catholic by Ro ma n ­

order. poetic

strophes

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

of

150

Miiller have song

O

been grouped

consists

which

fill

a minor

of

three strophes

sixty-nine

ninth

by L i s z t

in

that

this

in raodified-strophic

form

measures.

( d * to e ^ - f l a t )

such

a way

The a r c h e d

melody

covers

in t h e key of E - f l a t

major.

The h o r n o p h o n i c p i a n o a c c o m p a n i m e n t b e g i n s and e n d s six

measures

bears

the

that

marking

parent

support

musical

strophe

in the

the

latter

phrase

rhythm. out of

for

the

while

endings

Th e

the

" sern p r e

voice

not

text-setting

which

for

germ

of

d o l c i s s i m o " and in

the

always is the

incorporates

and

doubles with

primarily

song.

half mo r e

the

vocal

trans­ of

vocal

each

line the

syllabic of

It

chromatic

precisely

reiteration

a slight

the

provides

first

thicker

The p i a n o

but

except

melodic

becoming

portion.

repetition text

quote

v/ith

s a me

and

the

with­

last

flourish

at

line

on

the

word " l e b e n " ( t o l i v e ) . Other are

known t o

settings.

No o t h e r

settings

of

this

text

be e x t a n t . "Sei s t i l l " ( 1S77)

L ittle H enriette pseudonym

Franz 113.

von

is

l enown

Schorn

K. N o r d h e i m ,

of

(d. other

the 1869) than

author who the

of

this

wrote fact

text,

under

that

she

the was

O The s c o r e o f t h i s s o n g i s a v a i l a b l e f o r s t u d y i n L i s z t s m u s i k a l i s c h e W e r k e , v o l . 7, p a r t 2, pp. 1 1 1 -

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

151

one of

the

f e w We i m a r a r i s t o c r a t s

by t h e

relationship

between

Liszt

Sayn-W ittgenstein

and

daughter

von S c h o r n

Adelheid in

1869

Princess^

and

later

became

books

the

study

of

Generations") Classical Sei

and

and

remained

household

for

at

who wa s

the

scandalized

the Princess

faithful

to

Carolyn

them.

Her

became a member of L i s z t ' s

behest the

Liszt,

not

of

the

author

of

then-absent two

important

Z w e_i M e n s c h e n a l t e r

Das n a c h k l a s s i s c h e

We i ma r

( " T wo

("The P o s t -

Wei mar ") . ^

still Ac h , wa s Wann, was Ab e r s e i We i l G o t t

ist du stil es

Leben doch so s c h w e r , l i e b h a s t , i s t n i c h t me hr : l, will!

Ac h , wa s Wann, was Ab e r s e i We i l G o t t

ist du stil es

S t e r b e n doch so schwer , l i e b h a s t , w e i n t umher: l, will!

Ac h , L e b e n , S t e r b e n Ivenn u n s e r l i e r z n u r Darurn s e i s t i l l , We i l G o t t e s w i l l .

wa r n i c h t s c h w e r , s t i l l e war.

Be S t i l l 6 0,

Musician

what

is

difficult

in

life

^ ■Ro n a l d T a y l o r , F r a n z L i s z t : T h e Ma n a n d (New Y o r k : U n i v e r s e Bo o k s , 1 9 S 6 ) , p. 193.

the

~*F r a n z

3,

Liszts

musikalische

Werke,

vol.

7,

part

p. viii . DAn E n g l i s h t r a n s l a t i o n by V e r n o n H a r r i s o n i s a v a i l a b l e in Robert C o l l e t t , ed., S e le c te d S ongs, L i s z t S o c i e t y P u b l i c a t i o n s , vol . 6 (London: S c h o t t , 1 9 7 5 ) , n.p.

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152

I s when w h a t y o u h o l d B u t be s t i l l , B e c a u s e God w i l l s i t !

dear

is

no m o r e :

0, what i s d i f f i c u l t i n d e a t h I s when w h a t y o u h o l d d e a r w e e p s o v e r B u t be s t i l l , B e c a u s e God w i l l s i t !

it:

0 , l i f e , d e a t h , w o u l d n o t be s o d i f f i c u l t I f o n l y o u r h e a r t s were s t i l l . T h e r e f o r e be s t i l l , B e c a u s e God w i l l s i t . Theological heart

should

which makes so

difficult

individual

found

in

be

still.

the

losses

for

should

traditional

psalms within

Mu s i c a l fills

seek

fifty-three

a relatively is

the

interval

sparse

this

of

that of

the

h uma n

inner

peace

This

text

perspective

The Th e

can

a be

which al so

rationalistic

theologies.

AA' B f o r m

this

funereal

of a m i n o r

of

song

O

recitative-like

ninth

ambiguity

cadence

barren,

but

each

voices

which

Ol d T e s t a m e n t , ^ and

and d e a t h

Consequently,

repose.

tonal

stable and

is

lack

bear.

inward

measures.

reaches

paniment

to

analysis.

context

will

and th e s o r r o w s of l i f e

pietistic

spans the

the

is

theological of

melody n d ) in

God' s

It

people

orthodox

the

has a pla ce

summary.

(c^-sharp

which

to

finally

i n D m a j o r . Th e a c c o m ­

consisting

of

sustained

^ S e e , f o r e x a m p l e , Ps. 3 7 : 3 - 7 ; Ps. 4 6 : 1 0 ; and Ps. 5-8. O The s c o r e o f t h i s s ong i s a v a i l a b l e f o r s t u d y i n F r a n z L i s z t s m u s i k a l i s c h e W e r k e , v o l . 7, p a r t 3 , p p . 6 3 - 6 4 . 62:1-2,

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

% 153

chords

and

lengthy

handled s y l l a b i c a l l y the

words

"sei

reiterating

all

passages

s i l e n c e .

with the f i r s t

still" but

of

the

(be

The

t wo s e c t i o n s

still)

first

^

text

repeating

and

the

last

of

the

third

line

is

section poetic

stanza. Other

settings.

L a s s e n and J o a c h i m Ra f f

This ( Op .

text 173,

wa s No.

also

set

by E d u a r d

8 ).^

^Searle, " L i s z t , " p. 4 9 , noted t h a t the songs which L i s z t w r o te in th e 1870s a re c h a r a c t e r i z e d by " a u s t e r i t y , r e s t r a i n t , and a c e r t a i n w o r l d - w e a r i n e s s . " T h i s song f i t s such a d e s c r i p t i o n . ■ ^ H i l d e g a r d J u n g , " D a s g e i s t l i c h e S o l o l i e d i n 19. J a h r h u n d e r t : Ein E e i t r a g zur G e s c h i c h t e des d e u t s c h e n K u n s t l i e d e s " ( I n a u g u r a l - D i s s e r t a t i o n , U n i v e r s i t a t Ko 1 n , 1 9 5 1 ) , p p . 4 8 , XL I V .

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Chapter

15

CARL GOTTFRIED WILHELM TAUBERT (1811-1891) Though prominent between

Opera

figure the

fulfilled

now

virtually

in

the

years

under

Mendelssohn

court

Kapellmeister

of

Arts.

In a d d i t i o n

nies, 300

composer.

various solo

Berlin

intimate liche

lieder

and to

as

style

■^See p a g e s

his

and

most

is His

his

at

at

six

this

the

style

well-known

of

Royal

Ac a d e my

four he of

145,

reflected

in

s ome o f

was

the

numbe r

s o me

Second are

160)^ his

a

sympho­

wrote

these

0pp.

songs

Royal

serving

Songs;"

religious

he

as

operas,

the

time

Taubert

works

a

Berlin

Berlin

well

a pianist,

wa s

native

the

as

chamber in

Taubert

During

teaching

prim arily

well.

1885.

being

("Children's

lyrical

of

Meyerbeer

Besides

S c h o o l . T h e

Kinderlieder

and

concertos,

songs,

and

life

responsibilities

as

prolific

musical

1830

conducting

unremembered,

his

whose geistat

37-38 above.

^"Taubert, ( C a r l G o t t f r i e d ) W i l h e l m , " T h e He w G r o v e D i c t i o n a r y o f Mus 1 c a n d M u s i c i a n s , 18: 5 9 5 . Also, Richard S ietz, " T a u b e r t , C a r l G o t t f r i e d W i l h e l m , " Die Mu s i 1c i n G e s c h i c h t e und Ge g e n wa r t , v o l . 13, e d . F r i e d r i c h Bl u me ( K a s s e l a n d B a s e l : B a r e n r e i t e r , 1 9 6 6 ) , pp. 1 4 7 - 1 4 9 . ^ H i l d e g a r d J u n g , " Da s g e i s t l i c h e S o l o l i e d i m 19. Jahrhundert: Ein B e i t r a g zur G e s c h i c h t e des d e u t s c h e n 154

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155

least thirteen. 11C h r i s t k i n d l e i n 11 ( Op. 8 8 , No. 6 ) Taubert's "Ch. B i r c h . " to

score

The m o s t

gave likely

the

author

referent

theater

(1799-1868) in Berlin

from

who

was

her

poem a s

Charlotte

associated

1844 u n t i l

this

ma y b e c o n s i d e r e d

be t h e P r o t e s t a n t a u t h o r a n d a c t r e s s

Pfeiffer

of

with

Birch-

the

court

Universitat

Koln,

death.^

Christkindlein K i n t e r a l l ' den S t e r n e l e i n Di e d o r t oben g e h e n , S i t z t das holde C h r i s t k i n d l e i n , Lieblich anzusehen. H i i t h e t a n dem H i m m e l s z e l t A ll' die lic h te n Schafe; Ii ii t h e t a u c h z u r N a c h t d i e Dass s i e r u h i g s c h l a f e .

Welt,

S c h l a f ' d r u m s u s s und f i i r c h t e n i c h t i'Jenn du f r o mm u nd b i e d e r , S c h a u t im g o l d n e n S t e r n e n l i c h t Christkindlein hernieder.

Th e L i t t l e

Christ

Child

Behind a l l the l i t t l e s t a r s Which pass up there S its the gracious l i t t l e C h rist Lovely to look a t .

Kunstliedes" (Inaugural-D issertation, 1 9 5 1 ) , p. 48.

child

^ I( a r 1 R i c h t e r , "Birch-Pfeif fer, J o h a n n a , " _W_e__u__e_ c[ e__u t_s_cji e. _B_i o^_g. r_ja J) h. i. e^, v o l . Duncker & Humblot, 1953), pp. 252- 253.

Charlotte 2 (Berlin:

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156

I n t h e v a u l t o f h e a v e n he k e e p s All the s h i n i n g sheep; He a l s o k e e p s t h e w o r l d a t n i g h t So t h a t i t may s l e e p p e a c e f u l l y . T h e r e f o r e s l e e p s w e e t l y a n d do n o t f e a r P r o v i d e d you a r e p i o u s and u p r i g h t , In t h e g o ld e n s t a r l i g h t The l i t t l e C h r i s t c h i l d l o o k s d own . Theological Jesus,

is

through

in

or

she

heaven

the

inhabitants is

mental

stars

devout

in

measures. 1

a

e )

in

modulations

sixths.

basis

of

an

Pietism,

with for

key

of

three

text

only

is

the

the

last

movi ng m u s i c a l l y

~*The s c o r e o f t h i s Wi 1 h e 1 m T a u b e r t , Klanae Trautwein, n . d .).

and

to

bring

its

irenically

text

shows

if

a

he

senti­

traditional

texture in

poetic song^

but

Roman

strophes

of

there

beginnings

The p i a n o

set

stars

of

are the

generally

of

second

and

doubles

the

incorporating

text

to a s t r o n g e r

parallel syllabic

repeated final

tenth

fleeting

a straightforward

line

have

tw enty-six

mel ody s p a n s a m a j o r

C major,

homophonic

the

world

of

child,

and R o m a n t i c i s m .

through-com posed

strophes.

The

This

Christ

all

may r e s t

amalgam

The

to E minor at

poetic

the

righteous.

analysis.

the

mel ody i n a t h i n

style

over

Th e s o m e w h a t a n g u l a r 9

to

third

and

beautiful

he o v e r s e e s

The b e l i e v e r

theology,

set

The

watches

peace.

Musical

(c

where

popularization

Catholic

been

summary.

as

the

cadence.

song i s a v a i l a b l e f o r a u s d e r K i n d e r we l t

study in (Berlin:

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157

Other a r e known t o

settings.

No o t h e r

settings

of

this

text

be e x t a n t . " Di e H e r r l i c h k e i t d e r E r d e " ( Op. 1 4 2 b . No. 3 ; 1 8 6 0 - 1 8 6 7 ) 6

The a u t h o r 1664),

of t h i s

wa s a l e a d i n g

the Baroque era. faith

in

his

transitory

writings, nature

proper

Taubert

c a me

all

Vanitatum

poetic

dramatist

central

in

G e r ma n y

during

t h e m e o f w h i c h wa s t h e

earthly

to encourage

relationship

Gryphius'

fourth

of

the

with

wa s d r a w n f r o m t h r e e

"V anitas! from

and

Andreas Gryphius (1616—

As a L u t h e r a n h e g a v e e x p r e s s i o n t o h i s

wo r k s he a t t e m p t e d in

poet

text,

things.

his

readers

God.^

The

of the f i f t e e n

Oden

of

his

to lead a l i f e

text

V an itas" (Vanity!

Geistliches

Through

set

strophes

Vanity Q 1643° and

of

by of

Vanities)

an anonymous

strophe.

^ T h i s d a t e , w h i c h was n o t f r o m J u n g , " S o l o l i e d , " p. LV.

printed

on t h e

score,

^ W o l f g a n g M o n a t h , " G r y p h i u s , A n d r e a s , " Ne u e deutsche B io g ra p h ie, vol. 7 (B erlin: Duncker & Humblot, 1965), pp. 242-246. ® J a me s H e a r n s , " G r y p h i u s , A n d r e a s , " D i c t i o n a r y o f Hy m n o l o g y , v o l . 1, e d . J o h n J u l i a n ( 1 9 0 7 ; r p t . Grand Rapids: K r e g e l , 1 9 8 5 ) , p. 4 7 3 . Hearns gave th e d a te as 1 6 5 0 r a t h e r t h a n 1 6 4 3 a s g i v e n by M o n a t h , " G r y p h i u s , " p. 243. The c o m p l e t e t e x t o f G r y p h i u s ' poem c a n be f o u n d i n Hermann Palm , ed. G r y p h i u s ' W e r k e , D e u t s c h e N a t i o n a l Literatur: H i s t o r i s c h k r i t i s c h e A u s g a b e , v o l . 29 ( B e r l i n and S t u t t g a r t : W. S p e m a n n , n . d . ) , p p . 4 0 3 - 4 0 6 .

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158

Di e H e r r l i c h k e i t

der

Erde

Di e H e r r l i c h k e i t d e r E r d e Mus s S t a u b und A s c h e w e r d e n , ICein F e l s , k e i n E r z b l e i b t s t e h n . D a s , was u n s h i e r e r g o t z e t , Was man a l s e w i g s c h a t z e t , Mus s w i e e i n l e i c h t e r Tr a u m v e r g e h n . Was s i n d d o c h a l l e S a c h e n , Di e u n s s o t r o t z i g m a c h e n ? S i e wahren k u r z e Z e i t . Was i s t d e r M e n s c h e n L e b e n ? h i t P r a c h t u nd G l a n z u m g e b e n , I s t ' s d o c h n u r Ta n d und E i t e l k e i t . Es h i l f t n i c h t K u n s t un d W i s s e n , Wi r w e r d e n h i n g e r i s s e n , Der m o r g e n , d i e s e r h e u t ! Was h i l f t d e r S c h l o s s e r Me ng e ? Wem h i e r d i e We l t zu e n g e , Dem w i r d e i n e n g e s Gr a b z u w e i t . D i e s l a s s t u n s wo h l b e d e n k e n , Das K e r z zum Hi r amel l e n l c e n , Wo A l l e s e w i g s t e h t . Wer d o r t h i n w i l l g e l a n g e n , D a r f a n d e r We l t n i c h t h a n g e n , We i t s i e m i t i h r e r L u s t v e r g e h t .

The G l o r y o f

the E a rth ^

The g l o r y o f t h e e a r t h Mu s t b e c o me d u s t a n d a s h e s , No s t o n e , no m e t a l r e m a i n s s t a n d i n g . T h a t , which h e r e d e l i g h t s us , Wh i c h i s v a l u e d a s e t e r n a l , Mu s t v a n i s h a s a f a i n t e r d r e a m . What a r e h o w e v e r a l l t h i n g s Whi c h make u s s o d e f i a n t ? Th e y l a s t a s h o r t t i m e .

9 Me a r n s , " G r y p h i u s , " p. 4 7 3 , r e f e r r e d t o two E n g l i s h h y m n i c t r a n s l a t i o n s o f t h i s t e x t by Dr . h . M i l l s ( " E a r t h ' s b o a s t e d j o y s a n d s p l e n d o u r , " 1 8 4 5 ) a n d by C a t h e r i n e Wi n k w o r t h ( " A l l g l o r i e s o f t h i s e a r t h d e c a y , " 1869) .

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159

What i s huma n l i f e ? S u r r o u n d e d w i t h pomp a n d s p l e n d o r , I t i s , h o w e v e r , o n l y t r i f l e s and v a n i t y . N e i t h e r s k i l l nor knowledge h e l p s , We w i l l be o v e r c o m e , Tomor row, t h i s v e r y day! Of w h a t h e l p i s a n u m b e r o f p a l a c e s ? F o r wh o me v e r h e r e t h e w o r l d i s t o o n a r r o w , A n a r r o w g r a v e becomes t o o w i d e . Le t us w e l l c o n s i d e r t h i s , To t u r n t h e h e a r t t o h e a v e n , Wh e r e e v e r y t h i n g s t a n d s e t e r n a l l y . Wh o e v e r w a n t s t o be a d m i t t e d t h e r e , May n o t be d e v o t e d t o t h e w o r l d , Since i t vanishes with i t s d e l i g h t . Theological everything defiance skill

of

eternal. God

light

values

is of

so

world

of

very this

that

passes

impact

song's^

the

worldly

with key

fact,

p o mp

and

This

is

and

in

heaven

which

soon

ends

should

entrance a

in

to

text

and

on

heaven

which

its

personal sensual

certain

focus

where

builds

splendor,

possessions,

people

may g a i n

away.

dwells

existence,

m aterial

short

they

death.

heavenly wh e n t h i s

reflects

the

Pietism.

Mu s i c a l

form

on

God

Human

and k n o w l e d g e ,

delights, In

is

summary.

analysis.

seventy-three a vocal of

four

measures are

compass

A minor.

The

firs t

of

this

in m o d i f i e d - s t r o p h i c

of a m i n o r

The

strophes

ninth

three

(e

1

to

f

strophes

9

) in are

The s c o r e o f t h i s s o n g i s i n W i l h e l m T a u b e r t , Sechs g e i s t l i c h e L i e d e r (Neu-Ruppin: P e t r e n z , n.d.) which is a v a i l a b l e fo r stu d y a t the Boston P u b lic L i b r a ry in Boston, M assachusetts.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

1 6 0

accompanied melody

by

chorale-like

while

the

fourth

accompanimental v arie ty , the

left

hand of

ily

syllabic

with

Other Carl

Friedrich

G e r ma n 170.

the

strophe

including

pianist.

the

homophonic

last

chords

incorporates

triplet

settings.

This

text

Briegel

(1670).^

line

repeated

has also

double more

figurations

Th e t e x t - s e t t i n g

textual

which

been

is

for

primar­ twice.

set

by

^ R i c h a r d H i n t o n Tho mas , P o e t r y and Song i n t h e Baroque (Oxford: C l a r e n d o n , 1 9 6 3 ) , pp. 8 0 - 8 2 , 1 6 8 -

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

the

Chapter

16

FRANZ COMMER (1813-1887) Although music the

historian

choral

ries,

Commer

exclusively

of

choruses music.

piano,

of

the

also

historical with

a

sixteenth a

singing

vocal

music

addition

and

and

instructor

least

and

compositions

included

secular

160 l i e d e r

fifty-three

as

interest

seventeenth

to M a s s e s and o t h e r

He w r o t e a l m o s t

which a t

significance

particular

o wn n o w - f o r g o t t e n

in

choral

editor

of

was

His

greatest

and

music

musician.

and

of

a in

centu­ church

consisted partsongs

liturgical

for

voice

and

were r e l i g i o u s . ^

"Kreuz-Lied" ( Op. 6 5 , No. 1 ) The P r o t e s t a n t (182 0 - 1 8 9 1 ) least

religious ("Sixty

poet

Friedrich

Heinrich

was o n e o f C o m m e r ' s f a v o r i t e a u t h o r s

twenty-three

composer's

Swiss

songs. poetry,

Songs

of

of

his

Oser

texts

published

beginning the

used

Cross

with and

as

the

several

basis

Oser

with at for

the

collections

of

6j3 K r e u z - und T r o s t l i e d e r Comfort")

which

not

only

^ K a r l G u s t a v F e l l e r e r , " Co mme r , F r a n z , " Di e ITu s i k i n G e s c h i c h t e und G e g e n w a r t , v o l . 2, e d . F r i e d r i c h B l u m e ( K a s s e l and B a s e l : B a r e n r e i t e r , 1 9 5 2 ) , pp. 1 5 8 3 -1 5 8 8 . 161

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

16 2

offered also the

comfort

provided joyful

"Kreuz-Lied" are

and e n c o u r a g e m e n t

general

message in

of

spiritual Jesus

Commer ' s

"Trost-Lied"

(Song

Drei

in

to the

suffering,

refreshment a new

Lieder

form.

2

v on F r .

of C o n s o l a t i o n )

but

by p r e s e n t i n g Accompanying Oser

and " L ie d

(Op.

65)

auf

des

K i n d e s T o d " ( S o n g on t h e D e a t h o f a C h i l d ) . Kreuz-Lied S e e l e , was b e t r i i b s t du d i c h , Und v e r z e h r e s t d i c h i n S e h n e n ? S p e i s e s t dich mit b i t t e r n Thranen, Vi/as b e t r i i b s t du a l s o d i c h ? K a r r 1 auf Gott nur e w ig l ic h ! W i l l s t du d i c h v e r g e s s e n w a h n e n ? 0 dein Herr, er schauet dich, K e n n e t , e h du r u f s t , d e i n S e h n e n ! S e e l e , was b e t r i i b s t du d i c h ? L a s s e b r a u s e n n u r d i e Wogen! Wi e d i e F l u t a u c h lcommt g e z o g e n , Dennoch n i c h t b e t r u b e d i c h ! H a r r ' auf Gott nur e w ig l ic h ! Wen h a t j e s e i n Wo r t b e t r o g e n ? Eh du s i n k s t , e n t r e i s s e t d i c h S e i n e s t a r k e Hand d e n Wogen! S e e l e , wa s b e t r i i b s t Lo b e n w i r s t du n o c h Kann d e r e w ' g e F e l s U betriib n i c h t fiir

du d i c h ? und d a n k e n ! denn wanken? der dich!

H a r r ' auf Gott nur e w i g l i c h , S t a t t dem R o h r e g l e i c h z u s c h w a n k e n : F r e u e n , f r e u e n w i r s t du d i c h L i t r r o h l o c k e n und m i t D a n k e n !

2

F r i e d r i c h N i p p o l d , Das d e u t s c h e C h r i s t u s l i e d d e s neunzehnten Jahrhunderts (Leipzig: E r n s t Wu n d e r l i e h , 1 9 0 3 ) , pp. 64, 2 2 1 - 2 2 2 .

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163

Song o f

the

Cross

S o u l , why a r e y o u a f f l i c t i n g y o u r s e l f And p i n i n g a wa y i n l o n g i n g ? You a r e e a t i n g w i t h b i t t e r t e a r s , So why a r e y o u a f f l i c t i n g y o u r s e l f ? Wa i t o n l y f o r God e t e r n a l l y ! Do you w a n t t o p r e s u m e t o n e g l e c t y o u r s e l f ? 0 y o u r L o r d , he s e e s y o u , Kn ows , b e f o r e y o u c a l l , y o u r l o n g i n g ! S o u l , why a r e y o u a f f l i c t i n g y o u r s e l f ? Onl y a l l o w t h e wa v e s t o r o a r ! I n w h a t e v e r way t h e f l o o d a l s o c o me s t w i s t e d l y , N e v e r t h e l e s s do n o t a f f l i c t y o u r s e l f ! Wa i t f o r God e t e r n a l l y ! Who h a s h i s wo r d e v e r d e c e i v e d ? B e f o r e you s i n k , h i s s t r o n g hand R e s c u e s you f r o m t h e wa v e s ! S o u l , why a r e y o u a f f l i c t i n g y o u r s e l f ? You w i l l y e t p r a i s e a n d t h a n k hi m! Can t h e e t e r n a l r o c k w a v e r ? 0 d o n 't a f f l i c t y o u rs e lf about th a t! Wa i t o n l y f o r God e t e r n a l l y , I n s t e a d of shak ing l i k e the r e e d : You w i l l r e j o i c e , r e j o i c e , Wi t h s h o u t s o f j o y a n d w i t h t h a n k s ! Theological

s u mm a r y .

aw are of th e s i t u a t i o n s life.

lie

is

powerfully Human

face God

to

meet

existence

rations, cause

always

and

these

and

his

to

faithful the

grieve

answer,

to

needs

replete

conditions

the

and d e t a i l s

threatening

a person of

is

God

with

of

word

those

sorrow,

circumstances, and one

which

become should

will

be

Lord

is

each i n d i v i d u a l ' s

his

of

eternal

and

who

will

trust

unfulfilled all

of

resolutely cause

him. aspi­

which

depressed.

a

act

can

In

the

wait

for

for

joyous

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

164

praise text

and

thanksgiving

expresses

a pietistic

Mu_jS j; ,a_l _ a__n £i_l measures each

form

three

musical

strophes. Commer ' s second

three

emotional

s^_i s^.

strophe of

the

This

believer.

in

song's^

strict

This

first

is

the

key

owing

between

to

form

two of O s e r ' s

the

in

sixty-three

strophic

this

E major

content

of

incorporating

strophes

in

part

theology.

strophes

Because

half

on t h e

of

the

successive

half

of

£ minor

poetic each

of

with

the

of

the

alteration

poetic

with

strophes.

The

l y r i c a l 'voice p a r t covers the i n t e r v a l of a major n in th I O (e to f -s h arp ) a g a i n s t a piano accompaniment c o n s i s t i n g of

arpeggiated

bass

line.

poetic

chords

The t e x t

lines

repeated

Other

above

is

set in

settings.

a

slowly-moving,

syllabically

each This

single-note

with

the

last

two

was a l s o

set

by L o u i s

strophe. text

Schindelmeisser.^ "Herr, ( Op. This v o n F.

the

Oser

song ( Op .

is 76)

der 76,

from where

du r u f s t " No. 1 )

C o m m e r ’s D r e i it

appears

geistliche in

the

J Th e s c o r e of t h i s s ong i s a v a i l a b l e L i b r a r y o f C o n g r e s s i n W a s h i n g t o n , D. C.

Lieder

company

for

of

study at

^ H i l d e g a r d J u n g , " Da s g e i s t l i c h e S o l o l i e d im 19. Jahrhundert: Ein B e i t r a g zur G e s c h i c h t e des d e u t s c h e n K u n s t l i e d e s " ( I n a u g u r a l - D i s s e r t a t i o n , U n i v e r s i t a t Koln, 1 9 5 1 ) , p. I L .

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

165

" A u f m e i n e m L a g e r " ( On My B e d ) a n d " H a t t '

ich Fliigel"

(If

I Had W i n g s ) . Herr,

der

du r u f s t

H e r r , d e r du r u f s t dem M o r g e n r o t h , Und r i e g e l s t z u d a s T h o r d e r N a c h t , D a s s d a s Ge wo l k a u f d e i n G e b o t B r e n n t , w i e von A n d a c h t s g l u t e n t f a c h t : 0 s e n d e d e i n e r Gn a d e S t r a h l Auc h m i r i n ' s H e r z und m a c h ' s b e r e i t , Na c h a l l e m J a m m e r , a l l e r Qu a l Zu p r e i s e n d e i n e G i i t i g k e i t . H e r r , d e r dem Aa r du f l i e g e n h e i s s t Aus s e i n e m H o r s t z u r S o n n e g l e i c h : H n t r e i s s ' a u c h mi c h d u r c h d e i n e n G e i s t , De r f i n s t e r n H a c h t und i h r e m R e i c h ! Aus f e r n s t e r Hoh l a s s ' o h n e Gr a u n Mi c h b l i c k e n a u f d e r E r d e Mo t h , Und j a u c h z e n d i r im N i e d e r s c h a u n , A l s wi e d i r j a u c h z t d a s M o r g e n r o t h . Lord,

You Who C a l l L o r d , you who c a l l t h e dawn And b o l t s h u t t h e d o o r o f t h e n i g h t , So t h a t t h e c l o u d a t y o u r command Burris, a s i f f r om d e v o t i o n ' s p a s s i o n 0 send your r ay of g r a c e A l s o i n my h e a r t a n d make i t r e a d y , After a l l trembling, a l l pain, To p r a i s e y o u r g o o d n e s s .

kindled:

L o r d , yo u who command t h e e a g l e t o f l y Fr om h i s a e r i e s i m i l a r t o t h e s u n : R e s c u e me a l s o by y o u r S p i r i t Fr om t h e d a r k n i g h t a n d i t s k i n g d o m ! Fr om t h e mo r e d i s t a n t h e i g h t l e t me w i t h o u t Lo ok on t h e e a r t h ' s d i s t r e s s And r e j o i c e i n yo u i n t h e d o wn wa r d v i e w , As e v e n t h e dawn r e j o i c e s i n y o u . Theological created

order.

as a source

He i s

of g r a c e

s u m ma r y . good

and

God t h e may

Lord

controls

be a d d r e s s e d

and d e l i v e r a n c e .

After

fear

in

the

prayer

he a n s w e r s

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

by

166

sending lives

are

fear God

the

Koly

controlled

and

pain,

and

Spirit,

not

but

fear

by

he

to

forces

faith the

is

be

of

allows

praised.

despair

accompanied

individuals

exigencies

of

People's

to

life.

focus

The

by on

created

o r d e r r e j o i c e s i n God a n d m i r r o r s t h e wa y i n w h i c h God c a n act

in

the

influence

life of

of

song

ir

in

introduction, measure (e

1

text

demonstrates

the

analysis.

strict a

postlude.

The

strophic

four-measure Th e

forty-three

form

include

interlude,

undulating

me l ody

measures a

of

one-measure

and spans

a

seven-

an

octave

9 i to e ) in a t o n a l f r a m e w o r k w hich b e g i n s and ends in E

major

w i t h an i n t e r m e d i a t e

song

has

that

of

and

This

Pietism.

Musical this

a believer.

an

arpeggiated

"Kreuz-Lied."

without

The

modulation

piano text

t o li m a j o r .

accompaniment is

presented

This

sim ilar

to

syllabically

repetition.

Other

settings.

No o t h e r

settings

are

known t o

the

J The s c o r e o f t h i s s o n g i s a v a i l a b l e L i b r a r y o f C o n g r e s s i n W a s h i n g t o n , D. C.

of

this

text

be e x t a n t .

for

study at

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

Chapter

17

FRANZ ABT (1819-1885) As tor, ing

Abt

the

wa s

son

a

educated

theological

furthering

of

musical!, y - t r a i n e d

in

Leipzig

training

his

musical

at

with

the

in

in

music,

education

Bernburg,

national

serving

Zurich,

reputation.

as

the

at

the

a successful

a composer

Ab t

wa s

for

male c h o ru s,

solo

lieder. likened

voice,

but

including

his compositional to

that

of

the

was v o c a l he a l s o at

least

style

cheaply

wrote

in

awkward

declamation,

s o ngs were e x t r e m e l y s o me

even

gaining

and

particularly

over

400

thirty

songs

geistliche

these

songs

has

sentimental

salon

music

trite

p o p u l a r a mo n g h i s

an a c c e p t a n c e

with

3000 i n d i v i d u a l

his time with p rim itiv e accompanimental forms, nies,

an i n t e r ­

prolific

music,

for

also

conductor

developing

pieces. works

while

choral

over

interest

receiv­

Thomasschu1e .

m o r e t h a n 6 00 o p u s n u m b e r s ma d e up o f Kis main

of

pas­

he d e v o t e d h i m s e l f t o a

and B r u n s w i c k and As

goal

university

F o ll o w i n g the d e a t h of h i s f a t h e r , career

Protestant

akin

but

contemporaries that

of

we a k h a r m o ­

melodies,

to

been

of

Abt's with

folksong.^

^ W i l l i Ka h l , "Abt , F r a n z , " Di e Mus i k i n G e s c h i c h t e u n d G e g e n wa r t , v o l . 1, e d . F r i e d r i c h B l u m e ( K a s s e l a n d Basel: Darenreiter, 1949-51), pp. 6 7 - 6 9 . Also, Carl B e n e d i c t , " A b t , F r a n z , " Me u e d e u t s c h e B i o g r a p h i e , v o l . 1 167

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

1 6 8

Two o f

his

mo r e p o p u l a r

lieder

are

considered

below.

"Waldandacht" ( Op. 2 1 1 . No. 3 ) 2 Abt's "L.

score

Drewes."

It

gave

may

the

Eichendorff and

O

included

a

poet

close

whom h e

His

simple

Anklangen

Lieder

der

that

otherwise-unknown the author

Leberecht

shared

works,

an

personal a

and

friend

which

he

of

the

Dreves Joseph

of

thought

sought

Harmony, "

("Songs

is

of

modern s e c u l a r

("Lyrical Ki r c h e

Bliicher

similarity

through

Christianity

Lyrischen

collection,

1846),

was

with

feeling.^

reconcile

the

who

as

be c o n j e c t u r e d

Protestant-turned-Catholic (1816-1870)

poet

1i f e , ^

1837)

the

to

and

Church,"

w h i c h he e d i t e d . * ^

(Berlin: Duncker & Humblot, 1952), pp. 2 5 - 2 6 . In a d d i t i o n , E d w a r d F. K r a v i t t , " A b t , F r a n z W i l h e l m , " The New G r o v e D i c t i o n a r y o f Mu s i c a n d Mu s i c i a n s , v o l . 1, ed. S t a n l e y S a d ie (London: Macmillan, 1980), pp. 29-30. F u r t h e r , H i l d e g a r d J u n g , " Da s g e i s t l i c h e S o l o l i e d i m. 19. Jahrhundert: Ein B e i t r a g zur G e s c h i c h t e des d e u t s c h e n K u n s t l i e d e s " ( I n a u g u r a l - D i s s e r t a t i o n , U n i v e r s i t a t Koln, 1 9 5 1 ) , p. 45. K r a v i t t , " A b t , " p. 3 0 , l i s t s a p a r t s o n g f o r u n s p e c i f i e d v o i c i n g by t h e s a me t i t l e a s Op. 1 7 5 , N o . 2. ^See

pp.

an

138-139 above.

^ P a u 1 R a a b e , " D r e v e s , L e b e r e c h t B l i i c h e r , " Neue deutsche B io g ra p h ie , vol. 4 (B erlin : Duncker & Humblot, 1 9 5 7 ) , p. 116. ^ Au g us t H e i n r i c h Kober, G e s c h i c h t e d e r r e l i g i o s e n D ichtung in D eutschland (Essen: G.D. B a e d e k e r , 1 9 1 9 ) , p. 250. ^Ernst

Alker,

j)

i__e

ji

e^j j _t s^ c^Ji e_ L, i j t _ejr ja _t _u r

i m _1 9 .

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

169

Waldandacht F r i i h mo r g e n s , wenn d i e Ha h n e k r a h ' n , E h ' n o c h d e r W a c h t e l Ru f e r s c h a l l t , E h ' w a r me r a l l ’ d i e L i i f t e w e h ' n , Vom J a g d h o r n r u f d a s Ec h o h a l l t : Dann g e h e t l e i s e Na c h s e i n e r We i s e De r l i e b e H e r r g o t t d u r c h d e n Wa l d ! D i e Q u e l l e , d i e i h n kommen h o r t , H a l t i h r Ge mu r me l a u f s o g l e i c h , Auf d a s s s i e n i c h t i n A n d a c h t s t o r t So G r o s s a l s K l e i n i n W a l d b e r e i c h . Di e Baume d e n k e n : Nun l a s s t u n s s e n k e n Vor ' i n l i e b e n K e r r g o t t d a s G e s t r a u c h ! Di e B l i i m l e i n , wenn s i e a u f g e w a c h t , S i e ahnen auch den l i er r n a l s b a l d Und s c h i i t t e l n r a s c h d e n S c h l a f d e r N a c h t S i c h a u s d e n Au g e n m i t G e w a l t . Sie f l i i s t e r n l e i s e Ei n g s u m im K r e i s e : Der l i e b e G o t t g e h t d u r c h d e n Wal d! Forest

Devotion E a r l y i n t h e m o r n i n g , when t h e c o c k s c r o w , Before yet the q u a i l ' s c a l l resounds, B e f o r e w a r me r a l l t h e b r e e z e s b l o w , The e c h o f r o m t h e h u n t i n g h o r n s o u n d s : At t h a t t i m e g o e s s o f t l y I n h i s own way The d e a r L o r d God t h r o u g h t h e f o r e s t ! The s p r i n g , w h i c h h e a r s h i m c o m i n g , S t o p s h e r murmuri ng w e l l e nough, In o r d e r t h a t she d o e s n ' t d i s t u r b Large t h i n g s as well as small t h i n g s forest region. The t r e e s t h i n k : Now l e t u s l o w e r The b u s h e s b e f o r e t h e d e a r L o r d God!

Jahrhundert p . 237.

(1832-1914)

(Stuttgart:

Alfred

in

the

Kroner,

1969),

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

170

The l i t t l e f l o w e r s , when t h e y a r e a w a k e , Th e y a l s o s e n s e t h e L o r d i m m e d i a t e l y And q u i c k l y s h a k e t h e s l e e p o f n i g h t Out o f t h e i r e y e s w i t h m i g h t . Th e y w h i s p e r s o f t l y All around the c i r c l e : The d e a r God g o e s t h r o u g h t h e f o r e s t ! Theological passes

through

of

created

the

Each

part

of

This te x t

the

the

measures

are

major

vocal

to

g^).

in

strict

Th e

piano

in

four

point.

lines

of

Lord

morning.

senses

worships

silently

him

in

The w h o l e

his

presence.

reverent

This

strophic

song's^

triads The text

awe.

form.

In

ninety-three the

key

melody has a compass of a p e r f e c t

the

one

the

God a n d

a n a l y s i s.

broken chord

at

in

the

i d e a s of Romanticism.

utilizing voice

God

early

loves

forest

the

Mus i c a l

(c^

forest

order

shows

the

s u mma r y .

accompaniment patterns

or

thirds,

and

text-setting are

in

repeated

is in

is

highly

both even

the

idiomatic,

echoing

last

F

twelfth

hands,

syllabic,

of

doubling the

voice

but

the

last

half

of

each

strophe. Other this

text

are

settings. k n o wn t o

No o t h e r

solo

voice s e t t i n g s

of

be e x t a n t .

^The s c o r e of t h i s s ong i s a v a i l a b l e the n id d le b u ry College Music L i b r a r y in Vermont.

for study at Middlebury,

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

171

" Ave M a r i a " ( Op. 4 3 8 a ) The

text

paraphrase Catholic of

the

angel

added

this

Latin

song prayer

in

G abriel

the for

be f o u n d

is

an

which

anonymous was

used

The L a t i n t e x t c o n s i s t e d from

fr o m Luke 1 :4 2 ,

standardized and can

the

worship.

Elizabeth was

of

of

in

1:28,

in

century.

the

use

The L i b e r

in

the

The

Ro ma n

of the words words

and a p r a y e r of p e t i t i o n

fifteenth liturgical

Luke

German

text

following

of

which

became O century

Usualis.^

Ave M a r i a G r u s s d i r , M a r i a , M u t t e r d e r Gnaden, 0 B e n e d e i t e , d ie der Herr vor a l i e n Auserwahlet h a t ! D i e e r e r k o r e n , u n s zum H e i l z u g e b e n Unsern Heiland J e s u s . H e i l 'g e Maria, Gottes Mutter! Inbriinstig flehn wir: 0 f le h ' fur u n s're Siindenschuld! B i t t e im L e b e n , wi e i n d e r T o d e s s t u n d e , B i t t : f u r u n s Ar me v o r G o t t e s T h r o n . H e i l ' g e M a r i a , b i t t ' f i i r u n s Ar me , B i t t e f i i r u n s im L e b e n , Wi e i n d e r S t u n d e d e s T o d e s . Ame n .

®" Ave M a r i a , " and M u s i c i a n s , 1 : 7 4 4. ^ The L i b e r ( T o u r n a i , Belgium:

The

New G r o v e D i c t i o n a r y

of

Music

Usua1i s , ed. B e n e d i c t i n e s of Solesmes D e s c l e e , 1947) , p. 1861.

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172

Hail

Ma r y H a i l t o y o u , Mar y, m o t h e r o f g r a c e , 0 b l e s s e d o n e , whom t h e L o r d b e f o r e a l l has chosen! Whom h e c h o s e , i n o r d e r t o g i v e u s s a l v a t i o n By o u r S a v i o r J e s u s . Ho l y Ma r y, Fervently 0 entreat Intercede Intercede o f God.

m o t h e r o f God! we e n t r e a t y o u : f o r t h e g u i l t of our s i n s ! in l i f e , as in the hour of d e a t h , f o r us poor ones b e f o r e t h e t h r o n e

Ho l y Ma r y, i n t e r c e d e f o r I n t e r c e d e f o r us i n l i f e Ame n . Theological V i r g i n Ma r y s o t h a t race

us poor o nes , as in the hour

summary.

God

she could

bring

through Jesus.

Mary,

wh o i s

the

of

Lord h a s

salvation blessed,

chosen

to is

death.

the

the

h u ma n

the mother

o f God a n d ma y b e e n t r e a t e d t o i n t e r c e d e i n h e a v e n f o r t h e forgiveness

of

people's

sins,

both

at

the tim e s of t h e i r

individual

is

sinful

calling

ness.

and n e e d y ,

This

text

expresses

during deaths.

out

to

their

and

The h u ma n r a c e

heaven

traditional

lives

for

forgive­

Ro ma n

Catholic

theology.

Mu s i c a l fills

analysis.

forty-eight

a major

tenth

(e

This through-composed s o n g ^

m e a s u r e s . Th e s o a r i n g 1

to

9

g-sharp)

in

Th e s c o r e o f t h i s s o n g th e M iddlebury C olleg e Music Vermont.

the

vocal

melody

spans

key of E Maj or .

is available L i b r a r y in

for study at Middlebury,

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173

The

piano

accompaniment

sixteenth-note ending p o r t i o n s the

central

then

with

between

patterns of t h e

portion,

voice

first

and

does

complete

the

melodic

section.

The

text

with

notes.

a

last

with

of

section Other

of

is

This the

double

is

set

entitled

particular

G e r ma n

vocal

at a

the

the

middle

close

style

extended

through

While

many

rhythms section.

but

of

and

it

the

does first

reminiscent

of

over

three

repetition

ideas

chords

cross

melody,

and

permeating

block in

in

two but

or even

paraphrase

an

more in

the

song.

settings.

songs are

text

textual

the

in

in

chords

beginning

rhythm

results

the

often

some

the

the

repeated

piano

line

syllable

There

reiteration

not

arpeggiated

throughout

arpeggiation.

the

of

song w i t h t r i p l e t

The p i a n o

aria

consists

other

" Ave M a r i a , " no o t h e r text

is

k n o wn t o

German

setting

of

be e x t a n t .

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

solo this

Chapter

18

JOHANN GEORG HERZOG (1822-1909) Herzog, organ the

a virtuoso

pedagogue,

most

has

important

been

in

capacity

the

a church

for

position

reforming

of

the hymnal.

liturgically-oriented Herzog

penned

keyboard Gesange below

s o me

of

organ

twenty

50) o f

musician

1879 i n

sacred

church

which

his

in

through

a c o m p o se r of

sacred

songs

for

the

in

involved

music

and

his

While

of E r l a n g e n ' s

prim arily

including

been

G e r ma n y

later

he wa s a c t i v e l y

works

in

century.

the U n i v e r s i t y

Although

have

to

Munich and

Protestant

accompaniment, (Op.

church

in

Church Music,

revitalization

by s o me

of th e n i n e t e e n t h

as the d i r e c t o r

Institute

considered

Protestant

during the second h a lf serving

o r g a n i s t and h i g h l y r e s p e c t e d

choral solo

1_0

music

voice

a nd

geistliche

t wo l i e d e r

discussed

appeared.^ "Passionsgesang" ( Op. 5 0 , No. 5; 1 8 7 9 ) For

the

text

of

this

lied

Herzog chose

the

first

Franz K rautw urst, " H e r z o g , J o h a n n G e o r g , " Die M u s i k i n G e s c h i c h t e und G e g e n w a r t , v o l . 16, e d . F r i e d r i c h Bl ur ue ( K a s s e l a n d B a s e l : B a r e n r e i t e r , 1 9 5 7 ) , pp. 2 9 9 - 3 0 2 . 174

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

175

and

third

of

tausendmal

the

gegriisset"

1676).^

After

Lutheran

school

University tutor

in

as

pastor

a

spiritual of

the

having and

of

Berlin

a

number

by

trained

of h i s

a s by t h e

writings

prayer

his

parishes

inspired

Latin

One

within such

as

where

during

134 t e x t s ,

books.0

studies

served

It

he

the

offered the

wa ke

within

the

wrote

the

by t h e B i b l e a s w e l l devotional

collections

collection

sanctorum

at

he s e r v e d

and i n

that

(160 7-

a private

he

was

mir

orthodox

Subsequently

m inistry

contained

"Sei

Gerhardt

theological

165 1.

of

poem

in a s t r i c t l y

Wa r ( 1 6 1 8 - 1 6 4 8 ) .

