The Extra-Liturgical Geistlich PDF

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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
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 to
the Faculty of
The S o u t h e r n Baptist Theological Seminary
In P a r t i a l Fulfillment
of the Requirements for the Degree
Doctor of Mu si ca l A r t s
by
Paul Odgers Davidson
December 19 89
APPROVAL SHEET
THE EXTRA-LITURGICAL GEI STLI CHES LI ED 1 8 0 0 - 1 9 1 5 :
Paul 0. Davidson
Re a d a n d A p p r o v e d by:
(Chairpers
Date 2 t .
"\
V5. iM.A.
' b ~ i Ll -A
t j U O S’ i\r/\1.-J
(0 Copyright by
1989
TABLE OF CONTENTS
Page
LI S T OF T A B L E S ................................................................................................. ix
ACKNOWLEDGMENTS ........................................................................................... x
Chapter
1. INTRODUCTION ................................................................................. 1
Specific Problems ........................................................... 1
Definition o f T e r ms ................................................. 2
Delimitations ................................................................. 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 ................................................. 6
A Review of R e l a t e d Literature ........................... 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 of the L i e d ........................................... 10
Textual Anthologies ................................................. 13
Other S t u d i e s ................................................................. 14
M e t h o d o l o g y ........................................................................... 16
2. THE SOLO GEI STLI CHES LI ED BEFORE 1 8 0 0 . . . 20
Th e S o l o G e i s t l i c h e s Lied before
A. D. 1 4 5 0 21
The E a r l i e s t Evidence ........................................... 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 ...................................................... 24
iii
iv
Chapter Page
C o n c l u s i o n ........................................................................... 24
The Solo G e i s t l i c h e s Lied 1450-1600 . . . 25
Liturgical Mo n o p h o n y ...... ............................................. 26
Mi x e d S t y l e M o n o p h o n i e s ...................................... 27
3. 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 and the R e l i g i o n of Phil os oph y . . 56
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
4. 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
5. AUGUST H A R D E R ............................................................................. 73
" D a s Wo r t " ( 1 8 0 7 ) ............................................................. 74
" Di e Ahnung" ( 1 8 1 1 ) ....................................................... 79
V
Chapter Page
6. FRANZ XAVER SCHNYDER VON WARTENSEE

( 1 7 8 6 - 1 8 6 8 ) .................................................................. 82
" Da s h o c h s t e G u t " .................................................. 83
" H y m n e " ............................................................................ 87
7. MAXIMILIAN JOSEPH LEIDESDORF ( 1 7 8 7 - 1 8 4 0 ) . . 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 ) .................................................. 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
8. BERNHARD JOSEPH KLEIN ( 1 7 9 3 - 1 8 3 2 ) 99
"Gott ist unsre Zuversicht und S t a r k e " . . 99
"Wandrers N a c h t l i e d " ( F r o m Op. 15, 1827) . 102
9. CARL LOEWE ( 1 7 9 6 - 1 8 6 9 ) ............................................... 106
"Gross ist der Herr" ( 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 ) ............................................................. Ill
10. FRANZ PETER SCHUBERT ( 1 7 9 7 - 1 8 2 8 ) ............................. 117
"Abendlied" ( D. 499; 1 8 1 6 ) ............................. 117
" De r W a c h t e l s c h l a g " ( Op . 68; D. 742;