Me d i t a t i o n e s

medieval

Paul

pastoral

Holy F a t h e r s , "

the

Gerhardt

16 43 t o

Years

majority

part

been

of

n u r t u r e and e n c o u r a g e m e n t

of

the

w ritten

completing

from

in

Thirty

fioller's

stanzas

Wittenberg,

context

and

five

was

M artin

p a t r u m ( " M e d i t a t i o n s on

1584-1591)^ which in c lu d e d poem " K h y t h m i c a

the seven-

O r a t i o ," o n c e c r e d i t e d

O The c o m p l e t e t e x t of t h i s poem i s a v a i l a b l e i n A l b e r t F i s c h e r , Das d e u t s c h e e v a n g e l i s c h e K i r c h e n l i e d d e s 1 7 . J a h r h u n d e r t s , v o l . 3 , e d . W. T r i i m p e l ( H i l d e s h e i m : G e o r g 0 1 m s , 1S6 4 ) , p. 4 0 5 . Herzog used the f o u r t h s t a n z a o f t h e poem a s t h e t e x t f o r t h e f o u r - v o i c e c h o r a l e w h i c h f o l l o w s " P a s s i o n s g e s a n g " i n h i s _10_ g e i s t l i c h e G e s a n g e . ^ T r a u t e M a a s s M a r s h a l l , " G e r h a r d t , P a u l , " The New G r o v e D i c t i o n a r y o f Mu s i c a n d Mu s i c i a n s , v o l . 7, ed. S t a n l e y S a d ie (London: M a c m i l l a n , 1 9 8 0 ) , pp. 2 5 5 - 2 5 6 . A l s o , T h e o d o r e Brown H e w i t t , P a u l G e r h a r d t a s a_ Hymn Wr i t e r a n d h i s I n f l u e n c e o n E n g l i s h H y mn o d y ( Ne w H a v e n : Yale U n i v e r s i t y P r e s s , 1 9 1 8 ) , pp. 1 - 2 6 . Mohn,

^Gerhard Podding, 1 9 8 1 ) , pp. 3 4 - 3 6 .

_P_a_u .1

£ n i l fLL llJl

(Giitersloh:

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176

to

Bernard

been

of

written

Clairvaux by A r n u l p h

lated.

"Sei

of

poem's

seven

"0 H a u p t

voll

the

text,

English final

as

mir

"0

(1091-1153), of

tausendmal parts Blut

Sacred

Louvain,

and

und

Head

experience

of

which

gegriisset"

se c tio n .G e rh a rd t's

devotional

now d e e m e d

the

to

Gerhardt

car ne f r o m

famous

Wounded,"

trans­

the

first

Gerhardt

h y mn

Wunden," commonly

Now

have

known

came

from

in the

e m p h a s i s on t h e p e r s o n a l a n d

the

individual

believer

and

his

trust

i n t h e l o v e o f God m a r k e d h i m a s a p o e t wh o p a r t i c i ­

pated

in

to

the t r a n s i t i o n

Pietism

his "Sei

reading mir

edition 16 5 3 . ^

of

influence

earlier

of

Criiger's

Johann also

set

of

text

" Wach a u f ,

The in

pietatis

Gerhardt

mein

Years

appeared

Praxis

another

Lutheranism

authors.^

first

Gesange, "Norgenlied" the

orthodox

the Thirty

devotional

gegriisset"

Herzog

with

the

strictly

tausendmal

geistliche ning

under

from

( Op . Herz,

50,

text No.

War a n d text

the

fifth

me 1 i c a in 1),

his

und s i n g e . "

S e i m i r t a u s e n d ma l g e g r i i s s e t , De r mi c h j e und j e g e l i e b t , J e s u , d e r du s e l b s t g e b i i s s e t Das w o mi t i c h d i c h b e t r i i b t . Ac h , w i e i s t m i r d o c h s o w o h l ,

^ J o h n J u l i a n , " S a l v e mundi s a l u t a r e , " D i c t i o n a r y o f Bymno1 o g y , v o l . 2 , e d . J o h n J u l i a n ( 1 9 0 7 ; r p t . Gr and Rapids: K r e g e l , 1985), pp. 9 8 9- 991. "Gerhardt,"

p.

^ F i s c h e r , K i r c h e n l i e d , pp.

256. 295,

i n 10

begin­

Passionsgesang

^Marshall,

of

405.

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177

Warm i c h k n i e n un d l i e g e n s o l i An dem K r e u z e , d a du s t i r b e s t Und am m e i n e S e e l e w i r b e s t . H e i l e mi ch, 0 H e i l d e r S e e l e n , Wo i c h k r a n k und t r a u r i g b i n : Nimm d i e S c h m e r z e n , d i e mi c h q u a l e n , Und d e n g a n z e n S c h a d e n h i r i , Den m i r Adams F a l l g e b r a c h t , Und i c h s e l b e r m i r g e m a c h t , W i r d , 0 A r z t , d e i n B l u t mi c h n e t z e n , Wi r d s i c h a l l m e i n J a mme r s e t z e n . So n g

of

the

Passion^

Be g r e e t e d by me a t h o u s a n d t i m e s , He who l o v e d me on a n d o n , J e s u s , who y o u r s e l f a t o n e d f o r T h a t by w h i c h I ma de yo u s a d . A l a s , how c e r t a i n i t i s t o me, When I s h o u l d k n e e l a n d l a y At t h e c r o s s , w h e r e yo u d i e d And won o v e r my s o u l . C u r e me, 0 r e d e m p t i o n o f t h e s o u l , When I am s i c k a n d s a d ; B e a r t h e p a i n , w h i c h t o r t u r e s me, And a l l t h e h u r t , Wh i c h A d a m ' s f a l l b r o u g h t t o me, And w h i c h I m y s e l f c a u s e d f o r me, 0 p h y s i c i a n , your blood w i l l s p r i n k l e A l l my m i s e r y w i l l s u b s i d e . Theological redeemer

of

the

summary.

soul,

atoned

Jesus, for

the each

me,

physician person's

and sin.

b e c a u s e o f h i s l o v e he d i e d on t h e c r o s s a n d w i l l now b e a r

^Hewitt, G e r h a r d t , p. 4 0 , listed two E n g l i s h hym nic t r a n s l a t i o n s of t h e German t e x t , one in the h o r a v i a n Hyinn Book o f 1 7 5 4 a n d r e p e a t e d i n l a t e r e d i t i o n s u n d e r t h e t i t l e " T h o u s a n d t i m e s by me b e g r e e t e d " a n d a n o t h e r by A. T . R u s s e l l i n h i s P s a l m s a n d Hj_mn_s o f 1 8 5 1 u n d e r t h e t i t l e " E v e r by my l o v e be o w n e d . " Russell t r a n s l a t e d o n l y t h e f i r s t , t h i r d , and f o u r t h s t a n z a s of G e r h a r d t ' s poem.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

178

the

believer's

b u r d e n s and r e l i e v e

o n e who s u f f e r s well

from

as from t h a t

the g u i l t

of p e r s o n a l

forgiveness

in

experiences

these

benefits

and

sadness

of

or her

pain.

The

and p a i n of Adam's s i n

misdeeds

relationship

humbly and p r a y e r f u l l y

his

with of

can f i n d

Jesus.

C hrist's

relief

T’h e

as a nd

believer

death

by

corning

to th e c r o s s a t t i m e s of s i c k n e s s

heart.

This

text

is

pietistic

in

its

theology . ^

Hu. ®. i £ ilJL_ fLUffi X s . i .s . measures Within tion

form

two

a basic

to

melody

and is

one

chorale-like

strophes

tonality

from

octave

keyboard

the

vocal

syllabic

and

without

text

are

^Rodding, the

strict

D major

(d

I

The

to

d

O

)

The

th irty -six

strophic

there

occurs

range with

accompaniment

line.

of

form.

a modula­

the

angular

a

honiophonic,

which

consistently

text-setting

is

primarily

repetition. No o t h e r

solo

settings

of

this

be e x t a n t .

( Op. text

so n g 's^

in

major.

settings.

known t o

The

of

F-sharp

doubles

Other

This

of

50.

"Arie" Ho. 9;

this

song

1879) consists

of

L uther's

G e r h a r d t , p . 36.

■^The s c o r e o f t h i s s o n g i s a v a i l a b l e L i b r a r y o f C o n g r e s s i n W a s h i n g t o n , D. C.

for

study

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

at

179

translation

of

Psalm

25:

16,

2 0,

followed

by a n

anonymous

poem. Ar i e Wende d i c h z u m i r u nd s e i m i r g n a d i g , Denn i c h b i n e i n s a r n und e l e n d . B e w a h r e m e i n e S e e l e u nd e r r e t t e m i c h , L a s s mi c h n i c h t z u S c h a n d e n w e r d e n , Denn i c h t r a u e a u f d i c h . Kein b e s s e r Tr e u a u f Er den i s t , Denn n u r b e i d i r , H e r r J e s u C h r i s t . I c h w e i s s , d a s s du m i c h n i c h t v e r l a s s t ; Dei n W a h r h e i t b l e i b t mi r ewi g f e s t , Du b i s t me i n r e c h t e r t r e u e r H i r t , De r e w i g mi c h b e h i i t e n w i r d .

Aria T u r n y o u r s e l f t o me a n d be g r a c i o u s F o r I am a l o n e a n d d i s t r e s s e d . P r e s e r v e my s o u l a n d s a v e me, L e t me n o t be r u i n e d , For I t r u s t i n you.

t o me,

No b e t t e r f a i t h f u l n e s s i s on e a r t h Th a n o n l y w i t h y o u , L o r d J e s u s C h r i s t . I k n o w, t h a t y o u w o u l d n e v e r f o r s a k e me; Your t r u t h e t e r n a l l y r e m a i n s f i r m f o r me, You a r e my mo r e g e n u i n e , t r u e r s h e p h e r d , Who w i l l a l w a y s p r o t e c t me. Theological faithful

and

true

protects

those

shepherd

who t r u s t

be

petitioned

by h i s

is

eternally

true.

solitude her. to

and

anxiety

Protection Christ

and

s u mma r y .

and

who c o n s t a n t l y in

people The

him. in

time

believer

which

his

He i s of

are

abides

need,

to

presence.

to be

is a

with

gracious

lives

threatens

salvation

seeking

The L o r d J e s u s C h r i s t

and

and can

for

his

a

world

in

destroy

wo r d of

him or

found

by

turning

This

text

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

is

a

180

combination of

traditional

Musical

analysis.

m e a s u r e s of s e c c o 103

measures.

its

final

major the

B-section thus

da

form.

capo

diminished melody

in

its

aria

frequently echoes the is

singer

and

more

keyboard

part. but

notes.

There

out

aria

the

I1

the

1

-sharp a

the

voice

slightly

of has

in F

while

the

are

melodic

The

cross-rhythms

accompanist,

and

in

often

text

is

basically

one s y l l a b l e

extensive

is

repetition

none o c c u r s

in

the

the

with

a

set

to

three

of

the

text

and

between

B-section

independence set

in

keyboard

are

rhythmic

and

foreshadows

the

a

homophonic

presented

thereto.

of

angular 1 O (c to g ) .

there

and

altered

the

basically

both

in

third

range

twelfth

is

the

also

Th e

while

for

but

melodic

is

and

begins

vocal

f )

which

introduction

the

a

perfect

aria

the

and

9

to

contains

Occasionally

muc h

approach,

(c

and

doubles

it.

of f i f t e e n

F major

F major

has

accompaniment

of

eight-m easure

in

the a ria

an a b b r e v i a t e d

spans

piano

to

recitative

eleventh

germs

while

ideas.

by a n ABA* a r i a

begins

returning

The

conception

rhythmic

pietistic

t o C ma j o r and A mi nor s u c c e s s i v e l y

yielding

Th e i d i o m a t i c

followed

in A minor,

before

the

of

with

song'*''*' c o n s i s t s

The r e c i t a t i v e

modulates

section,

This

recitative

cadence

and

orthodoxy

there in

the

syllabic or

four

through­

recitative.

The s c o r e o f t h i s s o n g i s a v a i l a b l e L i b r a r y o f C o n g r e s s i n W a s h i n g t o n , D. C.

for

study

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

at

131

Other are

known t o

settings.

No o t h e r

settings

of

this

be e x t a n t .

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

text

Chapter

19

PETER CORNELIUS (1824-1874) Having performers, early

been

in

both

family

experiences

of

the

works

of

his

his

and

literary

Eichendorff^

Franz

in

and

brought

who w e r e

music him

education

talents

Weimar

household,

with Richard

relationship

to

with

under

to

which

he

discovered

there

influence

musical

received

his with

Joseph

poets.

led

v on

I n 1852

to his year.

Cornelius

a

own p o e t i c

became a member

ultimately

t w o men t h a t

earliest

a

also

Wa g n e r i n t h e f o l l o w i n g

these

the

his

w h e r e he c o m p l e t e d

among o t h e r

and

his

pursue

acquaintance

Heyse,

stage

Following the death

there

and

through

and P a u l to

decided

While

both

Cornelius received

mo ve d t o B e r l i n

studies.

moved

Liszt's

meeting

having

Cornelius

literary

Cornelius

acting

subsequently

musical

thorough

parents

o f M o z a r t a n d Go e t h e . ' * '

father, and

to

the poet-composer Peter

training

career

born

of

first It

lived

was the

^ R o b e r t J a m e s S e e l e y , "The Song C y c l e s of P e t e r C o r n e l i u s ( 1 8 2 4 - 7 4 ) w i t h E m p h a s i s on t h e Two S a c r e d So n g Cycles: Vaterunser and We i h n a c h t s l i e d e r " ( D . M . A . dissertation, Southwestern B a p t is t Theological Seminary, 1 9 8 0 ) , p . 2 . F o r i n f o r m a t i o n a b o u t G o e t h e , s e e p. 101 above. O F o r mo r e i n f o r m a t i o n c o n c e r n i n g E i c h e n d o r f f , s e e pp. 1 3 8 - 139 above. 182

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

183

rest

of h i s

life,

tor,

and c o p y i s t

his

o wn p e r s o n a l

serving while

Roman C a t h o l i c

choral

works

penning

secular

comic

opera

Der

lieder

that

he i s

the

secretary,

interm ittently

Cornelius

choral

music.

Bar b i e r

von

primarily

solo

songs,

his

are

nineteen

It

transla­

to a s s e r t O independence. As a

wrote

encouragement

seventy-eight own t e x t s ,

friend,

and c o m p o s i t i o n a l

devout

at

as

seeking

a

numbe r

of L i s z t , ^ is,

of as

sacred w ell as

however,

for

his

Ba g d a d ( 1 8 5 5 - 1 8 5 8 )

and

his

remembered ma n y o f

today.^

which are

geistliche

Among h i s settings

of

lieder.

" E r l o s e u n s vom U b e l " ( Op. 2 , No. 9; 1 8 5 4 ) This song

cycle

song

is

the

Vaterunser

final ( Op .

Bernhardshiitte near

We i m a r

wa s

composer

written

fication

by t h e

on t h e L o r d ' s

O

For relationships,

in

Prayer

component

2),

which

1854.

he

Th e t e x t

and s e r v e s as

in

Cornelius'

composed of

each

as a p o e t i c

recorded

in

Lu k e

at song

ampli­ 11:2-4.

a more d etaile d account of these s e e S e e l e y , " C o r n e l i u s , " pp. 6 - 2 1 , 2 9 - 4 6 .

^ S e e l e y , " C o r n e l i u s , " pp. 1 5 - 1 5 . See a l s o , Hans E n g e l , " C o r n e l i u s , P e t e r , " Die Mu s i k i n G e s c h i c h t e und G e g e n w a r t , v o l . 2, e d . F r i e d r i c h B l u m e ( K a s s e l a n d B a s e l : B a r e n r e i t e r , 1 9 5 2 ) , p. 1 6 8 4 . ^Giinther M assenkeil and G unther Wagner, " C o r n e l i u s , ( C a r l A u g u s t ) P e t e r , " The New G r o v e D i c t i o n a r y o f M u s i c a n d M u s i c i a n s , v o l . 4, e d . S t a n l e y S a d i e ( L o n d o n : M a c m i l l a n , 1 9 8 0 ) , pp. 7 8 1 - 7 8 4 . Also, Engel, " C o r n e li u s ," pp. 1684-1689.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

184

In

the

each

history

of

the

A.

melodic

in

under

in

Masses

of

the

Erlose

uns

a

songs

found

cycle

is

of

fifteenth

unique

musically

an

in

based

Ambrosian

These c h a n t

individual

manuscript

manner

is

that

on

chant

lied have

reminiscent

and s i x t e e n t h

titles been

of

phrases

the

by N. which

and

used cantus

the

Pater-

in a te x tb o o k w r i t t e n

chant.

the

Cornelius'

composer

this

phrase

on G r e g o r i a n

included

noted

lied

which C o r n e liu s

Janssen

were

the

individual

corresponding noster

of

foot­ by

the

f i r mu s

centuries.^

vom U b e l

H e i l ' g e L i e b e , f l ammend H e r z , Wol l e ganz d i e We l t d u r c h d r i n g e n , Dass d i e S e e l e n a l l e r w a r t s Liebegliihend s i c h umschlingen. V a t e r , d e r den Sohn g e s a n d t , D a s s e i n Weg zum H e i l u n s b l i e b e , R e t t ' u n s a u s d e s B o s e n Hand Durch d i e L i e b e ! H e i l ' g e r Glauben, K reu zes b ild , L e i t ' uns f e s t d ur ch L e b e n s s t i i r m e , Ob a u c h d r o h e n d s i c h un d w i l d Woge r i n g s a u f Woge t i i r m e . Sohn, d u r c h den wi r G o t t e r k a n n t , Lass uns d i e s e n Hort n i c h t r a u b e n , R e t t ' uns a u s d i e Bosen hand Durch den Gl a u b e n ! H e i l ' g e H o f f n u n g , A n k e r Du, Senl ce t i e f D i c h i n d i e H e r z e n ,

^Seeley,

"Cornelius,"

pp.

52-53.

^Gt i nt her M a s s e n k e i l , "Cornelius a l s Liederkompon i s t , " in P e t e r C o r n e l i u s a l s Komponist, D i c h t e r , K r i t i k e r Hi l ll E s s a y i s t , e d . H e l l m u t F e d e r h o f e r a n d K u r t O e h l (Regensburg: G u s t a v B o s s e , 1 9 7 7 ) , p. 163.

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185

G i b i m Kampf u n s s i i s s e R u h ’ Und i n Wonnen w a n d l e S c h m e r z e n . G e i s t des T r o s t e s , unverwandt Z e i g e u n s d e n Hi mmel o f f e n , R e t t ' u n s a u s d e s B o s e n Ha n d : Dur ch d a s H o f f e n . Deliver

Us f r o m t h e

E v i l One

O

Hol y l o v e , g l o w i n g h e a r t , Be w i l l i n g t o p e n e t r a t e t h e w h o l e w o r l d , So t h a t s o u l s e v e r y w h e r e Embrace t h e m s e l v e s , g l o w i n g w i t h l o v e . F a t h e r , who s e n t t h e S o n , T h a t a way o f s a l v a t i o n c o n t i n u e s f o r u s , Save us f r om t h e hand of t h e e v i l one Through l o v e . Mo r e h o l y f a i t h , i m a g e o f t h e c r o s s , Lead us f i r m l y t h r o u g h l i f e ' s s t o r m s , A l t h o u g h a l s o t h r e a t e n i n g l y and w i l d l y Wave u p o n wa v e p i l e s h i g h . S o n , t h r o u g h whom we p e r c e i v e d God, L e t u s n o t be d e p r i v e d o f t h i s r e f u g e , Save us from t h e hand of t h e e v i l one Through f a i t h . H o l y h o p e , yo u a n c h o r , S e t t l e deep in t he h e a r t , Gi v e us s w e e t r e s t i n t h e b a t t l e And c h a n g e p a i n i n t o d e l i g h t . S p i r i t of c o n s o l a t i o n , u n s w e r v i n g l y Show u s t h e o p e n h e a v e n , Save us f r om t h e hand of t h e e v i l one Through hope. Theological in

prayer,

sent

the

is

Father,

Son s o t h a t

summary. Son, through

God,

who c a n

and S p i r i t . divine

be a d d r e s s e d

As F a t h e r

he h a s

love in d iv id u a ls

might

O E n g l i s h t r a n s l a t i o n s by Mr s . B. S h a p l e i g h w h i c h ma y b e u s e d f o r t h e p e r f o r m a n c e o f e a c h o f t h e s o n g s o f t h i s c y c l e may be f o u n d i n J ^ P e t e r C o r n e l i u s ] ] , M u s i k a l i s c h e We r k e , v o l . 1, ed. Max H a s s e ( L e i p z i g : Breitkopf & H a r t e l , 1 9 0 5 - 1 9 0 6 ) , pp. 3 4 - 6 0 .

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

186

find

salvation

Jesus, from the

deliverance

he h a s r e v e a l e d

the

evil

cross

ated

and

one,

where

by t h e

Satan.

Jesus

of hope

of

the

the

Devil

is

threateningly

ance,

and

battles the

from hope. Christ. by

of

Rom antic

thus

active.

can

bespeaks

theology

spiritual be f o u n d

such

as

looks

offers

saving

the

present

them from

in a world the

where

resultant

faith's

guid­

which

comes

relationship orthodoxy

that

to

appropri­

their

rest

in

traditional

is

he

Amidst

Son

deliverance

of

People liv e

and

these

text

Spirit

believers

the

which

human b e i n g s n e e d l o v e ,

emotional

All

This

one.

As

deliverance

w i t h God,

power

and

evil

faith

Holy

by a s s u r i n g

the

storms

this

As t h e

relationship

evil.

and p r o v i d e d

Through

died,

believer.

consolation and f u t u r e

himself

from

with

tempered

espoused

by

Schleiermacher. Mu s i c a l this

lied^

melody

are

with

resulting

in

three

The

ninety-nine

strophes

of

varied

accompaniment

a

of

E-flat

in

a

harmonic

major

tonalities,

type

but

strophic

measures

almost for

identical

each

framework

which

also

particularly

variation

of

strophe,

The 1 o a n g u l a r m e l o d y h a s a c o m p a s s of one o c t a v e (e - f l a t t o e flat)

in

analysis.

which hints

D-flat

cadences at

form.

strongly

a variety

major.

^ Th e s c o r e of t h i s l i e d i s a v a i l a b l e j C o r n e l i u s J , W e r k e , v o l . 1, p p . 5 8 - 6 0 .

The

in

of o t h e r keyboard

for study in

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

187

accompaniment fe a tu re s f i r mu s i n like

the

chords,

octave

uppermost with

strophe

which

some i n t e r p r e t e r s

the

the

in

the

setting

is

basically

and

chorale­ sometimes

strophe.

descant

In

figures

the

occur

d e e m t o b e a k i n t o t h o s e u s e d by

"Lacrymosa"

of

syllabic

settings.

of t h e c a n t u s

pianist's

second

a p p o g g i a tu r a - 1ike

Mozart

known t o

of

displacement

during

final

are

notes

rhythmic

displacement

Other

twelve r e p e titio n s

his and

Req u i e m . ^ ^ without

No o t h e r

The

text-

repetition.

settings

of

this

text

be e x t a n t .

( Op. This

" Di e K o n i g e " 8 , No. 3; 1 8 7 0 )

song comes from th e

( Op . 8 )

which C o rn e liu s

1856 a t

Bernhardshiitte,

cycle

originally but

which

W eihnachtslieder

wrote

wa s

not

in

November

published

of

until

1870

with i t s f i r s t public performance the follow ing IO year. I n a l e t t e r t o h i s m o t h e r i n 1860 C o r n e l i u s

^Seeley,

"Cornelius,"

p.

90.

1 1The

d a t e 1870 r e f e r s to t h e t i m e a t w h ic h C o r n e l i u s c o m p l e t e d h i s f i n a l r e v i s i o n of t h i s song and a r r i v e d a t t h e f o r m i n w h i c h t h e s o n g was f i r s t p u b l i s h e d . T h i s f i n a l v e r s i o n w a s p r e c e d e d by t w o o t h e r s , o n e f r o m t h e y e a r 1856 and a n o t h e r f r o m 1859. Similar revisions w e r e m a d e i n " D i e H i r t e n " ( Op . 8 , No. 2) o v e r t h e s a m e p e r i o d of t i me . 1 ? Max H a s s e ,

We r k e , v o l . p. I X.

ed., P e t e r C o r n e l i u s : M usikalische 1 (Leipzig: B reitkopf & H a rte l, 1905-1906),

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188

described and

proper

family they

these

life

settings

with

their

of h i s

roots

in

and i n an u n s t u d i e d

communicated

their

o wn p o e m s a s the

beauties

piety.

contents

thoughtful of

German

He b e l i e v e d

from

one

heart

that to

a n o t h e r . 1^

Die Koni ge Dr ei Kon'ge wandern aus Morgenland, E i n S t e r n l e i n f i i h r t s i e zum J o r d e n s t r a n d . I n J u d a f r a g e n un d f o r s c h e n d i e D r e i , Wo d e r n e u g e b o r e n e K o n i g s e i ? S i e w o l l e n W e i h r a u c h , M y r r h e n u n d Go l d Dem K i n d e s p e n d e n zum O p f e r s o l d . Und h e l l e r g l a n z e t d e s S t e r n e s S c h e i n ; Zum S t a l l e g e h e n d i e K o n ' g e e i n ; Das K n a b l e i n s c h a u e n s i e w o n n i g l i c h , Anbetend n ei g en d i e Kon'ge s i c h ; S i e b r i n g e n W e i h r a u c h , M y r r h e n und Go l d Zum O p f e r d a r dem K n a b l e i n h o l d . 0 Menschenkind! h a l te t r e u l i c h S c h r i t t ! Di e K o n ' g e w a n d e r n , 0 w a n d ' r e m i t ! De r S t e r n d e r L i e b e , d e r Gn a d e S t e r n E r h e l l e d e i n Z i e l , s o du s u c h s t d e n H e r r n , Und f e h l e n W e i h r a u c h , M y r r h e n u nd G o l d , S c h e n k e d e i n H e r z dem K n a b l e i n h o l d ! Schenk'

i hm d e i n

Herz!

( P e t e r C o r n e l i u s ] , L i t e r a r i s c h e W e r k e , v o l . 1, ed. C a r l M ar ia C o r n e l i u s ( L e i p z i g : Breitlcopf & H artel, 1904), p . 441.

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189

Th e K i n g s ^ Three k i n g s t r a v e l from t h e E a s t ; A l i t t l e s t a r l e a d s them t o t h e s h o r e of Jordan. In J u d a h t h e t h r e e q u e s t i o n and s e a r c h , Wh e r e m i g h t t h e n e w b o r n k i n g b e ? Th e y w a n t f r a n k i n c e n s e , m y r r h a n d g o l d To g i v e t o t h e c h i l d a s o f f e r i n g .

the

And c l e a r l y s h i n e s t h e l i g h t o f t h e s t a r ; The k i n g s e n t e r t h e s t a l l ; The d e a r c h i l d l o o k s a t t h e m b l i s s f u l l y , W o r s h i p p i n g , t h e k i n g s bow; Th e y o f f e r f r a n k i n c e n s e , m y r r h a n d g o l d For t h e o f f e r i n g t o t h e l o v e l y l i t t l e boy. 0 human c h i l d ! f a i t h f u l l y k e e p s t e p ! The k i n g s a r e t r a v e l i n g , o h t r a v e l w i t h t h e m! The s t a r o f l o v e , t h e s t a r o f g r a c e I l l u m i n a t e s y o u r g o a l , t h e r e f o r e you s e e k t h e Lord, And l a c k i n g f r a n k i n c e n s e , m y r r h a n d g o l d , G i v e y o u r h e a r t t o t h e l o v e l y l i t t l e b oy ! Gi v e him y o u r Theological born

in a s t a l l

and

loved.

give

their

God's lives. with

entire

the

This ideas

summary.

in Judah.

People

control,

heart!

are

He i s

t o be l e d

selves

can

Jesus

to

direct

text

voices

of

Pietism.

h i m.

to

the

Lord

be s o u g h t ,

by h i s

traditional

king

wa s

worshipped,

l o v e and g r a c e

Th e c r e a t e d

individuals

and

to

order,

under

throughout

their

orthodoxy

coupled

A n o t h e r E n g l i s h t r a n s l a t i o n ma y be f o u n d i n D ietrich Fischer-Dieskau, Th e F i s c h e r - D i e s k a u Book o f L i e d e r , t r . G e o r g e B i r d a n d R i c h a r d S t o k e s ( Ne w Y o r k : L i m e l i g h t E d i t i o n s , 1 9 8 4 ) , pp. 3 9 6 - 3 9 7 . A t r a n s l a t i o n by Mr s . B. S h a p l e i g h f o r u s e i n p e r f o r m a n c e i s t o be f o u n d i n t h e s c o r e i n [ " C o r n e l i u s ! , M u s i k a l i s c h e We r k e , v o l . 1, pp 136-137. J

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

190

Musical ures

hold

totally in

an

t wo

analysis. virtually

new s e t t i n g AAB f o r m .

spans

of The

a perfect

This

song's

identical the

third

melody,

eleventh

strophes

poetic with

(b t o e

i n t h e key of G m a j o r

subtly

E minor

paniment

consists

Philipp

Nicolai

which i s

readily

where C ornelius text-setting is

no

text

is

in

the

of a v i r t u a l l y (1556-1608) identifiable alters

th e song has i t s

but

until

fleetingly

section.

homophonic

chorale

WIE the

syllabic, Cornelius

and

a

phrases,

and

The a c c o m ­

setting

of

the

SCHON LEUCHTET15

final

six

measures

the acc o m p anim enta1 melody.

primarily

repetition.

final

by

resulting

arched

) while

meas­

followed

strophe,

its

harmonic center tonicizes

twenty-eight

technically

does,

however,

The there call

a t t e n t i o n to the c e n t r a l idea of the l a s t s tr o p h e with the addition your

of

words "Schenk'

ihm d e i n H er z! " (Give him

heart!) Other

this

the

text

is

settings. Cornelius'

The o n l y o t h e r first

version

of

known s e t t i n g this

of

song.^

■'■■’T h i s u s e o f t h e c h o r a l e a s a c a n t u s f i r m u s , s u g g e s t i v e of th e V a te r u n s e r c y c l e , w a s s u g g e s t e d by Liszt. S e e [ C o r n e l i u s J , L i t e r a r i s c h e W e r k e , v o l . 2, p . 640, f o r C o r n e l i u s ' r e p o r t of t h i s f a c t i n a l e t t e r t o Carl Riedel. 1 zr

The s c o r e o f t h e o r i g i n a l s e t t i n g i s a v a i l a b l e f o r s t u d y i n { C o r n e l i u s ^ , Mu s i k a l i s c h e We r l c e , v o l . 1, p p . 134-135. T h a t 1856 v e r s i o n was s t r i c t l y s t r o p h i c and f e a t u r e d a n a n g u l a r m e l o d y a c c o m p a n i e d by an a r p e g g i a t e d t r e b l e p a r t above a c h o r d a l , m a r c h - l i k e ba s s l i n e f o r the pianist.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

Chapter

20

CARL REINECKE (1824-1910) Following education

under

the completion

the

tutelage

(1795-1883),

Reinecke

1859 t o u r i n g

Europe

C o l o g n e and s e r v i n g

as

B a r me n a n d B r e s l a u . taught

at

Gewandhaus

the

the

1 8 60 h e

in

as

1895.

works

for

well

mo v e d

J.P.

as

to

1845

in

and c o n d u c t o r

in

Leipzig

where

1902 and c o n d u c t e d As

the

a

composed

secular which lieder their

orchestral

choral

consist

works. of

composer

piano,

popularity

G e r ma n p e o p l e . ' * ’

a nd

operas,

Among h i s

songs

("Children's

works,

for

solo

Songs"), are

many o f

regarded

He w r o t e a t

least

as

he the

Reinecke

both as a s o lo

and

288 o p u s e s voice

and

teaching

i n s t r u m e n t and a s a member of a c h a m b e r e n s e m b l e , also

music

Reinecke

between

director

until

until

father,

years

a musical

conservatory

was m o s t p r o l i f i c

his

a pianist

In

Orchestra

of

spent

as

of a t h o r o u g h b a s i c

sacred

there

besides

b u t he

his

are

and ten

Kinder-

which have r e t a i n e d folksongs

fourteen

a mo n g

the

geistliche

-J

Reinhold S ie tz , "Reinecke, Johann P eter Rudolf, " D i e Mu s i k i n G e s c h i c h t e u n d G e g e n wa r t , v o l . 11, ed. F r i e d r i c h Blume ( K a s s e l and B a s e l : B a r e n r e i t e r , 1963), pp. 1 8 7 - 1 9 2 . Also, R einhold S ie t z , "R einecke, Carl ( H e i n r i c h C a r s t e n ) , " The New G r o v e D i c t i o n a r y o f M u s i c a n d M u s i c i a n s , v o l . 15, e d . S t a n l e y S a d i e ( L o n d o n : Macmillan, 19 8 0 ) , pp. 7 1 8 - 7 1 9 . 191

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192

lieder, Two o f

several these

are

of

which a re

the

focus

included

of

the

in his

following

Kinderlieder. discussion.

"Weihnachtslied" The t e x t

of

this

song c o n s i s t s

s t r o p h e s of th e seven s t r o p h e s song,

"Engellied

zu

of th e

of

the

first

four

S o u th German f o l k -

Weihnachten.

Weihnachtslied Ihr Seid Di e Vom Di e Der

Hirten erwacht, munter un d l a c h t , Engel s i c h schwingen Hi mme l un d s i n g e n : Freude i s t nah, H e i l a n d i s t da!

Ihr Hirten geschwind, Kommt , s i n g e t dem K i n d , Blast in die Schalmeien, S e i n H e r z zu e r f r e u e n , Auf s u c h e t i m F e l d Den H e i l a n d d e r W e l t . S i e h o r t e n d a s Wor t Und e i l t e n s c h o n f o r t , S i e ka me n i n H a u f e n Im E i f e r g e l a u f e n , Und f a n d e n d a a l l ' Den H e i l a n d im S t a l l . Sie Das Sie Und Und Di e

lcannten ges chwi nd h i m m l i s c h e Kind, fielen darnieder s a n g e n i hm L i e d e r , bleiben dabei P f e i f und S c h a l m e i .

For t h e c o m p l e t e t e x t of t h e poem, s e e A n d r e a s K r e t z s c h m a r a n d A n t o n W i l h e l m von Z u c c a l m a g l i o , D e u t s c h e V o l k s l i e d e r mi t i h r e n O r i g i n a l - W e i s e n , vol. 2 (1840; r p t . Hildesheim: G e o r g 0 1 m s , 1 9 6 9 ) , pp. 2 6 6 - 2 6 7 .

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

193

Christmas

Song

You s h e p h e r d s a w a k e , Be m e r r y a n d l a u g h , Th e a n g e l s v a u l t Fr o m h e a v e n a n d s i n g : Joy i s n e a r , The S a v i o r i s h e r e ! You s h e p h e r d s q u i c k l y , Come, s i n g t o t h e c h i l d , P l a y t h e s ha wm, To g l a d d e n h i s h e a r t , Up, s e e k i n t h e f i e l d Th e S a v i o r o f t h e w o r l d . Th e y h e a r d t h e wo r d And h a s t e n e d f o r t h i n d e e d , Th e y c a me i n h e a p s Ran i n e a g e r n e s s , And a l l f o u n d there The S a v i o r i n the s tab le. Th e y q u i c k l y kn e w The h e a v e n l y c h i l d , Th e y f e l l down t h e r e And s a n g s o n g s t o h i m, And p l a y e d t h e r e b y Th e p i p e a n d s hawm. Theological

s u mm a r y .

world,

was bo rn i n a s t a b l e .

whence

the

in

music

the

angels of

coming of J e s u s who o f f e r s proclaim

c a me those

is

wh o

a source

to

worship

20,

expresses

arrival

his

adore of

joy.

Savior

origin

birth.

him.

For

to l i s t e n

traditional analysis.

the

He r e j o i c e s people,

to

t e x t , b a s e d on

the

the

one

those

who

and s e e k himw i t h e a g e r h a s t e This

of

in heaven

B e c a u s e he i s

they are

and s e r v e h i m.

Musical

the

He h a d h i s

to announce

them s a l v a t i o n , his

Jesus,

so

as

Luke 2 : 8 -

orthodoxy. The

forty-two

measures

of

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

this

194

song

O

consist

The

spritely,

one

octave

of

(c ^ to

and

right-hand

song.

the

voice, thirds,

pianist

In the supplies

while

the

filigree

The t e x t - s e t t i n g Other kn o wn t o

is

key

the

of

the

right

suggestive and

or

plays of

the

the

left

a

hand

for

quick,

playing

is

remain­

support

a

the

accom-

paralleling

without

No o t h e r

there

the

t wo

in

altered

throughout

harmonic

hand

syllabic

thirds

two s t r o p h e s

it

The p i a n o

strophe an

spans

the f i r s t

in

introduces

last

in

form.

used^

C major.

melody

continues

strophic

Reinecke

second

doubling

settings.

the

it

in

running, of

a flute.

repetition.

settings

of

this

text

be e x t a n t . " De r

The

which

the

which

which

periodically

monophonic

are

doubles

interlude

der of

the

Following

texture

the

mel ody

c ^) in

often

panimental of

in modified

homophonically conceived

part.

four-measure

strophes

folksong

accompaniment is strophes

four

poet

served

as

private

tutor

of

liebe

this

aP rotestant and

later

Gott

text,

im H i mm e l "

Wilhelm

p a s to r in

He y

(1789-1854),

addition

a school a d m i n i s t r a t o r .

to

being He

a

wrote

^ T h i s s o n g i s t h e s e v e n t e e n t h i n C a r l R e i n e c k e 1s K i n d e r l i e d e r , Neue G e s a m t a u s g a b e ( L e i p z i g : Breitlcopf & H a r t e l , 1 8 9 9 - 1 9 0 9 ) , pp. 20-21, which is a v a i l a b l e for study in Washington, D.C., a t the Li b r a r y of Congress. ^ Th e o r i g i n a l f o l k s o n g m e l o d y c a n be f o u n d K r e t z s c h m a r and Z u c c a l m a g l i o , V o l k s l i e d e r , p . 266.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

in

195

several it

p o e ms

wa s h i s

for

both

a general

t wo v o l u m e s

(1833,

and

a collection

of

religious

which Reinecke s e l e c t e d

Der l i e b e

Gott

religious

1837) of

w h i c h he was m o s t w i d e l y known.

appended from

of

this

fables

nature, for

but

children

To t h e s e v o l u m e s h e poems

for

children^

text.

im Hi mmel

Aus dem Hi mmel f e r n e Wo d i e E n g ' l e i n s i n d , S c h a u t doch G o t t so g e r n e Her a u f j e d e s K i n d , Horet sei ne B i t t e T r e u b e i Tag u n d N a c h t , Nimmt' s b i e jedem S c h r i t t e V a t e r l i c h in Acht. G i e b t mit V a t e r h a n d e n Ihm s e i n t a g l i c h B r o d , H i l f t an a l i e n En d e n Ihm a u s a l l e r N o t h , S a g t den K i n d e r n a l i e n , Da s s e i n V a t e r i s t , Dem s i e wo h l g e f a l l e n , De r s i e n i e v e r g i s s t . D e a r God i n He a v e n Ou t o f h e a v e n a f a r Wh e r e t h e l i t t l e a n g e l s a r e , God y e t l o o k s s o g l a d l y H e r e on e a c h c h i l d , Hears t h e i r r e q u e s t s F a i t h f u l l y by d a y a n d n i g h t , Takes c a r e of them w i t h e a c h Like a f a t h e r .

step

Gives wi t h hands of a f a t h e r To t h e m t h e i r d a i l y b r e a d , F inally helps

^ A d a l b e r t E1 s c h e n b r o i c h , "Hey, W i l h e l m , " We ue deutsche B io g ra p h ie , vol. 9 (B erlin : D u n c k e r & Hum b l o t , 1971), p p . 62-63.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

196

Them o u t o f a l l n e e d , T e lls a l l the c h ild re n , That t h e r e i s a f a t h e r , To whom t h e y a r e w e l l - p l e a s i n g , Who n e v e r f o r g e t s t h e m . Theological looks

down

each

one,

giving

provision, He

tells

they of

on e a c h

which they This

in

is

dwells

and

that

his

he

sight. in

in

fatherlike

is

to each their

but

cares

for

of

b oy a n d

have

t o God,

representative

protection,

father

Children

prayer

heaven

He g l a d l y

and a t t e n t i o n

can speak text

God

child.

unfailing

children

pleasing

father.

earthly

assistance, the

are

s u mm a r y .

girl.

and

that

many

their

needs

heavenly

traditional

ortho­

doxy and P i e t i s m . Musical measures scalar

in

mel ody

major.

The

throughout, chorale-like strictly

strict

known t o

This

strophic

song

piano

accompaniment

homophonic

The

texture.

The

in

sixteen

key of G

the

voice

sixths,

in

text-setting

any r e p e t i t i o n

No o t h e r

the

doubles it

of

predominantly

7 d ) in

to

paralleling

and w i t h o u t

settings.

(d

1

one o c t a v e

sometimes

consists

form.

covers

syllabic Other

are

analysis.

settings

of

text.

of

this

a is

text

be e x t a n t .

^This song i s th e e i g h t e e n t h in C arl R e i n e c k e 's K i n d e r l i e d e r , p. 2 2 , w h i c h i s a v a i l a b l e f o r s t u d y a t t h e L i b r a r y o f C o n g r e s s i n W a s h i n g t o n , D.C.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

Chapter

21

JOHANNES BRAHMS (1833-1897) The c o m p o s i t i o n a l original

solo

songs

ments

of f o l k s o n g s

ment.

At

have

least

religious

output

of

Brahms

a n d an a d d i t i o n a l for

solo

fourteen texts.

of

voice

the

Two o f

ninety-five

with

total these

includes

arrange­

piano accompani­

number^ are

1 96

of

his

considered

songs

below.

" Di e h e i l i g e E l i s a b e t h " ( 1858) The German f o l k s o n g , ideal In

song

1858

form,

Brahms

Kinderlieder Robert

and

favorite

folksong

Volkslieder with

Their

played

a large

set

collection

a

("Children's

Clara

mi t

which Brahms h eld

As h i s

collection,

Original

in

the

t wo

musical

fourteen

for

source

Original-Weisen

Melodies")

his

of

Folksongs")

Schuma nn.

ihren

part

t o be t h e

the

of

( " Ger man

2

Volks-

children

Brahms

volumes

life.

used

of his

Deutsche Folksongs

by A n d r e a s K r e t z s c h m e r

and

• ' • Hei nz B e c k e r , " B r a h m s , J o h a n n e s , " T h e N e w G r o v e D i c t i o n a r y o f Mu s i c a n d M u s i c i a n s , v o l . 3, e d . S t a n l e y S a d i e (London: M a c m i l l a n , 1 9 8 0 ) , pp. 1 5 5 - 1 9 0 .

Philips

2W alter Niemann, ( New Y o r k : Alfred

Brahms, tr. C atherine Alison A. K n o p f , 1 9 2 9 ) , p p . 3 5 9 - 3 6 0 .

197

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198

Anton

Zucca1mag1i o ,

Earlier

in

twenty-eight heilige

other

Brahms

entitled

published

Di e h e i l i g e

in

had

had

folksongs

Elisabeth"

collection first

1858

which

is

the

been

also from

published arranged

this

seventh

2J3 d e u t s c h e

s ame in

a

in

1840.

group

source. that

Volkslieder

O

of " Di e

earlier which

was

1926.

Elisabeth

Die h e i l i g e E l i s a b e t h An i h r e m H o c h z e i t s f e s t e , Verliefi den s t o l z e n F i i r s t e n s a a l , Verlie/3 h e i m l i c h d i e G a s t e , G i n g i n d e n d u n k e l n Wal d h i n a u s , Wo e i n e h e i l ' g e K a p e l l e r b a u t , De r M u t t e r G o t t e s zu d i e n e n ! 0 Mutter G o tte s, welches Leid, I c h mu s s j e t z t v o n d i r s c h e i d e n ! D i e l e t z t e n B l u me n b r i n g i c h h e u t e , F o r t mu s s i c h , i c h mu s s m e i d e n J e t z t deinen h e ilg e n Gnadenort, Mus s w e i t h i n i n d i e F r e m d e f o r t . Ade du H e i l a n d s m u t t e r ! Du B i l d , s o h e i l i g , g n a d e n r e i c h , Me i n Aug s t e h t v o l l e r Z a h r e n , D a s s i c h j e t z u n d d i c h r i i c h t i nehr s c h a u , Das w i l l m i c h s c h i e r v e r z e h r e n ; Le b w o h l , l e b w o h l , du M u t t e r m e i n , Mi t de i n e m l i e b e n K i n d e l e i n ! Ad e , z u t a u s e n d m a l e n ! Sie b e t e t , f l e h e t also lang Und v / i l l d a r o b n i c h t b e b e n ,

^ Ma x F r i e d l a e n d e r , B r a h ms ’ s L i e d e r : A_n I n t r o d u c ­ t i o n t o t h e S o n g s f o r On e a n d X YL2. V o i c e s , t r . C. L e o n a r d L e e s e ( 1 9 2 8 ; r p t . New Y o r k : AMS P r e s s , 1 9 7 6 ) , p p . 1 9 2 194, 2 0 0 - 2 1 0 . F r i e d l a e n d e r g i v e s an e x t e n s i v e d i s c u s s i o n of t h i s f o l k s o n g c o l l e c t i o n and d i s c u s s e s B ra h m s' use of i t i n c o n j u n c t i o n w i t h h i s t r e a t m e n t o f B r a h m s ' _49 d e u t s c h e V o l k s l i e d e r of 1894.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

DaB s i c h e i n s c h a r f e s b l a n k e s S c h w e r t J e t z t iiber i h r e r h e b e t ; I n r e i n e r Gn a d e s c h w e b t i h r B l i c k , Und a c h t e t n i c h t d e s R a u b e r s T u c k , De r s i e da w i l l e r m o r d e n ! Als der Rauber d i e s e n B l i c k vernahm, Und s c h a u t d i e h e i l g e F r a u e n , S c h w e r e Re u e i h n da i i b e r k a m, S e i n H e r z b e g i n n t zu g r a u e n . L e g t ab s e i n S c h w e r t und s e i n e n S p i e B , Auf s e i n e K n i e s i c h n i e d e r l i e f i , Wagt d a n n s i e a n z u b l i c k e n . Um d i c h s i n d G o t t e s E n g e l r i n g s , Den L o c k e n s c h m u c k zu s c h i i t z e n , I c h muB me i n L e b e n l a n g d i e s K n i e 0 F ra u e, vor d i r beugen, 0 T u g e n d r e i c h e , b e t f u r mi ch, DaB G o t t d e r H e r r e r b a r m e t s i c h Und mi c h i n Gn a d e n s e g n e t . Saint

Elisabeth Saint Elisabeth At h e r w e d d i n g c e l e b r a t i o n Left the s t a t e l y p r i n c e 's h a l l, Left s e c r e t ly the guests, Wa l k e d o u t i n t o t h e d a r k f o r e s t , Wh e r e was b u i l t a h o l y c h a p e l , To s e r v e t h e m o t h e r o f God! 0 m o t h e r o f God, w h a t s o r r o w , 1 mu s t now l e a v e y o u ! I bring today the l a s t flowers, I m u s t be o f f , I m u s t f l e e Now f r o m y o u r h o l y p l a c e o f p i l g r i m a g e , Mu s t be f a r o f f i n t h e d i s t a n c e . F a r e w e l l , you m o t h e r o f t h e S a v i o r ! You i m a g e , s o h o l y , r i c h i n g r a c e , My e y e s t a n d s f u l l o f t e a r s , T h a t I now s e e y ou no m o r e , Wh i c h w i l l a l m o s t c o n s u me me; F a r e w e l l , f a r e w e l l , yo u m o t h e r o f m i n e , Wi t h y o u r d e a r l i t t l e c h i l d ! Farew ell, a thousand times. Sh e p r a y s , t h u s i n t e r c e d e s f o r And w i l l n o t t r e m b l e b e c a u s e A s h a r p s h i n i n g s wo r d

a long

time,

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200

Now r i s e s a b o v e h e r ; In pure grace her v i s i o n s o a r s And p a y s no a t t e n t i o n t o t h e r o b b e r ' s Who w a n t s t o m u r d e r h e r t h e r e .

malice,

When t h e r o b b e r p e r c e i v e d t h i s v i e w And s a w t h e h o l y woman, S e r i o u s r e p e n t a n c e o v e r c a me him t h e r e , His h e a r t b e g i n s to s h u d d e r . He l a y s down h i s s w o r d a n d h i s m o r t a r , S e t t l e s on h i s k n e e , Then d a r e s t o l o o k h e r i n t h e f a c e . The a n g e l s o f God a r e r o u n d a b o u t y o u , To g u a r d t h e h a i r d e c o r a t i o n s , A l l my l i f e I mu s t b e n d t h i s k n e e , 0 l a d y , b e f o r e you, 0 r i c h l y v i r t u o u s o n e , p r a y f o r me, T h a t God t h e L o r d w i l l h a v e p i t y And b l e s s me i n g r a c e . Theological addressed

in

repentant The Go d .

prayer.

sinner

Virgin

parental

the

wh o

is

figure

for

in a world

filled

dangerous

events.

one's

highest

He i s

through

Mary,

She,

s u mma r y .

with

grace.

mother

the

and

one

t h e L o r d who c a n be

m erciful

his

holy

God i s

of

and

will

Jesus

is

Jesus,

full

of

is

priority

the

these

becomes a s o u r c e of g r a c e and p r o t e c t i o n

for

the

part

an

of

those

expression

repentance who b e h o l d

of

traditional

Musi c a l

ana ly s is .

and a p l e a

for

Roman C a t h o l i c six

People

a

live

as with

Mar y the

which devotee

intercession

such a d o r a t i o n .

The

becomes

of

circumstances of

which evokes

the

Savior.

as w e ll

worship

and

is

of

the

mother

grace,

who w o r s h i p s h e r .

midst

the

the

joyous c e l e b r a t i o n s

In

bless

This

text

on is

orthodoxy.

strophes

of

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

this

201

strophic

song^ f i l l

minor

the

sharp

to

scalar e^).

moving

low

eighty-four

melody

The bass

sixteenth-note

has

piano

a range

of

beneath

of

broken

In the

a minor

accompaniment

octaves

patterns

measures.

key of A

tenth

features

(c^-

steadily-

continuously-moving

chords

which

sometimes

p a r a l l e l t h e m e l o d y a t t h e i n t e r v a l o f e i t h e r an o c t a v e or a

sixth.

without

The

text-setting

strictly

syllabic

and

repetition. Other

are

is

known t o

settings.

No o t h e r

settings

of

this

text

be e x t a n t . " Wenn i c h m i t M e n s c h e n - und Engelszungen r e d e t e " ( Op. 1 2 1 . No. 4; 1 6 9 6 )

The texts

as

the

including 45,

religiously basis

open-minded

for

a

Ein d e u t s c h e s

1857-1868)

1870-1871),

and

but

Gesange

("Four

texts.^

The

Triumphlied

Serious two

of

his

used

biblical

choral

works,

R e q u i e m ( "A G e r m a n R e q u i e m ; " Op. ("Song

of

solo

songs

only

Songs,"

Op.

121)

have

scriptural

of

this

opus

come

a mo n g h i s

first

number

Brahms

texts

T r i u m p h ; ” Op. the

Vier

55,

ernste

from

^The s c o r e of t h i s song i s a v a i l a b l e f o r s t u d y in J o h a n n e s B r a h m s s a mt l i c h e We r k e , v o l . 2 6 , e d . E u s e b i u s M a n d y c z e w s k i ( 1 9 2 6 - 1 9 2 7 ; r p t . Ann A r b o r : J . W. E d w a r d s , 1 9 4 9 ) , p. 194. ^ S e e M i c h a e l M u s g r a v e , "The c u l t u r a l w o r l d o f Brahms," in Brahms: b i o g r a p h i c a l , d o c u men tar y and a n a l y ­ t i c a l s t u d i e s , ed. R o b e r t P a s c a l 1 ( C a m b r i d g e : Cambridge

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202

Ecclesiastes, ticus, 13:

the

third

and t h e f o u r t h

1-3,

from

the

apocryphal

Ecclesias-

f r o m L u t h e r ’s t r a n s l a t i o n

of 1 Cor.

12-13.

Wenn i c h m i t M e n s c h e n - und Engelszungen r e d e t e Wenn i c h m i t M e n s c h e n - und E n g e l s z u n g e n r e d e t e , und h a t t e d e r L i e b e n i c h t , s o wa r i c h e i n t o n e n d E r z oder e in e lclingende S c h e l l e . Und wenn i c h w e i s s a g e n k o n n t e und w i i s s t e a l l e G e h e i m n i s s e und a l l e E r k e n n t n i s und h a t t e a l i e n G l a u b e n , a l s o , daE i c h B e r g e v e r s e t z t e und h a t t e d e r L i e b e n i c h t , so ware i c h n i c h t s . Und wenn i c h a l l e m e i n e Habe d e n Ar men g a be und l i e B e m e i n e n L e i b b r e n n e n und h a t t e d e r L i e b e n i c h t , so ware m i r ' s n i c h t n i i t z e . Wi r s e h e n j e t z t d u r c h e i n e n S p i e g e l i n e i n e m d un ke i n Worte, dann a b e r von A n g e s i c h t zu A n g e s i c h t e . J e t z t erkenne i c h ' s stiickweise, dann a b e r werd i c h ' s e r k e n n e n , g l e i c h wi e i c h e r l c e n n e t b i n . Nun a b e r b l e i b e t G l a u b e , H o f f n u n g , L i e b e , diese d r e i : aber die Liebe i s t die groBte unter ihnen.

University Press, 1983), pp. 5 - 6 , f o r a t r e a t m e n t of Brahms' r e l i g i o u s o r i e n t a t i o n . See a l s o , Ni emann, B r a h m s , pp. 1 8 2 - 1 8 3 , f o r a d i s c u s s i o n of B r a h m s ' r e l a t i o n s h i p t o the Bible.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

203

If

I Spoke w i t h Tongues Hen a n d A n g e l s

of

I f I spoke w i t h t o n g u e s o f men a n d a n g e l s , and d i d n o t h av e l o v e , t h u s I w o u l d be a r e s o u n d i n g b r a s s or a r i n g i n g b e l l . And i f I c o u l d p r o p h e s y a n d kne w a l l s e c r e t s a n d a l l k n o w l e d g e and had a l l f a i t h so t h a t I r e mo v e d m o u n t a i n s and d i d n o t h a v e l o v e , t h u s I w o u l d be n o t h i n g . And i f I g a v e a l l my p o s s e s s i o n s t o t h e p o o r a n d a l l o w e d my bo dy t o b u r n and d i d n o t ha ve l o v e , t h u s i t w o u l d g a i n me n o t h i n g . We s e e now t h r o u g h a m i r r o r i n a d a r k w o r d , but then face to f a c e . Now I u n d e r s t a n d i t p i e c e m e a l , but t he n I w i l l u n d e r s t a n d i t j u s t a s I am now u n d e r s t o o d . S u t now r e m a i n f a i t h , h o p e , l o v e , t h e s e t h r e e : b u t l o v e i s t h e g r e a t e s t among t h e m .

Theological known

through

fully

seen

and

of a p e r s o n ' s worthless

love

endure,

the

voice

word

known

in by

God,

is other

the

believer.

to

the

by a n d

being

theology

of

only will

abilities,

greatest

two

is

present,

motivated the

who

the

accomplishments,

unless

because

gives

his

summary.

partially one

The

those

faith

and

by

qualities hope.

traditional

be

greatest

or s a c r i f i c e s

accompanied

of

day

is

love, which

This

text

orthodoxy.

^Another E n g l i s h t r a n s l a t i o n of t h i s t e x t i s a v a i l ­ a b l e i n D i e t r i c h F i s c h e r - D i e s k a u , The F i s c h e r - D i e s k a u Book o f L i e d e r , t r . G e o r g e B i r d a n d R i c h a r d S t o k e s ( Ne w Y o r k : L i m e l i g h t E d i t i o n s , 1 9 8 4 ) , p. 38 8 , a s w e l l a s i n Brahms , 7 0 S o n g s , e d . S e r g i u s K a g e n ( Ne w Y o r k : International h u s i c C o . , n . d . ) , p. X I I .

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204

Musical this

song^

brief

are

song.

begins

line

The

piano

degree

of

the

of

song

the

accompaniment coupled

like

the

of r h y t h m i c

echoing

with

the

repetition

at

midst

is

melody. based

on

which

and

in

C

conclusion

the

texture,

which

approach each

of

has

an

incorpois

aria­

with

the

or

triplets

The t e x t - s e t t i n g

of

first

a high

section

triads

The

doubling

arpeggiated

and

returns

quoted.

style

second

basically-syllabic the

in

of

framework

is

chordal

chordal

lines.

the

major

and o c c a s i o n a l

octaves

of

a

a

B major,

melody

The

of

of

with

measures

a compass

to

a dense

activity,

form

of the second s e c t i o n

orchestral

with

measures

binary two

has

original

c o u n te r m e 1odic a

first

modulates

supporting

within

the

melody

major,

when

ninety-nine

t o g ■*■) i n a h a r m o n i c

accompaniment

section

rates

in

(A-flat

E -flat

of

angular

in E - f l a t

The

through-composed

return

vocal

fourteenth

to

in

melodic

opening the

analysis.

song's

text two

sections. Other are

known t o

settings.

No o t h e r

settings

of

this

text

be e x t a n t .

^ Th e s c o r e o f t h i s s o n g i s a v a i l a b l e f o r s t u d y i n J o h a n n e s Br a h ms s a m t l i c h e W e r k e , v o l . 2 6 , p p . 5 7 - 6 1 . ®F o r a m o r e d e t a i l e d h a r m o n i c a n d s t r u c t u r a l a n a l y s i s of t h i s s o n g , s e e A r n o l d Whi t t a l l , "The V i e r e r n s t e G e s a n g e Op. 1 2 1 : e n r i c h m e n t and u n i f o r m i t y " in B r a h m s , ed. P a s c a l l , pp. 2 0 1 - 2 0 4 .

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Chapter

22

ALBERT BECKER (1834-1899) Becker's of

Berlin

tories dral

in

Although

he

during

the

prolific

nature.

In a d d i t i o n

in his choral solo

twenty-one

last

eight

a

wide

with

of which

two

the

cathe­

his

life.

musical

media,

years of

conserva­

of

forces,

work was done i n t h e

frequent wrote

keyboard

were

at

and o p e r a t i c

particularly to his

around the c i t y

directed

variety

chamber,

music Becker

voice

composition 1869 and

and s u c c e s s f u l

composition,

centered

in

for

orchestral,

choral

for

taught

beginning

he c omp o s e d

including most

which

seriatim choir

musical career

in

that

of

use of excess

a

settings

field

soloists

of eighty

of r e l i g i o u s

of

religious

vocal

accompaniment,

his

at

songs least

texts.^

^ Ad a m A d r i o , " B e c k e r , A l b e r t E r n s t A n t o n , " Die M u s i k i n G e s c h i c h t e und G e g e n w a r t , v o l . 1 5 , ed. F r i e d r i c h Bl u me ( K a s s e l a n d B a s e l : B a r e n r e i t e r , 1973), pp. 593-595.

205

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206

"W eihnachtslied" ( Op. 1 1 , No. 2 ) This

s ong was p u b l i s h e d

of t h r e e l i e d e r 11).^

The p o e t

as

by B e c k e r e n t i t l e d is

the

the

second

of a group

H e r z h i m m e l w a r t s ( Op .

otherwise-unknown Theodor

Kohler.^

Weihnachtslied Zu B e t h l e h e m i m K r i p p e l e i n Da l i e g t e i n l i e b e s K i n d , Das s o i l me i n F r e u d ' u n d K r o n e s e i n , B i s m i c h d e r Tod e i n s t f i n d ' t . Ei j a ! Ei j a ! B i s mi c h d e r Tod e i n s t f i n d ' t . Das K i n d e l e i n vom H i m m e l s z e l t , L i e g t d a a u f Heu u n d S t r o h , Und i s t d e r r e i c h e W e i h n a c h t s h e l d De r a l l e W e l t m a c h t f r o h .

^No d a t e o f p u b l i c a t i o n a p p e a r s on t h e s c o r e , b u t f r o m s t u d y i n g t h e l i s t o f w o r k s i n A d r i o , " B e c k e r , " pp. 593-594, i t a p p e a rs t h a t a l i k e l y d a te of c o m p o s itio n i s i n t h e m i d - 1 8 7 0 s o w i n g t o t h e f a c t t h a t B e c k e r ' s Opus 13, w h i c h c o n s i s t s o f f i v e s o l o s o n g s , was p u b l i s h e d i n 1877. ^Albert Sulzbach, n . d .) ,

Becker, pp. 4 - 5 .

Herz

h i m me l w a r t s

(Berlin:

W.

^ F r i e d r i c h N i p p o l d , Da s d e u t s c h e C h r i s t u s l i e d d e s neunzehnten Jahrhunderts (Leipzig: Ernst Wunderlich, 1903), pp. 64, 197, r e f e r r e d to t h r e e p o e t s surnamed K ohler w i t h o u t s p e c i f y i n g any g iv e n names. O n e , whom Nippold i d e n t i f i e d as hav i ng been a c t i v e be t we e n t h e y e a r s of 1858 and 1878, was a p a s t o r i n Q u e d l i n b u r g , B e c k e r ' s birthplace. T h e o t h e r t w o a u t h o r s m e n t i o n e d by N i p p o l d w e r e a S t u t t g a r t p a s t o r and h i s s o n , a p h y s i c i a n , whose c o m b i n e d p o e t i c o u t p u t e x c e e d e d 1500 r e l i g i o u s poems w h i c h o f t e n t r e a t e d of c o n s o l a t i o n amid d i f f i c u l t or u n p l e a s a n t circumstances. I t i s te m p tin g to t h i n k t h a t the au th o r w h o s e w o r k wa s c h o s e n by B e c k e r f o r t h i s s o n g wa s t h e man who s e r v e d a s a p a s t o r i n Q u e d l i n b u r g , b u t s u c h a c o n c l u ­ sion remains unproven.

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207

Ei j a ! Ei j a ! Der a l l e We l t m a c h t f r o h . Mi t s e i n e n H a n d ' l e i n k l e i n u n d f e i n B e z w i n g t e s H o l l und Tod, R e g i e r e t S o n n ' u nd S t e r n e n s c h e i n , Mi t s e i n e m Mi i n d l e i n r o t h . Ei j a ! Ei j a ! Mi t s e i n e m M i i n d l e i n r o t h . De r E n g e l S a n g u nd H i m m e l s l u s t U mt o n t s e i n r a u h e s B e t t , Doch i n d e r a r m e n S i i n d e r b r u s t Sucht es d ie R u h e s t a t t ' . Ei j a ! Ei j a ! Sucht es d ie R u h e s t a t t * . Und w e r d a s H i m m e l s k i n d e l e i n F e i n g l a u b i g n i mmt a n ' s H e r z , Dem l e u c h t e t G n a d ' u n d F r i e d e n s s c h e i n , Dem s c h w i n d e t j e d e r S c h m e r z . Ei j a ! Ei j a ! Dem s c h w i n d e t j e d e r S c h m e r z . Drum s o i l i m r a u h e n K r i p p e l e i n Das l i e b e h e i l ' g e Ki n d Auch m e i n e s L e b e n s K r o n e s e i n B i s m i c h d e r Tod e i n s t f i n d ' t . Ei j a ! Ei j a ! B i s m i c h d e r Tod e i n s t f i n d ' t .

Christmas

So n g

I n B e t h l e h e m i n a l i t t l e ma nger There l i e s a dear c h i l d Who s h o u l d be my j o y a n d c r o w n U n t i l d e a t h o n e d a y f i n d s me. Ah, y e s ! Ah, y e s ! U n t i l d e a t h o n e d a y f i n d s me. The l i t t l e c h i l d f r o m h e a v e n ' s t e n t L i e s t h e r e on h a y a n d s t r a w And i s t h e r i c h C h r i s t m a s h e r o Who m a k e s t h e w h o l e w o r l d g l a d . Ah, y e s ! Ah, y e s ! Who m a k e s t h e w h o l e w o r l d g l a d . Wi t h h i s d e a r h a n d s t i n y a n d d e l i c a t e He c o n q u e r s h e l l a n d d e a t h , Rules s u n - and s t a r s h i n e , Wi t h h i s l i t t l e r e d m o u t h .

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208

Ah, y e s ! Wi t h h i s

Ah, y e s ! l i t t l e r e d mouth.

The a n g e l s ’ s o n g a n d h e a v e n ' s j o y Resounds ar o u n d h i s rude bed, Yet i n t h e b r e a s t o f p o o r s i n n e r s He s e e k s a r e s t i n g p l a c e . Ah, y e s ! Ah, y e s ! He s e e k s a r e s t i n g p l a c e . And w h o e v e r t h e d e l i c a t e l i t t l e h e a v e n l y c h i l d Devoutly ta k e s i n t o the h e a r t , To h i m s h i n e g r a c e a n d t h e l i g h t o f p e a c e , For him e a c h p a i n d i s a p p e a r s . Ah, y e s ! Ah, y e s ! For him e a c h p a i n d i s a p p e a r s . T h e r e f o r e i n t h e r u d e l i t t l e ma nger The d e a r h o l y c h i l d S h o u l d a l s o be my l i f e ' s c r o w n U n t i l d e a t h o n e d a y f i n d s me. Ah, y e s ! Ah, y e s ! U n t i l d e a t h o n e d a y f i n d s me. Theological

summary.

Jesus

born in a manger

in Bethlehem.

size

he i s

rules

a s an i n f a n t the universe

word.

inhabit

the h e a rt

of

sinners

who f a c e

a certain

however,

the

personal

ideas

each

This

will

text

is

over

death

individual. death.

find

of h is

His u l t i m a t e

o n e wh o m a k e s J e s u s

possession

gladness.

In s p i t e

victorious

by h i s

c a me f r o m h e a v e n t o be physical

and h e l l desire

People

is

are

l i f e ’s

his

most

grace,

peace,

expressive

of

the

to

needy

Throughout or her

and

pain,

valued

comfort,

and

theological

of P i e t i s m . Mus i c a l

Stanford

a n a l y s i s.

This

song's^

^The s c o r e o f t h i s s o n g i s a v a i l a b l e U n iv ersity in Palo Alto, C a l i f o r n i a .

seventy-two

for

study at

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209

measures

comprise

six

strophes

in s t r i c t

strophic

form.

The f o l k l i k e m e l o d y i n t h e key o f B - f l a t m a j o r h a s a r a n g e of

one

octave

chorale-like, homophonic without

( f^

f^).

doubling

the

texture.

The

piano

melody

The

text

accompaniment

throughout is

set

the

is

song i n

syllabically

a

and

repetition. Other

are

to

settings.

No o t h e r

settings

of

this

text

a phrase

from

known t o b e e x t a n t . " Du,

The t e x t Luther's written

Herr, b is t ( Op. 5 1 ,

of

this

translation

song,

which

of I s a ia h

entitled

G e h e i m n i s vom v e r l o r n e n und m i t

Parable

of

the

G eistliche

Lieder

in

No f u r t h e r

title,

Son.

and O f f e r e d

with

information

Placed

i n 1858

a n d Das an's

dargereicht on

the

a Supplement concerning

was

who p u b l i s h e d

S o h n e . Dem C h r i s t e n v o l k e

Prodigal

People

its

(1829-1891)

e i n e r Zugabe in L iedern

Christian 1888.

quotes

63:16 f o r

by G e o r g W i l h e l m S c h u l z e

a collection

gelegt

unser V a te r!" No. 4 )

him

Herz ("The

Heart

of

in Lieder") is

avail­

able.

^No d a t e o f p u b l i c a t i o n a p p e a r s o n t h e s c o r e , b u t B e c k e r ' s 0 p p . 49 a n d 50 w e r e p u b l i s h e d i n 1887 a c c o r d i n g t o A d r i o , " B e c k e r , " pp. 5 9 3 - 5 9 4 , w hi ch makes a s i m i l a r d a t e l i k e l y f o r t h e p u b l i c a t i o n o f h i s Op u s 5 1 .

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

Du,

Herr,

bist

unser

Vater!

Me i n V a t e r i s t r e i c h , u nd m e i n V a t e r i s t g u t , Da s m a c h t m i r s o f r o h l i c h , s o s e l i g d e n M u t h . Me i n V a t e r i s t R a t h e r , d e r H e r r a l l e r W e l t , De r K o n i g e H e r z e n i n H a n d e n e r h a l t . Me i n V a t e r i s t m a c h t i g , m e i n S c h i l d , m e i n e We h r , Er s e n d e t zum S c h u t z m i r s e i n h i m m l i s c h e s H e e r ; Er w a c h t un d h a t A c h t a u f s e i n b a n g e n d e s K i n d ; Im K r i e g e v i e l S i e g e m i t M a c h t e r g e w i n n t . Me i n V a t e r i s Fiir m i c h h i n Er l e i h t m i r Und h a l t m i r

t g n a d i g : e r g i e b t s e i n e n So h n i n S c h m e r z e n , i n S p o t t u n d i n Ho h n ; und w e i h t mi r e i n k o s t l i c h e s K l e i d , ein Zelt h ie r zur Zuflucht b e r e i t .

0 V a t e r v o l l Gnade, i c h l i e b ' d i c h a l l e i n , D i c h r u f ' i c h , d i c h s u c h ' i c h , d i c h e i n z i g i c h me i n N i c h t K r o n e n , n i c h t T h r o n e n s i n d , H e r r , me i n Be g e h r Mi r b a n g t , m i c h v e r l a n g t n u r n a c h d i r , o , s o s e h r ! Ob w i l d r a u s c h t d i e W e l l e , g a r h e l l e s t r a h l t Dein F r i e d e n h i e n i e d e n , d e i n L i e b e s p a n i e r ! Du z e i g e s t , du n e i g e s t d i c h h u l d v o l l m i r z u , 0 selig: me i n R a t h e r , m e i n V a t e r b i s t d u ! Yo u ,

Lord,

mi r

Ar e Our F a t h e r ! ^

My f a t h e r i s r i c h , a n d my f a t h e r i s g o o d , Wh i c h m a k e s me s o j o y f u l , my mood s o b l i s s f u l . My f a t h e r i s c o u n s e l l o r , t h e L o r d o f t h e whole wo rld, He h o l d s t h e h e a r t s o f t h e k i n g s i n h i s h a n d s . My f a t h e r i s m i g h t y , my s h i e l d , my d e f e n s e , He s e n d s h i s h e a v e n l y h o s t t o p r o t e c t me; He w a t c h e s a n d p a y s a t t e n t i o n t o h i s a n x i o u s child; I n t h e w a r f a r e h e w i n s many v i c t o r i e s w i t h m i g h t .

which is included A u s g e wa h Breitkopf

An E n g l i s h t r a n s l a t i o n b y J . A l f r e d P e n n i n g t o n d e s i g n e d t o be u s e d i n p u b l i c p e r f o r m a n c e i s in th e s c o re which a p p e a rs in A lb e rt Becker, l t e G e i s t l i c h e liije r_ u n d G e s_a_11£ e^ ( L e i p z i g : & H a r t e l , n . d . ) , pp. 27 - 34 .

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211

My f a t h e r i s g r a c i o u s : he g i v e s h i s son F o r me t h e r e i n p a i n , i n m o c k e r y a n d i n s c o r n ; He l e n d s me a n d o r d a i n s f o r me a c o s t l y r o b e And h o l d s i n r e a d i n e s s f o r me a t e n t h e r e f o r refuge. 0 f a t h e r f u l l o f g r a c e , I l o v e you a l o n e , To y o u I c a l l , f o r y ou I s e e k , I t h i n k o n l y of you, Not c r o w n s , n o t t h r o n e s a r e , L o r d , my d e s i r e 1 am a n x i o u s f o r , I l o n g o n l y f o r y o u , o h , s o muc h! A l t h o u g h t h e wa v e w i l d l y r o a r s , a b s o l u t e l y c l e a r l y s h i n e s f o r me Yo u r p e a c e h e r e b e l o w , y o u r b a n n e r o f l o v e ! You a p p e a r , y ou b e n d g r a c i o u s l y t o me, 0 blessed: my c o u n s e l l o r , my f a t h e r y o u a r e ! Theological earth,

controls

By m e a n s o f riches

he

manner, and

attends

peace.

place

for

relationship

with

prayer,

with

the

the

Musical

of

gift

death

world's

believers

of

wh o

is

ambition,

each b e l i e v e r of

and

protection,

provision,

his

the

son

Jesus

cross

be and is

in the

in

a

prepares

a

In s p i t e

which

joy

traditional

orientation

analysis.

counsel,

a fatherly

storms

to

entire

in

of

on

the

governments.

goodness,

may e x p e r i e n c e

God,

Lord o f

of God's c h i l d r e n .

full

theology

devotional

grace,

presence,

is

the

the

his

thought,

such a r e l a t i o n s h i p

of

needs

each

life

God,

the

ultim ate

individuals

expresses

love,

humiliating

that

anxiety,

human

them

heaven

fact

affairs

to

God's

and

in

the

power,

giving

painful

the

his

summary.

give

rise

of to

a parent-child sole

focus

devotion. blessed.

of

Within This te x t

orthodoxy

coupled

of P i e t i s m .

Becker's

treatment

of

the

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

five

212

strophes

of

Schulze

composed

song

of

results

114 m e a s u r e s ,

s t r o p h e s have been s e t to form

which

ma y

framework major it

of

be

the

in which i t

song

wanders

A minor,

A-flat

major,

which

frequently

but

the

as

through-

third

same m u s ic ,

and f o u r t h

resulting

ABCCD.

centered

harmonic

the

key

around

and

other

tonalities,

E-flat

in a

The

of

b e g i n s and ends but from into

doubles

and

virtuoso

three

manner

and p a t t e r n s ,

or

major.

C

which

including

Within

these

which

utilizes

martial

arpeggiated

change

in

response

text-setting

is

prim arily

at

echoes

the

ends

the

melody,

is

scored

m a n u a l s and p e d a l s i n an i d i o m a t i c

including

motifs,

occurring

basically

a n g u l a r m e lo d y c o v e r s a r a n g e o f an •1 O e l e v e n t h (e - f l a t t o a ). The a c c o m p a n i m e n t ,

an o r g a n w i t h

which

a

the

for

scalar

is

clearly

briefly

augmented

the

symbolized

often

param eters

in

to

variety

of

syncopations,

triplets,

and

varying

textual

syllabic

of

a

the

chromatic

block

and

chords,

ideas.

with tex t

second

textures

The

repetition

fifth

poetic

strophes. Other are

settings.

No o t h e r

settings

of

this

known t o be e x t a n t .

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

text

Chapter

23

ALEXANDER WINTERBERGER (1834-1914) Prior im portant

and

Weimar

becoming

piano

Winterberger 1843

to

and

studied

1849

at

and

where

he

Leipzig,

he

vocal

duets

sixty-one

gious

texts,

sion

O

in

t wo

solos

of h i s of

day,

his

native

of

Liszt.

After

Franz

wrote

as

teaching

songs the

are

at

returned

a music

p i a n o and o r g a n

keyboard

are

his

to

for

with

most

returned

Winterberger

works

which

of

the

in Leipzig during

Vienna and

and

solo

one of

virtuosos

pupil

years

include

and

least

a

taught

as

conservatory

Petersburg,

riis c o m p o s i t i o n s as

the

became

in

where

organ

subsequently

s p e n d i n g a number of conservatory

recognized

subject

of

the

to

critic.^ as

we 11

accompaniment. settings

the

of

At

reli-

discus­

below.

^ ■"Wi nterberger, A l e x a n d e r , " M u s i l c a l i s c h e s C o n v e r s a t i o n s - L e x i k o n , v o l . 11, ed. H e r ma n n M e n d e l and A u g u s t R e i s s m a n n ( B e r l i n : R o b e r t O p p e n h e i m , 1 8 8 7 ) , p. 3 8 0 . A l s o , " W i n t e r b e r g e r , A l e x a n d e r , " The I n t e r n a t i o n a l C y c l o ­ p e d i a o f Mu s i c a n d M u s i c i a n s , 1 1 t h e d . , e d . B r u c e B o h l e ( Ne w Y o r k : D o d d , M e a d e , S C o . , 1 9 8 5 ) , p. 2 4 7 2 . H i l d e g a r d J u n g , " Da s g e i s t l i c h e S o l o l i e d im 19. Jahrhundert: Ein B e i t r a g zur G e s c h i c h t e des d e u t s c h e n K u n s t l i e d e s " ( I n a u g u r a l - D i s s e r t a t i o n , U n i v e r s i t a t Koln, 1 9 5 1 ) , pp. LX-LXI. 213

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

214

" Da s Wo r t G o t t e s " 5 6 , H e f t I , No. 1; 1 8 7 6 ) 3

( Op. Angelus song's

text,

Roman on

Silesius

was o r i g i n a l l y

Catholicism

the

in

w ritings

greatly

ships cal

with poets

and

as well

("Holy

formed Kiddle

a

this

of

Ages

and is

of

decision

his

by h i s

Soul")

relation­ mysti­ von

conversion,

religious

1657,

the

n o t known t o h a v e s e t

He wa s

expe­

thoughts

t h e H e i 1 gen S e e l e n -

the

of

Jakob

Abraham

emotional

of

between

Pietism

as

who w e r e

his

intimate

including

the

such

particularly

to

reflection

(1533-1588).

Following

transition the

Wei gel

enthusiastically

writings,

Desire

personal

contemporaries

expressed as h is

point

W interberger

his

(15 9 3 - 1 6 5 2 ) .

a b o u t God i n h i s 1us t

of

muc h

of t h i s

but c o n v e r te d

theologians

in h is

theologians,

Silesius

riences

after

and V a l e n t i n

a number

the author

a Lutheran,

m ystical

influenced

Franckenberg Angelus

16 5 3

of

Bohme ( 1 5 7 5 - 1 6 2 4 ) also

(1624-1677),

whereby

mysticism

of

Baroque

any o t h e r

he the

e r a /

texts

of

poet.

Das Wo r t G o t t e s Treuer K eister,

no d a t e

deine

Wo r t e

O The d a t e c o m e s f r o m a p p e a r s on t h e s c o r e .

Jung,

"Sololied,"

p.

LX,

as

^Wolfgang Stammler, "Angelus S i l e s i u s , " Neue deutsche B io g ra p h ie , vol. 1 (B e rlin : D u n c l c e r & Hum b l o t , 1 9 5 2 ) , pp. 2S8 - 2 91.

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215

Sind die r e c h t e H im m els pforte; Deine Lehren sind der Pfad De r u n s f i i h r t z u G o t t e s S t a d t . 0 w i e s e l i g , we r d i c h h o r e t , Wer v o n d i r w i l l s e i n g e l e h r e t , Wer i n De mu t h j e d e S t u n d H o r c h t a u f d e i n e n t r e u e n Kund! H e r r , d e i n Wo r t m i r n i c h t v e r h e h l e ! Rede l a u t zu m e i n e r S e e l e , I i i i l f m i r h a l t e n b i s zum Tod D e i n e r Li ebe s u s s Gebot!

Th e Word o f God M a s t e r of t h e t r u t h , y our words Ar e t h e t r u e d o o r o f h e a v e n ; Your teachings are the path Wh i c h l e a d s u s t o t h e c i t y o f God. U how b l e s s e d , w h o e v e r h e a r s y o u , Wh o e v e r w i l l be t a u g h t by y o u , Wh o e v e r i n h u m i l i t y e a c h h o u r H e a r k e n s t o y o u r u p r i g h t mo u t h ! L o r d , do n o t c o n c e a l y o u r wo r d f r o m me! S p e a k l o u d l y t o my s o u l , H e l p me k e e p u n t i l d e a t h The s w e e t c o mma n d me n t o f y o u r l o v e ! Theological prayer,

is

words, lead life,

the

which

the

individuals obey

his

theology

Lord

will

spirituality

end

who w i l l

in

the

with

who c a n

source

heaven.

In

death,

of a l l

the

God

truth.

This

orthodoxy became

a

midst

seeks

blessed

humility.

later

be a d d r e s s e d

t o l o v e God a n d e a c h

be g r e a t l y

traditional which

God,

people

toward

teachings of

who i s

command

believer

which

summary.

if

to

his

other,

of

human

speak

to

they hear

and

combines

the

text

with

in

the

central

personal

concern

Pie t ism.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

of

216

Musical the

thirty

modified song

analysis.

measures

strophic

is

the

key

of

form. of

the

accompaniment

song^

G major,

it

is

but

does

four

idiomatic

double

voices

The t e x t

sustained times tant

over

repeated musical Other

are

the

in B minor.

highly

the

which

manner and p r e s e n t song.

are

fundamental

which

fill

presented tonality

first

of

in the

two

strophes

Within th is

harmonic

known t o

is

the set

three so

as

so t h a t four

to

at

is

self-contained, times.

enter

one s y l l a b l e and

synchronize

germ of

is

the

with

with

as

i n an i m i t a t i v e

and r h y t h m i c

notes,

The b a s i c

contrapuntal

sometimes

melodic

or

and

melody

c o n c e p t i o n of the acc om panim ent ma ny a s

strophes

a r i a - l i k e melody has a compass of a minor O (e to c ) f o r a low a l t o v o i c e . The k e y b o a r d

thirteenth

although

three

this The

aiodulat.e to and f i n i s h design

The

frequently

text

the

the

is

mor e

some­ impor­

phrase. settings.

No o t h e r

settings

of

this

text

his

era,

the

be e x t a n t . "T odessehnsucht" ( Op.

In strongly

contrast orthodox

13b,

to

Mo.

the

Lutheran

1;

1909)

P ietists poet

and

of

theologian

The s c o r e o f t h i s s o n g i s a v a i l a b l e the Library of Congress in Washington, D .C .

for

Hinrich

study at

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

217

Elmenhorst regard

to

( 1 6 3 2 - 1 7 0 4 ) had an o p e n - m i n d e d a p p r o a c h

the

In a d d i t i o n chaplain,

involvement

to s e r v i n g

Elmenhorst

participating

in

which

wrote

he a l s o

published

in

G eistliche (1700).^

three

texts

as a d e a c o n ,

expressed

the

founding libretti.

are

of

the

and with

rigid

and w e l l - d e f i n e d

and

This

Elmenhorst

interests

Hamburg

by

Opera

for

poetry

was

Lieder

(1661);

Geistreiche

Lieder

metaphor

and

understanding

text,

events.

and h o s p i t a l

his musical

an e x t r e m e l y wrong.^

secular

pastor,

Geistliche

(1685); replete

in

His r e l i g i o u s

collections:

Gesangbuch

Th e

of C h r i s t i a n s

v/ith

express of r i g h t

which o r i g i n a l l y

had

eleven

s t r o p h e s of which W i n t e r b e r g e r used only the f i r s t O and l a s t , i s t h e o n l y t e x t by t h i s p o e t w h i c h t h e c o m p o s e r is known to have set to music. Todessehnsucht H a n c h e r Ta g i s t m i r v e r g a n g e n Und m i t S e u f z e n ma n c h e Wa c h t Unter sehnlichem Verlangen

£

For a d i s c u s s i o n of t h e s e t t i n g s of t h e s e t e x t s by J o h a n n W o l f g a n g F r a n c k a n d o t h e r s , s e e p . 33 a b o v e . ^Kate L o r e n z e n , sche B iographie , vol. 19 5 7 ) , p . 4 6 1 .

"Elmenhorst, 4 (Berlin:

K i n r i c h , " i\:e u e d e u t D u n c k e r fi Hu m b 1 o t ,

The c o m p l e t e t e x t i s a v a i l a b l e i n Hi n r i ch E l me n h o r s t s G eistliche L i e d e r k o mp o n i e r t von J o h a n n Wolfgang F ra n ck, .Ge.£_r.il Bjpjhni jun.d_ F^£t_££ L a u r e n t i u s > Denkmaler d eu tsch e r Tonkunst, vol. 45 (Wiesbaden: B r e i t k o p f u I i a r t e l , 1 9 6 1 ) , p p . 1 4 5 - 1 4 6. A n u m b e r o f c h a n g e s h a v e b e e n made i n t h e t e x t a s i t a p p e a r s in W i n t e r B e r g e r ' s s c o r e , most of which c o n s i s t of a d d i n g e x p l i c i t r e f e r e n c e s t o t h e g r a c e o f God.

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218

Na c h dem Hi mme l z u g e b r a c h t ! Wann w i r d e i n s t , m e i n G o t t g e s c h e h e n , Dafl i c h s o l i z u r Ruhe g e h e n ? S e i, 0 Go tt, das Z i e l des Lebens, D e i n e r lluld a n h e i m g e s t e l l t , LaB m i c h h o f f e n n i c h t v e r g e b e n s , S o n d e r n , wo e s D i r g e f a l l t , H e r r , z e r b r i c h des L e i b e s Hohle, G n a d i g a u f ni mm m e i n e S e e l e . Longing f o r

Death

Many a d a y h a s p a s s e d f o r me And w i t h s i g h s many a n i g h t Beneath a rd e n t longing To h a v e b e e n b r o u g h t t o h e a v e n ! When w i l l i t o n e d a y h a p p e n , my God, T h a t I s h o u l d go t o r e s t ? Be , 0 God, t h e g o a l o f l i f e , Submitted to your g r a c e , L e t me n o t h o p e i n v a i n , B u t , when i t p l e a s e s y o u , Lord, s h a t t e r the b o d y 's v e n t r i c l e , G r a c i o u s l y r e c e i v e my s o u l . Theological life

and

death,

is

summary. the

He ma y b e a d d r e s s e d

in

heaven

a

the

person's is

soul

longing

to su b m it

This

of

text

orthodoxy

for

God,

believer's prayer dying

death,

accompanied

Musical

the

ultim ate

so t h a t

he w i l l

the

of r e s t ,

sleep

will

theological

This

of

the

admit into midst

of

of

a

he o r s h e

and hope in views

Lord

destination.

In

by p i e t i s t i c

analysis.

gracious

person.

to God's g r a c i o u s

expresses

the

the

Lord.

traditional

ideas.

song's°

forty-two

^The s c o r e o f t h i s s o n g i s a v a i l a b l e Wa s hin gt on , D.C., a t t h e L i b r a r y of C o n g re s s.

for

measures

study in

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219

are

in

through-composed

harmonic

structure

Beginning

in

completing the

what

each

t wo p a r t s

major.

The

A minor,

of

phrase

second the

this

to

in

song

form.

lied

seems

of t h e

but

binary

is

be

Th e h i g h l y deliberately

the

key

a different

ultimately

portion

of

the

four-measure

chromatic

of

A minor

key,

the

cadences

song

postlude

unsettled.

is

first

clearly

finally in

but of

in f

returns

A major.

to The

a n g u l a r m e l o d y h a s a r a n g e o f a d i m i n i s h e d t w e l f t h (b t o O f ) . The k e y b o a r d a c c o m p a n i m e n t i s predom inantly homophonic song

the

in

texture,

bass

line

the

contains

countermelodic

line

beyond t h a t syllaLic

accompaniment

at

the

of

with

the

in

the

latter

portion

of

b e c o m e s mo r e a c t i v e a n d m e l o d i c .

sionally

vocal

but

doubles

lines

cadence

or

voice.

repetition

and

the

voice,

sometimes

continues

its

the

"1'iach de m M i m m e l z u g e b r a c h t "

crucial

Occa­ it

completes musical

The t e x t - s e t t i n g of

but

is

also the

phrase

basically

textual

and "Gnadig a u f

the

phrases,

n i mm m e i n e

See 1 e . " Other Johann

settings.

Wolfgang

Franck

The

setting

(1644-1710)

of was

this

text

by

published

in

1 7 0 0 . 1Li

^See

footnote

8 above.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

Chapter

24

MICHAEL HALLER (1840-1915) The H aller,

who

nineteenth

work

of

has

the

been

R o ma n called

century," ^

the

desire

associated

to

Catholic his

return church

sought

to

church

music

the

study

than

by

the

through

music,

are but

of

liturgical

the

sixteenth

and

the

he a l s o

of

of

the

and

its

within

the

century.

of

Through

activities Roman

choral

music

thereof. motets, wrote

and

Most

of

other

devotional

he

Catholic

derived

liturgical

of

musical

movement music

the

city

use of p r i n c i p l e s

im itation Masses,

Michael

the

compositional

revitalization

of R e n a i s s a n c e slavish

proponent

Cecilian

of

teaching,

around

the

style

that

encourage

compositions choral

the to

conducting,

with

priest

"Palestrina

centered

R e g e n s b u r g w h e r e he was an a c t i v e reforms

Catholic

from

rather

Haller's

liturgical

music

tor

use

■ ^Ha l l e r s h o u l d n o t be c o n f u s e d w i t h B e r n h a r d J o s e p h K l e i n ( 1 7 9 3 - 1 8 3 2 ) who b e c a m e k n o w n a s " t h e P a l e s t r i n a of B e r l i n " d u r i n g h i s l i f e t i m e . S e e p. 9 8 a b o v e f o r r i or e i n f o r m a t i o n on K l e i n . ^ Au g u s t S c h a r n a g l , " H a l l e r , M i c h a e l , " b i e Mu s i k i n G e s c h i c h t e u n d G e g e n w a r t , v o l . 5, e d . F r i e d r i c h B l u m e ( K a s s e l and B a s e l : B a r e n r e i t e r , 195 6 ) , pp. 1 3 7 2 - 1 3 7 3 . One s u c h c o l l e c t i o n o f l i t u r g i c a l m u s i c w h i c h i n c l u d e s b o t h s o l o s o n g s a n d c h o r a l w o r k s i s C o r a ir, T a b e r n a c u l o : G e s a n g e zum a l l e r h e i l i g s t e n Sakrament (Eatisbon: F. 220

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

221

in

the

ho me a n d

thirteen

the

geistliche

accompaniment. containing sacred

in

school lieder

One

for

collection

twenty-three

solo

setting,

songs,

is

his

der

seligste

Jungfrau

Songs f o r

the

Worship

of

are

I S 85)

O

from

the

which

voice

such

compositions

Maria

Most

the

two

at

with

devotional

Ma r i e n g a r t e n :

Verehrung

Up. 3 2 ;

solo

of

choral

including

least piano music,

and e l e v e n

34 Lieder

zur

("Mary's Garden:

34

Blessed songs

Virgin

Mary,"

discussed

below

taken.