1822) 122
11. KARL GOTTLIEB REI SSI GER ( 1 7 9 8 - 1 8 5 9 ) . . . . 125
" No a h " ( Op . 14, No. 2; 1 8 2 7 ) ........................ 126
" We i n a u s W a s s e r " ( Op . 121, No. 3) . . . . 129
12. FELI X MENDELSSOHN ( 1 8 0 9 - 1 8 4 7 ) 132
"Morgenlied" ( Op . 86, No. 2; 1828). . . . 133
"Trostung" ( Op . 71, No. 1; 1 8 4 5 ) .............. 136
vi
Chapter Page
13. ROBERT SCHUMANN ( 1 8 1 0 - 1 8 5 6 ) 139
" 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" ( Op . 90, No. 7; 1 8 5 0 ) ...................... 143
14. FRANZ LI S ZT ( 1 8 1 1 - 1 8 8 6 ) 147
" Das V e i l c h e n " (1857) 147
"Sei still" ( 1 8 7 7 ) ............................................................ 150
15. CARL GOTTLIEB WILHELM TAUBERT ( 1 8 1 1 - 1 8 9 1 ) . 154
"Christkindlein" ( Op . 88, 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
16. FRANZ C0MMER ( 1 8 1 3 - 1 8 8 7 ) .................................................. 161
"Kreuz-Lied" ( Op . 65, No. 1 ) ................................. 161
"Herr, der du r u f s t " ( Op . 7 6 , No. 1) . . . 164
17. FRANZ ABT ( 1 8 1 9 - 1 8 8 5 ) ....................................................... 167
"Waldandacht" ( Op . 211, No. 3 ) ............................ 168
" Av e M a r i a " ( Op . 4 3 8 a ) ................................................. 171
18. JOHANN GEORG HERZOG ( 1 8 2 2 - 1 9 0 9 ) ............................. 174
"Passionsgesang" ( Op . 50, No. 5 ; 1879) . . 17 4
"Arie" ( Op . 50, No. 9; 1 8 7 9 ) ................................. 178
19. PETER CORNELIUS ( 1 8 2 4 - 1 8 7 4 ) 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 Konige" ( Op . 8, No. 3; 1870) . . . . 187
20. 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 liebe Gott i m H i m m e l " ...................................... 194
v ii
C h a p te r Page
21. JOHANNES BRAHMS ( 1 8 3 3 - 1 8 9 7 ) 197
"Die h e i l i g e Elisabeth" (1858) ........................... 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
22. ALBERT BECKER ( 1 8 3 4 - 1 8 9 9 ) 20 5
"Weihnachtslied" ( Op . 11, No. 2 ) ...................... 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
23. ALEXANDER WINTERBERGER ( 1 8 3 4 - 1 9 1 4 ) ....................... 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" ( Op . 138, No. 1; 1909) . 216
24. MICHAEL HALLER ( 1 8 4 0 - 1 9 1 5 ) ............................................. 22 0
" He i mwe h " ( Op . 32, No. 6; 1 8 8 5 ) ...................... 221
"Meeresstern" ( Op . 32, No. 11; 1885) . . . 225
25. HUGO WOLF ( 1 8 6 0 - 1 9 0 3 ) ....................................................... 2 30
"Zum n e u e n J a h r " (1888) 230
" D i e du G o t t g e b a r s t " ( 1 8 8 9 ) ................................. 23 4
26. 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
27. 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
viii
Chapter Page
28. OTHMAR SCHOECK ( 1 8 8 6 - 1 9 5 7 ) ............................................ 250
"Marienlied" ( Op . 6, No. 5; 1907) . . . . 251
"Die V e r k l a r e n d e " ( Op . 9, No. 1; 1907) . . 25 3
29. C O N C L U S I O N S .................................................................................. 256
APPENDIXES
A. THE EXTRA- LI TURGI CAL GEI STLI CHES LIED

1800-1915: A LI STI NG BY COMPOSER . . . . 270
B. TEXTUAL SOURCES OF LIEDER DISCUSSED IN

THIS S T U D Y ................................................................................ 361
BIBLIOGRAPHY .......................................................................................................... 36 6
LI S T OF TABLES
Table Page
1. 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
2. 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
ACKNOWLEDGMENTS
The c o m p l e t i o n o f this dissertation has been f a c i
litated by the contributions of ma n y individuals. Of
first importance a mo n g those assisting in the completion
of t h i s work i s Dr . J a y W. W i l k e y who h e l p e d the author to
define the type of study to be u n d e r t a k e n and then guided
the work w i t h e n t h u s i a s t i c encouragement. Indeed, it is
not too muc h to say that without the instruction and
g u i d a n c e o f Dr. W i l k e y throughout th is w riter's years at
Southern Seminary this dissertation could not have been
written. Special recognition m u s t a l s o g o t o D r . Hu g h T.
M c E l r a t h wh o g a v e c l o s e attention to the details of the
study and ma d e ma ny valuable and insightful suggestions.
A particular note of a p p r e c i a t i o n i s n e c e s s a r y f o r D r . R.
Alan Culpepper wh o agreed to serve on this student's
Committee of Instruction and to r e a d this dissertation,
although the work is in a field unrelated to his main
areas of interest.
The a u t h o r also benefited from the able a s s is ta n c e
of the s t a f f s at the following libraries where t h e research
was u n d e r t a k e n : 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
The Southern Baptist Theological Seminary; the Music
L ibrary a t the Boston P u b lic L ib ra ry ; the Music D iv is io n
of the Library of Congress; the Musi c Library at Harvard