( Op.

The a u t h o r

of

" H e i mw e h " 3 2 , No. 6; 1 8 8 5 )

this

text

is

the o th e rw ise

unknown

iv. von B o r n . Hei mweh Void h i m m l i s c h e n G e s t a d e Glanzt g o l d 'n e r Morgenschein, De r S e l ' g e n J u b e l c h o r e , S i e l a d e n f r o h mi c h e i n .

Bei m A n b l i c k i h r e s F r i e d e n s , Be i i l i r e r S t i mme n K l a n g War m i r ' s , a l s wenn v o r S e h n s u c h t Di e e n g e B r u s t z e r s p r a n g . Wohl s t r e c k t '

Fustet,

ich

voll

Verlangen

1900).

° Mi c h a e 1 H a l l e r , Ma r i e n g a r t e n : 3 4 L i e d e r z u r V e r e h r u n g d.e_r_ s e l i g s t e J u n g f r a u M a r i a ( K e g e n s g u r g : Friedrich Pustet, 1904). The 1885 d a t i n g i s fr o m H i l d e g a r d J u n g , "Das g e i s t l i c h e S o l o l i e d : Bi n B e i t r a g z u r G eschichte des deutschen K unstliedes" (InauguralD i s s e r t a t i o n , U n i v e r s i t a t K o l n , 19 5 1 ) , p. XXI .

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

Di e b e i d e n Ar me a u s : Ach k o n n t i c h n u r h i n i i b e r In 's tra u te Vaterhaus. Doch z w i s c h e n h i e r und d r i i b e n Gahnt e i n e t i e f e K l u f t . Wi e k a n n i c h o h n e F l i i g e l L e i c h t schweben d ur ch d i e L uf t ? Wi e k a n n i c h o h n e S e g e 1 D u r c h s c h i f f e n d i e s e s Me e r , I n dem d e r S t u r m w i n d s c h a u k e l t D i e Wogen h i n u n d h e r ? Wi e k a n n i c h d u r c h d i e Wi i s t e , Wo r nanche T r u g g e s t a l t Mi c h z i e i i t vom r e c h t e n P f a d e A b s e i t s , v;ie r a i t G e v / a l t ? I c h b r e i t e a u s d i e Ar me , I c h s c h a u * zurn H i m m e l r e i c h , I c h heir d i e S e l ' g e n s i n g e n , i i i r wi r d d a s Her z so w e i c h . Ach k l u f t , a c h M e e r , a c h Wi i s t e , Wi e b i n i c h s c h w e r i n N o t h ! Oh n ' F l i i g e l , S e g e l , S t e u e r F n t g e h ' i c h n i c h t d e ra Tod ! Da s c h w e b t on meinen: K a u p t e De r h e i l ' g e n J u n g f r a u b i 1 d : Den Saum v o n i h r e m M a n t e l ii e i c h t h o l d s i e m i r un d mi 1 d . Vertrauensvoll e r f a s s ' ich Den m a n t e l m i t d e r Ha n d ; I c h f i i h l e mi c h g e t r a g e n Zum l i e t e n i i e i m a t h l a n d . homesickness Fr om t h e h e a v e n l y s h o r e S h i n e s t h e mo r e g o l d e n m o r n i n g The b l e s s e d r e j o i c i n g c h o i r , Th e y i n v i t e me j o y f u l l y . At t h e s i g h t o f t h e i r p e a c e , At the sound of their voices I t was t o me, a s i f b e c a u s e o f The n a r r o w b r e a s t e x p l o d e d .

light,

longing

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2 23

I ndeed f u l l of l o n g i n g , I e x t e n d e d Both arms: 0 i f I c o u l d o n l y be o v e r t h e r e In t h e bel oved house of t h e F a t h e r . Ye t b e t w e e n h e r e a n d o v e r t h e r e Gapes a d e e p cha s m. How c a n I w i t h o u t w i n g s Easily soar through the air? how c a n I w i t h o u t s a i l Sail through th is sea, In which t h e s t or mwi nd The w a v e s t o a n d f r o ?

s ways

How c a n I go t h r o u g h t h e v / i l d e r n e s s , Wh e r e many d e c e p t i v e f o r m s P u l l ine a s i d e f r o m t h e r i g h t p a t h , As w i t h p o w e r ? 1 s p r e a d o u t my a r m s , I l o o k t o t h e h e a v e n l y kingdom, I hear th e b l e s s e d ones s i n g i n g , My h e a r t b e c o m e s s o s o f t . 0 c has m, 0 s e a , 0 w i l d e r n e s s , how v e r y much I am i n n e e d ! Without wing, s a i l , r u d de r 1 do n o t e s c a p e d e a t h ! T h e n a b o v e my h e a d f l o a t s The i m a g e o f t h e h o l y V i r g i n : The hem o f h e r c l o a k Sh e o f f e r s t o me g r a c i o u s l y a n d g e n t l y . F u l l of t r u s t I g r a s p The c l o a k w i t h my h a n d ; I fe e l myself c a r r ie d To t h e b e l o v e d h o m e l a n d . Theological glories the

individuals

holy, gap in

of heaven

gentle,

between her.

greatly

who i n h a b i t

and h e a v e n

beings

live

God t h e F a t h e r

separated

and g r a c i o u s ,

earth

h u ma n

summary.

it.

this

The V i r g i n

provides for

from

those

on e a r t h

dwells

who p u t

and l o o k

’w o r l d

Mary,

a wa y t o

in the

who i s

bridge their

toward

and

the

trust heaven,

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

224

hearing peace

the jo y fu l

and

invite

believers

m u s i c o f t h o s e wh o no w d w e l l people

longingly

to

recognize

from d e a t h ana a s s i s t a n c e separation and

between

threatening,

the

This

Roman C a t h o l i c

the

text

orthodoxy

a

structure

composed , be s e e n poetic next

strophic,

strophes

nusical

set

textual

setting

is

new m u s i c a l

material

the opening

mel ody

Following

a

instrumental setting brance

forms

of of

m aterial

version

the the

ninth initial

which

the

of

in

mel ody

continues

to

of

which

opening

strophe

throughwhat mi g h t

The f i r s t

lyrics

beginning

the

begins but the

be

song^

three

manner. a totally

v;ith a t w o - me a s u r e the

interlude

of

strophic

placed

this

into

form.

w h i c h mo v e s d i r e c t l y

for

keyboard

of

immense

traditional

of

elements

in a s t r i c t

strophe

is

the

by P i e t i s m .

combines

which c o n c l u d e s

escape

because

of

111 m e a s u r e s

are

an

can e a s i l y

an e x p r e s s i o n

The

strophes

The s e v e n t h

for

wa y t o h e a v e n

a n d d_a c a p o a r i a

are

need

in

Earthbound

of e x i s t e n c e

a s a h i g h 1 y - mod i f i ed s o n a t a

three

lude.

their

influenced

which

heaven.

in g a i n in g heaven,

Musical a n a l y s i s . have

to

t wo r e a l m s

while

misapprehended.

come

there

is into

the

with

mo v e s

inter­ set

a modified

material,

directly the

to

strophe

a melodic

of

new

a r e t u r n of

eighth

presents

musical

end

also

The

the

remem­

into

song.

new The

^ T h e s c o r e o f t h i s s o n g i s a v a i l a b l e f o r s t u d y fi t St. Vincent College and Archabbey in Latrobe, Pennsylvania.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

225 harmonic After the

structure

beginning

course

tonality keys

of is

with

major,

the

of

is

the melody. left

and f o r

the

During hand

last

has

bass

chords bic

line

in

style

the o p p o s ite with

Other are

known t o

only

the

settings.

of

ambiguity.

to D major

of

material,

strophic

e.g., the

eleventh

between

F-sharp

melodic

line

(d^

use

g ^ ).

with

The

muc h

the

phrases

left hand. final

for

the

hand,

there right each

The t e x t line

No o t h e r

of

of

the

half the

piano

inter­ melody,

is c o n siste n t hand or a r u n ­

accompanied

is set the

A

doubling

more e x t e n s i v e

strophes

and of

the second, initial

two

encompasses

to

in the

those

major

frequent

homophonic

patterns the

full

modulating

through

two p o e t i c

for

also

transition

basically

use of a r p e g g i a t e d ning

in

evoked

perfect

accompaniment

the

section

undulating

a

is

and

tonalities,

fleetingly The

song

B minor

first

other

interval

lude

in

the

constantly

cadences.

of

of

by

in a s y l l a ­

poem r e p e a t e d .

settings

of

this

text

be e x t a n t .

( Op.

"K e e r e s s t e r n " 3 2 , No. 11; 1 8 8 5 )

W. v o n B o r n i s a l s o t h e p o e t w h o s e t e x t v/ as s e t by halier

in

this

lied.

Meeresstern 0 Maria, h e l l e r Stern Au f dem v / i l d e n L e b e n s m e e r ,

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

Gi b u n s F r i e d e n v o n dem H e r r n , Das w e n d ' Ru h e um u n s h e r . S e i t uns S a ta n in der B r u s t Loste blinde L e i a e n s c h a f t , Wi r d d i e S e e l e u n b e w u s s t Von dem S t u r m e f o r t g e r a f f t . Wo i s t R e t t u n g , wo i s t I i e i l ? E i t l e r Schwache t r o s t l o s B i l d S t ii r z t d a s S c h i f f z u r T i e f e s t e i l , Und d i e Wogen t o b e n w i l d . Ac h , iin I n n e r n h e r r s c h e t N a c h t , Alle Sinne sind emport, S a t a n u n s ' r e r Angst nur l a c h t , wenn d e n H i l f e r u f e r h b r t . Dur ch d i e Wo l k e n , h e l l e r S t e r n , S t r a h l ' i n meine S e e l e R u h ' , S t r a h l ' i n Narnen u n s e r ' s H e r r n De i n e m K i n d e F r i e d e n z u . Lass sicii l e g e n d i e s e n Sturm, brdne s a n f t die Sinne a l l ' , Z e i g e d i c h a I s s t a r k e r Th ur m Und z e r t h e i l ' d e r Wogen P r a l l . D r u n t e n , wo d e r R e b e l l i e g t , hur das wilde Wetter t o b t , F r i e d e h e r r s c h e t , wo im L i c n t S t r a h l t d e i n Name h o c h g e l o b t . 0 M a r i a , S t e r n so h e l l , S i n k e n mu s s i c h o h n e d i c h In d i e s c h w a r ze T i e f e s c h n e l l ; S c h i i t z e , h a l t , b e wa h r e mi ch! 0 M a r i a , h o r ' den Ruf , De r m i r a u s p r e s s t A n g s t und N o t h ; G o t t d e r k e r r , d e r mi ch e r s c h u f , Rett'

m ich

j e t z t

d u r c h

d ich

von;

Tod.

0 Maria, Leer e s s t e r n , S a n f t i g e d e r Wogen S t r e i t , Bis der F r i e d e n u n s e r ' s Herrn Ha t d e n w i l d e n S t u r m z e r s t r e u t . Star

of

the

Sea

0 Ma r y ,

clearer

star

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

227

On t h e w i l d s e a o f l i f e , Gi ve us p e a c e from t h e L o r d , Wh i c h b e c o m e s r e s t a r o u n d u s h e r e . Since Satan i n t o our b r e a s t Released blind passion, Unconsciously the soul is C a r r i e d f o r t h by t h e s t o r m . Wh e r e i s d e l i v e r a n c e , w h e r e i s s a l v a t i o n ? The w r e t c h e d f o r m o f f u t i l e w e a k n e s s iiurls the ship to the p r e c i p i t o u s depths, And t h e w a v e s r a g e w i l d l y . Alas, night rules at heart, A l l s e n s e s a r e s t i r r e d up, Satan only laughs a t our a n x i e t y F o r he h e a r s t h e c a l l f o r h e l p . Through t h e c l o u d s , c l e a r e r s t a r , R a d i a t e r e s t i n my s o u l , S h i n e i n t h e name o f o u r L o r d Peace to your c h i l d . Let t h i s storm cease, S o ftly order a l l the senses, Show y o u r s e l f a s a s t r o n g e r t o w e r And d i s p e r s e t h e c o l l i s i o n o f t h e

waves.

Th er e below, where t he fog l i e s , On l y t h e w i l d s t o r m r a g e s , Peace r u l e s , where in t h e l i g h t S h i n e s y o u r h i g h l y - p r a i s e d n a me . 0 h a r y , s t a r so c l e a r , 1 must s i n k q u i c k l y w i t h o u t

I n t o the Shelter,

you

black depths; h o l d , k e e p me!

0 Hary, h e a r the c a l l , Wh i c h a n x i e t y a n d n e e d s q u e e z e f r o m me; God t h e L o r d , who c r e a t e d me, T h r o u g h y o u now s a v e s me f r o m d e a t h . 0 Ma r y , s t a r o f t h e s e a , S o f t e n the b a t t l e of the waves, U n t i l t h e p e ac e of our Lord has d i s p e r s e d the wild storm.

Theological

summary.

God

the

Lord

is

the

creator

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

228

of

each

individual.

who d e l i v e r s She,

whose

addressed

Ke i s

the

from

death

people name

is

highly

in p rayer

darkest

of

stormy

night.

for

d e l i v e r a n c e may be f o u n d bring

distress

tumultuously sion

which

weak,

filled

have

anxious

and

a parent-child

orthodoxy

the

we d d e d

Musical fill

ninety

individual spans

a

she

shines

' : ke

one

in

and

for

in

deliverance the

rest

relationship

thoughts

in

ii m i n o r , the

briefly

second

modulates

portion

of

each

which

women a r e

forces

of

pas­

The h u ma n r a c e

is

p r o b l e m s and c i r c u m ­

which

can

be f o u n d

within

the

Virgin.

This

Roman

the

text

Catholic

i m p e t u s of R o ma n t i c is m. strophes

stro p hie

of

form

structure.

6 major

strophe,

at and

the

this

song~*

with The

d^)

strophe begins

to

a

and

forces

men a n d

( d ^ - s h a r p to

harmonic scheme wherein each

on

of

a binary

octave

star

the

passions

with

strict

in

be

the

The f i v e

s t r o p lie h a v i n g diminished

of

of traditional

analysis.

can

from

to the e m o t i o n a l

measures

s the

Satan. its

Mary.

for

a

one

protection

c o n t r o l l e d by

source

for

heaven,

whor .

The l i v e s

in m a s t e r i n g

longing

represents

of need,

she contj

the

the Virgin

time

for

with

their

through

in

people.

ineffective

stances, heart,

to

peace and

in

help

is

of

praised

circumstances Mary

source

each

mel ody

within

a

in the keyof beginning

returns

to

of the

C.

“’T h e s c o r e o f t h i s s o n g i s a v a i l a b l e f o r s t u d y a t St. V incent C ollege and A r c ii a b b e y in Latrobe, Pennsylvania.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

229

original

tonality,

terminating is

and

on a n E m a j o r

chorale-like

sionally

known t o

the

the

final

chord.

hoinophonic voice.

cadence

of

the

song

The p i a n o a c c o m p a n i m e n t texture

while

The t e x t - s e t t i n g

only is

occa­

syllabic

repetition.

Other are

in i t s

doubling

without

with

settings.

No o t h e r

settings

of

this

be e x t a n t .

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

text

Chapter

25

HUGO WOLF (1860-1903) Although music, Wo l f

choral

is

most

he

wrote

music,

and works

importantly

Nietzsche

identify

himself

geistliche these

are

lieder

of the

(1844-1900) as

an

a mo n g

discussed

symphonies,

for

remembered

In s p i t e of the i n f l u e n c e Wilhelm

operas,

as

a

A u s t r i a n Hugo song

c o mp o s e r . - ^

p hilosophy of F r i e d r i c h

upon

Wol f ,

"unbeliever," his

piano,

chamber

which led

there

2 43 p u b l i s h e d

are

him t o

thirty-two

songs.

Two o f

below. " Zum n e u e n J a h r " ( 1888)

Wolf

was

first

introduced

to

the

works

of

his

•*-Eric S a m s , " W o l f , Hu g o ( F i l i p p J a k o b ) , " T h e N e w Grove D i c t i o n a r y o f M us ic and M u s i c i a n s , v o l . 20, e d . S t a n l e y S adie (London: M a c m i l l a n , 1 9 8 0 ) , pp. 4 7 5 - 5 0 2 . A l s o , Edmund N i c k , " W o l f , Hugo P h i l i p p J a k o b , " D i e M u s i k i n G e s c h i c h t e und G e g e n w a r t , v o l . 14, e d. F r i e d r i c h Bl u me ( K a s s e l and B a s e l : B a r e n r e i t e r , 1 9 6 8 ) , pp. 7 7 6 - 7 9 6 . ^ B e t t y S m i t h C a m p b e l l , "The S o l o S a c r e d L i e d e r o f Hu g o W o l f : The I n t e r r e l a t i o n s h i p of M u s i c a n d T e x t " ( Ed. D. d i s s e r t a t i o n , C o l u m b i a U n i v e r s i t y , 1 9 6 9 ) , p p . 1 - 1 9 , discusses a v a r i e t y o f o t h e r i n f l u e n c e s upon Wo l f b e s i d e s t h a t of th e n i h i l i s t i c philosopher Nietzsche. These i n c l u d e t h e p h y s i c a l e n v i r o n m e n t i n w h i c h he f o u n d h i m ­ s e l f ; t h e m u s i c a l i n f l u e n c e s o f Bach, B e e t h o v e n , S c h u b e r t , S c h u m a n n , a n d Wa g n e r ; a n d t h e l i t e r a r y i n f l u e n c e s o f t h o s e p o e t s whose t e x t s he c h o s e t o s e t t o m u s i c . 230

)ermission of the copyright owner. Further reproduction prohibited without permission.

231

favorite in

the

poet, circle

Eduard Morike (1804-1875) ,

during

of

von G o l d s c h m i d t

the

composer

in

teacher

lite ra tu re ,

of

Germany's found

an

finest

meters,

Wolf

responded of

lyric

inherently

hymn

total

Vienna.

O

(1848-1906)

and

the

settings

within

Jahr,"

which

song,^

is

Wo l f p u t

has

musical general to

Morike

Morike the

a

pastor

been

and

years

later

considered

one

a of

W i t h i n h i s v e r s e s c a n be

quality

based

German

texts,

w ritten

ten

religious

in

to

folksong,

tradition.^ £ lyrics, setting a

including

period

had

on

poetic

Morike's

a ten-month

one of to

Morike,

poets.^

strongly

fifty-seven

Adalbert

his

1888.

an

fifty-three " Zum n e u e n

existing

church

t e x t s of Morike which

music.

Zum n e u e n J a h r Wi e h e i m l i c h e r w e i s e Ein E n g e l e i n l e i s e Mi t r o s i g e n F i i s s e n Die Erde b e t r i t t , So n a h t e d e r M o r g e n . J a u c h z t i h m , i h r Fr o mme n ,

^Campbell, Methuen,

"Wolf,"

pp.

4-5.

^ E r i c S a m s , Thj 2 S o n g s 1961), p. 35.

£ f_ Hu g o

Wo l f

^ E r i c Sams, " M o r i k e , Ed u a r d ( F r i e d r i c h ) , " G r o v e D i c t i o n a r y o f Mu s i c a n d Mu s i c i a n s , v o l . S t a n l e y Sadie (London: M a c m i l l a n , 1 9 8 0 ) , p. 575.

(London: The 12,

fl

New e d.

C a m p b e l l , " W o l f , " pp. 1 1 - 1 2 , c o m p i l e d n i n e a s p e c t s o f M o r i k e ' s l i t e r a r y s t y l e t o w h i c h Wo l f r e s p o n d e d i n h i s lieder . ^ S a ms ,

"Wolf,"

p.

575.

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232

E i n h e i l i g Wi l l k o m m e n , E i n h e i l i g Wi l l k o mme n ! H e r z , j a u c h z e du m i t ! I n I hm s e i ' s b e g o n n e n , De r Monde u n d S o n n e n An b l a u e n G e z e l t e n De s H i mm e l s b e w e g t . Du, V a t e r , Du r a t e ! L e n k e Du u n d w e n d e ! H e r r , D i r i n d i e Ha n d e S e i A n f a n g u nd E n d e , Sei a l l e s g eleg t! To t h e

New Y e a r ^ As s e c r e t l y A l i t t l e angel lig h tly Wi t h r o s y f e e t S t e p s on t h e e a r t h , So t h e m o r n i n g a p p r o a c h e d . R e j o i c e i n i t , yo u p i o u s o n e s , A h o l y welcome, A holy welcome! H e a r t , y o u r e j o i c e w i t h t h e m! L e t i t be b e g u n i n him Who moon a n d s u n In t he b l u e canopy Of h e a v e n mo v e d . You, F a t h e r , you c o u n s e l ! You d i r e c t a n d t u r n ! Lord, i n t o your hands Be t h e b e g i n n i n g a n d t h e e n d , Be e v e r y t h i n g l a i d . Theological

is

the

one

summary.

wh o c o n t r o l s

the

God,

who i s

movements

Father of

the

and Lor d, celestial

^ O t h e r E n g l i s h t r a n s l a t i o n s a r e a v a i l a b l e i n S a ms , S o n g s , p. 6 7 ; P h i l i p L. M i l l e r , T h e R i n g o f W o r d s : An A n t h o l o g y o f So n g T e x t s (New Y o r k : W.W. N o r t o n , 1 9 7 3 ) , p. 1 8 9 ; C a m p b e l 1^ o l f , " p . 7 5 ; a n d a t r a n s l a t i o n by J u l i a von Bo s e f o r u s e i n p e r f o r m a n c e i s i n c l u d e d i n t h e s c o r e : Hugo W o l f , L i e d e r n a c h G e d i c h t e n v o n E d u a r d M o r i k e , v o l . 3 (Leipzig: P e t e r s , n . d . ) , pp. 1 0 - 1 3 .

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

233

bodies.

He c a n

direction

at

throughout

its

in

the

Go d ' s in

be a d d r e s s e d

the

beginning

duration.

coming of a n o t h e r control

the

and

spiritual

in

prayer

for

of

a

year

Devout year.

reminds

new

believers Th e c r e a t e d

believers

realm.

This

of

poem i s

guidance as

are

well

to

as

rejoice

order

divine

and

is

under

activities

expressive

of

the

views of P i e t i s m . Musical a n a l y s i s . composed form f i l l s spans

a

major

This

forty

measures.

thirteenth

scheme r e p l e t e

with

song's

1

(d

seventh

through-

The e n e r g e t i c 9 b )

to

and

tripartite

within

ninth

melody^

a harmonic

chords.

Tonally,

t h e s o n g b e g i n s i n A m a j o r a n d m o d u l a t e s t o B m a j o r by t h e close in

of

the

G major

melodic

section.

The m i d d l e

and s u b s e q u e n t l y

wending i t s section.

first

modulates

way t o A m a j o r a t

The and

piano

germ

motion,

while

pattern

for i t s

thirds

in

it

to D major

based the

consists

opens before

the

on

final

the

song.

same

In

of p a t t e r n s

the of

e a c h hand movi ng i n c o n t r a r y

the middle s e c tio n repeated

is

throughout

b e g i n n i n g and e n d i n g s e c t i o n s

then

begin ning of

accompaniment

rhythmic

successive p arallel

the

section

uses a d i f f e r e n t

open f i f t h s

and o t h e r

rhythmic chords

in

^ F o r a s h o r t d i s c u s s i o n o f s o me o f W o l f ' s m e l o d i c p a t t e r n s i n t h i s s o n g , s e e W e s l e y J a m e s L o ew en , "The R e l a t i o n s h i p of Te x t and Vocal A s p e c t s i n t h e Mor i ke Songs o f Hugo W o l f " (D.M.A. d issertatio n , U niversity of M i s s o u r i - K a n s a s C i t y , 1 9 8 3 ) , pp. 75, 78.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

234

the

left

hand

paniraental syllabic

while

m elody.^

with

only

Other Carl

(1857-1897),

the

"sei

This

Me r ke l - *- *

previously-heard

text-setting

words

(1837-1914;

W.

the

The

settings.

Attenhofer

(1848-1906;

retaining

alles"

text

Op. and

has

44,

is

prim arily

repeated. also

No.

accora-

7),

Adalbert

been

set

Johannes

von

by

Pache

Goldschmidt

1 8 9 1 ) . 12 " D i e du G o t t g e b a r s t " ( 1889)

L a t e i n 1889 and e a r l y i n 1890 Wolf s e t f o r t y - f o u r texts

from

the

s i x t e e n t h - and

Spanisches

seventeenth-century

N o r t h German p o e t s , Heyse

(1830-1914),

gebarst,"

a Heyse

unknown N i c o l a s lieder

Liederbuch,

translation

Nunez,

is

the

of

a

translation

Spanish

Emanuel G eibel which ap peared

the

texts

(1815-1884) in

1852.

of

by t w o

and P au l

" D i e du G o t t

text

by

the

otherwise-

second of

the

ten

geistliche

w h i c h f o c u s on t h e V i r g i n Ma r y a n d J e s u s

and form

For a more d e t a i l e d a n a l y s i s of t h i s song w i t h p a r t i c u l a r r e g a r d f o r t h e c o m p o s i t i o n a l m o t i f s u s e d by W o l f , s e e S a m s , S o n g s , p. 6 7 . Also, s ee Campbell , "Wolf," p p . 76-78. * * M i l l e r , R i n g , p. a v a i l a b l e on W. M e r k e l .

188.

No o t h e r

inform ation

is

* 2 H i l d e g a r d J u n g , " Da s g e i s t l i c h e S o l o l i e d im 19. Jahrhundert: Ein B e i t r a g zur G e s c h i c h t e des d e u ts c h e n K u n s t l i e d e s " ( I n a u g u r a l - D i s s e r t a t i o n , U n i v e r s i t a t Koln, 1 9 5 1 ) , p. XVI I I.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

235

the

first

section

of Wol f's

Spanisches

Liederbuch. ^

D i e du G o t t g e b a r s t D i e du G o t t g e b a r s t , du R e i n e , Und a l l e i n e Uns g e l o s t a u s u n s e r n K e t t e n , Mach m i c h f r o h l i c h , d e r i c h w e i n e , De nn n u r d e i n e H u l d u n d Gn a d e mag u n s r e t t e n , H e r r i n , ga n z zu d i r mi ch wende, Da/3 s i c h e n d e D i e s e Q u a l u nd d i e s e s G r a u e n , Dab d e r Tod m i c h f u r c h t l o s f a n d e , Und n i c h t b l e n d e Mi c h d a s L i c h t d e r H i m m e l s a u e n . W e i l du u n b e f l e c k t g e b o r e n , Auserkoren Zu d e s e wg e n Ruhme s S t a t t e n Wi e m i c h L e i d e n a u c h u m f l o r e n Unverloren B i n i c h d o c h , w i l l s t du m i c h r e t t e n .

You Who B o r e G o d ^ You who b o r e Go d , y o u p u r e o n e , And a l o n e R e d e e me d u s f r o m o u r s l a v e r y , Make me j o y f u l , I who c r y ,

1O

S a ms , S o n g s , p. 1 6 4 . See a l s o , Werner Oehlmann, " [ P r o g r a m N o t e s ] , " Hugo W o l f ; Spanisches Liederbuch, E lizab e th Schwarzkopf, soprano, D ie t ri c h Fischer-D ieskau, b a r i t o n e , G e r a l d M o o r e , p i a n i s t , t r . J o h n Co o mb s ( D e u t s c h e G r a mmo p h o n e , 2 5 3 9 2 0 1 / 2 5 3 9 2 0 2 , 1 9 7 6 ) . ^ O t h e r E n g lis h t r a n s l a t i o n s are a v a i l a b l e in S a m s , S o n g s , p. 1 6 6 ; C a m p b e l l , " W o l f , " p. 1 2 1; G e o r g e B i r d and R ic h a r d S t o k e s , tr., The F i s c h e r - D i e s k a u Book o f L i e d e r ( Ne w Y o r k : L i m e l i g h t E d i t i o n s , 1 9 8 4 ) , p. 3 5 1 ; a n d in the score, Hu g o W o l f , S o n g s on S p a n i s h L y r i c s b y H e y s e , v o l . 1 ( New Y o r k : I n t e r n a t i o n a l M u s i c , n . d . ) , pp. 8 - 1 1 , w h e r e a t r a n s l a t i o n f o r u s e i n p e r f o r m a n c e ma y b e found.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

236

For o n l y your K i n d n e s s a n d g r a c e may s a v e u s . L a d y , t u r n me t o t a l l y t o y o u , That t h i s agony and t h i s h o r r o r Will end, T h a t d e a t h m i g h t f i n d me f e a r l e s s And t h e l i g h t o f h e a v e n ' s p a s t u r e s No t b l i n d me . B e c a u s e yo u w e r e b o r n u n s p o t t e d , Chosen To p l a c e s o f e t e r n a l g l o r y To w h a t e v e r e x t e n t s o r r o w a l s o v e i l s Not l o s t Am I y e t , y o u w i l l s a v e me. Theological earth

summary.

came

to

She,

p u r e and s i n l e s s ,

unending

through

glory

the

Mary,

the

ness

and

grace

provide

upon

her

and

is

characterized

death,

but

in

to

Ma r y ,

the

mother

of

God.

w a s c h o s e n b y God t o d w e l l i n t h e

o n e who h a s r e d e e m e d

turn

God i n t h e p e r s o n o f J e s u s

Virgin

of heaven.

will

me,

her

and

h u ma n r a c e

Mary a l o n e ,

and

through

salvation

to

wholeheartedly.

by s a d n e s s ,

pain,

a relationship

with

her

those

the

kind­

wh o c a l l

Human e x i s t e n c e

terror, the

is

and t h e f e a r

Virgin

these

of

condi­

t i o n s w i l l come t o an e nd.

T h i s poem i s r e p r e s e n t a t i v e o f

traditional

theology.

Roman C a t h o l i c

Musical song a r e

i n ABA' f o r m .

structure final (e

1

to

analysis.

which

is

Th e f i f t y - f i v e

Within a highly-chromatic

rooted

in

E-major chord the a u s t e r e 9 g ).

the

key

octaves

for

the

of

pianist's

of

with

a minor

consists right

this

harmonic

A minor

melody s pa ns

Th e k e y b o a r d a c c o m p a n i m e n t

bing re p e a te d

measures

of

a

tenth throb­

hand above

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

237

sustained text

is

mo v e s two

and

generally

dissonant

set

in a "sighing"

left-hand

syllabically,

pattern

the

but

syllable

chords.^ when is

the

The voice

extended over

notes. Other

are

often

known t o

settings.

No o t h e r

settings

of

this

text

be e x t a n t .

■^For mor e d e t a i l e d o b s e r v a t i o n s l i e d , s e e C a m p b e l l , " W o l f , " pp. 1 2 2 - 1 2 5 . S o n g s , p. 166.

concerning th is See a l s o , Sams,

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

Chapter

26

MAX GULBINS (1862-1932) The G e r ma n bered

today.

he h e l d and

for with

After

positions

conductor.

various

organ

male

lieder

are

which a r e

Max G u l b i n s

studying

in

Elbing

In

for

at

is

seldom

remem­

the Hochschule in B e r l in

and B r e s l a u

addition

works

chorus

keyboard

composer

to

four

liturgical

as

church

organ

use

organist

sonatas

Gulbins

also

and wrote

and

o r c h e s t r a as w ell as for solo voice I accompaniment. At l e a s t s i x t e e n g e i s t l i c h e

included discussed

in h i s

com positional

output,

two

of

bel ow.

" De r du d i e e w ' g e L i e b e b i s t " ( Op. 2 9 , No. 3; 1 9 0 5 ) The G e r ma n August Mahlmann private

school

university ings

in

brought

publisher,

(1771-1826) in

Borna

Leipzig. him

editor,

into

His

and a u t h o r

was e d u c a t e d

and

later

contact

with

in a p i e t i s t i c

studied

subsequent

law

literary

many o f

Siegfried

the

at

the

undertak­ authors

of

^ T h e JLlLt. ILL JiillLAilHiLiL c ^ o .j ij; d_ jo f_ M u s i c a n d Mu s i c i a n s , 1 1 t h e d . , e d . B r u c e b o h l e ( Ne w Y o r k : Dodd, Me a d e , !;" Es h a t n i c h t s o l l e n s e i n " ( Op . 2 1 3 , No. 2; J . v. Scheffel) " D a n k e G o t t " ( Op. 2 7 4 , N o . l ; 1 8 6 0 - 6 7 ) " I s t s G o t t W i l l und R a t " ( O p . 2 8 2 , No. 2; 1 8 6 0 67. F r . Ose r ) * " W i e g e n l i e d " ( Op . 2 8 2 , No. 4; 1 8 6 0 - 6 7 ; F r . O s e r ) " Ave M a r i a " ( Op . 3 2 8 , No. 2 ; 1 8 6 0 - 6 7 ) *"Ave Maria" ( Op . 4 3 8 a ) * " A b e n d f e i e r " ( Op. 4 4 5 , No. 5 ; G a b r i e l S e i d l ) " V e r g i s s d e s Hi mme l s n i c h t " ( Op . 4 6 7 , No. 2; 1 8 7 4 ) " H o f f e s t i l l und mag a u c h a l l e s " ( Op . 4 6 7 , No. 3; 1874) * " G o t t g r i i s s e d i c h ! " ( Op . 4 7 5 , No. 1; J u l . S t u r m ) * " M u t t e r n a m e n " ( Op. 4 7 5 , No. 2; G l a s n e r ) * " C h r i s t k i n d c h e n s E i n l a s s " ( O p . 4 7 5 , No. 5; K a r l Enslin) * " Z u r W e i h n a c h t " ( Op . 4 7 5 , No. 6) * " G u t e n M o r g e n ! " ( Op . 4 7 5 , No. 2 3 ) Aiblinger,

Johann Caspas

(1779-1867)

" Da s Ki n d an s e i n e n S c h u t z e n g e l " ( 1 8 5 2 ) " De r g u t e H i r t " ( 1 8 5 2 ) " De r HI . F r a n z i s l c u s und s e i n Lamm" ( 1 8 5 2 ) "Am G r a b e " ( 1 8 5 2 ) "Gebet e i n e s Kindes in der C h r i s t n a c h t " (1852)

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

"Klagen des Al ma ,

leidenden

Altmann,

( Op .

Alvensleben,

unser,

G.

der

du b i s t

im Hi mme l "

(1897)

( f r o m Op.

2;

1843)

Albert "Friede,

Anacker,

Friede,

August F r i e d r i c h Sechs

geistliche

J o h a n n Anton " De r " Der Jean

a c h f Ur Miide"

( f r o m Op.

17;

1892)

(1790-1854) Lieder

( Op .

26;

1852)

(1775-1842)

1 3 8 . P s a l m " ( Op . 6 3 , No. 1; 1 8 4 0 ) 2 8 . P s a l m " ( Op . 6 3 , No. 2; 1 8 4 0 ) Baptiste

Trost Andre',

1885)

v.

"Auferstehung" Amadei ,

5;

Arthur "Vater

Andrei

(1852)

Max " Ave M a r i a "

Andre,

Heilands"

( Op.

(1823-1882)

17;

1852-59)

J.

"Neujahrslied" Ansorge,

(Voss)

Max

* " D a s K r e u z " ( Op . 2 3 , No. 1; A d o l f P i c h l e r ) * " H e i l i g s K r e u z " ( Op . 2 3 , No. 2; M o r i k e ) * " U b e r N a c h t " ( Op . 2 3 , No. 3 ; J u l i u s S t u r m ) :,' " I n H a r m e s n a c h t e n " ( Op . 2 3 , No. 4 ; C o n r a d F e r d i n a n d Me y e r )

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273

* " D e r du von dem Hi mme l b i s t " ( Op . 2 3 , No. Goethe) * " E i n G r a b " ( Op. 2 3 , No. 7; Anna R i t t e r )

5;

Ar n e ma n n "0 d i e

Bagge,

Selmar

Zukunft

dir

Karl

65;

1893)

Gott"

(1852-1859)

Udalrich

"Sehnsucht Banck,

( Op .

(1823-1896)

"Vertrauen auf Baldenecker,

mag b r i n g e n "

n a c h dem J e n s e i t s "

(1852)

(1809-1889)

M a r i e n l i e d e r ( Op . 3 9 ; 1 8 4 5 ) * " G e b e t i n d e r C h r i s t n a c h t " ( Op . 5 3 , No. 5; 1 8 9 2 ; W. M u l l e r ) * " P i l g e r s p r u c h " ( Op . 5 3 , No. 6 ; 1 8 9 2 ; B. F l e m i n g ) * " W i e g e n l i e d " ( Op . 6 7 , No. 3 ; 0 . B a n c k ) * " M e i n H e r z " ( Op . 6 9 , No. 7; N i c o l a u s L e n a u ) * " T o d d e r T r e n n u n g " ( Op . 6 9 , No. 1 7 ; L e n a u ) B a r t h , G. "Marienlied" Bartz,

(1852-59)

Joh. Fiinfzehn g e i s t l i c h e

Lieder

( Op .

28;

1904-08)

1843;

Tiedge)

B a t k a , J . N. "Gottes Ba u ma n n ,

C.

Liebe"

( Op .

26;

before

F.

Religiose

Lieder

und G e s a n g e

( Op .

33;

1852)

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274

B a u m f e l d e r , G. "Mein

Baumgart,

Heiland,

Bausznern,

fiir d i e Mai-Andacht"

du b i s t

Wa l d e ma r

" Es i s t Alfred "Gebet"

Becker,

gelitten"

(Op.

9;

190 1)

(1904-08)

C. F . "Gott,

Becher,

fiir m i c h

Albert

"Marienlied Baunack,

der

Albert

me i n G o t t "

( Op .

Ps.

63)

von ( 1 8 6 6 - 1 9 3 1 )

so s t i l l (1803

(1898;

geworden"

( Op .

3,

No.

11;

1888)

1848) 3,

No.

3;

before

1843)

(1834-1899)

* " A d v e n t " ( Op . 1 1 , No. 1; He d wi g G a e d e ) * " W e i h n a c h t s l i e d " ( Op . 1 1 , No. 2; T h e o d o r K o h l e r ) * " G o t t W i l l k o m m e n , G o t t e s K i n d ! " ( Op . 1 1 , No. 3; Martin) G e i s t l i c h e L i e d e r im V o l k s t o n ( 1 8 6 0 - 6 7 ) - " P s a l m 6 2 " ( Op . 2 5 ; 1 8 8 3 ) * " P s a l m 1 4 7 " ( Op . 3 2 , No. 1) * " E r h o r e , 0 H e r r ! " ( Op . 5 1 , No. 1; 1 8 8 7 ; Ma r y , Qu e e n o f S c o t s ) - " D e r H e r r i s t M e i s t e r ! " ( Op . 5 1 , No. 2 ; 1 8 8 7 ; E u g e n i e von M o n s t e r b e r g ) - " B i t t e " ( Op . 5 1 , No. 3 ; 1 8 8 7 ; C h a r l o t t e von S e l d e n ) - " D u , H e r r , b i s t u n s e r V a t e r " ( Op . 5 1 , No. 4 ; 1 8 8 7 ; G. W. S c h u l z e ) - " W e i h e n i c h t ! " ( Op . 5 1 , No. 5 ; 1 8 8 7 ; M a r t i n ) * " Ge n Hi mme l a u f g e f a h r e n i s t " ( Op . 7 1 , No. 9 b ; folksong) :!;" P a s s i o n s l i e d " ( Op. 7 1 b , No. 5 ; f o l k s o n g ) G e i s t l i c h e L i e d e r ( Op . 7 1 c ; 1 8 9 6 ) Her z a u f w a r t s ; S e c h s g e i s t l i c h e L i e d e r im Volkston (1899) " D o r t h i n t e n a n d e r h i m m l i s c h e n Ti i r " ( 1 9 0 3 ; folksong)

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275

Becker, Ida Vier

Becker,

kleine

Reinhold

Legenden

(Op.

8;

1891)

(1842-1924)

"Wo du h i n g e h e s t " ( Op . 6 0 ; 1 8 9 1 ) " V a t e r u n s e r " ( Op. 8 7 ; 1 8 9 8 ) Fi i nf g e i s t l i c h e G e s a n g e ( Op . 1 2 9 ;

1904-08)

* B e e t h o v e n , Ludwi g v a n ( 1 7 7 0 - 1 8 2 7 ) " B i t t e n " ( o p . 4 8 , No. 1; 1 8 0 3 ; G e l l e r t ) " D i e L i e b e d e s N a c h s t e n " ( Op . 4 8 , No. 2; 1 8 0 3 ; Gellert) "Vom T o d e " ( Op . 4 8 , No. 3; 1 8 0 3 ; G e l l e r t ) " D i e E h r e G o t t e s a u s d e r N a t u r " ( Op. 4 8 , No. 4; 1803; G e l l e r t ) " G o t t e s Ma c h t und V o r s e h u n g " ( Op . 4 8 , No. 5; 1 8 0 3 ; G ellert) " B u s s l i e d " ( Op . 4 8 , No. 6 ; 1 8 0 3 ; G e l l e r t ) " De r W a c h t e l s c h l a g " (WoO 1 2 9 ; 1 8 0 3 ; S. F. S a u t e r ) " A b e n d l i e d u n t e r m g e s t i r n t e n Hi mme l " (WoO 1 5 0 ; 1 8 2 0 ; H. G o e b l e ) Behr,

Franz

(1837-1898)

" 0 du h e i l i g s t e " Bellermann,

Heinrich

" Ave M a r i a " Bellmann,

(1832-1903) (1888)

Julius

" Es i s t Beneken,

(1881)

so s t i l l

Friedrich

geworden"

Bernhard

(1888)

(1760-1818)

Lieder der R e l i g i o n , Freundschaft ( c . 1805)

und L i e b e

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276

*B e r g e r ,

Ludwi g ( 1 7 7 7 - 1 8 3 9 ) " D i e S t e r n e " ( Op . 1 7 , No. 3 ; K o s e g a r t e n ) " S a n d ' s T o d e s m o r g e n ( 2 0 Mai 1 8 1 9 ) " ( Op. 4 3 , L. R e l l s t a b )

Berger,

Bertelsmann,

52;

1899)

(1852)

He r ma n n "Gott

Bischoff,

ist

me i n H i r t "

9;

1898)

Abendlied"

(1860-67)

Konstanze "Wenn i c h ,

B1 a s e 1 ,

( Op .

K a r l B.

"Ein g e i s t l i c h

o Schopfer,

deine

Ma c h t "

(1860-67)

H. "Du H e i l i g s t e , 1903)

Bley,

49; 1899) K l i i f t e " ( Op.

K. A.

"Gebet"

Blanck,

11;

Wi l hel m ( 1 8 6 1 - 1 9 1 1 ) Zwe i g e i s t l i c h e L i e d e r ( Op . "Vom Hi mmel i n d i e t i e f s t e n

Beyer,

No.

zu d e i n e n

Fiissen"

( Op .

6,

No.

1;

Gustave " Me i n e S e e l e i s t s t i l l e zu G o t t " ( Op . 1 0 , No. 1; 1892; Ps a l m) " L o b e d e n H e r r n , m e i n e S e e l e " ( Op. 1 0 , No. 2; 1892; Ps a l m) " I c h d a n k e dem H e r r n von g a n z e n H e r z e n " ( Op . 19; 1 8 9 4 ; P s . 9) " G o t t s e i m i r g n a d i g " ( Op . 2 4 ; 1 8 9 8 ; P s . 5 7 )

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277

Bliithgen,

E.

" Wo

Blumenberg,

du

hingehest"

1894)

Kirchhof

liegt

so s t i l l "

( Op .

171;

Paul

ein

weiter

Garten"

( Op .

30;

1895)

(1843-1930)

" H e r r , w i e l a n g e w i l l s t du m e i n e r s o g a r v e r g e s s e n " ( Op . 1 5 ; 1 8 7 9 ; P s . 1 3 ) " H o r e , G o t t , me i n G e s c h r e i " ( Op . 5 6 ; 1 8 9 0 ; Blumner,

1896)

Franz

"Es l i e g t Blumenthal,

3;

Carl

" Der w e i t e Blumenberg,

(Op.

Martin

Ps.

61)

(1827-1901)

"Komm z u m i r , h e i l g e r C h r i s t " ( Op . 7, No. 3; 1 8 5 2 59) " S i e h e d a , e i n e Hi i t t e G o t t e s b e i den Mens chen" ( Op . 4 1 , No. 1; 1 8 9 8 ; B i b l e ) "Wo du h i n g e h s t , d a w i l l a u c h i c h h i n g e h e n " ( Op. 4 1 , No. 2 ; 1 8 9 8 ; B i b l e ) Bohme ,

F r a n z Ma g n u s

(1827-1898)

Die hohen F e s t t a g e i n L i e d e r n : 50 W e i h n a c h t s N e u jah rs-P assio n s-u n d P f in g stg e san g e (1860-67) B o e r n e r - S a n d r i n i , Marie " H e r r , l e g a u f s H e r z m i r d e i n e H a n d e " ( Op . 1, 1; 1 8 9 0 ) " G o t t e s G e b o t e s i n d n i c h t s c h w e r " ( Op . 1 , No. 1890) Bohl,

Heinrich "Es i s t

so

still

geworden"

( Op .

3;

1896)

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No. 2;

278

Bohnenblust,

Gottfried

"Wenn J a h w e Z i o n h e r s t e l l t " P s . 126) Bojanus,

W.

Ludwi g

1904-08;

Gesange

( Op .

2;

1875)

( Op.

72;

(1850-1939)

"Singt, jubelt P s . 100) Borchers,

3;

E.

Fi l nf g e i s t l i c h e Bonvin,

( Op.

eurem H e r r n"

1904-08;

Gustav

" E i n H e r z , d a s k e n n un d w e i s s i c h " ( 1 8 9 4 ) " E s i s t g e w a l t i g und i s t s t a r k " ( 1 9 0 4 - 0 8 ) Bothe,

Franz " S e i g e t r e u b i s i n d e n To d " ( 1 9 0 4 - 0 8 ) " Na ch d i r , H e r r , v e r l a n g e t mi c h " ( 1 9 0 4 - 0 8 )

Boyde,

Carl " L a s s mi c h n i c h t 1902)

* Brahms,

Johannes

im d i e n s t

e r mi i d e n "

( Op .

4,

No.

1;

(1833-1897)

"Die h e i l i g e E l i s a b e t h " (1858; fo lk s o n g ) " Der e n g l i s h e G r u s s " ( 1 8 5 8 ; f o l k s o n g ) "Marias W a l lf a h r t " (1858; folk song) "Weihnachten" (1858; f o l k s o n g ) "Dem S c h u t z e n g e l " ( 1 8 5 8 ; f o l k s o n g ) " M a d c h e n f l u c h " ( Op . 6 9 , No. 9; 1 8 7 7 ; S i e g f r i e d Kapper) " T o d e s s e h n e n " ( Op. 8 5 , No. 6; 1 8 7 8 ; Max von Schenkendorf) " Au f dem K i r c h h o f e " ( Op . 1 0 5 , No. 4 ; 1 8 8 6 ; D e t i e r von L i l i e n c r o n ) " G u n h i l d e l e b t g a r s t i l l e un d f r o mm" ( 1 8 9 4 ; folksong"

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279

"Maria ging aus wandern" (1894; f o l k s o n g ) " De n n e s g e h e t dem M e n s c h e n " ( Op . 1 2 1 , No. 1; 18 9 6 E cc l. 3:19-22) " I c h w a n d t e mi c h und s a h e a n a l l e " ( Op . 1 2 1 , No. 2 1896; E c c l . 4 : 1 - 3 ) " 0 T o d , o T o d , w i e b i t t e r b i s t d u " ( Op . 1 2 1 , No. 3 1896; E c c l e s i a s t i c u s 4 1 : 1 - 2 ) Venn ich mit Menschen- und mit Engelszungen redete" ( Op . 1 2 1 , No. 4 ; 1 8 9 6 ; 1 C o r . 1 3 : 1 - 3 , 12-13) Brand,

C. " Ave M a r i a "

Bratsch,

J.

( f r o m Op.

( Op.

11,

No.

3;

1852-59)

Ferdinand

" 0 d u , v o r dem d i e 1890; G e i b e l )

Brede,

1852-59)

B.

" Ave M a r i a "

Braunrath,

2;

S t i i r me s c h w e i g e n "

4,

No.

Albrecht "Es i s t

Breuer,

so s t i l l

geworden"

( Op .

34;

1897)

No.

2)

B. " Au f d i c h ,

Broksch,

Bronsart

0 Herr"

(1860-67)

R. "Herr,

sei

me i n L i c h t "

( Op .

von S c h e l l e n d o r f f , I n g e b o r d

23,

(1840-1913)

Ft i nf W e i h n a c h t s l i e d e r ( Op . 11; 1 8 8 0 ) * " A b e n d l i e d " ( Op. 16, No. 1; E r n s t v .

Bruch,

( Op .

Wildenbruch)

Max ( 1 8 3 8 - 1 9 2 0 ) -"Gott!"

( Op .

15,

No.

2;

1860-67;

H.

Bo n e )

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1;

280

"An d i e h e i l i g e J u n g f r a u " ( Op . 1 7 , No. 1; 1 8 6 0 - 6 7 ; S p a n i s c h e s L i e d e r b u c h , t r . E. G e i b e l ) " D e r h e i l i g J o s e f s i n g t " ( Op . 1 7 , No. 2; 1 8 6 0 - 6 7 ; Spanisches Liederbuch, t r . Geibel) "An d e n J e s u s k n a b e n " ( Op. 17, No. 3; 1 8 6 0 - 6 7 ; Spanisches Liederbuch, t r . Geibel) "An d i e h e i l i g e J u n g f r a u " ( Op . 1 8 , No. 3; 1 8 6 0 - 6 7 ) " We n n d i c h d i e S o r g e n d e s L e b e n s b e d r i i c k e n " ( Op . 4 9 , No. 4 ; 1 8 8 8 ) * " H e i m a t b i l d " ( Op . 5 9 , No. 5; C. S t i e l e r ) *Bruckner,

Ant on

(1824-1896)

" 0 du l i e b e s J e s u K i n d " ( 1 8 4 5 ) "In j e n e r l e t z t e n der Nachte" (1848) " Ave M a r i a " ( 1 8 8 2 ) Br i i c l c l ma y e r ,

F r a n z Xaver

Sechs M a r i e n l i e d e r Bu c k ,

Rudolf

(b.

( Op .

4;

1888)

1866)

" Me i n e S e e l e

diirstet

nach

Licht"

( Op .

13,

No.

1)

Bi i c h n e r , A . E . " Ave M a r i a " ( Op . " O s t e r l i e d " ( Op . " A l l e s , was d e i n 1896) Buchner,

38,

No.

Louis "Gott

Bii nte,

2 0 , No. 1; 1 8 5 2 - 5 9 ) 2 0 , No. 3; 1 8 5 2 - 5 9 ) G o t t d i r g i b t " ( Op .

erhore

me i n G e b e t "

(1895)

August "Bethania,

Burghardt,

du F r i e d e n s h i i t t e "

( Op .

25;

1899)

L.

Geistliche

Ge s i i n g e

( Op .

5;

before

1843)

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

1;

281

Burkhardt,

Chr.

"Uber

Chelius,

Nacht

Oskar

von

"Die B i b e l 1888) Christlieb,

ist

Arthur

Lied"

(Op.

6;

1883)

ein

heilige

Buch"

(op.

1,

No.

1;

Max ( b .

Franz

Festgesange

(before

1843)

(1859-1920) es

will"

( Op .

35,

No.

2;

1888)

zum M e i s t e r

der

Welt"

1852)

"Schauet hinauf 1904-08) Co mme r ,

d as

(1859-1923)

geistliche

" Wi e G o t t Clarus,

still

A.

Zwolf Claasen,

kommt

( Op .

38;

(1813-1887)

" W i l l k o m m e n , du g o t t e s S o n n e " ( Op . 3 9 , No. 6; 1 8 5 2 ) " A b e n d s e g e n " ( Op . 5 9 , No. 1) " H e r r , i c h w a r t e " ( Op . 5 9 , No. 2) 40 g e i s t l i c h e L i e d e r ( 0 p p . 6 1 , 6 3 , 6 4 ) ^ ' " K r e u z l i e d " ( Op . 6 5 , No. 1; F r . O s e r ) * " T r o s t l i e d " ( Op . 6 5 , No. 2; O s e r ) * " L i e d a u f d e s K i n d e s T o d " ( Op . 6 5 , No. 3 ; O s e r ) * " A b e n d r u h e " ( Op . 6 7 , No. 2; O s e r ) * " S o n n t a g s f r i i h e " ( Op . 7 1 , No. 1; O s e r ) * " Me i n t o d t e s K i n d c h e n " ( Op . 7 5 , No. 1; B. H e r z e r ) ^ " H e r r , d e r d u r u f s t " ( Op . 7 6 , No. 1; O s e r ) * " A u f me i n e m L a g e r " ( Op . 7 6 , No. 2; O s e r ) * " H a t t f i c h F l i i g e l " ( Op . 7 6 , No. 3; O s e r ) " H e r r , d e i n e Magd i s t mi i de" ( Op . 8 5 , No. 1; 1 8 7 9 ) Conrad,

Johannes H i m m e l w a r t s : 12 g e i s t l i c h e

Lieder

(1901)

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282

^Cornelius,

Peter

(1824-1874)

" S c h a f e r s N a c h t l i e d " (1848; Paul Heyse) " V a t e r u n s e r , d e r du b i s t im Hi mme l " ( Op . 2 , No. 1; 1 8 5 4 - 5 5 ; P e t e r C o r n e l i u s ) " G e h e i l i g t w e r d e d e i n Name" ( Op . 2 , No. 2; 1 8 5 4 55; C o r n e l i u s ) " Zu u n s komme d e i n R e i c h " ( Op . 2 , No. 3; 1 8 5 4 - 5 5 ; Cornelius) " D e i n W i l l e g e s c h e h e " ( Op . 2 , No. 4 ; 1 8 5 4 - 5 5 ; Cornelius) " U n s e r t a g l i c h B r o t g i b u n s h e u t e " ( Op . 2 , No. 5; 1854-55; C o r n e l i u s ) " V e r g i b u n s u n s r e S c h u l d " ( Op . 2, No. 6; 1 8 5 4 - 5 5 ; Cornelius ) " A l s o a u c h w i r v e r g e b e n u n s e r n S c h u l d i g e r n " ( Op . 2 , No. 7; 1 8 5 4 - 5 5 ; C o r n e l i u s ) " F i i h r e u n s n i c h t i n V e r s u c h u n g " ( Op . 2 , No. 8; 1854-55; C o r n e l i u s ) "Erlose uns vom Ubel" ( Op . 2, No. 9 ; 1 8 5 4 - 5 5 ; Cornelius) " T r o s t " ( Op . 3, No. 6; 1 8 5 4 ; C o r n e l i u s ) " I n L u s t un d S c h m e r z e n " ( Op . 4 , No. 1; 1 8 5 4 ; Cornelius) "Am Mo r g e n " ( 1 8 5 6 - 5 9 ; C o r n e l i u s ) " Au s dem h o h e n L i e d e " ( 1 8 5 6 - 5 8 ; S o n g o f S o l o m o n ) " D i e H i r t e n " ( Op . 8 , No. 2 a , b ; 1 8 5 6 - 7 0 ; C o r n e l i u s ) "Die Konige" ( Op . 8 , No. 3 a , b ; 1 8 5 6 - 7 0 ; C o r n e l i u s ) " S i m e o n " ( Op . 8 , No. 4 ; 1 8 5 6 - 7 0 ; C o r n e l i u s ) " C h r i s t u s d e r K i n d e r f r e u n d " ( Op . 8 , No. 5; 1 8 5 6 - 7 0 ; Cornelius) " C h r i s t k i n d " ( Op . 8 , No. 6 ; 1 8 5 6 - 7 0 ; C o r n e l i u s )

Criiger,

Hugo

"Herr, Curschmann,

den i c h

Karl

tief

Friedrich

im H e r z e n t r a g e "

( Op.

10)

(1805-1841)

* " D e s Kn a b e n To d " ( Op . 1, No. 6 ; U h l a n d ) ;' -"Der Ab e n d " ( Op . 1 1 , No. 3 ; F o e r s t e r ) Fi i nf g e i s t l i c h e G e s a n g e ( Op . 2 3 ) , i n c l u d i n g A d v e n t l i e d " ( Op . 2 3 , No. 1; R i i c k e r t ; b e f o r e 1843) *"Am N e u j a h r s t a g e " ( Op. 2 3 , No. 2; Max von S c h e n k e n d o r f ; b e f o r e 1843) :!="An d i e h e i l i g e J u n g f r a u " ( Op. 2 3 , No. 3; S c h e n k e n d o r f ; b e f o r e 1843) * " M o r g e n g e b e t " ( Op. 2 6 , No. 4 ; 1 8 4 5 ; E i c h e n d o r f f )

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283

Curti,

Franz

(1854-1898)

"Engel, 1888)

Daab,

die

lind

um P a l m e n

ihr

wallet"

( Op .

16;

H. " De r H e r r

Damlce,

Berthold

ist

me i n H i r t "

8;

1883;

Ps.

23)

(1812-1875)

"Maria Gebiirt" Deprosse,

( Op .

( Op .

41,

No.

3;

1852-59)

Ant on

"Vom Hi mmel 1878)

in

die

tiefsten

Kliifte"

( Op .

37,

No.

1;

Deschermeier, Jos. Mar i e n - B l i i t e n : Zehn L i e d e r ( Op . 3 7 ; 1 9 0 0 ) Dessauer,

Josef

zur

V e r e h r u n g Mar i e n s

(1798-1876)

" Da s G e b e t " ( 1 8 4 5 ) *" De r E i n s i e d l e r " ( E i c h e n d o r f f )

Dieckmann,

Ernst

"Friihling

Dieter,

Jahr"

( Op .

5;

1904-08)

Heinrich "Du b i s t

Doebber,

du i n G o t t e s

Johannes " Vor d i r ,

Petrus!

Fels

vom F e l s e n ! "

(1904-08)

(1866-1921) o Herr,

liegt

meine S e e l e "

( Op.

1,

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

No.

1)

284

Poring,

Heinrich "Wenn e i n K i n d l e i n f a l t e t f r omm d i e H a n d e " ( Op . 1884) " K e r r , d e n i c h t i e f im H e r z e n t r a g e " ( Op . 12; 1884)

Dorr,

9;

W. " Ave M a r i a "

Dorn, Alexander

(1833-1901)

" De s D i c h t e r s Dor n , H e i n r i c h

Gebet"

( f r o m Op.

67)

(1804-1892)

"Di e h e i l i g e "Abendgebet"

d r e i K o n i g e " ( f r o m Op. ( f r o m Op. 4 4 ; 1 8 5 2 )

9;

1845)

Dor n , O t t o "Herr, Herr, 1899) Dr aeselce,

Felix

ich

lasse

nicht

von d i r "

( Op .

43;

(1835-1913)

"Am Wege s t e h t e i n C h r i s t u s b i l d " ( Op. 1 6 , 1886) " T r e u e " ( Op . 16, No. 5 ; 1 8 8 6 ; N o v a l i s ) D r e i g e i s t l i c h e G e s a n g e ( Op . 7 5 ; 1 9 0 1 )

No.

4;

D r o s t e , A. "Gott

sei

mit

dir,

du j u n g e s

Paar"

( Op .

89;

1896)

D r u ffe l, Peter "Miide b i n

ich,

geh z u r

Ruh "

(1897)

Diir r e , W. "Herr,

das

wi i ns ch i c h m i r

zu me i n e m T o d "

( Op .

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

18 )

285

Ebeling,

M. Sechs

*Eberwein,

M.

Lieder

C.

(Spitta)

(1786-1868)

"Gute Nacht"

(E.

Geibel)

E c k a r d t , A. Sechs Gesange: 1852) Edenhofer,

Trost

in

triiben

Stunden

(Op.

16;

Alovs

Z e h n L i e d e r zu E h r e n d e r a l l e r h e i l i g s t e n M u t t e r M a r i a f u r M a i - A n d a c h t e n u nd h a u s l i c h e A n d a c h t e n (1888) E g e l , H . W.

(b.

1878)

"Was G o t t d i r g i b t , No. 3 ; 1 9 0 1 )

E h m a n n , K.

C.

E h rlich , C hristian "Geh n a c h J.

wahr a l s

Lied"

(Op.

2,

(1875)

Friedrich Emmaus"

(1810-1887)

(1886)

D.

"Deinen F rie d e n sende n ie d e r " " M i t dern H e r r n f a n g a l l e s a n " Emmerich,

Pfand"

Eberhard

"G eistliches

Eickhoff,

das

(1895) (1895)

Robert

" Lobe den H e r r n , m e i n e S e e l e " (Op. 1860-67) " G o t t s e i m i r g n a d i g " ( O p . 3 5 , No.

35, 2;

No.

1;

1860-67)

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

286

"Meine S e e l e i s t 1860-67) "Es i s t so s t i l l

Engl,

P.

still

zu G o t t "

geworden"

(Op.

35,

No.

3;

( f r o m Op.

37;

1883)

Bernardin Marien-Blumen: S e c h s L i e d e r zu E h r e n d e r h e i l i g s t e n Ju n g fra u Maria (1899)

Epstein,

Julius Sechs

aller-

(1832-1926)

religiose

Gesange

(0pp.

35,36;

1880)

E r d m a n n s d o r f e r , Max ( 1 8 4 8 - 1 9 0 5 ) "Vater Erler,

He r ma n n

unser"

( Op .

33;

1902)

(1844-1918)

" A u f d i c h a l l e i n , du t r e u e r G o t t " ( O p . 2 7 , No. 1; 1903) " V a t e r , s i e h i n G n a d e n n i e d e r " ( O p . 2 7 , No. 2; 1903) "Wer w e i s s , w o h e r d a s B r i i n n l e i n q u i l l t " ( O p . 2 7 , No. 2; 1 9 0 3 ) Ernemann,

Moritz

(1800-1866)

D r e i Hymnen z u r

Eschborn,

Andacht

( Op .

18;

1852)

W.

"Gebet" Evers,

hauslichen

Karl

(1852-59)

(1819-1875)

"Wunderbar i s t mir g e s c h e h e n " ( b e f o r e 1843) " I c h hab mein Tagwerk v o l l b r a c h t " ( b e f o r e 1843) " M a c h t i g e r , d e r du d i e W i p f e l " ( b e f o r e 1 8 4 3 ) * " D e r N a c h t w a c h t e r " ( O p . 4 0 , No. 1; T h . K o r n e r ) Eyl cen,

Heinrich

van

"Vater

unser"

( Op .

19;

1902)

R eproduced with permission o f the copyright owner. Further reproduction prohibited without permission.

287

" Wi r g l a u b e n

Fahrmann, Ernst

Hans

all

an e i n e n G o t t "

(1904-08)

(1860-1940)

" W i e h e i m l i c h e r W e i s e " (Op. 30, No. 1; 1 9 0 4 - 0 8 ; Morike) " Wi e t o n t d e i n Name, G o t t " ( Op. 3 1 ; 1 9 0 4 - 0 8 ) Faisst,

Clara

(b.

1872)

"Zwei P i l g e r 1904-08) "Warum s o l l t *FaiJ3t,

Fauter,

g e h n im Dammer ung g r a u " i c h mich d enn g r ame n"

Immanuel

(1823-1894)

"Der

Psalm"

57.

( Op .

9;

(1904-08)

Otto " R ic h te mich,

Gott"

(Op.

9;

1893)

F e h la n d , C. " I c h mochte heim"

(1898)

Fehnenberger, Josef "Herr, Fehrmann,

den i c h

tief

im H e r z e n t r a g e "

Hirten

ihre

Herd

Friedrich

Ernst

"Mariens Opfer" " Au s d e n T i e f e n Fink,

3;

1880)

Paul

"Da d i e Fesca,

(Op.

C hristian "Ich

liessen"

( Op .

3;

1901)

(1789-1826) ( f r o m Op. 17; 1 8 4 5 ) r u f i c h " ( f r o m Op. 2 4 ;

1845)

(1822-1911)

folge

Jesu

nach"

(Op.

5 2;

1898)

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

288

Fink,

Wilhelm "Vater

Finkennest,

unser"

(Op.

377;

1904-08)

0.

"Vernehmt mit Andacht d ie 1904-08; I s a . 9 :2 -7 ) Fischer,

Prophezeiung"

( Op .

5;

C a rl August "Bleibt

Fischer,

Karl

dem,

Ludwig

"Vater *F i s c h o f ,

bei

unser"

Robert

" Hymne"

(b.

(b.

der e u r e t w i lle n "

(1894)

1816)

(1904-08) 1856)

(Salburg-Falkenstein)

F l i e g e l , C . W. " K r e u z " ( f r o m Op. 6 ; 1 8 5 2 - 5 9 ) " D e r h i m m l i s c h e K n a b e " ( f r o m Op.

Flinsch,

1852-59)

Carl "Die Glocken l a u t e n No. 1; 1 8 9 1 )

Fliigel,

7;

Gustav

(b.

das

Ostern

ein"

( Op .

21,

1812)

" D e r h e i l i g e J o s e f s i n g t " ( Op. 4 3 , N o . l ; 1 8 5 2 - 5 9 ; S p a n i s c h e s L i e d e r b u c h , t r . E. G e i b e l a n d P. H e y s e ) " D i e i h r s c h w e b e t urn d i e s e n P a l m e n " ( Op . 4 3 , No. 2; 1 8 5 2 - 5 9 ; S p a n i s c h e s L i e d e r b u c h , t r . G e i b e l and H e y s e ) " A c h , d e s K n a b e n A u g e n " ( O p . 4 3 , No. 3 ; 1 8 5 2 - 5 9 ; S p a n i s c h e s L i e d e r b u c h , t r . G e i b e l and H e y s e ) " F i i h r m i c h , K i n d , n a c h B e t h l e h e m " ( Op . 4 3 , No. 4 ; 1 8 5 2 - 5 9 ; S p a n i s c h e s L i e d e r b u c h , t r . G e i b e l and Heyse)

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

2 89

" M i i h v o l l komm i c h u n d b e l a d e n " ( O p . 4 3 , No. 5; 1 8 5 2 - 5 9 ; S p a n i s c h e s L i e d e r b u c h , t r . G e i b e l and Heyse) " H e r r , was t r a g t d e r B o d e n h i e r " ( Op . 4 3 , No. 6; 1 8 5 2 - 5 9 ; S p a n i s c h e s L i e d e r b u c h , t r . G e i b e l and Heyse) ( 8 ) G e i s t l i c h e L i e d e r (Op. 52; 1 8 5 2 - 5 9 ; F r . O s e r ) " Wi e we r d e s s e i n " ( O p . 7 3 , No. 1; 1 8 7 5 ) " H e r r , wann e n d e s t du d i e Miihe" ( Op . 7 3 , No. 2; 1875) " E i n L u t h e r w o r t " (Op. 92; 18 83 ) " S i e h e um T r o s t wa r m i r s e h r b a n g e " ( 1 8 8 9 )

Francke,

H e r ma n n

(1834-1919)

" D e r H e r r s c h a u e t vom H i mme l " ( Op . 8 6 , No. 1; 18 92 ; P s . 14) "Was b e t r i i b s t du d i c h , m e i n e S e e l e " (Op. 86, No. 2 ; 1 8 9 2 ; P s s . 3 7 , 4 2 ) Francke,

*F ranz,

Reinhold "Vater

unser,

der

du b i s t

Robert

(1815-1892)

im H i mm e l "

" Ave M a r i a " ( O p . 1 7 , No. 1) "Es s t e h t i n d e r B i b e l g e s c h r i e b e n " No. 5 ; 1 8 9 2 ) "Abends" ( E i c h e n d o r f f ) Friclce,

Richard

(b.

S.

( Op .

7;

48,

o stille

Woche "

(Op.

27;

1904-

T.

Neun g e i s t l i c h e A r i e n f i i r g o t t e s d i e n s t l i c h e h a u s l i c h e Andacht (1899) Fritze,

1895)

1877)

" S e i mir g e g r i i s s t , OS; M o r i k e ) Friedland,

(Op.

und

Wilhelm "Gebet

der

Mater

dolorosa"

(Op.

17,

No.

3;

1877)

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290

Frohlich,

Friedrich

Theodor

(1803-1836)

G e i s t l i c h e G e s a n g e (Op. 4; b e f o r e 1 843) G e i s t l i c h e L i e d e r (Op. 6; b e f o r e 1843; N o v a l i s ) " L o b g e s a n g d e r M a r i a " (Op. 9; b e f o r e 1843)

Frommel,

Otto " G e i s t l i c h e s Lied" (1890) "Zu d i r h e b i c h d i e H a n d e " ( 1 9 0 4 - 0 8 ) " B l u t r o t sank d i e Sonne u n t e r " ( 1 9 0 4 - 0 8 ) " Aus T o d e s g r i i f t e n , a u s M e n s c h e n h a n d e n " ( 1 9 0 4 - 0 8 ) " H e r r G o t t , zu d i e s e r S t u n d e " ( 1 9 0 4 - 0 8 )

*Fuchs,

Albert

(1858-1910)

"0 h e i l ' g e M u t t e r , No. 4 ; G e i b e l )

Gansbacher, Josef

aller

Gnaden S c h r e i n "

(Op.

(1829-1911)

"Es i s t so s t i l l g e w o r d e n " ( 1 8 9 1 ) K i r c h l i c h e G e s a n g e ( O p . 11; 1 8 9 6 ) Gassner,

Ferdinand "Das G e b e t

Geibel,

Konrad

Karl

des

(1852)

(1852-59)

(1802-1869)

Hausandachten Fr. Oser) Georg,

Herrn"

(1813-1872)

"Ave M a r i a " G eissler,

(1798-1851)

Kronprinz

in

Liedern

( Op .

120;

1852-59;

von H a n n o v e r

" G e is tli c h e s Lied" (b e fo re "In d e i n e r Ehr" (1845)

1843)

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

39,

291

Gernsheim,

Friedrich

"Die Gersdorff,

ihr

C.

schwebet

um d i e s e

Palmen"

(Op.

34;

1877)

von

"In dein "Was h a b Girschner,

(1839-1916)

l e u c h t e n d e s Himmelsblau" (1897) i c h d i r g e t a n , mein Volk" ( 1 8 9 7 )

Christian

Friedrich

Johann

" D e r h e i l i g e C h r i s t " ( f r o m Op. V ier r e l i g i o s e Gesange (1852)

(1794-1860) 16;

before

1843)

G laser, C. Neun r e l i g i o s e Glaesz,

(before

vor

dem d i e

S t i i r me

schweigen"

(Op.

14)

F. "Wo L i e b e du ! F u r m i c h g i n g s t s c h m e r z e n " (Op. 17; 1 901)

Go b e 1,

1843)

Alexander "0 du,

G lass,

Gesange

du i n T o d e s -

K. "Dem H e r r n

G oepfart,

sei

Karl Eduard

Lob und E h r "

( f r o m Op.

39;

1860-67)

(1859-1942)

" A c h , e s s i n d d e r T r a n e n u n t e r dem Mond s o v i e l e " ( Op . 8 7 ; 1 9 0 4 - 0 8 ) "Mein H e r z , l a s s e i n G r a m e n " ( 0 p . 89; 1 9 0 4 - 0 8 ) Goering,

Hugo "Vater

unser"

(1896)

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

292

Goetze,

Eduard "Her r,

Goetze,

der

du

alles

wohl

gemacht"

(Op.

3;

1900)

Louis " D e r Wi nd i s t s c h l a f e n g e g a n g e n " ( Op . 2 1 ; 1 9 0 1 ) "Was w e i n e s t d u , m e i n a r m e s H e r z " ( O p . 2 8 ; 1 9 0 1 )

^Goldmark,

Karl

(1830-1915)

"Herzelied" Goldschmidt,

(Op.

Adalbert

von

18,

No.

12;

old

Ge r ma n t e x t )

(1848-1906)

" H e u t i s t n e u d e r Tag e r s t a n d e n " ( f r o m Op. 6; 1891) "Wi e H e i m l i c h e r W e i s e " ( 1 8 9 1 ; M o r i l c e ) "In griiner L a n d s c h a ft, Sommerflor" (1891; Iiorike) "Vater des L i c h t s , Gott a l l e r S eelen " (1893) " P r e i s dem G e b o r e n e n b r i n g e n w i r d a r " ( 1 8 9 3 ) Goltermann,

Georg

(1824-1898)

" Es kommt d e r Tag d e s H e r r n " ( f r o m Op. 9 ; 1 8 5 2 ) "Ave M a r i a " ( O p . 1 0 , No. 3; 1 8 5 2 ) " G e b e t " ( O p . 12 , No. 5 ; 1 8 5 2 ) "Wo w o h n t d e r l i e b e G o t t " ( O p . 1 0 7 , No. 1; 1 8 9 0 ) " H e r r , d e n i c h t i e f im H e r z e n t r a g e " ( O p . 1 2 0 , No. 3 ; 1 8 9 4 ) " I n d i e s e r w e i h e v o l l e n S t u n d e " (Op. 131; 1898) Gordigiani,

Luigi

(1806-1860)

" F e s t , h o c h , und r e i n " ( 1 8 5 2 - 5 9 ; I d a G r a f i n Hahn-Hahn) "Wenn d i e S p o t t e r h o h n e r " ( 1 8 5 2 - 5 9 ; H a h n - K a h n ) " F iirc h te n i c h t d i e T ra n e n " ( 1 8 5 2 - 5 9 ; Hahn-Hahn) " S e i g e g r i i s s t d u r c h d i e s e L i e d e r " ( 1 8 5 2 - 5 9 ; HahnHahn ) G otthard,

Johann

Peter

(1839-1919)

" V a t e r u n s e r " (Op. 97; 1 8 92 ) " G e g r i i s s e t s e i M a r i a " (Op. 98;

1892)

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

293

Graben-Hoffmann, Gustav

(1820-1900)

* " D e i n Name, o H e r r " ( f r o m Op. 7 9 ; 1 8 7 8 ; P s . 7 1 : 2 2 ) "Ave M a r i a " ( O p . 7 9 , No. 1 6 ; 1 8 7 8 ) * " G e b e t d e r M a r i a S t u a r t " ( O p . 8 7 ; t r . Achi m von W interfeld) D r e i W i e h n a c h t s l i e d e r (Op. 1 0 3 ) , i n c l u d i n g * " 0 du s e l ' g e W e i h n a c h t s z e i t " ( O p . 1 0 3 , No. 1; 18 7 8; 0 . F. G e n i s c h e n ) * " S t e r n von B e t h l e h e m , o s c h e i n e " ( O p . 1 0 3 , No. 3; 1 8 7 8 ; E d u a r d D u l l e r ) G rad en er, Carl

Georg P e t e r

"Es g i n g M a r i a No. 4 ; 1 8 7 6 ) Grassner,

in

d e n Mo r g e n h i n e i n "

(Op.

45,

Richard

"Laut Grafmiiller,

von d e n B e r g e n h a l l e t

nieder"

(Op.

25;

1896)

J.

"Wenn d i e M u t t e r 1852-59) G retscher,

(1812-1883)

betet

fur

die

Kind"

(Op.

59;

Philipp

" G o l d e n s c h w e b e s t du h e r n i e d e r " ( Op . 3 4 , No. 1; 1904-08) "Zu B e t h l e h e m im A b e n d s c h e i n " ( O p . 3 4 , No, 2; 1904-08) G riesbacher,

C.

"Vater

Gr i mm,

Julius

unser"

Otto

"Gebet"

( Op .

1;

1892)

(1827-1903)

( f r o m Op.

3;

1852-59)

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

29 4

Grosheim,

Georg C h r i s t o p h

Pie *Gross,

zehn Gebote

(before

Johann Benjamin " Der

Gruber,

142.

(1764-1841) 1843)

(1809-1848)

Buss-Psalm

Davids"

( Op .

2)

Jakob " V a t e r u n s e r " ( Op . 3 3 , No. 1; 1 9 0 4 - 0 8 ) " G o t t b e n e d e i t e , m i l d e H i m m e l s b r a u t " (Op. 3 3, No. 2; 1 9 0 4 - 0 8 ) " M a r i a , du b i s t m i r n a c h G o t t " ( O p . 3 3 , No. 3; 1904-08)

Griitzmacher , F r i e d r i c h

(1832-1903)

"Palmen des F r i e d e n s "

Giitli,

J.

29;

1852-59)

(Op.

36;

1896)

Ludwig

"R ecitative Gunther,

( Op .

and A r i a "

Richard " H e r r , d e i n Leben kann n i c h t enden" "Ob a u c h d e i n e S o n n e s i n k t " ( 1 9 0 3 )

G ulbins,

(1903)

Max ( 1 8 6 2 - 1 9 3 2 )

:‘-"Du h a s t d e i n e S a u l e n d i r a u f g e b a u t " ( O p . 2 9 , No. 1; 1 9 0 4 - 0 8 ; A u g u s t M a h l m a n n ) *" Und l i e b e v o l l d e i n Auge s c h a u t " ( O p . 2 9 , No. 2; 1 9 0 4 - 0 8 ; M a h l m a n n ) * D e r du e w ' g e L i e b e b i s t " ( O p . 2 9 , No. 3; 1 9 0 4 - 0 8 ; Ma h l ma n n ) *" Kommt , E n g e l , a u s d e n h e i l ' g e n H o h ’ n ! " ( O p . 2 9 , No. 4 ; 1 9 0 4 - 0 8 ; M a h l m a n n ) * " L a s s A e h r e n r e i f e n im S o n n e n s t r a h l ! " ( Op . 2 9 , No. 5 ; 1 9 0 4 - 0 8 ; M a h l m a n n ) * " D e r d u , von r e i n e n G e i s t e r n u m g e b e n " ( O p . 2 9 , No. 6 ; 1 9 0 4 - 0 8 ; M a h l m a n n ) " ■ " He r r , H e r r , u n s r e Z u v e r s i c h t ! " ( O p . 2 9 , No. 7; 1 9 0 4 - 0 8 ; Mahlmann)

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295

" S o nimm d e n n m e i n e H a n d e " ( Op . 6 0 , No. 1; Hausmann) " L a s s d i c h , H e r r J e s u C h r i s t " ( Op . 6 0 , No. 2; J o h . Hermann) " M e i n e S e e l e s e n k e t s i c h " ( O p . 6 0 , No. 3 ; J o h . Jos. Winkler) " Nu n , m a t t e r L e i b " ( Op . 6 0 , No. 4 ; C h r i s t . Scriver) " Wi e w i r d u n s s e i n ! " ( O p . 6 0 , No. 5 ; P h . S p i t t a ) " S e i d e i n g e d e n k " ( O p . 7 8 , No. 1; K. G e r o k ) " E r h a t ' s g e h o r t " ( Op. 7 8 , No. 2 ; E. G. W o l t e r s d o r f ) "Wo du h i n g e h s t " ( O p . 7 8 , No. 3 ; Book o f R u t h ) "Was G o t t z u s a m m e n f i i g t ” ( O p . 7 8 , No. 4 ) Gumbert,

Ferdinand

(1818-1896)

"Kein H alm lein w a c h te t auf Erden" 1852-59) " Da s b e s s e r e L a n d " ( f r o m Op. 8 4 ) Gurland,

( f r o m Op.

83;

P. " I c h w i l l i n G o t t m i c h f a s s e n " ( O p . 13; 1 8 8 9 ) " O s t e r n , O s t e r n , F r i i h l i n g s w e h e n " (Op. 17; 1896)

Habert,

Johannes

Evangelista

9_ M a r i e n l i e d e r und 15 r e l i g i o s e L i e d e r Ilackel,

Anton

W eihnachtslieder (Op. 6)

(Op.

2)

(1799-1846)

"Gebet" Hacker,

(1833-1896)

Denedikt

( f r o m Op.

37;

1852)

(1769-1829)

" H e r r G o t t , d i c h l o b e n w i r " ( b e f o r e 1843) Samml u ng d e u t s c h e r K i r c h e n g e s a n g e ( b e f o r e 1 8 4 3 ) S e c h s G e s a n g e v o r und n a c h dem H e i 1 i g e n S e g e n llaser , Karl

(b.

"Gebet"

1777) (Op.

17;

1860-67)

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

296

*H aser,

Wilhelm "Abendlied" (M atthisson) " R o ma n z e vom s c h l a f e n d e n C h r i s t u s - K n a b e n " Griineisen ) " T i e f e s Grab" (G riineisen)

Hagemann,

(Carl

Julius

" E s i s t s o s t i l l g e w o r d e n " ( O p . 5 , No. 2; 1 8 9 7 ) " G r o s s e r , m a c h t i g e r , h e i l i g e r V a t e r " (Op 13, No. 1; 1 9 0 2 ) " L a s s t e r t o n e n J u b e l k l a n g " ( Op . 1 3 , No. 2 ; 1 9 0 2 ) ilahn,

Albert

(1828-1880)

"Diistre

Schatten

wallen"

( Op .

17;

1879)

K a i l e , Eugen "Wenn d i c h 1899) Haine,

Carl

(b.

dein

Heiland

fragt"

(Op.

No.

3;

1830)

" L e i t e mi ch i n d e i n e r W a h r h e i t " (Op. 1893) " B a r m h e r z i g und g n a d i g i s t d e r H e r r " No. 2 ; 1 8 9 3 )

Haller. Michael

12,

68, ( Op .

No.

1;

68,

(1840-1915)

Zwei M a r i e n l i e d e r ( O p . 1 7 a ; 1 9 0 4 - 0 8 ) " V e r g i s s m e i n n i c h t " ( O p . 3 2 , No. 4 ; 1 8 8 5 ; W. v . Bor n ) " M a r i e n b l u m e " ( Op . 3 2 , No. 5 ; 1 8 8 5 ; B o r n ) "heimweh" ( Op . 3 2 , No. 6 ; 1 8 8 5 ; B o r n ) " A n g e l u s D o m i n i I " ( O p . 3 2 , No. 7 ; 1 8 8 5 ; B o r n ) " M e i n e L i e b e " ( O p . 3 2 , No. 8 ; 1 8 8 5 ; B o r n ) " A n g e l u s D o m i n i I I " ( O p . 3 2 , No. 9 ; 1 8 8 5 ; B o r n ) "Neeresstern" ( O p . 3 2 , No. 1 1 ; 1 8 8 5 ; B o r n ) " K o n i g i n d e r S c h m e r z e n " ( Op . 3 2 , No. 1 2 ; 1 8 8 5 ; Bor n ) " M a t e r l a c r y m o s a " ( O p . 3 2 , No. 1 3 ; 1 8 8 5 ; B o r n ) " M a r i a im R o s e n h a g " ( O p . 3 2 , No. 1 7 ; 1 8 8 5 ; B o r n ) " P i e t a " ( Op. 3 2 , No. 1 6; 1 8 8 5 ; B o r n )

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297

Hamel,

Eduard

(b.

"Stamm

Hamma, F r i d o l i n "Gott,

1811)

mit

dem

Pilgerfuss"

B.

(b.

1818)

mein T r o s t "

Hammerstein, Hertha

von

"Was s u c h e t (1904-08)

ihr

^Harder,

August

( Op .

(Op.

56;

42;

1886)

1852-59)

den L e b e n d i g e n

bei

den T o t e n ? "

(1775-1813)

" W i n t e r l i e d " ( 1 8 0 7 ; F r i e d r i c h Adolph Krummacher) "Das W or t" ( 1 8 0 7 ; Krummacher) " D e r f r o mme H i r t " ( 1 8 0 7 ; K r u m m a c h e r ) " Da s K i r c h l e i n " ( 1 8 0 7 ; K r u m m a c h e r ) " W i n t e r l i e d " ( 1 8 1 1 ; Krummacher) "Der B l i n d e " ( 1 8 1 1 ; Krummacher) " Da s L i c h t " ( 1 8 1 1 ; K r u m m a c h e r ) " J e h o v a h s Wort" ( 1 8 1 1 ; Krummacher) "D ie Ahnung" ( 1 8 1 1 ; Krummacher) " L i e d " ( 1 8 1 1 ; Krummacher) "Die P r o p h e t e n d e r N a t u r " ( 1 8 1 1 ; Krummacher) llartenstein,

Franz

"Wenn G o t t

so w i l l "

(Op.

1 5;

1878)

Ha r t i g Sechs L ieder Hartmann,

an C h r i s t u s

(1845)

Georg

" M i t f rommem S i n n b i n i c h Des J a h r e s f e s t l i c h e T a g e B ild (1885)

e r g e b e n " ( o p . 39; 1885) i n L i e d , G e s a n a und

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298

Hartmann,

Johann

Peter

Emilius

"Die H e i l i g e d r e i Op. 3 5 ; 1 8 4 5 ) H a r t m a n n vo n An d e r

Konige aus Morgenland"

(Carl

Eichwede)

Philipp "Es

ist

H aselhorst,

Max

so

still

geworden"

" I h n M e n s c h e n b r i i d e r , wer Hasse,

(from

L a n - H o c h b r u n n , P.

"An d e n H e i l a n d " Hartung,

(1805-1900)

(Op.

ihr

7,

seid"

No.

2;

(Op.

4;

1886)

1878)

Gustav "Kein Ilalm lein w achst au f 1877)

Hauptmann,

Moritz

Erden"

(Op.

27,

No.

6;

(1792-1868)

"Von d e r S c h o p f u n g a n " ( f r o m Op. 1 9 ; b e f o r e 1 8 4 3 ) * " C a n z o n e t t a a l i a Ma d o n n a d i F r a s c a t i " ( O p . 5 8 , No. 1; a n o n y m o u s t r a n s l a t i o n o f I t a l i a n t e x t ) * " Av e M a r i a " ( O p . 5 8 , No. 2 ) * " Tr a u u ng s g e s a n g " *"Trauungslied " (P h ilip p S p itta ) llecht,

Gustav

(b.

" L a s s mich Hegele,

1851) i mme r

stiller

werden"

(Op.

36;

1896)

Ernst "Wenn d e r H e r r e i n K r e u z e s c h i c k t " ( O p . 8 , No. 1894) " L i e b s t e r M e n s c h , wa s ma gs b e d e u t e n " ( Op . 8 , No. 2; 1 8 9 4 )

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

1;

299

Heiser,

Wilhelm "Wenn

Heitmann,

(b.

einst

18 17) dir

in

(from

Op.

218;

1879)

Gott

der

H errlichkeit"

(Op.

14)

E.

"Es f l a c k e r n

Bering,

Welt"

M.

" L e h r mich b e t e n , Henzmann,

der

Karl

Eduard

im G o t t e s h a g e "

(Op.

4;

1889)

(1807-1879)

Zehn L i e d e r (Op. 24; 1 8 5 2 - 5 9 ; S p i t t a ) " E s l a u t e t zum G e b e t " ( O p . 2 8 , No. 2; 1 8 5 2 - 5 9 ) "Dem A l l g e g e n w a r t i g e n " ( O p . 9 5 , No. 1; 1 8 9 5 ) " D e r du m i t dem To d e g e r u n g e n " ( O p . 9 5 , No. 2; 1895) " M i t H e i l g e m S c h a u e r n " ( O p . 9 5 , No. 3 ; 1 8 9 5 ) " A u g e n b l i c k d e i n e r E r b a r m u n g e n " ( O p . 9 5 , No. 4 ; 1895) " S e h n s u c h t n a c h G o t t " ( O p . 9 5 , No. 5; 1 8 9 5 ) " G o t t e s V i i r s e h u n g " ( O p . 9 5 , No. 6 ; 1 8 9 5 ) Herman,

Reinhold

(1849-1919)

" M i t f rommem S i n n b i n i c h e r g e b e n " ( O p . 3 9 ; 1 8 9 8 ) "Nun b i n i c h d e i n , du a l l e r B l u m e n B l u m e " ( O p . 4 0 , No. 1; 1 8 9 8 ) " 0 G o l g a t h a , m i t d u n k l e m S c h a t t e n h i i l l s t du m e i n L e b e n " ( O p . 4 0 , No. 2 ; 1 8 9 8 ) " D i e i h r s c h w e b e t um d i e s e P a l m e n " ( Op . 4 0 , No. 3; 1898) Hermann,

Ha n s

(1870-1931)

- " S a l o m o " ( O p . 2 3 , No. 1; 1 9 0 3 ; H e i n e ) "Wenn d e r H e r r d i e G e f a n g e n e n Z i o n s e r l o s e n w i r d " ( Op . 4 3 ; 1 8 9 8 ; P s . 1 2 6 ) * " D e r C h r i s t b a u m im Hi mme l " ( C . M. D i e f f e n b a c h ) * "E in s t i l l e r G a r t e n " (Weber) * " I I o c h z e i t l i e d " ( V. v . S t r a u s s ) * " R a u h r e i f " (Anna R i t t e r ) * " R o s e von J e r i c h o " ( J a m e s G ru n )

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300

Herrmann,

Willy

(b.

1868)

" E r q u i c k e m i c h m i t d e i n e m L i c h t " ( Op . 1898) " D e r du vo n dem Hi mmel b i s t " ( Op. 2 9 ,

29,

No.

No.

2;

1; 1898)

I l e r w a i t , A. " H e r r , w i e l a n g e w i l l s du m e i n e r s o g a n z v e r g e s s e n " ( 1 8 9 5 ; P s . 13) " S c h a u e d o c h und e r h o r e m i c h " ( 1 8 9 5 ; P s . 1 3 ) "Wenn i c h r u f e zu d i r , H e r r , m e i n G o t t " ( 1 8 9 5 ; P s . 28) " G e l o b e t s e i d e r H e r r " ( 1 8 9 5 ; P s . 28) " I c h h e b e m e i n e Augen a u f " ( 1 8 9 5 ; P s . 1 2 1 ) " Wi e g r o s s i s t d e i n e G i i t e , o K e r r " ( 1 8 9 5 ; P s . 1 3 1 ) *Iierzog, Johann Georg ( 1 8 2 2 - 1 9 0 9 )

]_ g e i s t l i c h e A r i e n ( O p . 4 3 ; 1 8 6 9 ) " M o r g e n l i e d " ( O p . 5 0 , No. 1; 1 8 7 9 ; P a u l G e r h a r d t ) " D e r H e r r i s t m e i n I i i r t " ( O p . 5 0 , No. 2; 1 8 7 9 ; P s . 23) " A b e n d l i e d " ( O p . 5 0 , No. 3 ; 1 8 7 9 ) " A r i e " ( O p . 5 0 , No. 4 ; 1 8 7 9 ) " P a s s i o n s g e s a n g " ( O p . 5 0 , No. 5 ; 1 8 7 9 ; G e r h a r d t ) " S e e l e , was e r m i i d s t du d i c h " ( Op . 5 0 , No. 6 ; 1 8 7 9 ) " D e n n o c h b l e i b i c h s t e t s a n d i r " ( Op. 5 0 , No. 7; 1879) " A r i e " ( Op . 5 0 , No. 8 ; 1 8 7 9 ) "Arie" ( Op . 5 0 , No. 9 ; 1 8 7 9 ; P s . 2 5 : 1 6 , 20 a n d an a n o n y m o u s poem) " H e r r , w i e du w i l l s t " ( Op . 5 0 , No. 1 0 ; 1 8 7 9 ) " I c h r i e f d e n H e r r n i n m e i n e r Mot " 2 W eihnachtslieder Herzogenberg, Heinrich G eistliche Kesselmann,

(1843-1900)

Gesange

(Op.

89;

1896)

L.

Sechs Zwolf

geistliche geistliche

Lieder Lieder

(1899) (1901)

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

H essling,

M» v .

" Wi e G o t t w i l l " *H etsch,

( f r o m Op.

16;

1852-59)

L. " Ave M a r i a "

Heuberger,

Richard

(1850-1914)

"Die Glocken l a u t e n "Der J u n g f r a u D i l d " Heuchemer,

lleuler,

Johannes

(b.

(1877) 1885)

1826)

"Gebet"

( f r o m Op.

Ra i mu n d

(b.

Vier

das O stern e in " ( Op . 2 4 , No. 5 ;

2;

1852)

1872)

M arienlieder

( Op .

26;

1904-08)

Heyniann-Rheineck " I i e r r , d e r du vom s c h w e i g e n d e n H i m m e l " No. 2; 1 8 8 4 ) Hildach,

Eugen

(Op.

6,

(1849-1924)

*"Wo du h i n g e h s t " ( O p . 8 ; 1 8 9 9 ; R u t h 1: 1 6 - 1 7 ) " S c h o n s t e r H e r r J e s u , l l e r r s c h e r a l l e r E n d e " (Op 23; 1899) "Ver ni mr a e s , l i e b e C h r i s t e n h e i t " ( O p . 3 2 , No. 1 1904-08) " C h r i s t i s t g e b o r e n " ( O p . 3 2 , No. 2 ; 1 9 0 4 - 0 8 ) " I c h b i n d u r c h d i e W e l t g e g a n g e n " ( O p . 3 2 , No. 1904-08) *"W eihnacht" ( J u l i u s Sturm)

H ildebrandt,

Ulrich

" 0 we h ,

diese

Not"

(Op.

10)

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

3 02

Hiller,

Ferdinand

(1811-1885)

"An d i e H e i l i g e J u n g f r a u " ( f r o m Op. 1 1 ; 1 8 9 1 ) * " D e r 1 2 6 . P s a l m " ( O p . 2 7 , No. 2) * " H e r r , d e n i c h t i e f im H e r z e n t r a g e " ( O p . 4 6 , No. 1; 1 8 9 1 ; E m a n u e l G e i b e l ) * " D i e W a l l f a h r t n a c h K e v l a a r " (Op. 8 3; H e i n e ) * " D e r K i n d e r e n g e l " ( O p . I l l , No. 1 1 ) * " M i t t e r n a c h t " ( O p . 1 2 9 , No. 3; R i i c k e r t ) * " M a r i a , du w o l l t ' w a n d e r n " ( O p . 1 4 9 , No. 4 ; D i t f u r t h ' s c h e Sammlung) Hillmann,

E.

" Ave M a r i a " Himmel,

Friedrich

(1891)

H einrich

(1765-1814)

" D a n k g e b e t n a c h dem K i r c h g a n g e d e r K o n i g i n L u i s e von P r e u s s e n " ( b e f o r e 1 8 4 3 ) " Wohl w e i n e n G o t t e s E n g e l " ( b e f o r e 1 8 4 3 ) ;;:" G e b e t w a h r e n d d e r S c h l a c h t " ( T h e o d o r K o r n e r )

H inrichs,

Franz

" Me i n G o t t (1898) H inrichs,

zum H i m m e l "

1;

1852)

auf

dich"

(from

Op.

Schar

der

bosen G e i s t e r "

(Op.

29,

Alwin "Herr,

Ronis,

hoffe

Ludwig

"Wenn d i c h d i e No. 2; 1 8 9 2 ) Hoffer,

ich

Marie

"Blicke H inzpeter,

und me in H e i l a n d ,

Heinrich "Vater

zu d i r (b.

w ill

ich

mich r e t t e n "

70;

1900)

(Op.

16;

1852)

unser"

(Op.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

1889)

3 03

Hosel,

Kurt "Herr,

Hotzel,

schicke

was du w i l l s t "

( 1904-08;

Mo r i l c e )

Karl "Es z i e h t

Hoffmann,

Ludwig

v on G o t t e s (b.

Huld g e s a n d t "

(Op.

3;

1895)

1830)

" Ac h G o t t , v e r l a s s m i c h n i c h t " ( Op . 8 , No. 1; 1860-67) " G o t t , m e i n e g a n z e S e e l e " ( O p . 8 , No. 2; 1 8 6 0 - 6 7 ) "Wenn L i c h t und S o n n e s c h e i d e n " ( O p . 8 , No. 3; 1860-67) "Von G o t t w i l l i c h n i c h t l a s s e n " ( O p . 8 , No. 4 ; 1860-67) Hoffmann,

Oskar

"Wo du h i n g e h s t " Hofmann,

Heinrich

(op.

14;

1893)

(1842-1902)

" A l s F r e u n d e s h a n d vom K r e u z d e n H e i l a n d na hm" ( Op . 1 1 5 , No. 1; 1 8 9 4 ) "Nun m e i n e l e t z t e S t u n d e s c h l a g t " ( OP. 1 1 5 , No. 4 ; 1894) "Du B o r n , d a r a u s d e r F r i e d e q u i l l t " ( 1 8 9 9 ) Hofmann,

Richard " I c h w e i s s , d a s s mich d e r No. 3 ; 1 8 8 1 )

Hohfeld,

liebt"

(Op.

37,

Carl "Kommt a l l e h e r zu m i r " "Wo du h i n g e h s t " ( 1 8 9 5 )

11oh f e l d ,

Hi mmel

(1895)

Otto "Kein H alm lein 1878)

wachst auf

Erden"

(Op.

5,

No.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

3;

304

Hollaender,

Alexis

"Vater H olstein,

(1840-1924)

unser"

F r a n z von

( Op .

55;

1898)

(1826-1878)

"Wenn G o t t a u c h n i e v e r g o n n t e " ( Op. 1881) " Ave M a r i a " ( O p . 1 1 , No. 4 ; 1 8 8 1 ) Hoppe,

No.

3;

Paul "Madonna,

Horn,

11,

August

wunderholdes

Bild"

( Op.

28;

1891)

(1825-1893)

"Was h a t s i c h d e n n g e g e b e n " ( Op . 4 7 , No. 1; 1 8 8 2 ) " 0 , i s t d a s e i n e g r o s s e L u s t " ( Op . 4 7 , No. 2; 1882)

l l uf t o ,

H.

"Gib m i r B e s t a n d i g k e i t " Hummel ,

Ferdinand

(1852-59)

(1855-1928)

" D i r , H e r r , s e i d i e s e s I l aus g e w e i h t " ( Op . 1902) * " A l l m a c h t i g e r , d i c h p r e i s e n w i r " (Op. 83; Felix P h ilip p i) ^Humperdinck, E n g elb ert

73; 1903;

(1854-1921)

" S o n n ta g s r u h e " (1895; J u l i u s Sturm) " D e r S t e r n von B e t h l e h e m " ( 1 9 0 0 ; Hedv/i g Humperdinck) "An d a s C h r i s t k i n d " ( 1 9 0 5 ; H. K a r s t e i n ) " Da s L i c h t d e r W e l t " ( 1 9 0 5 ; O t t o J a k o b i ) " C h r i s t k i n d l e i n s W i e g e n l i e d " ( 1 9 0 6 ; Das Kn a b e n Wunder h o r n ) " A l t d e u t s c h e s W e i h n a c h t s l i e d " ( 1 9 1 2 ; 15 5 0 t e x t )

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

3 05

Irrgang,

Bernhard " B l e i b e b e i M i r , e s w i l l Abe nd w e r d e n " ( O p . 2 , No. 1; 1 8 9 9 ) "Da e r g e s t r a f t und g e m a r t e t w a r d " ( O p . 2 , No. 1899; I s a . 53, 54)

Irrgang,

Wilhelm

(b.

"Ich klopfe Israel,

Carl

2:

1836) a n zum H e i l i g e

Advent"

(Op.

34;

1894)

(1841-1881)

" 0 d u , v o r dem d i e S t i i r me s c h w e i g e n " ( Op . 1 0 , No. 2 b ; 1 8 8 0 ) " D i c h , H e r r , e r l c e n n i c h im S t e r n e n d o m " ( O p . 15, No. 1; 1 8 8 1 ) *J a d a s s o h n , S alomon

(1831-1902)

"Erlcennt, dass P s . 100) :;,:J a h n s ,

Friedrich

der

Wilhelm

Herr

ist

(Op.

60;

1884;

(1809-1888)

" W a n d r e r s N a c h t l i e d " ( Op . " D e r S o l d a t " ( Op . 1 3 , No.

Jakobi,

Gott"

13, 5)

No.

2;

Goethe)

Martin "Nach s c h w e r e r I r r f a h r t l a n g e n , b a n g e n S t u n d e n " ( O p . 1 8 , No. 1; 1 8 9 9 ) " S c h o n f a n g t e s a n z u d a m m e r n " ( O p . 1 8 , No. 2 ; 1899) " S a g t a n , wie h e i s s t d i e R i c h t s t a t t h e i l i g e r S c h r e c k e n " ( O p . 3 4 , No. 1; 1 9 0 3 )

Janetschek,

Alois

" Aus d e r T i e f e r u f e 1902; P s . 129)

ich

zu d i r ,

Herr"

( Op .

19b;

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306

Jansen,

Friedrich "Suchst

Jensen,

Adolf

Gustav

(1831-1910)

du d e n F r i e d e n "

(1837-1879)

* " E n g e l g e s a n g " ( O p . 2 3 , No. 3 ; H e n r i k H e r t z ) "Dem A r me n , dem n i e m a l s d i e F r e u d e g e l a c h t " ( O p . 2 3 , No. 1 6 ) * " D i e K e i m k e h r " ( O p . 4 0 , No. 6 ) Jessel,

Leon

(1871-1942)

"Welche i c h 1903) Jonas,

habe,

bete,

f r omm und l e i s e "

ich"

(Op.

145;

(Op.

1 8;

1875)

Theodor " 0 d u , v o r dem d i e No. 1 ; 1 8 8 6 )

Kahn,

ziichtige

Ernst "Bete,

Kahle,

lieb

Robert

Stiirme

schweigen"

(op.

21,

(1865-1951)

^ " N o v e m b e r f e i e r " ( O p . 2 0 , H e f t 1 , No. 2 ; K. " G e b e t " ( O p . 2 2 , H e f t 2, No. 1; 1 8 9 0 ) " 0 g u t e r G o t t , d e r Me n s c h l i e g t i n g r o s s e r ( O p . 6 3 , No. 1)

Allmers) Not"

K a i n e r , G. "Reich geseg net

sei

dei

Stunde"

(Op.

24;

1898)

K ainersdorfer, C lotilde "0 s a n e t i s s i m a " (Op. 32; 1880) " Ave M a r i a " ( O p . 4 5 ; 1 8 7 8 ) Z e h n W e i h n a c h t s l i e d e r f iir Ki r c h e und Ha u s (Op. 47; 1880)

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307

Kalliwoda,

J o h a n n Wenzel

"Sei s t i l l " "Der F r i e d e

*Kaminski,

Ch .

(Op. 7, Gottes"

No. 6 ; 1 8 5 2 - 5 9 ) ( O p . 7 9 , No. 5 ;

(Ruth)

E.

Stunden

K atterfeld,

der

Einsamkeit

und A n d a c h t

(1845)

Julius

" I c h w e i s s es l c l a r " (Op. 21; 1882) " K e h r e w i e d e r , d e r du d o c h v e r l o r e n 1881) Kauffmann,

1845)

Heinrich

"orautlied" Kast,

(1801-1866)

hast"

Ernst

"Gebet" * Kaun,

Friedrich (Op.

1,

No.

No.

Josef

7;

so g r o s s e Anna

1879)

(1803-1856) 4;

1860-67)

Karl

Sehnsucht

doch"

(Op.

55,

R itter)

Michael

Sechs T o d t e n li e d e r K eller,

1879) No. 4 ;

Hugo ( 1 8 6 3 - 1 9 3 2 ) "Und h a b '

K eller,

25;

Emil

" G e b e t " ( O p . 1 , No. 4 ) " E i n e L i e b e lcenn i c h " ( O p . 1 1 , No. 1; " De i n L i e b e s f e u e r , a c h H e r r " (Op. 11, Kauffmann,

(Op.

(before

1843)

(1784-1855)

"Zu k a m p f e n 1845)

fur

der

Christen

Ehre"

( f r o m Op.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

11;

308

K eller,

Ludwig " D u r c h manche L a n d e r s t r e c k e t r u g i c h den Wan de rs t a b " ( O p . 4 7 , No. 1; 1 8 9 9 ) " D i e T a u b e , d i e im M o r g e n l a n d " ( Op . 4 7 , No. 2; 1899)

Kempter,

Lothar

(1844-1918)

" U n t e r m K r e u z e s t a n d M a r i a " ( O p . 2 4 , No. 1; " L i e b l i c h , K n a b l e i n , o s c h l u m m r e du s a n f t " ( O p . 2 4 , No. 2; 1 8 9 7 ) Kessler,

Joseph C hristoph

(1S00-1872)

Sechs g e i s t l i c h e L ieder "Anfangs w o l l t ic h f a s t 59) Ketschau,

Wilhelm

*"Wo du (Op. "Wandle ( Op . K indler,

(Op. 33; 1852) v e r z a g e n " (Op.

1852-

h i n g e h s t , da w i l l i c h a u c h h i n g e h e n " 5; R u t h 1 : 1 6 - 1 7 ) l e u c h t e n d e r und s c h o n e r , O s t e r s o n n e " 9; 1 9 0 4 - 0 8 )

Paul

Adolf

allerseligsten

Jung­

(1858-1936)

M arienlieder

K la u w e l l , Adolf

(Op.

32;

1894)

(1851-1917)

" A l l e s m i t G o t t " ( f r o m Op. " A b e n d g e b e t " ( f r o m Op. 1 8; K lein,

53;

(1805-1869)

M a r i e n l i e d e r zu E h r e n d e r f r a u (Op. 3 9; 1 9 0 4 - 0 8 ) K irchl,

1897)

Bernhard

18; 1 8 5 2 - 5 9 ) 1852-59)

(1793-1832)

V i e r g e i s t l i c h e L i e d e r ( O p . 2; * " W a n d e r e r s N a c h t l i e d " ( Op . 1 5 ; " l i y mn u s " ( Op. 3 9 ; 1 8 3 2 ; P s . 9)

1819) 1827;

Goethe)

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309

G e i s t l i c h e L i e d e r von N o v a l i s ( Op . 4 0 ; b e f o r e 1 8 4 3 ) "Ave M a r i a " ( f r o m Op. 4 6 ; 1 8 9 6 ) "Der 23. P s a lm " ( 1 8 9 6 ) *" Du b i s t e i n L i c h t i n t i e f e r N a c h t " ( P s a l m paraphrases) *Gott ist unser Zuversicht und Starke" ( P s a l m paraphrases) * " H e r r G o t t , mein H e i l a n d " (Psa lm p a r a p h r a s e s ) * " Lo be den l i e r r n , m e i n e S e e l e " ( P s a l m p a r a p h r a s e s ) * " Wi e l i e b l i c h s i n d d e i n e W o h n u n g e n , H e r r Z a b a o t h " (Psalm p a r a p h r a s e s ) *"rlymne"

K lein,

(L.

Rellstab)

Bruno Oskar " S c h w a c h und s i i n d i g w i e i c h b i n " ( O p . 4 8 , No. 1; 1899) " D i e S t i mme J e s u s p r a c h z u m i r " ( O p . 4 8 , No. 2; 1899) " M a h e r m e i n g o t t zu d i r " ( O p . 4 8 , No. 3 ; 1 8 9 9 ) " S o w i e i c h b i n , n u r w i e i c h b i n " ( O p . 4 8 , No. 4 ; 1899) *"Wanderers N a c h tlie d " (Goethe)

Klengel,

Paul

(1854-1935)

"Von S u n d e r

belastet"

(Op.

32;

(1860-67;

Spitta)

1903)

K l i e r , K. F i i nf L i e d e r Klughardt,

Aup. ust

(1847-1902)

" 0 d u , v o r dem d i e S t i i r me s c h w e i g e n " ( Op . 2 9 , No. 4 ; 1 8 8 3 ) "Am T a g e A l l e r s e e l e n " ( O p . 3 1 , No. 1; 1 8 7 6 ) " G o t t s e i m i r g n a d i g n a c h d e i n e r Giite" (Op. 80, No. 1; 1 9 0 0 ; P s . 5 1 ) " H e r r , u n s e r G o t t , d e r du a l l e i n g e r e c h t , a l l mac h t i g b i s t " ( 1 9 0 3 ) Knebel-Doberitz "Gott i s t "Tu e i n e n "Nun r u h t

mein F r i e d e n " ( 1 8 7 9 ) S c h r i t t zum a n d e r n " ( 1 8 7 9 ) d i e Welt mit S chw eigen" (1879)

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

Koch,

Matthaus "0 G o t t , V a t e r i n E w i g k e i t " (Op. 2; 1 897) " S e e l e n , b e u g e t e u c h " (Op. 32; 1 9 0 4 - 0 8 ) " V a t e r , wenn am L e b e n s w e g e " ( O p . 5 0 ; 1 9 0 4 - 0 8 )

Kocher,

Conrad

(b.

1786)

"0 N a c h t, o T a g e s g r a u e n " ( 1 8 5 2 - 5 9 ) "Nimm m i r a l l e s " ( 1 8 5 2 - 5 9 ) "Kerr, h i l f t r a g e n ” (1852-59) " G e h e h i n , unci s i e l i " ( 1 8 5 2 - 5 9 ) " G r o s s s i n d d i e Wogen" ( 1 8 5 2 - 5 9 ) " D e i n W o r t , o H e r r , im I i u n d e " ( 1 8 5 2 - 5 9 ) Kohler,

Ernst " G r o s s s i n d d i e Wogen" ( O p . 6 , No. "Wenn e i n L i e b e s d i r d e n T o d " ( O p . 1904-08)

1; 6,

1904-08) No. 2 ;

Koemmenich, Lo u is "Herr Kohlmann,

des Himmels"

6;

1897)

Otto

" Wi e i s t Kolle,

(Op.

d o c h o h n e Ma s s und Z i e l "

(1904-08)

Theodor " D i e W e l t , s i e i s t k e i n T r a u e r h a u s " (Op. No. 5; 1 8 9 0 ) " S i n d w i r a u c h w e i t g e s c h i e d e n " (Op. 2 0, 1890)

Kortenbach,

20, No.

6

Rudolf

"Wenn b e i m G l a n z d e r

Sterne"

( Op .

21;

1885)

Ko t h e , A l o i s " Ave M a r i a "

(1881)

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311

Kralilc,

Mathilde

von

"Einstm als v e r li e s s T aufer" (1898) Kr a 1 1 ,

das

bergige

Land G a l i l a a

der

J . "Vater unser" (1860-67) " F r o mme s V e r t r a u e n " ( 1 8 6 0 - 6 7 ) "B u sslied " (1860-67) "M arienlied" (1860-67)

Krause,

E. "Am A b e n d " ( Op . 1 0 , No. 1; 1 8 6 0 - 6 7 ) " E r m u t i g u n g " ( O p . 1 0 , No. 2 ; 1 8 6 0 - 6 7 ) " S e i g e t r e u b i s i n d e n T o d " ( Op . 1 0 , No. 1860-67) " N a c h f e i e r " ( O p . 1 0 , No. 4 ; 1 8 6 0 - 6 7 )

Krause,

*Krebs,

Theodor

(b.

"Es

so s t i l l

ist

Karl August "Vater

Kretzschmer,

" Ave M a r i a " Kretzschmar,

1833) geworden"

(Op.

19;

1880)

(1804-1SS0)

unser"

Edmund

3;

(1879)

(1830-1908) ( Op .

20;

1875)

Ha n s

"Wi e e i n e i l l ume i n 1904-08)

m ilder

Nacht"

(Op.

13,

No.

2;

Kr i c h , ii e 1 e n e "Uber

Nacht

sind

wir

alt

geworden"

( Op .

25;

1892)

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312

Krigar,

Jul.

Her.

" D ie

auf

K rinniger,

den

Herrn

hoffen"

(Op.

25;

1860-67)

Franz

" D i r s i n d a l l e H e r z e n k u n d " ( O p . 11; " Ave M a r i e " ( Op . 2 7 ; 1 8 8 7 ) "0 s e i g e g r i i s s e t , K o n i g i n " ( 1 8 9 4 ) Kruse,

1880)

Jenny "Lieber

* Ktic k e n ,

gott,

Friedrich

ich

Wilhelm

bin

dein

Kind"

(1904-08)

(1810-1882)

"Ave M a r i a " ( O p . 19, No. 1; b e f o r e 1 8 4 3 ; W a l t e r S cott) " Da s Ma d c h e n v o n J u d a " ( O p . 3 4 , No. 2 ; J . W.) "Nun l a s s d i r e r z a h l e n , m e i n l i e b e s K i n d " ( O p . 5 5 , No. 2 ; 1 8 5 2 ) "Ach, G o t t , nun i s t me in Z e i t v o r b e i " (Op. 55, No. 3 ; 1 8 5 2 ; O t t o R o q u e t t e ) " L i e b ' Annchen" (Th. Kind) Ktigele , R i c h a r d S e c h s M a r i e n l i e d e r ( Op . 1 4 6 ; 1 8 9 6 ) " Es w i l l d a s L i c h t d e s T a g e s s c h e i d e n " ( f r o m Op. 177; 1897) " 0 w a r e n a l l e Bl umen m e i n " ( O p . 2 5 0 ; 1 9 0 3 ) K i i h l m a n n - R e d w i t z , Anna "Ach n e i g e , 1893) * I(iihn,

du S c h m e r z e n r e i c h e "

( Op .

7,

No.

2;

Edmund "Ich l i e b e dich in G ott" v on F a l l e r s l e b e n )

(Op.

12,

No.

4;

Hoffmann

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313

Kiihne,

Pa u l

" Wi e w i l l i c h d i r s o w o h l t u n " ( Op . 1, 1883; B i b l e ) " F r e u e t e u c h i n d e n H e r r n " ( O p . 1, No. B ible) " O p f e r G o t t Da nk" ( O p . 1, No. 3 ; 1 8 8 3 ;

No. 2;

1; 1883;

Bible)

Kii n d i g , F . "Geduld" "Schweige "Stilie" "Leidvoll Kualer,

(1852-59) s t i l l " (1852-59) (1852-59) Herz" (1852-59)

Adolf "Wenn d e r

Kuhlenkampff,

Herr

ein

58;

1895)

St i i rr ne s c h w e i g e n "

( Op .

5,

G ottlieb "0 H e r r , l a s s 1860-67)

Kunze,

(Op.

Gustav

" 0 d u , v o r dem d i e No. 1; 1 8 8 6 ) Kunlcel,

Kreuze sch iclct"

mich n i c h t

schuldig

werden"

( Op .

Karl Drei

geistliche

Lieder

( Op.

3;

18974.

K u p fe r, Ed. " D e r Tag n e i g t

sich

zu E n d e "

(1892)

Ku r t h , Re i n h . "Bei d i r a l l e i n , 1904-08)

Herr,

ist

Erlosung"

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3;

314

Lachner,

Franz Paul

(1803-1890)

"Am C h a r f r e i t a g " ( O p . 5 1 , No. 1; 1 8 5 2 - 5 9 ) " M o r g e n g e s a n g " ( O p . 5 1 , No. 2; 1 8 5 2 - 5 9 ; K l o p s t o c k ) * " M o r g e n l i e d " ( Op. 5 6 , No. 3 ; K l o p s t o c k ) * " G u t e N a c h t " ( Op. 8 4 ; E. G e i b e l ) * " E i n K i n d e r l i e d " ( Op . 9 6 , No. 6 ; 1 8 5 2 - 5 9 ; G u i d o Gorres) *"Um M i t t e r n a c h t " ( O p . 9 6 , No. 1 1 ; 1 8 5 2 - 5 9 ; H e i n e ) ^ " H o r g e n w a n d e r u n g " ( Op . 9 6 , No. 1 2; 1 8 5 2 - 5 9 ; G eibel) * " D e r Tag d e s W e l t g e r i c h t s " ( Op . 9 6 , No. 1 4 ; 1 8 5 2 59) " R i c h t e m i c h , o E w i g e r " ( Op . 1 6 3 ; P s . 2 6 ) *I m A b e n d r o t h " ( C a r l L a p p e ) Lachner,

Ignaz

(1807-1895)

Fiinf c h r i s t l i c h e L i e d e r ( 1 8 5 2 - 5 9 ) "Aurorens R oslein" (1852-59) "An d i e M u t t e r d e r s c h o n e n L i e b e " ( 1 8 5 2 - 5 9 ) "An d i e T r o s t e r i n d e r B e t r i i b t e n " ( 1 8 5 2 - 5 9 ) Lachner,

Vinzenz

(1811-1893)

"Maria mein" L afite,

Carl

73,

No.

2;

1893)

(1872-1945)

"Durch d i e (1894) Lang,

( Op.

Josephine

zerbrochenen

alten

K irchenfenster"

(1815-1880)

" F r e u d e n s o n d e r Z a h l " ( O p . 2; 1 8 4 5 ) " So b e t e , m e i n K i n d " ( O p . 2 6 , No. 1; 1 8 6 0 - 6 7 ) * " L e b ' w o h l , l e b r v/ohl du s c h o n e W e l t " ( O p . 2 9 , No. 1; 1 8 6 2 ; A l b e r t Z e l l e r ) " G i b d i c h d a h i n " ( O p . 2 9 , No. 3; 1 8 6 2 ; Z e l l e r ) " I c h m o c h t e h e i m " ( Op . 4 1 ; 1 8 6 6 ) * " D i e Au gen d e r B l i n d e w e r d e n a u s dem D u n k e l und F i n s t e r n i s sehen" (1860-67) * " G o t t s e i mir Siinder g n a d i g " ( 1 8 6 0 - 6 7 ) * " E s i s t n o c h e i n e Ruhe v o r h a n d e n dem V o l k G o t t e s " (1860-67) * " A r i e " ( 1 8 6 0 - 6 7 ; Thomas A q u i n a s ) * " ' B l i c k n a c h o b e n ' " ( J . Hammer )

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315

Langenbeck,

Georg

"H e r r ,

Lanz,

mein

Gott,

erbarm

dich

meiner

Seele"

(1 8 9 4 )

E. "Wiegenlied

Lasch,

der

Mutter

Gottes"

(1852-59)

Eugen "Troste

Lassen,

dich

in

deinem Leid"

(Op.

7)

Eduard " 0 g i b m i r F r i e d e n " ( O p . 5 2 , No. 4 ; 1 8 7 5 ) " D r e i B i t t e n h a b i c h f u r d e s Hi mm e l s O h r " ( O p . No. 2 ; 1 8 7 5 ) " D i e i h r d o r t w a l l e t u n t e r den P a l m e n " ( 1 8 7 5 ) " E s i s t s o s t i l l g e w o r d e n " ( f r o m Op. 8 6 ; 1 8 8 6 ) * " D a s a l t e L i e d " (H. H e i n e ) * " S e i s t i l l e " ( H e n r i e t t a von S c h o r n ) * " Sonn t a g s r uhe " *"Des J i i n g l i n g s Klage"

Leidesdorf, Maximilian Josef

81,

(1787-1840)

triiben Stunden" ( O p . 1 2 9 , No. 1; No v a 1 i s ) * " E s g i e b t s o b a n g e Z e i t e n " ( Op . 1 2 9 , No. 2; Novalis) * " I c h s a g e s j e d e m , d a s s e r l e b t " ( Op . 1 2 9 , No. 3 ; Novalis) ^ " We r e i n s a m s i t z t i n s e i n e m Rammer " ( O p . 1 2 9 , No. 4; N o v a l i s ) * " I c h s e h e d i c h i n t a u s e n d B i l d e r n " (Op 1 2 9 , No. 5; Novalis) *"Wenn alle untreu werden" ( Op . 1 2 9 , No. 6 ; Novalis) *"Wo b l e i b s t du T r o s t d e r g a n z e n We I t ? " ( O p . 1 2 9 , No. 7; N o v a l i s ) * " U n t e r t a u s e n d f r o h e n S t u n d e n " ( O p . 1 2 9 , Mo. 8 ; Novalis) *"Wenn im bangen,

Leitzen,

C.

M.

" Der H e r r

ist

mein H i r t "

(1894;

Ps.

23)

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316

Leonhardt,

J.

E.

F i i nf P s a l m e n , i n c l u d i n g " Wi e s o l i e b l i c h s i n d " Vo r d e n V o l l c e r n w i l l (Psalm) Lewalter,

d e i n e Wo h n u n g e n " ( P s a l m ) ic h bekenne d ic h , Herr"

Johann

" Da s V a t e r u n s e r " ( O p . 2 7 ; 1 8 9 4 ) "Zu d i r h i n a u f s e h n t m e i n e S e e l e " Lewandowsky,

Louis

(b.

"Es g l e i c h t Le wy,

52;

1904-08)

1823)

das M enschenleben"

( Op .

43;

1892)

Carl "Befiehl

Liehey,

dich

Gott"

(Op.

52,

No.

1;

1879)

Reinh. "Herr, schicke Morike)

Liebmann,

Liebmann,

was du w i l l s t "

( Op.

1 5;

1904-08;

Axel

"0 G o t t ,

wie dank

Helene.

Riese

Drei g e i s t l i c h e ( b e f o r e 1843) Liese,

( Op .

ich

(b.

dir"

(1878)

1796)

Lieder

fiir

innige

und s t i l l e

Seele

Richard " I c h h e b e m e i n e Augen a u f 1 9 0 4 - 0 8 ; P s . 121)

Lindpainter,

Peter

Josef

von

zu den B e r g e n "

(Op.

(1791-1856)

M u t t e r g o t t e s - S t r a u s s l e i n zum H a i - M o n a t : froinme L i e d e r ( Op . 1 6 4 ; 1 8 5 2 - 5 9 )

Acht

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4;

317

*L i s z t ,

Sechs

geistliche

Franz

(1811-1886)

Lieder

(Op.

167;

1852-59)

" D e r du v o n dem Hi mmel b i s t " ( 1 8 4 3 , 1 8 5 6 , 1 8 6 0 ; Goethe) " I m R h e i n , im s c h o n e n S t r o m e " ( 1 8 4 3 , 1 8 5 6 ; H e i n e ) "Das V e i l c h e n " ( 1 8 5 7 ; J o s e p h M i i l l e r ) "Die S c h li is s e lb lu m e n " (1857; M iiller) "Und s p r i c h " ( 1 8 7 4 ; F r e i h e r r R i i d i g e r von Biegeleben) " S e i s t i l l ” ( 1 8 7 7 ; H e n r i e t t e von S c h o r n ) " G e b e t " ( 1 8 7 9 ; F r i e d r i c h von B o d e n s t e d t , a f t e r Lerm ontoff) "Der G e k r e u z i g t e " ( 1 8 8 4 , t h r e e s e t t i n g s ; V i c t o r Hugo) :!:L o e w e ,

Carl

(1796-1869)

" Da s G e b e t d e s H e r r n und d i e E i n s e t z u n g s w o r t e " (1813; B ib l e ) " G r o s s i s t d e r H e r r " ( 1 8 2 0 ; Ev/ ald C h r i s t i a n von Klei s t ) "Wenn e i n s t i c h t o t b i n " ( 1 8 2 0 ; F. G. K l o p s t o c k ) "Wenn i c h i h n n u r h a b e " ( O p . 2 2 , I l e f t 1, No. 1; 1821; N o v a l i s ) "Wenn a l l e u n t r e u w e r d e n " ( O p . 2 2 , H e f t 1, No. 2; 1922; N o v a l i s ) " H e r o d e s ' K l a g e um M a r i a m n e " ( Op . 4 , No. 1; 1 8 2 3 ; Byron, t r . Theremin) "An d e n V / a s s e r n z u B a b e l " ( Op . 4 , No. 2; 1 8 2 3 ; Byron, t r . Theremin) "War i c h w i r k l i c h s o f a l s c h ? " ( O p . 4 , No. 3; 1 8 2 3 ; Byron, t r . Theremin) " A l l e s i s t e i t e l , s p r i c h t d e r P r e d i g e r " (Op. 4, No. 4 ; 1 8 2 3 ; B y r o n , t r . T h e r e m i n ) " J e p h t h a ' s T o c h t e r " ( Op . 5 , No. 2; 1 8 2 4 ; B y r o n , t r . Theremin) " D i e w i l d e G a z e l l e " ( Op . 5 , No. 3 ; 1 8 2 4 ; B y r o n , t r . Theremin) " W e i n t um I s r a e l ! " ( O p . 5 , No. 4 ; 1 8 2 4 ; B y r o n , t r . Theremin) " S a u l v o r s e i n e r l e t z t e r S c h l a c h t " ( Op . 5 , No. 6 ; 1824; Byron, t r . T h ere m in ) " S a n h e r i b ' s N i e d e r l a g e " ( O p . 1 3 , No. 1; 1 8 2 5 ; Byron, t r . Theremin) " B e l s a z a r ' s G e s i c h t " ( O p . 1 3 , No. 2 ; 1 8 2 5 ; B y r o n , t r . Theremin) " D i e h o h ' r e W e l t " ( Op . 1 3 , No. 3 ; 1 8 2 5 ; B y r o n , t r . Theremin)

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31 8

" J o r d a n ' s U f e r " ( O p . 1 3 , No. 4 ; 1 8 2 5 ; B y r o n , t r . Theremin) " W o h i n , o S e e l e , w i r s t du e i l e n ? " ( Op . 1 3 , No. 5 ; Byron, t r . Theremin) " S a u l und S a m u e l " ( O p . 1 4 , No. 1; 1 8 2 6 ; B y r o n , t r . Theremin) " E l i p h a s ' G e s i c h t " ( Op. 1 4 , No. 2; 1 8 2 6 ; B y r o n , t r . Theremin) " D a v i d s H a r f e " ( O p . 1 4 , No. 3; 1 8 2 6 ; B y r o n , t r . Theremin) " S a u l " ( O p . 14, No. 4 ; 1 8 2 6 ; B y r o n , t r . T h e r e m i n ) " J e r u s a l e m ' s Z e r s t o r u n g d u r c h T i t u s " (Op. 14, No. 5 ; 1 8 2 6 ; B y r o n , t r . T h e r e m i n ) " D e r Gang n a c h dem E i s e n h a m m e r " ( O p . 1 7 ; 1 8 2 9 ; Schiller) " D e r H i r t e n L i e d am K r i p p e l e i n " ( O p . 2 2 , H e f t 1, No. 3 ; C h r i s t i a n F r i e d r i c h D a n i e l S c h u b a r t ) " D e r du v o n dem ll iinmel b i s t " ( O p . 9 , H e f t 1, No. 3 b ; 1 8 2 8 ; G o e t h e ) " B u s s l i e d " ( Op . 2 2 , H e f t 1, No. 4 ; 1 8 2 9 ; G e l l e r t ) " G o t t e s i s t d e r O r i e n t " ( O p . 2 2 , H e f t 1, No. 5; 1829; G o e th e ) " W e r f e t a l l e e u r e S o r g e n a u f i h n ! " (Op. 2 2 , H e f t 2 , No. 1; 1 8 3 0 ; Aug. Herrn. N i e i n e y e r ) " E n g e l s s t i m m e n am K r a n k e n b e t t e " ( O p . 2 2 , H e f t 2, No. 2 ; 1 8 3 0 ; G e p p e r t ) " D e r n a h e E e t t e r " ( O p . 2 2 , I i e f t 2 , No. 3 ; 1 8 3 0 ; Niemeyer) "Wi e g r o s s i s t d e r A l l m a c h t ' g e n G i i t e ! " ( O p . 2 2 , H e f t 2 , No. 4 ; 1 8 3 1 ; G e l l e r t ) " C h r i s t i H u l d g e g e n P e t r u s " ( 1 8 3 2 ; E l i s a v on d e r Re c k e ) " J u n g f r a u L o r e n z " ( O p . 3 3 , No. 1; 1 8 3 4 ; F r a n z Ku g 1 e r ) " D a s h e i l i g e Ha u s i n L o r e t t o " ( O p . 3 3 , No. 2; 18 3 4; Ludwig G i e s e b r e c h t ) "Des f r e m d e n K i n d e s h e i l i g e r C h r i s t " (Op. 3 3, No. 3 ; 1 8 3 4 ; F r . k i i c k e r t ) "Der g r o s s e C h r i s t o p h " (Op. 34; 1834; F r i e d r i c h Kind) " J o h a n n vo n Nepomulc" ( O p . 3 5 , No. 2 ; 1 8 3 4 ; E r n s t Anschutz) " M a r i a und d a s M i l c h m a d c h e n " ( O p . 3 6 , No. 1; 1 8 3 4 ; Aloys S c h r e i b e r ) " D e r e w i g e J u d e " ( O p . 3 6 , No. 3 ; 1 8 3 4 ; S c h r e i b e r ) " k o o s r o s l e i n " ( O p . 3 7 , No. 2 ; 1 8 3 4 ; i i e l m i n a von Chezy) " G r e g o r a u f dem S t e i n " ( O p . 3 8 ; 1 8 3 4 ; F r a n z Ku g 1 e r ) E sther: Ein L i e d k r e i s in B a l l a d e n f o r m , (1835; Ludwig G i e s e b r e c h t ) , i n c l u d i n g "Wi e f r i i h d a s e n g e P f o r t c h e n k n a r r e "

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319

" D e r K o n i g a u f dem g o l d ' n e n S t u h l e " "Nun a u f dem f r e m d e n B o d e n " " S p i e l t , M a g d l e i n , u n t e r e u r e r Weide" " Wi e w o h n s t du i n d e s R e i c h e s S t a d t e n " " B l u m e n - E v a n g e l i u m " ( 1 S 3 6 ; C a r l von b l a n k e n s e e ) " D e r G e s a n g " ( Op . 5 6 , No. 2 ; 1 8 3 6 ; J . N. V o g l ) "Abendge'uet, nacn e i n e r e r l i t t e n e n Krankung" ( O p . 6 9 , No. 3 ; 1 8 3 6 ; v o n G e r s t e n b e r g ) " I n d e r K i r c h e " ( Op . 6 2 , I i e f t 2 , No. 2 ; 1 8 3 7 - 3 9 ; Fr. Riickert) " D a s v e r g e s s e n e L i e d " ( O p . 6 5 , No. 1; 1 8 3 7 ; J . N. Vogl) " K a r l d e r G r o s s e und W i t t e k i n d " ( O p . 6 5 , No. 3 ; 1 8 3 7 ; J . N. V o g l ) " Da s G r a b zu E p h e s u s " ( O p . 7 5 , No. 1; 1 8 3 7 ; Rudolf B inder) " D e r We i c h d o m " ( O p . 7 5 , No. 2 ; 1 8 3 7 ; R i i c k e r t ) " D e r h e i l i g e F r a n z i s k u s " ( Op . 7 5 , No. 3 ; 1 8 3 7 ; I g n a z H e i n r i c h v. W e s s e n b e r g ) " D i e L i n l a d u n g " ( O p . 7 6 , No. 1, 183 7; A l b e r t Knapp) " A l s W e i b e s a r m i n j u n g e r n J a h r e n " ( O p . 3 9 , No. 5; 1 8 3 9 ; L. G i e s e b r e c h t ) "Es s t e h t e i n K e l c h i n d e r I C a p p e l l e " (Op. 3 9, No. 4 ; 1 8 3 9 ; G i e s e b r e c h t ) " A l l m a c h t G o t t e s " ( O p . 8 9 , No. 3 ; 1 8 4 2 ; D i l i a Helena) " D e r G r a f von H a b s b u r g " ( O p . 9 8 ; 1 8 4 3 - 4 4 ; Schiller) " D i e D o r f k i r c h e " ( O p . 1 1 6 , No. 1; 1 8 4 6 ; F r e i h e r r n von Z e d l i t z ) " D e s K o n i g s Z u v e r s i c h t " ( O p . 1 1 8 ; 1 8 4 9 ; W. T e 1 s c h o w) " D i e G o t t e s m a u e r " ( Op . 1 4 0 ; 1 8 5 0 ; F r . R i i c k e r t ) " G e l o b t s e i G o t t ! " ( 1 8 5 0 ; V/. T e l s c h o w ) "Segne den Konig" ( a f t e r 1850; L a t i n "Salvum f a c r e g e m , " t r . Loewe) " D i e U h r " ( O p . 1 2 3 , No. 3 ; 1 8 5 2 ; J . G. S e i d l ) " G a n g e r s G e b e t " ( O p . 1 2 3 , No. 1; 1 8 5 2 - 5 3 ; O s k a r von R e d w i t z ) " K a i s e r O t t o ' s W e i h n a c h t s f e i e r " ( Op . 1 2 1 , No. 1; 1 8 5 3 ; i i e i n r i c l i von M i i h l e r ) "Mog ' e r e w i g w i e d e r k e h r e n " ( 1 8 5 3 ; W. T e l s c h o w ) " D e r T e u f e l " ( O p . 1 2 9 , No. 1; 1 6 5 9 ; C a r l S i e b e l ) "Dem K e r r s c h e r " ( 1 8 5 9 ; B a r t h o l d y ) "J u n g lin g s Gebet" (1859; Fr. Riickert) "Nebo" (Op. 136; 1860; F e r d . F r e i l i g r a t h ) " T i e du d e i n e S o n n e h a s t l a s s e n a u f g e h e n " ( 1 6 6 3 ; K i n g F r . W i l h e l m IV o f P r u s s i a , a f t e r A u g u s t i n e ) " S p i r i t o s a n t o " ( O p . 1 4 3 ; 1 8 6 4 ; B a r o n i n E m i l y von der G oltz) " D e r a l t e D e s s a u e r " ( O p . 1 4 1 ; 1 8 6 8 ; Hugo v . F a b e c k )

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320

"Nordisches S eelied " (Johannes Falk) " L e t z t e r S e u f z e r " ( O t t o von B r i e s e n ) Lowenberg,

Ernst

"Herr, Loewenberg,

der

du a l l e s

wohlgemacht"

(Op.

G.

( Op .

15,

A.

Vier Liineburg,

1887)

Max

"Nun g r i i s s e t m i c h d e r G l o c k e n C h o r " No. 1; 1 8 9 6 ) Lorenz,

8;

ernst

Gesange

(Op.

58;

1900)

Eberhard

"Wenn L e i d und Kummer um d i c h s t e h n " ( f r o m Op. 1879) "Die Toten haben e i n e n in i h r e r E in s a m k e it" (Op. 47; 1890) Lux,

Friedrich

(b.

1820)

" Z a g e n i c h t , ob E r d e n s t i i r m e b r a u s e n " 1852) " E i n p o r , e mp o r zu i h m " ( 1 8 8 9 ) Lyra,

Justus

Wilhelm

1;

aufgenommen"

( 1895)

Carl

"Wenn d i c h t e r ':' i i a h l e r ,

( f r o m Op.

(1822-1882)

" 0 s e l i g l i a u s , wo man d i c h " B e th a n ie n " (1895)

Mah1 b e r g ,

15;

Gustav

sich

die

Wollcen t i i r m e n "

(1904-08)

(1860-1911)

" U r l i c h t " ( 1 8 9 2 ; Des K n a b e n Wunde r h o r n ) " Es s u n g e n d r e i h n g e l e i n e n s i i s s e n G e s a n g " 1 8 9 9 ; Des Kn a b e n W u n d e r h o r n )

(before

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

"Um H i t t e r n a c h t " ( 1 8 9 9 - 1 9 0 0 ; R i i c k e r t ) "In diesem W etter" (1905; Riickert) Mandl,

Richard

(1859-1918)

"Vom Hi mme l Marschner,

H einrich

in

die

tiefsten

August

(1896)

(1795-1861)

* " Av e M a r i a " ( Op . 1 1 5 , " G e b e t " ( O p . 1 5 4 , No. Martens,

Kliifte"

No. 1; b e f o r e 1; 1 8 5 2 - 5 9 )

1843)

Wilhelm M a r i e n l i e d e r ( Op . 2; 1 8 6 0 - 6 7 ; H o p f ) F i i nf f r o mme L i e d e r ( Op . 1 5; 1 S 8 5 )

HMarx,

Joseph

(1882-1964)

"Wandrers N a c h t l i e d " (1906; Goethe) "Gebet" (1910; Gustav F alk e ) " M a rie n lie d " (1910; N o v alis) Maschke,

Ernst G eistliche

Lieder

( Op .

30;

1904-08)

Hayer-Enknach " Ave M a r i a " Meinardus,

(1888)

Ludwig S i e g f r i e d

(1827-1896)

" S c h i i n s t e r Herr J e s u , H e r r s c h e r a l l e r Enden" ( Op . 2 8 , No. 9 ; 1 9 0 0 ) " J e g r o s s e r K r e u z , j e n a h e r H i mme l " ( Op. 2 8 , No. 1 8; 1 9 0 0 ) Melcher,

J. Religiose

Gesange

( Op .

13;

Moves,

Spitta)

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322

(b .

^M e n d e l s s o h n , Arnold

1855)

"Konig David" (H eine) "Salomo" (Heine) *M e n d e l s s o h n , Felix ( 1 8 0 9 - 1 8 4 7 )

" E r n t e l i e d " ( O p . 8 , No. 4 ; 1 8 2 7 ; o l d c h u r c h s o n g ) " P i l g e r s p r u c h " ( O p . 8 , No. 5; 1 8 2 8 ; P a u l F l e m m i n g ) " A b e n d l i e d " ( O p . 8 , No. 9 ; 1 8 2 8 ; J . H. V o s s ) "Morgenlied" ( O p . 8 6 , No. 2; 1 8 2 8 ) " E n t s a g u n g " ( O p . 9 , No. 1 1 ; 1 8 3 0 ; J . G. D r o y s e n ) " V o l k s l i e d " ( Op . 4 7 , No. 4 ; 1 8 3 9 ; E. v . Feuchtersleben) " T r o s t u n g " ( O p . 7 9 , No. 1; 1 8 4 5 ; H o f f m a n n von Fallersleben) " N a c h t l i e d " ( O p . 7 1 , No. 6 ; 1 8 4 7 ; E i c h e n d o r f f ) Mergner,

Friedrich

(1818-1891)

* " C h ris tw ie g e n lie d " (1860; Paul G erhardt) *"Sommergesang" (1860; G e r h a r d t) :!;" W e i h n a c h t s l i e d " ( 1 8 6 0 ; G e r h a r d t ) * " B e f i e h l dem l i e r r n d e i n e W'ege" ( 1 8 7 5 ; G e r h a r d t ) 28 g e i s t l i c h e L i e d e r ( 1 8 8 3 ; G e o r g V o g e l ) P a u l G e r h a r d t s g e i s t l i c h e L i e d e r i n neuen Weisen (1885) S i e b e n J u b e l h y m n e n von d e r L i e b e C h r i s t i ( 1 8 8 5 ) 50 g e i s t l i c h e L i e d e r f i i r C h o r und E i n z e l s t i m m e *M e t h f e s s e l , A l b e r t "Morgenlied" Scheie)

G ottlieb

(1785-1869)

( f r o m Op.

12;

L.

A.

Freyherr

von

Me y e r - H e l m u n d , E r i k " I c h bin No. 3; M iller,

durch 1895)

dich

w i e du d u r c h m i c h "

(Op.

120,

Julius "Paraphrase 1845)

des

allgemein

Gebetes"

( Op .

26,

No.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

2;

32 3

Mittmann,

Paul

"0 Palme, "£s bliiht

s o n n e n k l a r e " ( O p . 1 2 3 , No. d e r Blumen e i n e " (Op. 1 23,

1; 1 9 0 1 ) No. 2 ; 1 9 0 1 )

Modlmayr, J o s e f " Me i n G o t t , H olier,

dir

hab i c h

mich e r g e b e n "

(1892)

A. " S e i du m i t m i r " ( 1 8 5 2 - 5 9 ) " D e s C h r i s t e n I Cr euz" ( 1 8 5 2 - 5 9 ) " G e is tlic h e s Abendlied" (1852-59)

Mol cl c,

J.

H.

"Gebet" Molique,

( f r o m Op.

Bernhard

13;

1852)

(1802-1869)

" L o b e G o t t " ( O p . 3 9 , No. 1; 1 8 5 2 ) " I c h r u f zu d i r " ( O p . 3 9 , No. 2 ; 1 8 5 2 ) " Na c h d i r , o H e r r " ( O p . 3 9 , No. 3 ; 1 8 5 2 ) " I c h w i l l d i c h e r n o h e n " ( O p . 3 9 , No. 4 ; 1 8 5 2 ) " H i I f m i r , o G o t t " ( O p . 3 9 , No. 5 ; 1 8 5 2 ) " I c h l i e b e d e n H e r r n " ( O p . 3 9 , No. 6 ; 1 8 5 2 ) S e c h s g e i s t l i c h e G e s a n g e (Op. 4 8; 18 88 ) Moscheles,

Ignaz

"Gib uns

hiihling,

August

(1794-1870) taglich

C.

F.

W.

(Op.

131,

No.

1;

1860-67)

(17S6-1S47)

Zehn M e l o d i e n M uller,

Brot"

(b.

(1839;

Spitta)

1835)

" Gi b m i r G o t t ,

der

alles

gibt"

( f r o m Op.

12;

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

1852)

324

Muller,

Donatus

Vesperhymnen M uller,

Peter

(b.

(before

1791)

L i e d e r und C h o r e z u r O sterfeie r (before Miiller,

Selmar

(b.

"Gebet"

1843)

W eihnachts-Charfreitags-oder 1843)

1819)

( Op .

1 7;

1852-59;

Geibel)

Miiller-Berghaus , E lv ira "Wenn i c h

ihn

nur habe"

(1900;

Novalis)

Mu n d , Hugo " V a t e r , d e i n e Sonne s t r a h l t Mo. 1; 1 8 8 2 ) " O s t e r l i e d " ( Op . 3 0 , No. 2; Mussa,

Viktor

gedulde

iians Georg

dich

fein"

30,

1882)

(Op.

50;

1893)

(1773-1836)

"Wandrers N a c h tlie d " (1800; " H i r t e n l i e d " (1800) "Am F e n s t e r b e i M o n d s c h e i n " N athusius,

( Op .

fim.

"Dulde,

*Mageli,

im O s t e n "

Goethe) (before

1815)

Marie

100 L i e d e r , g e i s t l i c h e und w e l t l i c h e , e r n s t h a f t und f r o h 1 i c h , c o n t a i n i n g 30 g e i s t l i c h e l i e d e r , among w h i c h a r e s i x s e t t i n g s o f N o v a l i s t e x t s

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325

Natorp,

Paul

(1854-1924)

"Vom Ki mmel i n 1884) Neuhoff,

die

tiefsten

Kliifte"

2,

No.

Ludwig " I c h m oc hte heim, mich z i e h t s (Op. 2 0 ; 1 9 0 4 - 0 8 )

*N e u n e r, C arl

Nicode,

Jean

Louis

Lied

(b.

am K r i p p l e i n "

(1814;

C hristian

(1S53-1919)

"Dich p r e i s t , Carl

zum V a t e r h a u s e "

(1778-1830)

"Der H i r t e n Schubart)

Nicola,

( Op.

A l l m a c h t i g e r " (Op.

33;

1890)

1797)

" V a t e r u n s e r " ( O p . 11 ; 1 8 7 8 ) *"Der 2 3 t e P sa lm " (Op. 41) N icolai,

Otto

(1810-1849)

"Salve * "Gebet

R e g i n a " (Op. 39; 1852) der v e r i r r t e n Jungfrau"

Ni e d e r h e i t ma n n "Wenn i c h Nitzsche,

trete"

(1852-59)

Otto

"Liegst N ossler,

vor meinen S c h o p fer

du i n

schwerer

S o r g e Bann"

(Op.

29;

1882)

Eduard " Vo r d e r T r a u u n g " "Wenn a l l e u n t r e u Novalis)

( O p . 3 0 , No. v /erden" (Op.

1; 1 8 9 6 ) 39; 1904-08;

R eproduced with permission of the copyright owner. Further reproduction prohibited w ithout permission.

2;

" J e s u s , J e s u s , n i c h t s a l s J e s u s " ( O p . 4 1 , No. 1902) " L a s s t m i c h g e h n , cl ass i c h J e s u m moge s e h n " ( O p . 4 1 , No. 2 ; 1 9 0 2 ) " W a n d e l t w i e d i e K i n d e r d e s L i c h t s " ( Op . 4 2 ; 1904-03)

Oberthiir,

Carl

(1819-1895)

"Wenn am Mo r g e n k l a t " Oechsler,

319;

1899)

Elias

Drei

Oeser,

(Op.

geistliche

Gesange

(Op.

1 2;

1897)

August "Vater

unser"

(1904-08)

O r e , Adam "Gott, O rtner,

heilger

Vater"

deinem B i l d e "

( Op .

89;

1892)

erlclingt

es

in

der

Seele"

(Op.

1;

1883)

G ottfried "Vater

Palme,

1895)

Mathilde "Sanft

Palm,

37;

A. " Wi r I cni e n v o r

Ostner,

(Op.

unser"

(1902)

Rudolph

Drei Drei

geistliche geistliche

Lieder Lieder

( Op . (Op.

40; 69;

1886) 1900)

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327

Pa ss er ,

W.

" H o c h z e i t l i e d " ( b e f o r e 1843) W e i h n a c h t s l i e d e r ( b e f o r e 1843) S e g e n l i e d e r ( b e f o r e 1843) P e r g e r , Richard

vo n

"Was i c h 1881) Peters,

in

(1854-1911) der

Kirche

gebetet"

( Op .

2,

No.

1;

Paul "Es i s t

Peuschel,

so s t i l l

Moritz

geworden"

(Op.

5;

1887)

(1838-1892)

" L a s s mich r u h n , 1893)

Herr,

an dein em H erz"

(Op.

80;

Pfannschm idt, H einrich " Z i o n s S t i l l e s o i l s i c h b r e i t e n " (Op. 9; " L e i t e m i c h an a l i e n E n d e n " ( 1 9 0 3 ) "Wohl d a s T a g w e r k i s t v o l l b r a c h t " ( 1 9 0 3 ) " Wi r s i n d d e i n V o l k " ( 1 9 0 3 ) P feiffer,

Wilhelm

(b.

1820)

" J a u c h z e t dem H e r r n a l l e P s . 100) *P fitz n e r,

Ha ns

1901)

Welt"

(Op.

36;

1887;

(1869-1949)

" A b s c h i e d " ( O p . 9 , No. 5 ; E i c h e n d o r f f ) " Z o r n " ( O p . 1 5 , No. 2; E i c h e n d o r f f ) " I n D a n z i g " ( O p . 2 2 , No. 1; E i c h e n d o r f f ) " A b e n d r o t " ( O p . 2 4 , No. 4 ; F r i t z L i e n h a r d ) "A bendlied" ( J u l i u s Sturm) P fitzner,

Paul

" D e r Tag g e h t 1904-08)

still

zu Ende"

(Op.

31,

No.

1;

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

32 8

"Ira S t e r n e n s a a l 1904-08)

Pittraann,

ist

Freudenfest"

zu M e l o d i e n

No.

2;

von

Carl D r e i g e i s t l i c h e L i e d e r (Op. 2 8; " G o t t zum G r u s s " ( O p . 2 9 ; 1 8 9 7 )

Pliidderaann,

Martin

1897)

(1854-1897)

" D i e Hi mme l r i i h me n " ( 1 8 9 3 ) "In d u l c i j u b i l o " (1893) " Ave i ' i a r i a , Ros o h n e D o r n " Poenitz,

31,

Josef

Zwolf g e i s t l i c h e F e s tg e s a n g e Beethoven (1852-59) P iutti,

(Op.

(1893)

Franz "Herr, ( Op.

wie 30;

l a n g e w i l l s t du m e i n s o g a r 1 8 9 2 ; P s . 13)

vergessen"

Por aper , A . "Unser Popp,

Wilhelm

Vater

Gesange

( Op .

465;

1896)

M.

"Wenn d e r H e r r d i e ( 1 9 0 0 ; P s . 126) -:-P r e y e r ,

(1904-08)

(1828-1902)

Religiose Prellw itz,

i n dem H i mm e l "

Gefangenen Zions

erlosen

wird"

G ottfried " 0 b s i e w o h l koinmen w i r d ? " Saphir)

(Op.

43,

No.

2;

M.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

G.

329

Priimers,

Adolf "Den

Hagelschlag,

den

Wintertag"

(Op.

1;

19 01)

H.

Putsch,

"Wenn d e r E r d e Gr i i n d e b e b e n " ( Op . 1 5 , No. 1; 1 8 8 4 ) " E s i s t s o s t i l l g e w o r d e n " ( O p . 1 5 , No. 2 ; 1 8 8 4 ) " 0 w e l c h e i n H e i l i s t e u c h g e s c h e h e n " ( Op . 1 5 , No. 3; 1 8 8 4 ) " Wi r w o l l e n ihra d i e K r i p p e s c h m i i c k e n " ( O p . 15, No. 4; 1 8 8 4 ) Pyllemann,

Joachim

"Was m a c h t , d a s s i h r v / e i n e t " " Wi e i s t d i e N a c h t s o s t i l l "

Rabe,

(1897) (1897)

G. 24 L i e d e r

(1852-59;

Spitta)

Ra b u s , Hugo "Herr,

Radecke,

Robert

Herr,

e r h o r e mich"

(1898)

(1830-1911)

* " H e r r , du e r f o r s c h e s t m i c h " ( O p . 4 8 , No. 1; 1 8 7 7 ; P s . 139) *"Wenn d e r I l e r r e i n K r e u z e s c h i c k t " ( Op . 4 8 , No. 2; 1 8 7 7 ; E r n s t von Wi 1 1 i c h ) * " S e i nun w i e d e r z u f r i e d e n " ( Op . 4 8 , No. 3; 1 8 7 7 ; P s . 116) * " W e i h n a c h t s s p r u c h " ( Op. 4 8 , No. 4 ; 1 8 7 7 ; J o h n 8 : 1 2 ) v " K e i n e S e e l e v e r l a n g t n a c h d e i n e m " ( O p . 4 8 , No. 5 ; 1877; P s . 119) " G o t t s e i u n s g n a d i g und s e g n e u n s " ( 1 9 0 4 - 0 8 ; Ps. 6 7:2-3) Raff,

J o a c h im .(1822-1882) "Ave M a r i a "

( Op .

51;

1882)

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330

* " V o r dem M u t t e r g o t t e s b i l d e " ( O p . 9 8 , Helena) * " Av e M a r i a " ( O p . 9 8 , No. 1 7 ; E r n s t ) " S e i s t i l l " ( O p . 1 7 3 , No. 8 )

R aillard,

2;

D ilia

Theodor

"Seele, 1901)

Raphael,

No.

ach S e e l e ,

du k e n n s t

dich n ic h t"

(Op.

10;

Georg " A c h , d a s s d i e H i i l f e a u s Z i o n i i b e r I s r a e l k a me " (Op. 3; 18 9 9; P s . 1 4 : 7 ) " H e r r , m e i n G o t t , s e i du m e i n L i c h t " ( 1 8 9 6 ) "Wenn a l l e s e b e n k a m e " ( 1 9 0 1 )

Rebling,

Gustav "Herr,

Rechenberg,

(b.

1821)

e r h o r e meine Worte"

Ernst

(b.

(Op.

28;

Ps.

5)

1800)

"Passions-Blume"

(Op.

23,

No.

1;

1852-59)

* R e g e r , Max ( 1 8 7 3 - 1 9 1 6 ) " V e r l a s s e n h a b ' i c h m e i n L i e b " ( O p . 1 5 , No. 9 ; 1894; F r a n z E n g e l ) " P a s s i o n l i e d " ( O p . 1 9 , No. 1; 1 8 9 8 ) " Do c h du l i e s s e s t i h n im G r a b e n i c h t " ( O p . 1 9 , No. 2 ; 1 8 9 8 ; H a n d e l ' s M e s s i a h ) "Wenn i n b a n g e n , t r i i b e n S t u n d e n " ( 1 9 0 0 ; N o v a l i s ) " H e i mw e h " ( 1 9 0 0 ; J u l i u s S t u r m ) " D e r K o n i g b e i d e r K r o n u n g " ( O p . 7 0 , No. 2 ; 1902-03; M orike) "Wohl d e n e n " ( 1 9 0 3 ; P s . 1 1 9 : 1 - 5 , 8 ) " S c h l a f e r l i e d c h e n " ( O p . 7 5 , No. 1 4 ; 1 9 0 4 ; C a r l Busse) " E h r e s e i G o t t i n d e r H o h e ! " ( 1 9 0 5 ; L u d w i g Hama nn) " G o t t e s S e g e n " ( O p . 7 6 , No. 3 1 ; 1 9 0 7 ; E i c h e n d o r f f ) " I c h s e h e d i c h i h n t a u s e n d B i l d e r n " ( Op . 1 0 5 , No. 1; 1 9 0 7 ; N o v a l i s ) " M e i n e S e e l e i s t s t i l l zu G o t t " ( O p . 1 0 5 , No. 2; 1907; P s . 62) " E s s o i l m e i n G e b e t d i c h t r a g e n " ( 1 9 0 9 ; A s t a von Wegerer )

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331

"Wera a l l e W e l t e i n i g w a r " ( O p . 7 6 , No. 1 7 ; 1903-12) " De s k i n d e s G e b e t " ( O p . 7 6 , No. 2 2 ; 1 9 0 3 - 1 2 ; L u d w i g R a f a e l , p s e u d o n y m f o r He d wi g K i e s e k a m p ) " M a r i a W i e g e n l i e d " ( O p . 7 6 , No. 5 2 ; 1 9 1 2 ; M a r t i n B oelitz) " De r K o n i g a u s dem M o r g e n l a n d " ( O p . 7 6 , No. 6 0 ; 1 9 0 3 - 1 2 ; E r n s t Ludwig S c h e l l e n b e r g ) " B i t t e um e i n e n s e l i g e n T o d " ( O p . 1 3 7 , No. 1; 1914; N i c o l a u s Herman) " D e i n W i l l e , H e r r , g e s c h e h e " ( O p . 1 3 7 , No. 2 ; 1914; E i c h e n d o r f f ) " Uns i s t g e b o r e n e i n K i n d l e i n " ( Op. 1 3 7 , No. 3 ; 1914) "Am A b e n d " ( O p . 1 3 7 , No. 4 ; 1 9 1 4 ) " 0 H e r r e G o t t , nimm du v o n m i r " ( O p . 1 3 7 , No. 5 ; 1914) " C h r i s t , d e i n e s G e i s t e s S i i s s i g k e i t " (Op. 1 3 7 , No. 6 ; 1 9 1 4 ) " G r a b l i e d " ( O p . 1 3 7 , No. 4 ; 1 9 1 4 ; E. M. A r n d t ) " M o r g e n g e s a n g " ( O p . 1 3 7 , No. 8 ; 1 9 1 4 ; E r a s m u s Albers) " L a s s d i c h n u r n i c h t s n i c h t d a u e r n " (Op. 137, No. 9 ; 1 9 1 4 ; P a u l F l e m m i n g ) " C h r i s t k i n d l e i n s W i e g e n l i e d " ( O p . 1 3 7 , No. 1 0 ; 1914) " K l a g e v o r G o t t e s L e i d e n " ( O p . 1 3 7 , No. 1 1 ; 1 9 1 4 ) " 0 J e s u C h r i s t , w i r w a r t e n d e i n " ( Op . 1 3 7 , No. 1 2 ; 1914; Erasmus A l b e r s ) " M a r i a am R o s e n s t r a u c h " ( O p . 1 4 2 , No. 3 ; 1 9 1 5 ; E. L. S c h e l l e n b e r g ) *R e ic h a rd t,

Louise

(1779-1826)

"An M a r i a " ( 1 8 1 9 ; N o v a l i s ) " G e is tli c h e s Lied" (1819; N ovalis) " W a c h t e l w a c h t " ( 1 8 1 9 ; Des K n a b e n W u n d e r h o r n ) " S t i l l e der Andacht" (1826) R eichert,

A.

" 0 nimm m i c h a u f 1891) Reimann,

Heinrich

in

deinen Frieden"

(Op.

1,

No.

(1850-1906)

*"Es i s t so s t i l l "Der 1 2 6 . P s a l m "

geworden" (1895; (Op. 26; 1 89 7)

G.

Kinkel)

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

2;

332

^ " W i e g e n l i e d d e r K i r t e n an d e r (Chr. D aniel S ch u b art)

Reinecke,

Carl

K r i p p e zu B e t h l e h e m "

(1824-1910)

’:' " B e i m S o n n e n u n t e r g a n g " ( O p . 2 9 , No. 2; R i i c k e r t ) " E r h o r m i c h , A l l g i i t g e r " ( O p . 9 6 , No. 2; 1 8 9 0 ) "Vom Hi mmel i n d i e t i e f s t e n K l i i f t e " ( O p . 1 7 8 , No. 5 ; 1 8 8 4 ) "Und v / i e d e r kam d a s O s t e r f e s t " * " C h r i s t k i n d 1e i n s E i n l a s s " ( C a r l E n s l i n ) ’:' " D e r l i e b e G o t t i m H i m m e l " ( W i l h e l m He y) ’;' " E i n R a p p c h e n zum R e i t e n " * " F r i e d e n d e r N a c h t " (G. S c h e r e r ) ’:' " G e b e t z u r N a c h t " ( L u i s e h e n s e l ) ’:' " M i r i a m ' s S i e g s g e s a n g " ( T h o m a s M o o r e ) ’;' " Mor g e n g e b e t " * " Vii g 1 e i n un d E n g l e i n " ( F r . v o n P o c c i ) *"Wann d i e k i n d e r s c h l a f e n e i n " ’:' " W e i h n a c h t s l i e d " ( f o l k s o n g t e x t ) R einthaler,

Karl

(1822-1896)

" 0 M u t t e r a l l e r G n a d e n " ( Op . 6 , H e f t 1, No. 1652-59) ’•' "Der E i n s i e d l e r " ( m a n u s c r i p t ; E i c h e n d o r f f ) R eissiger,

Friedrich

3;

August

’• ' " N o a h ' s V e r m a c h t n i s " ( Op . 2 3 ) * " W e i n a u s W a s s e r " ( O p . 2 9 , No. 2; ’• ' " S a ms o n " ( Op . 2 9 , No. 3 ; K o p i s c h )

August

Kopisch)

* Re i s s i g e r , G . "An M a r i a "

(Op.

3,

’:' K e i s s i o e r , K a r l G o t t l i e b

No.

1)

( 1796-1659)

" N o a h " ( O p . 1 4 , No. 2 ; 1 8 2 7 ) "Ave M a r i a " ( O p . 5 0 , No. 5 ; f r o m S i r W a l t e r S c o t t ) " D a s Auge d e r L i e b e " ( O p . 8 1 , No. 2 ; A u g u s t Kopisch) " We i n a u s W a s s e r " ( O p . 1 2 1 , No. 3 ; K o p i s c h ) " H e l d S a m s o n " ( O p . 1 2 1 , No. 6 ; K o p i s c h ) " G r u s s a n M a d o n n a " ( O p . 1 2 3 , No. 2; C a r o l i n e Leonhardt-Lyser) ■

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3 33

" M o r g e n l i e d e i n e s H a n d w e r k s b u r s c h e n " (Op. 124, No. 2 ; N i e . M u l l e r ) " D e r I n v a l i d d e r W a g r a m s c h l a c h t " ( Op . 1 3 3 ; A r t h u r von W o r d s t e r n ) " D e r e r s t e R a u s c h " ( O p . 1 4 5 , No. 4 ; K o p i s c h ) " T r i n k l i e d " ( O p . 1 4 5 , No. 5; R a s s i n u s ) " D e r K r e u t z f a h r e r " ( Op . 1 6 5 , No. 4 ; H. K r i e t e ) " De s M a d e h e n s B i t t e a n d e n h e i l i g e n A n t o n " ( O p . 1 7 1 , No. 4 ; W o l f ) " L i e b e , r e c h t t i e f g e h e g t " ( O p . 1 8 2 , No. 4 ; Rousseau) " R o l a n d " ( O p . 1 9 5 , No. 1; K o p i s c h ) " P h a r a o " ( O p . 1 9 5 a , No. 2 ; M o r i t z G r a f S t r a c h w i t z ) " L i e b e s t e i g t vom K i m m e l s t h r o n " ( O p . 2 0 0 , No. 4; Sternau) " H o f f n u n g " ( Op . 2 0 3 , No. 3 ; G e i b e l ) Renner,

Joseph,

Jr.

" Ave M a r i a " Reuter,

(1868-1934) ( Op .

12b;

1902)

Fritz "Nur s e l i g !

*Reznicek,

Nur d i e s

Emil N i k o l a u s

von

eine"

(1904-08)

(1860-1945)

"0 wie i s t d i e B a r m h e r z i g k e i t " ( S i r a c h 1 7 : 2 8 - 3 2 ) " N i l 1 s t du G o t t e s D i e n e r s e i n " ( S i r a c h 2 : 1 - 5 ) " A l l e s was a u s d e r E r d e komi nt" ( S i r a c h 4 0 : 1 1 - 2 2 ) "Tod, wie b i t t e r b i s t du" ( S i r a c h 4 1 : 1 - 4 ) Rheinberger,

Joseph

(1839-1901)

" Ave M a r i a " ( Op . 5 4 , No. 4 ; 1 8 7 2 ) V i e r e l e g i s c h e G e s a n g e ( Op . 1 2 8 ; 1 8 8 2 ) " S e h e t , v / e l c h e L i e b e " ( O p . 1 5 7 , No. 1; 1 8 8 9 ; P h . S p i 11 a ) * " I c h b i n d e s i i e r r n " ( O p . 1 5 7 , No. 2 ; 1 8 8 9 ; A. Knapp) * " Wenn A l l e u n t r e u w e r d e n " ( Op . 1 5 7 , No. 3 ; 1889 Novalis) " V a t e r u n s e r ! " ( O p . 1 5 7 , No. 4 ; 1 8 8 9 ; F r i e d r i c h Dornbusch) * " N a c h t g e b e t " ( O p . 1 5 7 , No. 5; 1 8 8 9 ; F. O s e r ) "Ave M a r i a " ( Op . 1 5 7 , No, 6 ; 1 8 8 9 ) S e c h s m a r i a n i s c h e Hymnen ( O p . 1 7 1 ; 1 8 9 2 ) " B u s s i i e d " ( m a n u s c r i p t ; 1858; G e l l e r t )

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334

Riccius,

Karl

August

" Es i s t Richter,

Ernst

G.

(b.

so s t i l l

1830)

geworden"

Friedrich

(1883)

(1808-1S79)

S e c h s Iiymnen ( b e f o r e 1 8 4 3 ) "In d e in e iiande, o H err" ( b e f o r e

1843)

R ic h te r , Otto "Sei

stille

dem h e r r n "

( Op .

5;

1895)

Ri e d e 1 , F r i t z " H e r r , du v / i l l s t , 1901) R i e f f e 1,

so s c h i c k s

mit mir"

W i l h e l m 11. G eistliche

Lieder

(1845)

Ri e a e r , A u g u s t "Wenn m e i n e B l i c k e Ri e h 1 ,

Wilhelm H e i n r i c h "Herr,

Gott,

von

hangen"

(1885)

(1823-1897)

dicli w i l l

ich

preisen"

(1877)

R i e m e n s c h n e i d e r , Geor» "Wi e g r o s s d e i n L e i d a u c h s e i " ( Up . 2 3 ; 1 8 9 9 ) " S e i mi r g n a d i g , G o t t " (Op. 30; 1901) " C h r i s t n a c h t " ( O p . 3 2 ; 1 9 0 0 ; G. R i e m e n s c h n e i d e r ) " H e r r , l e h r e r n i c h , d a s s e s e i n Ende m i t m i r h a b e n mus s" (Op. 5 3; 1 9 0 4 - 0 8 ; P s . 39) "Wenn i c h m i l meinern K e i l a n d e i n s b i n " ( O p . 5 4 ; 1904-08) R i e s , I1'r a n z

(1846-1932)

"Miide b i n

ich,

geh z u r

Ru h "

( Op .

8 , No.

1)

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

335

"Wo du h i n g e h s t " ( Op . 4 0 , No. 2 ; 1 8 9 5 ) "Wenn i c h m e i n L i e d i n T o n e n l e i s " ( O p . 1895) Rietsch,

H einrich

Julius

No.

1;

(1860-1927)

Z we i g e i s t l i c h e R ietz,

41,

Gesange

(Op.

11;

1901)

(1812-1877)

" G e b e t i n d e r C h r i s t n a c h t " ( f r o m Op. 8 ; b e f o r e 1843) " H e r r , d e r du a l l e s w o h l g e m a c h t " ( f r o m Op. 1 5; b e f o r e 1843) S e c h s P s a l m e n (Op. 25; 1 8 5 2 - 5 9 ) *Rinck,

Johann

C hristian

H einrich

(1770-1846)

"Am N e u j a h r s o d e r G e b u r t s t a g e " ( Op . 8 1 , No. 1; 1845) " D i e V o l l e n d u n g " ( Op. 8 1 , No. 2 ; 1 8 4 5 ; M a t t h i s o n ) " P s a l m " ( O p . 8 1 , No. 3 ; 1 8 4 5 ; L a n g b e c k e r ) " G e l i i b d e d e r L i e b e " ( O p . 8 1 , No. 4 ; L a v a t e r ) " D i e A u f e r s t e h u n g " ( O p . 8 1 , No. 5; K l o p s t o c k ) " D a r s t e l l u n g J e s u im T e m p e l " ( O p . 8 1 , No. b ; 1 8 4 5 ) R itter,

August G o t t f r i e d "Der H e rr

R itter,

mein H i r t "

(Op.

27;

P s . 23)

Carl "Vergiss (1895)

R itter,

ist

(1811-1885)

He r ma n n

mein n i c h t ,

mein a l l e r l i e b s t e r

Gott"

(1849-1926)

"Herr, neige 1901)

deine

Ohren

und h o r e m i c h "

(Op.

Ro d a , f . von V i e r g e i s t l i c h e L i e d e r ( Op . Fi i nf L i e d e r ( 1 8 5 2 ; S p i t t a ) Sechs L ied er (1852; S p i t t a )

22;

1852;

Spitta)

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1 6;

336

Roder,

E.

Zwei g e i s t l i c h e G e s a n g e (Op. 37; 1901) Z w o l f l e i c h t a u s f i i hr b a r e g e i s t l i c h e L i e d e r G e s a n g e (Op. 4 4; 1 903 )

und

R oeder, Martin " Ave M a r i a "

( Op .

47;

1887)

Ros s e l , L . "Gott, Rossel,

dein

A ntlitz"

Willy " Wi r

Rohde,

vor

ri i hmen un d d e r

Eduard,

Hoffnung"

(1904-08)

Jr.

" V a t e r u n s e r " ( Op . 7 7 , No. 1; " V e r l a s s mi ch n i c h t " (Op. 77,

1902) No. 2 ;

1902)

Ro h d e , W i l h e l m "Wenn a l l e s

eben

kar ae "

(Op.

13,

No.

2;

1900)

(Op.

73)

R o lla , Charles "Wenn du d e r e i n s t Rorich,

in

d e i n e m Lebe m"

Carl " L i e b V a t e r im H i n u n e l " ( O p . 1 8 , No. 1) " S a l v e R e g i n a n o s t r a " (Op. 20; 1 895)

Rosenhain,

Jacob

" Wi r

(1813-1894)

tragen

st umm d i e

Kranze"

(1889)

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

Roth,

Philipp "Wenn du e i n

*R ubenstein,

Anton

tiefes

Leid e r f a h r e n "

( Op .

2,

No.

(1829-1894)

" W a l d e i n s a m k e i t " ( Op . 7 6 , No. 1; E i c h e n d o r f f ) " D e r E n g e l " ( O p . 7 8 , No. 3 ; W. O s t e r w a l d , f r o m Puschlcin ) " F r a u e n g e b e t " ( O p . 8 3 , No. 4 ; A. de L a m a r t i n e , t r . N. Roda a n d A. V. W i n t e r f e l d ) " G e b e t " ( O p . 1 1 5 , No. 9 ; W i l h e l m K u n z e ) Ru d n i c k , W i l h e l m " G e i s t l i c h e s L i e d " ( Op . 3 0 ; 1 8 8 8 ) " i i e r r , w i e l a n g e w i l l s t du m e i n e r s o g a r v e r g e s s e n " ( O p . 7 9 ; 1 9 0 2 ; P s . 1 3) Z we i g e i s t l i c h e L i e d e r ( O p . 9 1 ; 1 9 0 2 ) D r e i g e i s t l i c h e L i e d e r ( Op . 9 3 ; 1 9 0 2 ) "Ach i i e r r , s t r a f m i c h n i c h t i n d e i n e r n Z o r n " (Op. 94; 19 0 2; P s . 6 ) " D e r Tag n e i g t s i c h zu E n d e " ( 1 9 0 3 ) "Wer a u f d i e W e l t s e i n K e r z e s t e l l t " ( 1 9 0 3 ) Rudolph, Franz "Wirf d eine Kiibner,

Cornelius

Sorgen auf

den H e r r n "

( Op.

5;

1900)

( 1855-1929)

" M e i n e n J e s u m l a s s i c h n i c h t " ( O p . 15; 1 8 8 1 ) " N i c h t wiir di g b i n i c h , Ar me r " (Op. 26; 1889) " Ki nd J e s u s ward z u r Welt g e b r a c h t " ( 1 9 0 4 - 0 8 ) Riickaur,

Anton "Wohin, o G o t t , (1894)

Rlickert,

soli

ich

die

Schritte

richten"

Theodor Z we i g e i s t l i c h e

Lieder

(Op.

57;

1904-08)

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

338

Rungenhagen,

Karl

"Verlass Rust,

(1778-1851)

mich n i c h t "

(before

1843)

Hugo " Wi e i s t

Rust,

Friedrich

Wilhelm Drei

Sachs,

d e r Abend s o t r a u l i c h "

( Op .

14;

1895)

(1822-1892) geistliche

Lieder

( Op .

11;

1860-67)

Julius "In

des Lebens

*S a n d b e rg e r, Adolf

banger

Stunde"

(Op.

9;

1874)

(1864-1943)

" W i e g e n l i e d " ( O p . 1 1 , No. 4 ; A d o l f S a n d b e r g e r ) " D e r t o t e n i ' i u t t e r " ( O p . 2 2 , No. 4 ; P a u l G r o t o w s k y ) Sartorio,

Satter,

Arnoldo

"Iierr,

zu d i r

Gustav

(1832-1879)

"Gebet" Sattler,

Schaab,

( Op .

Heinrich

(b.

w ill

19,

Heft

gib mir,

Robert

(1817-1887)

Schaefer,

mir

1,

No.

3;

(Op.

1 9;

1892)

1860-67)

1811)

"Herr,

"Gott s e i

i c h mich r e t t e n "

was m i c h f i i h r z u d i r "

gnadig"

(Op.

82;

1901;

(Op.

Ps.

50)

57)

Max

" H e r r , du l a s s t d i e M e n s c h e n s t e r b e n " 1904-08; P s . 90)

(Op.

44;

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

33 9

Scheller, G . "Ich

Schenker,

weiss,

an wen i ch g l a u b e "

Op.

1;

1 85 2)

Eduard

"Maria m ild, Schenner,

(f r o m

o Mutter

zart"

(1895)

Ferdinand

"Herr,

bleibe

bei

uns"

(1902)

Sc h i 1 d , Th . F . "Am A l l e r s e e l e n t a g " Schilling,

( Op .

411;

1891)

Ferdinand

"Vater

unser"

( Op .

43;

1900)

S c h i n d e l m e i s s e r , Louis "0 t e u r e s G o tte s w o r t" (18 5 2 -5 9 ; Franz Oser) "B le ib e , Herr" (1852-59; Oser) " Du, K e r r , z e i g s t m i r d e n b e s t e n Weg" ( 1 8 5 2 - 5 9 ; Oser ) " Da n k e u c h , D a n k " ( 1 8 5 2 - 5 9 ; O s e r ) "H err, h i l f tra g e n " (1852-59; Oser) " S e e l e , was b e t r i i b s t du d i c h " ( 1 8 5 2 - 5 9 ; O s e r )

Schladenbach, J u liu s 18 g e i s t l i c h e

Gesange

(before

1843)

Schlemiiller , Gustave Zwe i

geistliche

Lieder

( Op .

31;

1894)

S c hma c h t e n b e r g C hristliche

Gesange

(1852-59)

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

340

Schm idt, Ernst Zwei

Schmidt,

geistliche

Johann P h ilip p "Gott

Schneider,

ist

Theodor

Gesange

Samuel

(Op.

24;

1902)

(1779-1853)

mein Z u v e r s i c h t "

(1887)

(1827-1909)

"Miide b i n i c h , g e h z u r Ruh " ( 1 8 8 7 ) " Horc h! Die A b e n d g lo c k e s c h a l l t " ( 1 8 8 7 ) "H e rr, ic h t r a u e auf dich" (1887) Schnell,

H einrich "Wenn i c h ,

'!:S c h n y d e r

o Schopfer,

von W a r t e n s e e ,

Franz

d e in e Macht" Xaver

(Op.

39;

1897)

(1786-1868)

"Das B e s t a n d i g e " ( 1 8 2 3 - 2 7 ; N o v a l i s ) "Dankbarlceit" ( 1823-27; N ovalis) "Das h o c h s t e G u t" ( 1 8 2 3 - 2 7 ; N o v a l i s ) "Der t i e f s t e S chm erz " ( 1 8 2 3 - 2 7 ; N o v a l i s ) "Der b e s t e T r o s t " ( 1 8 2 3 - 2 7 ; N o v a l i s ) " Da s k r a f t i g s t e l i i t t e l " ( 1 8 2 3 - 2 7 ; N o v a l i s ) " Hymne " ( 1 8 2 3 - 2 7 ; N o v a l i s ) " D i e R u h ' im G r a b e " ( S o mme r ) S c h o d l , C. "Die B eten d e" Schonfeld,

(Op.

4;

before

1843)

Sophie

"Ach, H e r r , s t r a f mich n i c h t " ( 1 9 0 0 ) " F i i r c h t e d i c h n i c h t , denn hab i c h d i c h (1900) " E r h o r e m i c h wenn i c h r u f e " ( 1 9 0 2 ; P s . Schonrich,

erlostet" 4)

G. A.

"Der

liebe

Gott

hats

treu

gemeint"

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

341

Schoeck,

Othraar ( 1 8 8 6 - 1 9 5 7 )

* " B e i d e r K i r c h e " ( O p . 7 , No. 1; 1 9 0 5 ; R u e g e r ) " P s a l m " ( O p . 1 1 , No. 1; 1 9 0 6 ; P a u l S c h o e c k ) *"Harienlied" ( O p . 6 , No. 5 ; 1 9 0 7 ; N o v a l i s ) * " A u f d e n Tod e i n e s K i n d e s " ( O p . 3 , No. 6 ; 1 9 0 7 ; Uhland) *"Die Verklarende" ( Op . 9 , No. 1; 1 9 0 7 ; M ic h elan g elo B u o n a r r o t i , t r . anonymous) - " P s a l m 2 3 " ( Op . 1 1 , No. 2 ; 1 9 0 7 ) " P s a l m 1 0 0 " ( Op . 1 1 , No. 3; 1 9 0 7 ) " D e r f r o h e W a n d e r s m a n n ” ( O p . 1 7 , No. 8 ; 1 9 0 9 ; Eichend o rf f ) - " N a c h t l i e d " ( O p . 2 0 , No. 1 3 ; 1 9 1 4 ; E i c h e n d o r f f ) " W a l d e i n s a m k e i t " ( O p . 3 0 , No. 1; 1 9 1 0 ; E i c h e n d o r f f ) " G o t t e s S e g e n " ( Op . 3 5 , No. 3; 1 9 2 8 ; E i c h e n d o r f f ) " A b e n d l i e d " ( O p . 5 2 , No. 1 0 ; 1 9 3 6 - 5 7 ; C l a u d i u s ) " G e b e t " ( O p . 6 2 , No. 3 3 ; 1 9 4 7 - 4 9 ; M o r i k e ) Scholze,

Anton "Vater

Schreck,

unser"

Gustav

Ernst

(Op.

5;

1903)

(1849-1918)

" I l oc h i i b e r d e n S t e r n e n " ( O p . 2 8 , No. 1; 1 8 9 6 ) " Wi e k o n n t i c h s e i n v e r g e s s e n " ( O p . 2 8 , No. 2; 1896) " I i e r r , i c h war u n s t a t " ( Op . 2 8 , No. 3 ; 1 8 9 6 ) " Wi r s i n d d e i n " Schroder,

Conrad

"Wer u n t e r 1889)

dem S c h i r m d e s

Hochsten

sitzt"

( Op .

26;

;!:Schubert, Franz Peter ( 1 / 9 7 - 1 8 2 8 )

" H a g a r s K l a g e " (D. 5 ; 1 8 1 1 ; C l e m e n s A u g u s t Sc h u e k i n g ) " V e r k l a r u n g " (D. 5 9 ; 1 8 1 3 ; A l e x a n d e r P o p e , t r . J.G. Herder) " T r o s t , a n E l i s a " ( D. 9 7 ; 1 8 1 4 ; M a t t h i s o n ) "An L a u r a " (D. 1 1 5 ; 1 8 1 4 ; F r i e d r i c h v on M a t t h i s o n ) " D i e B e t e n d e " (D. 1 0 2 ; 1 8 1 4 ; M a t t h i s o n ) " A m m e n l i e d " (D. 1 2 2 ; 1 8 1 4 ; M i c h a e l L u b i )

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342

" Au f e i n e r K i r c h h o f " ( D. 1 5 1 ; 1 8 1 5 ; F r a n z X a v e r von S c h l e c h t a ) " G e b e t w a h r e n d d e r S c h l a c h t " ( D. 1 7 1 ; 1 8 1 5 ; Theodor Korner) "An d i e F r e u d e " ( D. 1 8 9 ; 1 8 1 5 ; S c h i l l e r ) " W a n d r e r s N a c h t l i e d I " ( D. 2 2 4 ; 1 8 1 5 ; G o e t h e ) " G e i s t d e r L i e b e " ( D. 2 3 3 ; 1 8 1 5 ; L. K o s e g a r t e n ) " B u n d e s l i e d " ( D. 2 5 8 ; 1 8 1 5 ; G o e t h e ) " M o r g e n l i e d " ( D. 2 6 6 ; 1 8 1 5 ; F r i e d r i c h L e o p o l d , G r a f zu S t o l b e r g - S t o l b e r g ) " A b e n d l i e d " ( D. 2 7 6 ; 1 8 1 5 ; F r i e d r i c h L e o p o l d , G r a f zu S t o l b e r g - S t o l b e r g ) " F u r c h t d e r G e l i e b t e n " ( D. 2 8 5 ; 1 8 1 5 ; K l o p s t o c k ) "Dem U n e n d l i c h e n " ( D. 2 9 1 ; 1 8 1 5 ; K l o p s t o c k ) " D i e S t e r n e n w e l t e n " ( D. 3 0 7 ; 1 8 1 5 ; U r b a n J a r n i k , t r . Jo h a n n Georg F e l l i n g e r ) " D i e S t e r n e " ( D. 3 1 3 ; 1 8 1 5 ; K o s e g a r t e n ) " S c h w a n e n g e s a n g " ( D. 3 1 8 ; 1 8 1 5 ; K o s e g a r t e n ) "Don G a y s e r o s : I , I I , I I I " ( D. 9 3 ; 1 8 1 5 ? ; F r i e d r i c h de l a M o tt e Fou que ) " M o r g e n l i e d " ( D. 3 8 1 ; 1 8 1 6 ) " A b e n d l i e d " ( D. 3 8 2 ; 1 8 1 6 ) " F r i i h l i n g l i e d " (D. 3 9 8 ; 1 8 1 6 ; L. H o l t y ) " D e r L e i d e n d e " ( D. 4 3 2 ; 1 8 1 6 ) " S e l i g k e i t " ( D. 4 3 3 ; H o l t y ) " G o t t im F r i i h l i n g e " ( D. 4 4 8 ; 1 8 1 6 ; J . P . Uz) " De r g u t e H i r t " ( D. 4 4 9 ; 1 8 1 6 ; Uz) " G r a b l i e d a u f e i n e n S o l d a t e n " ( D. 4 5 4 ; 1 8 1 6 ; Schubart) " L i t a n e i " ( D. 3 4 3 ; 1 8 1 6 ; J o h a n n G e o r g J a c o b i ) " B e i dem G r a b e m e i n e s V a t e r s " ( D. 4 9 6 ; 1 8 1 6 ; M atthias Claudius) "Abendlied" ( D. 4 9 9 ; 1 8 1 6 ; C l a u d i u s ) " T a g l i c h zu s i n g e n " ( D. 5 3 3 ; 1 8 1 7 ; C l a u d i u s ) " P a x v o b i s c u m " ( D. 5 5 1 ; 1 8 1 7 ; F r a n z v o n S c h o b e r ) " D e r Kn a b e i n d e r W i e g e " ( D. 5 7 9 ; 1 8 1 7 ; A n t o n O ttenw alt) " D i e E r d e " ( D. 9 8 9 ; 1 8 1 7 ; M a t t h i s o n ) " D a s M a r i e n b i l d " ( D. 6 2 3 ; 1 8 1 8 ; A l o i s S c h r e i b e r ) " D a s A b e n d r o t " ( D. 6 2 7 ; 1 8 1 8 ; S c h r e i b e r ) "Vom m i t l e i d e n M a r i a " ( D. 6 3 2 ; 1 8 1 8 ; S c h l e g e l ) " K a i s e r M a x i m i l i a n a u f d e r M a r t i n s w a n d " (D- 2 9 9 0 A; 181 8; H e i n r i c h von C o l l i n ) " H i m m e l s f u n k e n " ( D. 6 5 1 ; 1 8 1 9 ; J o h a n n P e t r u s Silbert) " A b e n d b i l d e r " ( D. 5 6 0 ; 1 8 1 9 ; S i l b e r t ) " M a r i e " ( D. 6 5 8 ; 1 8 1 9 ; N o v a l i s ) "Hymne I " ( D. 6 5 9 ; 1 8 1 9 ; N o v a l i s ) "Hymne I I " ( D. 6 6 0 ; 1 8 1 9 ; N o v a l i s ) "Hymne I I I " ( D. 6 6 1 ; 1 8 1 9 ; N o v a l i s ) "Hymne I V" ( D. 6 6 2 ; 1 8 1 9 ; N o v a l i s )

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343

" D e r J i i n g l i n g a u f dem H i i g e l " ( D. 7 0 2 ; 1 8 2 0 ; H einrich Hiittenbrenner ) " G r e n z e n d e r M e n s c h h e i t " ( D. 7 1 6 ; 1 8 2 1 ; G o e t h e ) " De r S l u m e n S c h m e r z " ( D. 7 3 1 ; 1 8 2 1 ; J o h a n n , Count M a j l a t h ) "Der Wachtelschlag" ( D. 7 4 2 ; 1 8 2 2 ; S . F . S a u t e r ) " S c h w e s t e r g r u s s " ( D. 7 6 2 ; 1 8 2 2 ; F r a n z von Bruchraann) " D i e j u n g e K o n n e " ( D. 8 2 8 ; 1 8 2 4 - 2 5 ; J a c o b N i c o l a u s Crai g h e r) " Im A b e n d r o t " (D. 7 9 9 ; 1 8 2 5 ; K a r l L a p p e ) " E l l e n s G e s a n g I I I " ( D. 8 3 9 ; 1 8 2 5 ; S i r W a l t e r S c o t t , t r . Adam S t o r c l c ) " f i i l l e d e r L i e b e " ( D. 8 5 4 ; 1 8 2 5 ; S c h l e g e l ) " D i e A l l m a c h t " ( D. 5 8 2 ; 1 8 2 5 ; J o h a n n L a d i s l a u s Py r k e r ) "An m e i n H e r z " ( D. 8 6 0 ; 1 8 2 5 ; E r n s t S c h u l z e ) " A b s c h i e d von d e r E r d e " ( D. 8 2 9 ; 1 8 2 6 ; A d o l f von P r a t o s b e v e r a ) " T o t e n g r a g e r w e i s e " ( D. 8 6 9 ; 1 8 2 6 ; F r a n z X a v e r von S c h l e c h t a ) " Da s Z i i g e n g l o c k l e i n " (D. 8 7 1 ; 1 8 2 6 ; J o h a n n G a b r i e l Seidl) " D a s W e i n e r " ( D. 9 2 6 ; 1 8 2 7 ; K a r l G o t t f r i e d von Leitner) " D e r K r e u z z u g " ( D. 9 3 2 ; 1 8 2 7 ; L e i t n e r ) " G l a u b e , i i o f f n u n g und L i e b e " ( D. 9 5 5 ; 1 8 2 8 ; C hristoph Kuffner) Schuler,

He r ma n n "Schlaf ein ( 1 9 0 4 —0 8 )

mein K r o n l e i n ,

Licht

und L e b e n "

Sc h u h , J o h a n n e s "Wiegenlied Schulz,

Ferdinand "Den B l i c k

der Mutter

(b.

Gottes"

(1885)

1821)

ernpor und h a l t e

still"

(Op.

9c;

1896)

Schulz-W eida, Joseph " V a t e r No a h " ( O p . 9 6 ) "Es i s t so s t i l l g e w o r d e n "

(Op.

170)

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

Schulze,

Kobst.

Willy

" Zur W e i h n a c h t " (Op. 2; "Du r e i c h t e s t stumra m i r " K i n d e s G e b e t " (Op. 4 4 ; Schumacher,

Iiande"

(Op.

32;

1882)

Paul

"Fiihr m i c h , 1899) Schumann,

1882) beide 1882)

Kind,

nach

Bethlehem"

(Op.

14,

No.

1;

Camille

Drei

^ Schumann,

geistliche

Robert

Lieder

( Op .

11;

1899)

(1S10-1S56)

" T a l i s m a n e " ( O p . 2 5 , No. 8 ; 1 8 4 0 ; G o e t h e ) " S t i r b , L i e b ' und F r e u d ' ! " ( O p . 3 5 , No. 2 ;

1840;

ICer n e r )

" S o n n t a g s am R h e i n " ( O p . 3 6 , No. 1; 1 8 4 0 ; E e i n i c k ) " D e r S o l d a t " ( O p . 4 0 , No. 3 ; 1 8 4 0 ; B . C . A n d e r s e n , t r . Chami s s o ) " D e r S p i e l m a n n " ( O p . 4 0 , No. 4 ; 1 8 4 0 ; A n d e r s e n , t r . Chamisso) " F r i i h l i n g s f a h r t " ( O p . 4 5 , No. 2; 1 8 4 0 ; E i c h e n d o r f f ) " B e l s a z a r " (Op. 57; 1840; h e i n e ) "Der frohe Wandersmann" ( O p . 7 7 , No. 1; 1 8 4 0 ; Eichendorff) " W e i h n a c h t s l i e d " ( O p . 7 9 , No. 16; 1 8 4 9 ; B . C . A ndersen, t r . anonymous) " K i n d e r w a c h t " ( O p . 7 9 , No. 2 2 ; 1 8 4 9 ) " D i e T o c h t e r J e p h t a s " ( O p . 9 5 , No. 1; 1 8 4 9 ; B y r o n , t r . Korner) " D e r E i n s i e d l e r " ( O p . 8 3 , No. 3; 1 8 5 0 ; E i c h e n d o r f f ) "Requiem" ( O p . 9 0 , No. 7 ; 1 8 5 0 ; L a t i n , t r . anonymous) "A, b e n d l i e d " ( O p . 1 0 7 , No. 6 ; 1 8 5 1 - 5 2 ; G. K i n k e l ) " N a c h d e r G e b u r t i h r e s S o h n e s " ( Op . 1 3 5 , No. 2; Mary S t u a r t , t r . G. V i n c k e ) " G e b e t " ( O p . 1 3 5 , No. 5 ; 1 8 3 2 ; Mary S t u a r t , t r . Vincke)

Schumann,

Tipton " Ave M a r i a ,

M utter

lieb"

(1896)

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345

Schurig,

Volkmar

Zwanzig g e i s t l i c h e L i e d e r 24 G e i s t l i c h e L i e d e r ( Op . Schwantzer,

Hugo

(b.

14;

1889)

ich"

( Op .

1829)

"Wenn du m i c h z i i r s t , Schwarz,

( Op . 33)

dann b e t e

19,

No.

Ant on "Oelberglied"

Schwarz,

Richard

( Op .

18 ;

1904-08)

Aloys

" Ave M a r i a ,

Stern

der

Meer e"

(1904-08)

Schweitzer, Johann " De s G e s a n g e s We i h e " Schwencke,

Friedrich

Gottlieb

"Gottvertrauen" Seibert,

( Op .

7)

(1823-1896) 2;

1852-59)

Louis "Allerseelen"

Seifert,

( Op .

( Op .

49;

1883)

Uso "Und z i i g s t du t a u s e n d K e i l e n v / e i t " ( Op . "Wo du h i n g e l i s t " ( Op . 2 2 ; 1 8 9 5 ) " B e f i e h l du d e i n e We ge " ( Op . 4 0 ; 1 9 0 2 )

Seifhardt,

4;

1887)

Wi l hel m

"0 w u n d e r b a r e s , 1879)

tiefes

Schweigen"

( Op .

5,

No.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

1;

1)

34 6

Seitz,

Karl Geistliche

Seligmann,

Lieder

( Op .

2;

1892)

F.C.

Sechs Siering,

1843)

Heinrich

"Allerseelen" Seyffert,

(before

geistliche

Moritz

(b.

" Ave M a r i a " * Si 1 c h e r , F r i e d r i c h

Lieder

( Op .

2;

1845)

1821) ( Op .

11;

1852-59)

(1789-1860)

" W a n d e r u n g " ( Op . 1 2 , H e f t 1, No. 3; J u s t i n i u s Kerner) " W a n d e r l i e d " ( U p . 1 2 , H e f t 2, No. 5; C a r l Griineisen) " So nimm d e n n m e i n e l l a n d e " ( J . vo n N a u s ma n n ) Sitt,

Ha n s

(1850-1922)

"Selge Spengler,

Stunde,

frohe

(1897)

Lorenz

" Au f d i c h , o I i e r r , "Dei n J e s u s w e i n t " Speyer,

Ku n d e "

Wi l h e l m

vertraut (1901)

meine S e e l e "

(1898)

(1790-1878)

G e i s t l i c h e Gesange (1845) '::" Me i n J o c h i s t s a n f t , und m e i n e L a s t ( Op. 1 2 , No. 3; D i b l e )

ist

leicht"

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347

Staab,

Adalbert Drei g e i s t l i c h e L i e d e r , in c lu d in g " E i n s a m e R o s e , du b l i i h e s t s o v e r l a s s e n " No. 1; 1 8 8 4 )

Stade,

Wi l h e l m

(b.

160,

1817)

" De s l a u t e n t a g e s w i r r e K l a n g e " ( 1 8 8 9 ) " H e r r , i c h b a u e a u f d i c h " ( Op . 3 8 ; 1 8 9 0 ; *S t a d l e r ,

( Op .

Maximilian

Ps.

71)

(1748-1833)

" Domi nus r e g i t

me"

(Ps.

23)

S tahl , E. "Ich

Stange,

will

dem H e r r n

singen"

( Op .

28;

1896)

Max B i b l i s c h e Monodien: Acht f r e i e 1 y r i s c h e Gesange n a c h Wo r t e n d e r I i e i 1 i g e S c h r i f t ( Op . 6 1 ; 1 8 9 7 ) " L a s s e t d i e K i n d l e i n z u m i r lcommen" ( 1 9 0 4 - 0 8 )

Stauffer,

Theodor

"Befiehl Stiehl,

Karl

du d e i n e Wege"

(1826-1911)

"Ein g e i s t l i c h e Stopel,

Eranz

Abendlied"

Carl

(b.

"Vater

( f r o m Op.

4;

1852-59)

(1794-1836)

G e i s t l i c h e G e s a n g e ( Op . H e r d e r , and N o v a l i s ) Stor,

(1887)

11;

before

1843;

Goethe,

1814) unser"

(1888)

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

348

S toi b e r , E r n s t "Ave

Stolberg,

Maria"

23;

1 8 80 )

C.

"Hast Stollbrock,

du v i e l

Sorgen"

(1875)

Lu d wi g

" Ab e n d Stolz,

(Op.

ists,

Jesus

Christ"

( Op .

8,

No.

3;

1890)

Adolf " De i n L i e b e s f e u e r , a c h H e r r , wi e t e u e r " ( 1 8 9 2 ) " H e r r ! S c h i c k e , was du w i l l s t " ( 1 8 9 2 ; M o r i k e ) " I c h k l o p f e a n zum h e i l i g e A d v e n t " ( 1 8 9 2 )

Storeh,

A n t o n M.

(1813-1887)

" Fr omme B i t t e *S t r a u s s ,

Richard

an M a r i a "

131;

1852-59)

(1864-1949)

"Weihnachtslied" Streben,

( Op .

( Op .

1;

1871;

Josephine

Strauss)

Theodor "Cott

in

der

Natur"

( f r o m Op.

"Wenn du e i n

tiefes

Leid

26,

Heft

1;

1852-59)

S t r ii mpel , Ad o l f

Sturm,

erfahren"

(1876)

Wi l h e l m "Es i s t

Taubert,

so s t i l l

geworden"

( Op .

7,

No.

1;

1875)

Carl Gottfried Wilhelm (1811-1891)

*"Christkindlein"

( Op .

88,

No.

6;

Ch.

Birch)

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

349

" A u f e r s t e h n " ( Op . 9 2 ; 1 8 6 0 - 6 7 ) * " W a l t 1 G o t t " ( Op . 9 5 , No. 5; G u l l ) * " A l l e s s t e h t i n G o t t e s H a n d ! " ( O p . 9 9 , No. 4; 1852-59; Eich en d o rff) * " A b e n d g e b e t " ( Op . 1 0 2 , No. 2; 1 8 5 2 - 5 9 ) * " D i e A e b t i s s i n " ( Op . 1 1 2 a ; K. S i m r o c k ) :,' " D a s K l e e b l a t t " ( Op. 1 2 4 , No. 6 ; H o f f m a n n von Fallersleben) * " Ac h G o t t , v e r l a s s mi c h n i c h t " ( Op . 1 4 2 b , No. 1; 1 8 6 0 - 6 7 ; S a l o mo F r a n c k ) * " M o r g e n w a n d r u n g " ( Op . 1 4 2 b , No. 2; 1 8 6 0 - 6 7 ; Geibel) * " D i e H e r r l i c h k e i t d e r E r d e " ( Op . 1 4 2 b , No. 3; 1860-67; Andreas Gryphius) * " L a s s d i c h G o t t " ( Op . 1 4 2 b , No. 4 ; 1 8 6 0 - 6 7 ; A n t o n U l r i c h , H e r z o g von B r a u n s c h w e i g - L i i n e b u r g ) * 11Ab e n d l i e d " ( Op . 1 4 2 b , No. 5; 1 8 6 0 - 6 7 ; P a u l Gerhardt) ' " " S c h o n s t e r H e r r J e s u " ( Op . 1 4 2 b , No. 6 ; 1 8 6 0 - 6 7 ; tw elfth century folksong) Taubert,

Otto

(1833-1903)

"Wo d e r S t e r n i s t a u f g e g a n g e n " ( Op . 1 6 ; " Es g e h t d e r Ta g z u e n d e " ( Op . 2 4 ; 1 8 8 7 ) *T au w it z ,

1885)

Eduard

"Wenn man d i e S t e r b e g l o c k e l a u t e t " ( Op . .17, " De r S o l d a t " ( u p . 1 8 , No. 1; H. C. A n d e r s e n , Chamisso)

No. tr.

T e f k e , 11u a o Herzenstimmen: 1901) Tennenbaum, "Ich Teresius,

Zwolf g e i s t l i c h e

Lieder

( Op .

J . bin

ein

Gast

auf

Erden"

(1904-08)

P.

Fiinfzehn M a r i e n l i e d e r

( Op .

12;

1900)

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

12;

1)

350

Thaller,

Johann

Babtist

"Marienlied" Thiel,

Carl

( Op .

15 ;

1904-0S)

(1862-1939)

Zwe i Thiele,

(1872-1952)

geistliche

gesange

( Op .

23;

1901)

Richard Drei g e i s t l i c h e L i e d e r , i n c l u d i n g "Wo f i n d e t d i e S e e l e d i e h e i r n a t ,

Thielen,

Peter

Heinrich

die

Ruh"

(1903)

(1839-1908)

" G e i s t l i c h e s L i e d " ( Op . 1 1 7 ; 1 9 0 3 ) Zwe i M a r i e n l i e d e r ( Op . 1 5 5 ; 1 9 0 4 - 0 8 )

Thieriot,

Ferdinand

" G e i s t l i c h e s Lied" (1904-08) " 0 koram, du G e i s t d e r W a h r h e i t " Th o ma ,

Rudolf

(b.

(1904-08)

1829)

"Wenn d i c h t e r s i c h d i e Wo l k e n t i i r me n " " G r o s s s i nci d i e Wogen und b r a u s e n g a r Thomas ,

Otto

(b.

(1898) se hr " (1900)

1857)

" G o t t i s t und b l e i b t g e t r e u " ( 1 9 0 0 ) "Was i s t d e r S e e l e n l o s " ( 1 9 0 0 ) " Ac h G o t t , v e r l a s s m i c h n i c h t " ( 1 9 0 0 ) "Wi e g e h t d e r Tag s o s a n f t z u r N e i g " ( 1 9 0 0 ) Ti e ba c h , F r a n z "Zage nur "Wenn w i r Tiehsen,

n i c h t " ( Op . 1 0 ; 1 9 0 0 ) i n s p a t e n T a g e n " ( Op .

Otto

(b.

1817)

"Gott

ist

me i n I l i r t "

( f r o m Op.

19;

22;

1903)

1845)

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351

T i t l , Anton

Emil

"Aller * To ma s c h e l c ,

(1809-1882)

Seelennacht"

VJenzel ' J o h a n n

( f r o m Op.

"Ich

1845)

(1774-1850)

" B u s s l i e d " ( Op . 2 7 ; 1 8 4 5 ; " W a n d r e r s M a c h t l i e d " ( Op .

T r i i mp e l ma n n ,

1;

Gellert) 5 8 , No. 4 ;

Goethe)

Max weiss,

voran

ich

glaube"

( Op.

19;

1904-08)

T r u t s c h e l , A. L . E . Vier g e i s t l i c h e L i e d e r ( Op . 17 ; 1 8 5 2 - 5 9 )

Uberlee,

Felix

Wi l h e l m A d a l b e r t

aus

(b.

dem " R e i s e p s a l t e r "

1837)

" So s i n k s t du n u n " ( Op . 5 5 ; 1 8 8 7 ) "Und e s wa r urn d i e 6 . S t u n d e " ( Op.

66;

1887)

10,

No.

U1 b r i c h , i l . F . " Ave M a r i a " Umlauft,

Paul "Gott

Vogel,

Adolf

(1885)

(1853-1934) heiss

die

Bernhard

Sonne gli ihen"

( Op.

(1847-1898)

D r e i g e i s t l i c h e L i e d e r ( Op . 5 7 ; " i i e r r , " b l e i b b e i u n s " ( Op . 6 2 a ; Vogel,

l-ioritz

4;

1896) 18S6)

(1846-1922)

Geistliche

Lieder

( Op .

57;

1890)

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

1882)

35 2

Volck, A . "0 H er r,

Voullaire,

vor

dem

die

Stiirme

schweigen"

( 18 9 7 )

Wa l d e ma r

Fl i nf g e i s t l i c h e L i e d e r ( Op . 9; 1 8 8 3 ) " De r 1 2 6 . P s a l m " ( Op . 1 2 ; 1 8 8 7 ) " C u t e r V a t e r , i m Hi mme l d u " ( Op . 1 3 , No. 1; 1 8 8 9 ) " Ach K e r r , s t r a f mi c h n i c h t i n d e i n e i n Z o r n e " ( Up . 1 7 , No. 1; 1 8 8 9 ; P s a l m s ) " De r K e r r i s t r uei n H i r t " ( Op . 1 7 , No. 2; 1 8 8 9 ; P s . 23) Z w o l f g e i s t l i c h e L i e d e r ( Op . 2 2 ; 1 8 9 0 ) , i n c l u d i n g ' •' "Das J a h r g e h t s t i l l z u E n d e " ( Op . 2 2 , No. 4; 1890; E l i o n o r e F i i r s t i n Reuh) " I c h h a b e d i c h j e und j e g e l i e b t " ( Op . 3 0 ; 1 8 9 7 )

Wa g n e r ,

Franz " I c h i n o c h t e h e i m , m i c h z i e h t s zum V a t e r h a u s " ( Op . 3 7 ; 1 9 0 2 ) Z we i g e i s t l i c h e L i e d e r ( Op . 6 2 ; 1 9 0 3 ) " Es i s t n o c h e i n e P.uhe v o r h a n d e n " ( Op . 7 2 ; 1 9 0 4 - 0 8 ) " F i i r c h t e d i c h n i c h t , i c h hab d i c h e r l o s e t " ( Op. 7 5 ; 1 9 0 4 - 0 8 )

Wa l d ma n n ,

Ludolf

"Gott, Wa l l f i s c h ,

J.

"Vater

der ii.

Allgiitige"

(b.

unser"

( Op .

45;

1882)

185 7) (1883)

Walter, August (1821-1896) " G e b e t " ( Op . 1 0 , No. 4 ; 1 8 7 8 ) " D e i n W i l l s , K e r r , g e s c n e h e " ( Op . 1860-67)

17,

No. 3;

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

We b e r ,

Carl Maria

von

(1786-1826)

* " G e b e t w a h r e n d d e r S c h l a c h t " ( Op . 4 1 , No. 1; Theodor Korner) * " A b s c h i e d vom L e b e n " ( Op . 4 1 , No. 2 ; K o r n e r ) * " T r o s t " ( Op . 4 1 , No. 3 ; K o r n e r ) * G e b e t v o r d e r S c h l a c h t " ( Op . 4 2 , No. 3; K o r n e r ) * " S e h n s u c h t " ( Op . 8 0 , No. 2; F . L . K a n n e g i e s s e n ) " G e b e t urn d i e G e l i e b t e " ( J . 1 6 6 ) " D i e f r omi ne Magd" ( J . 2 3 2 ) " Ab e n d s e g e n " ( J . 255) '•'W e b e r n ,

Anton

(1883-1945)

"Gebet" Wehe,

(1903;

Ferdinand

Avenarius)

He r ma n n "Ich sende euch, 1878; Gerok)

*Weigl,

Karl

geht

ihr

meine Zwo l f e "

Karl

"Gott, Weingartner,

20

(1881-1949)

" H i o b XI V" ( Op . 1, No. 1) " W a n d r e r s N a c h t l i e d " ( Op . 1, No. 5 ; " h e i n H e r z " ( Op . 3 , No. 5 ; L e n a u )

Weinberger,

( Op.

Friedrich

(1853-1908)

du Q u e l l e m e i n e r

Felix

Goethe)

Frende"

( Op .

51;

1901)

(1863-1942)

" A l l e r s e e l e n t a g " ( f r o m Op. 18; 1 8 9 0 ) :|:" W i e g l a n z t d e r h e l l e i dond" (Op. 2 2 , No. 5; Gottfried Keller) * " D e s M a g d e l e i n s N a c h t g e b e t " ( Op. 3 2 , No. 6; Wi l hel m i l e r t z ) :f" G o t t v e r t r a u e n " ( Op. 5 5 , No. 1; M a t h i l d e G r a f i n Stubenberg) Weiss,

Gottfried

(b.

1820)

C h r i s t l i c h e G e s a n g e ( Op . K e m p i s , t r . anonymous)

17;

1860-67;

Tho ma s a

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354

Weiss,

Heinrich "Ave

Maria"

(Op.

57,

No.

3)

W e i s s , Laurenz Vier Wennrich,

geistliche

Passy)

du d e i n e Wege"

A. "Herz

We r ma n n ,

( A.

£ m.

"Befiehl We r ma n n ,

Lieder

Oskar

und W i l l e ma c he s t i l l e "

(1893)

(1840-1906)

G e i s t l i c h e G e s a n g e ( Op . 5 9 ; 1 8 8 9 ) D r e i g e i s t l i c h e L i e d e r ( Op . 7 9 ; 1 8 9 2 ) D r e i g e i s t l i c h e L i e d e r ( Op . 8 2 ; 1 8 9 3 ) V i e r g e i s t l i c h e G e s a n g e ( Op . 8 4 ; 1 8 9 4 ) D r e i b i b l i s c h e St i i cl ce ( Op . 9 0 ; 1 8 9 4 ) D r e i b i b l i s c h e S o l o g e s a n g e ( Op . 9 6 ; 1 8 9 3 ) V i e r g e i s t l i c h e G e s a n g e ( Op . 1 0 0 ; 1 8 9 5 ) Drei g e i s t l i c h e L i e d e r ( Op . 1 0 7 ; 1 8 9 7 ) Drei g e i s t l i c h e L i e d e r ( Op . 1 1 3 ; 1 8 9 8 ) Drei g e i s t l i c h e L i e d e r ( Op . 1 1 7 ; 1 8 9 9 ) Zi'rei g e i s t l i c h e L i e d e r ( Op. 1 2 4 ; 1 8 9 9 ) Drei g e i s t l i c h e L i e d e r ( Op . 1 2 7 ; 1 9 0 2 ) Drei g e i s t l i c h e L i e d e r ( Op . 1 2 9 ; 1 9 0 0 ) * " L o b g e s a n g " ( Op . 1 3 9 , No. 1; 1 9 0 3 ; Max von Schenkendorf) *"Am N e u j a h r s t a g e " ( Op . 1 3 9 , No. 2; 1 9 0 3 ; Max von Schenkendorf) * " H i l f m i r , I I e r r , d i e F l i i g e l s p r e i t e n " ( Op. 1 3 9 , No. 3; 1 9 0 3 ; Wi 1h e 1m S c h o p f f ) * " V a t e r u n s e r " ( Op . 1 3 9 , No. 4 ; 1 9 0 3 ) D r e i G e d i c h t e ( Op . 1 4 3 ; 1 9 0 4 - 0 6 ) Vier g e i s t l i c h e L i e d e r ( Op . 1 4 5 ; 1 9 0 4 - 0 8 ) *""lind wenn d i c h a l i e We l t v e r g i s s t " ( 1 9 0 8 ; F r . O s e r ) Werner,

Albert "Und k o n n t 1884)

ich

noch n i c h t

beten"

(op.

16,

No.

R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.

1;

35 5

Werner,

Max "Ich

Wernicke,

will

We y e r ma n n ,

* Wi c h ma n n ,

e r h o r e mi ch"

geistliche

sind

die

(Op.

17;

1904-08)

( Op .

13;

1890)

Gesange

( Op .

16;

1874)

Leiden

dieser

Zeit"

(1904-08)

Her r mann

"Fliegendes

Blatt"

( Op .

25,

No.

3)

G. " Dank"

( A u g u s t e Ki i hn)

Friedrich "Gegriisst,

Wi eck,

fassen"

Caroline " Es

Wickede,

mich

Moritz

Drei

*W i c h t l ,

Gott

Alfred

"Herr,

Wi cher n,

in

Marie

du R r e u z

voll

( Op .

55;

1875)

(1832-1916)

"Wenn am Mo r g e n k l a r " Wi e d e r ma n n ,

Segen"

(1901)

Friedrich

" I c h h e b e m e i n e Au g e n a u f z u d e n B e r g e n " ( Op . 1899; P s . 121) " I c h h a r r e d e s I i e r r n " ( Op . 1 0 , No. 1; 1 8 9 9 ; Ps. 130:5-6) Wi l d,

Friedrich "Vater

unser"

(1904-08)

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

9;

3 56

Wilm,

Nicolai

von

(1834-1911)

" G e i s t l i c h e s L i e d " ( Op . 1 0 4 ; 1 8 9 2 ) Zwe i M a r i e n l i e d e r ( Op . 1 0 7 ; 1 8 9 3 ) " G e i s t l i c h e s L i e d " ( Op . 1 6 8 ; 1 9 0 1 ) *" Wenn a l l e u n t r e u v / e r d e n " ( Op . 2 0 0 ; Novalis) Wiltberger,

August

"Da d r o b e n , "Flieg aus, Wi n l c e l ma n n ,

(1850-1928) da d r o b e n " me i n K e r z ,

Max J o s e p h "Ich

ins

Friihlingsland"

(1881)

Theodor

"Lobe d e i n e n H e r r n " Winkler,

1904-08;

bin

(b.

erlost,

W in te rb e rg e r, Alexander

(1903)

1810) mi r

ist

vergeben"

( Op .

8;

1902)

(1834-1914)

" R e q u i e m " ( Op . 6) " C h r i s t f u h r g e n Hi mme l " ( Op . 1 8 , H e f t 1, No. 1; 1899) " M a r i a , d i e w o l l t w a n d e r n g e h n " ( Op . 1 8 , H e f t 1, No. 2; 1 8 9 9 ) " H i m m e l s a u , l i c h t und b l a u " ( Op. 1 8 , H e f t 1, No. 3; 1 8 9 9 ) " 0 J e s u l e i n z a r t " ( Op . 1 8 , H e f t 1, No. 4 ; 1 8 9 9 ) " 0 h a l t e r e s t a n d e i n e m G l a u b e " ( Op . 2 8 ; 1 8 7 5 ) Zwe i g e i s t l i c h e G e s a n g e ( Op . 4 7 ; 1 8 7 5 ) , i n c l u d i n g * " V/ i e d e r s e h n " ( Op . 4 7 , No. 2; 1 8 7 5 ; B . M o r i t z Zille ) V i e r g e i s t l i c h e G e s a n g e ( Op . 5 3 ; 1 8 7 6 ) ^ " U a s Wo r t G o t t e s " ( Op . 5 6 , H e f t 1, No. 1; 1 8 7 6 ; Angelus S i l e s i u s ) * " Ke i mw e h " ( Op . 5 6 , R e f t 1, No. 2; 1 8 7 6 ; A. Nicolai) * " A n d a c h t " ( Op . 5 6 , H e f t 1, No. 3 ; 1 8 7 6 ; P h i l i p p Spitta) >;:" W i n t e r n a c h t " ( Op . 5 6 , H e f t 1, No. 4 ; 1 8 7 6 ; Lichendorff) '::" A b e n d m a h l s l i e d " ( Op . 5 6 , H e f t 2 , No. 1; 18 76; L . b . Gar v e )

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3 57

* " O s t e r l i e d " ( Op . 5 6 , H e f t 2, No. 2 ; 1 8 7 6 ; Max von Schenkendorf) * " D a s e w i g e L i e d " ( Op . 5 6 , I i e f t 2 , No. 3 ; 1 8 7 6 ; C h r i s t i a n B o h me r ) * " B e g r a b n i s l i e d " ( Op . 5 6 , H e f t 2 , No. 4 ; 1 8 7 6 ; A. H. N i e m e y e r ) * A b e n d m a h l s b e l i i b d e " ( Op . 5 7 , No. 1; 1 8 7 6 ; Ch. G. Kern) * " P a l m s o n n t a g " ( Op . 5 7 , No. 2 ; 1 8 7 6 ; S c h e n k e n d o r f ) * " S e e l e n f r i e d e n " ( Op . 5 7 , No. 3 ; 1 8 7 6 ; K. R. T a n n e r ) * " P f i n g s t e n " ( Op . 5 7 , No. 4 ; 1 8 7 6 ; S c h e n k e n d o r f ) * " w e i h n a c h t s l i e d " ( Op . 5 8 , No. 1; 1 8 7 6 ; J o h a n n Tauber ) * " H i m m e l f a h r t " ( Op . 5 8 , No. 2; 1 8 7 6 ; S c h e n k e n d o r f ) Ab e nd l i e d " ( Op . 5 8 , No. 3 ; 1 8 7 6 ; J . S t u r m ) * " B e g r a b n i s C h r i s t i " ( Op . 5 8 , No. 4 ; 1 8 7 6 ; C a r v e ) D r e i g e i s t l i c h e K i n d e r l i e d e r ( Op . 7 4 ; 1 8 8 0 ) " A l s d e r H e i l a n d l i t t am K r e u z e " ( Op . 8 6 ; 1 8 9 4 ; J . i ' i os e n) D r e i g e i s t l i c h e L i e d e r ( Op. 8 6 a ; 1 8 9 4 ) *" Mag a u c h d i e L i e b e w e i n e n " ( Op . 1 0 6 , No. 2 ; 1 8 9 5 ; P r . Ad ol ph Kr ummacher ) " H i t F r i e d u n d F r e u d f a h r i c h d a h i n " ( Op. 1 0 6 , No. 3 ; 1 8 9 5 ) * " L i e d d e r M u t t e r M a r i a a n d e r K r i p p e " ( Op . 1 1 9 , No. 1; 1 8 9 9 ; L a t i n , t r . E d u a r d L o b e i n ) * " M a r i a m i t dem K i n d e " ( Op . 1 1 9 , No. 2; 1 8 9 9 ; L a t i n , t r . Ho b e i n ) * " H a r r e , m e i n e S e e l e " ( Op . 1 1 9 , No. 3 ; 1 8 9 9 ; Johann F r i e d r i c h Rader) * " Wa s k a n n s t Du, T y r a n n , e r s i n n e n ? " ( Op . 1 1 9 , N o . 4 ; 1 8 9 9 ; L a t i n , t r . Ho b e i n ) * " P a s s i o n s l i e d " ( Op . 1 1 9 , No. 5 ; 1 8 9 9 ; A s c h e n f e l d t ) :;:" K e i n S t L i n d l e i n g e h t d a h i n " ( Op . 1 2 1 , No. 1; 1 9 0 0 ) * " D e r H e r r i s t m e i n H i r t " ( Op . 1 2 1 , No. 2; 1 9 0 0 ; P s . 23) D r e i e r n s t e G e s a n g e ( Op . 1 2 2 ; 1 8 9 7 ) Z w e i g e i s t l i c h e G e s a n g e ( Op . 123; 1897) Osterwoche: V i e r g e i s t l i c h e L i e d e r ( Op . 1 2 5 ) * " N a c h t r liber. R e g e n t a g e n " ( Op . 1 3 1 ; 1 8 9 9 ; G e r o k ) * " T o d e s s e h n s u c h t " ( Op . 1 3 8 , No. 1; L l m e n h o r s t ) * " A u f e r s t e h u n g " ( Op . 1 3 8 , No. 2 ; G o t t f r i e d Ne u ma n n ) * " H e r r ! w i e du w i l l s t " ( Op . 1 3 9 , No. 1; B i e n e m a n n ) * " 0 J e s u l e i n si i B, o J e s u l e i n m i l d ! " ( Op . 1 3 9 , iso. z ) '::" De r d u , I i e r r J e s u , Ruh und R a s t " ( Op . 1 3 9 . No. 3; Bonaven t u r a , t r . Geor g We r n e r ) *"Die E i n s e t z u n g s w o r t e " " I n C h r i s t i Wu n d e r s c h l a f i c h e i n "

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358

Winterstein,

S.

"Vater unser" (1852-59) " S e i mi r g n a d i g , G o t t " ( 1 8 5 2 - 5 9 ) " A c h , H e r r , s t r a f e mi c h n i c h t " ( 1 8 5 2 - 5 9 ) Witt,

Theodor Vier

de

(1823-1855)

geistliche

Lieder

( Op .

8;

1852-59)

* Wi 11 e n b e c h e r , O t t o "Trauungslied" *« o l f ,

(Karl

Gerok)

Hugo ( 1 8 6 0 - 1 9 0 3 ) " De r Koni g b e i d e r K r o n u n g " ( 1 8 8 6 ; M o r i k e ) " B i t e r o l f " (1886; S c h e f f e l ) "Wachter l i e d a u f d e r W a r t b e r g " (1887; S c h e f f e l ) "Wandrers N a c h t l i e d " (1887; Goethe) " F u s s r e i s e " (1888; Morike) " S e u f z e r " ( 1 8 8 8 ; Mo r i ice) " Au f e i n a l t e s B i l d " ( 1 8 8 8 ; M o r i k e ) " S c h l a f e n d e s J e s u s k i n d " (1888; Morike) "Karwoche" (1888; Mor i ke ) "Zurn n e u e n J a h r " ( 1 8 8 8 ; M o r i k e ) "Gebet" (1888; Morike) " Ne u e L i e b e " ( 1 6 8 8 ; M o r i k e ) "Wo f i n d ' i c h T r o s t " ( 1 8 8 8 ; M o r i k e ) " S t . Ne p o mu k s V o r a b e n d " ( 1 8 8 8 ; G o e t h e ) "E pipha nias" (1888; Goethe) " K o n i g li c h Gebet" (1889; Goethe) " E r s c h a f f e n und B e l e b e n " ( 1 8 8 9 ; G o e t h e ) "Nun w a n d r e , M a r i a " ( 1 8 b 9 ; O c a n a , t r . h e y s e ) " D i e du G o t t g e b a r s t " ( 1 8 8 9 ; N. N u n e z , t r . H e y s e ) " D i e i h r s c h w e b e t " ( 1 8 u 9 ; Lo p e de Ve g a , t r . E. G e i b e l ) " H e r r , was t r a g t d e r B o d e n h i e r " ( 1 8 8 9 ; S p a n i s h , t r . iieyse) "Fiihr m i c h , K i n d , n a c h B e t h l e h e m ! " ( 1 8 8 9 ; S p a n i s h , t r . Heyse) "Wi i nden t r a g s t d u , m e i n G e l i e b t e r " ( 1 8 8 9 ; J . de V a ld i v iv ie l s o , t r . GeiLel) " Ac h, wi e l a n g d i e S e e l e S c h l u m m e r t ! " ( 1 8 8 9 ; Spanish, tr. Geibel) " A c h , d e s Kn a b e n A u g e n " ( 1 8 9 9 ; L. de U b e d a , t r . ii e y s e )

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3 59

" Mi i h v o l l lcomm i c h und b e l a d e n " ( 1 8 9 0 ; M. d e l R i o , t r . Geibel?) "Nun b i n i c h d e i n " ( 1 8 9 0 ; J . R u i z , t r . H e y s e ) " Wi e g l a n z t d e r h e l l e Mond" ( 1 8 9 0 ; K e l l e r ) " G e s e g n e t s e i , d u r c h den d i e We l t e n t s t u n d " ( 1 8 9 0 ; I t a l i a n , t r . Iieyse) " Wi e v i e l e Z e i t v e r l o r i c h , d i c h z u l i e b e n " ( 1 8 9 6 ; I t a l i a n , t r . Iieyse) "Wenn d u , me i n L i e b s t e r , s t e i g s t zum l i i mmel a u f " (1896; I t a l i a n , t r . Heyse) "Mor genst i mmung" ( 18 9 6; R e i n i c k ) * Wo 1 1 a n k , F r i e d r i c h

(1781-1831)

"An d i e H e i l ' g e Wi i r s t ,

Richard

(b.

Jungfrau"

1824)

"Auferstehungsklange" Wulffrath,

Zahn,

C.

(Friedlander)

A.,

Jr.

"Nun t a u t ( Op . 9,

der No.

( Op .

18,

heilge Friede 1; 1 9 0 0 )

No.

sacht

1;

1860-67)

hernieder"

Adolf Zwanzig g e i s t l i c h e

Zander , F r i e d r i c h "De r 23.

Lieder

(1896)

( b . 1811) Psalm"

( Op .

17;

1894)

* Z e h 1 e r , C. " De r He r r

ist

me i n H i r t "

( Op.

16;

Z e i d l e r , Z. "Ich

und me i n r i a u s , w i r

sind

bereit"

(1894)

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

360

lj

L X L X L 1

j

d U S C l

"Vater

unser"

( Op .

12;

1897)

Zenker , Casimir " Ave M a r i a " M.

15;

18 8 5 )

Paul

Drei Zwe i

geistliche geistliche

Gesange Gesange

o o

Ziegler,

( Op .

Z i e r , Emi l " G e i s t l i c h e s L i e d " ( Op . S; 1 8 9 2 ) " I c h h e b e m e i n e Au ge n a u f zu d e n B e r g e n " ( Op . 1 2 1 ; 1 8 9 2 ) Zillmann,

Eduard

"Bringet

Zi mmers,

Ehre,

Z i n f i s c m,

und Ruhrn"

( Op .

80)

Theodor "Gottvertrauen"

Zingel,

Preis

Rudolf

Kwa l d

"Herr,

den i c h

(1845)

(1876-1944) tief

ini I l e r z e n

trage"

(1904-08)

Josef " Ave M a r i a " ( 1 8 9 1 ) " I c h h a b e d i r mi c h h i n g e g e b e n "

(1891)

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

Appendix B TEXTUAL SOURCES OF LIEDER DISCUSSED IN THI S STUDY

An o n y mo u s "Arie" " Ave M a r i a " "Die h e i l i g e E l i s a b e t h " "Die V e r k l a r e n d e " "Gott i s t unsre Z u v e r s i c h t " No a h " "Requiem" "Weihnachtslied"

und S t a r k e "

Chapter Chapter Chapter Chapter Chapter Chapter Chapter Chapter

17 21 28 8 11 13 20

Chapter Chapter Chapter Chapter Chapter Chapter

18 8 8 8 17 21

Chapter

15

Chapter Chapter

24 24

Chapter

28

Chapter

10

Th e B i b l e P s a l m 2 5 : 1 6 , 20 Psalm 3 2:11 Psalm 4 6 : 1 - 4 Psalm 1 3 7 : 1 - 2 L u k e 1 : 2 8 , 42 1 Corinthians 13:1-3, B irch-P feiffer, Charlotte

12-13

(1799-1868)

"Christkindlein"

Born,

W. vo n " He i mwe h " "Meeresstern"

Buonarroti,

Michelangelo

(1475-1564)

"Die V e r k l a r e n d e "

Claudius,

Matthias

(1740-1815)

"Abendlied" 361

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362

Cornelius,

Peter

(1824-1874)

" E r l o s e u n s vom U b e l " "Di e Ko n i g e " Dreves,

Leberecht

Blticher

J.

G.

Joseph

Hinrich

Gerhardt,

Paul

h a b 1 i c h me i n L i e b "

Chapter

13

Chapter

23

Chapter

27

Chapter

18

Chapter

4

Chapter

4

Chapter

8

(1607-1676)

"Passionsgesang" Gellert,

Christian

Fiirchtegott

(1715-1769)

"Di e L i e b e d e s N a c h s t e n "

Heinrich "Abendlied unterm g e s t i r n t e n

Goethe,

12

Franz "Verlassen

Goeble,

Chapter

(1632-1704)

"Todessehnsucht"

Engel,

17

(1788-1857)

" De r f r o h e W a n d e r s m a n n " Elmenhorst,

Chapter

(1808-1884)

"Morgenlied" Eichendorff,

19 19

(1816-1870)

"Waldandacht" Droysen,

Chapter Chapter

Hi mme l "

J o h a n n Wo l f g a n g von ( 1 7 4 9 - 1 8 3 2 ) "Wandr er s

Nachtlied"

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3 63

Gryphius,

Andreas

(1616-1664)

"Di e H e r r l i c h k e i t

der

Erde"

Chapter

15

Chapter

27

Chapter

20

Chapter

25

Chapter

12

Chapter

9

Chapter

22

Chapter

11

Chapter Chapter

5 5

H a r d e n b e r g , Georg F r i e d r i c h P h i l i p p von ( 1 7 7 2 - 1 8 0 1 ) See u n d e r H e r ma n ,

Nicolaus "Bitte

He y ,

Novalis (1500-1561)

um e i n e n

seligen

To d "

Wi l he l m ( 1 7 8 9 - 1 8 5 4 ) " De r l i e b e

Heyse,

Paul

Gott

im Hi mme l "

(1830-1914)

" D i e du G o t t

gebarst"

Hof f mann von F a l l e r s l e b e n , A u g u s t H einrich (1798-1874) "Trostung" Kleist,

Ewal d C h r i s t i a n "Gross i s t

Kohler,

von

(1715-1759)

der Herr"

Theodor "Weihnachtslied"

Kopisch,

August

(1799-1853)

" We i n a u s W a s s e r " Kr umma c he r ,

Friedrich

" Da s Wo r t " " Di e Ahnung"

Adolph

(1767-1845)

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

364

Luther,

Martin

(1483-1546)

"Arie" "Wenn i c h m i t M e n s c h e n - u n d Engelszungen re d e te " Ma h l m a n n ,

August

Eduard

Heinrich "Kaiser

Muller,

21

Chapter Chapter

26 26

von

C h a p t e r 25

(1813-1874)

Otto's

Weihnachtsfeier"

Chapter

9

Joseph " Da s V e i l c h e n "

Nordheim,

C h a p t e r 14

H.

See S c h o r n ,

Henriette

N o v a l i s (Georg F r i e d r i c h Hardenberg, 1772-1801)

v on

Philipp

v on

" Da s h o c h s t e G u t " " Hymne " "Marienlied" "Wenn a l l e u n t r e u w e r d e n " "Wenn i n b a n g e n , t i i i ben S t u n d e n "

Nunez,

Chapter

(1804-1875)

"Zum n e u e n J a h r " Mi i hl er ,

17

(1771-1826)

" D e r du e w ' g e L i e b e b i s t " "Herr, unsre Zuversicht"

Morike,

Chapter

Chapter 6 Chapter 6 C h a p t e r 28 Chapter 7 Chapter 7

Nicolas " D i e du G o t t

gebarst"

Chapter

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25

365

Oser,

Friedrich

Heinrich

(1820-1891) Chapter Chapter

"Kreuz-Lied" " H e r r , d e r du r u f s t " Sauter,

S a mu e l

Friedrich

(1766-1846) Chapter

"Der W a c h t e l s c h l a g " Schorn,

Henriette "Sei

Schulze,

von

(d.

Chapter

still"

Georg Wi l h e l m " Du ,

Silesius,

1869)

Herr,

Angelus

bist

(1829-1891) unser

Chapter

(1624-1677)

" Da s Wo r t G o t t e s " Spanisches

Vater"

Chapter

Liederbuch

" D i e du G o t t g e b a r s t "

Chapter

R eproduced with permission o f the copyright owner. Further reproduction prohibited without permission.

25

BIBLIOGRAPHY

A.

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[Abt, Franzj . Abt-Album : Ausgewahlte S i n g s t i m m e mi t K l a v i e r b e g l e i t u n g . Siegel, n.d.

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D i c h t u n g e n vo n N i c o l a u s Bernhard F r i e d e l , n.d. Drei Lieder

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