x
xi
University; and the Beinecke Rare Book and Manuscript
Library at Yale University. He i s also grateful to Ms .
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 wh o o p e n e d
their homes to his family and assisted in transportation
while research wa s u n d e r t a k e n in their geographical areas.
A final word of appreciation must go to the
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 support, encourage
ment , and u n d e r s t a n d i n g ma d e i t possible f o r him t o d e v o t e
the necessary ti m e and e n e rg y to the 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 a good thing, and obtains favor from the Lord"
(Prov. 18:22).
•.Chapter 1
INTRODUCTION
The purpose of this study is to identify the
musical forms and the theological understandings which
characterize the geistliche Lieder composed or first
published b e t w e e n and including the years 1800 and 1915.
Specific Problems
The particular problems considered in the course
of this study are as follows: (1) to c a t a l o g the body of
musical literature to be studied, namely, the extra-
litu rg ic a l geistliche Liede r ; (2) to select fifty
representative Lieder for study and analysis; (3) to
understand the place of e a c h of t h e f i f t y selected works
within the context of the entire Lied output of the
composer whose work i t represents; (4) to p r o v i d e brief
a n a l y s e s of the m u s ic a l s e t t i n g s of the s e l e c t e d Lieder;
(5) to supply the original German texts and literal
English translations thereof; and (6) t o analyze the texts
of these songs for their understandings of Go d , Jesus
Christ, the Virgin Ma r y, humankind, and the created world
(nature) which are represented.
2
Definition o f Ter ms
Lied designates a composition for s o l o v o i c e and
keyboard accompaniment in which a lyric German-language
text has been set to a w ell-considered melody and
accompaniment with a l l three elements contributing nearly
equally to the total effect of the composition.^ Within
this study the terms "art song" and "lied" are considered
to be s y n o n y m o u s , and "lied" and i t s plural, "lieder," are
hereafter used as words proper to the English language.
G eistliche refers to that which is sacred or
religious as opposed to secular, temporal, or profane.
For the purpose of this study this term im plies a
connection, by d e s c r i p t i o n , content, or inspiration, to

O
the religions of the J u d e o - C h r is tia n t r a d i t i o n 0 and i s
considered to be a wo r d i n the English language.
P h ilip B. Gove, 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
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,
Deutsches Worterbuch (Leipzig: S. H i r z e l , 1 8 5 4 - 1 9 2 2 ) .
^Richard Cole 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

Piano Music: A H i s t o 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
L i s t i n g " (D. M. A. d i s 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
Theological Seminary, 1 9 7 4 ) , pp. 2 - 3 .
3
"Extra-liturgical" refers to a wor k which wa s not
conceived or composed for use in public corporate worship
services. This does not mean t h a t such a work c o u l d not
be used at s o me time in corporate public worship, but the
literature under consideration here would have primarily
been used in private or family devotional life within the
h o me . It may a l s o have been p e r f o r m e d in a public recital.
Delimitations
Within this study only those lieder composed or
first published between and including the years 18 00 and
1915 a r e considered. A dditionally, only those songs of
Ge r ma n, Austrian, 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 in
The Mew G r o v e D i c t i o n a r y of Music and M u s i c i a n s , ^ Die
Musik in Geschichte und G e g e n w a r t , ^ or listed in the
dissertation by H i l d e g a r d Jung, " Da s g e i s t l i c h e Sololied
im 19. Jahrhundert: Ein Beitrag zur Geschichte des

£
deutschen Kunstliedes are discussed here.
T h i s wor k c o m p i l e s a c a t a l o g of the geistliche
^ The New G r o v e D i c t i o n a r y o f Musi c and M u s i c i a n s ,

20 v o l s . , ed. S t a n l e y S a d i e ( London: M a c M i l l a n , 1980).
^Die Musi k i n G e s c h i c h t e un d G e g e n w a r t , 16 v o l s . ,
ed. F ried rich Blume et a 1. (Kassel and Basel:
Barenreiter, 1949-1979).
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).
4
lieder of this historical period, culminating in a l i s t i n g
by c o m p o s e r . From t h i s compilation f ifty individual
lieder have been s e l e c t e d for mor e c o m p l e t e c o n s i d e r a t i o n
of their musical forms and their theological contents.
This was done by the methodology described below. (See
"Methodology" for the description.)
This s tu d y does not include detailed musical anal-
yses of the individual lieder such as ma y be found in
other works,^ nor does it concern itself with the impor
tant and complex 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
musical setting thereof. N e ith e r does i t a t t e m p t to
trace the h isto ry of the influence of v a ry in g schools of
theological thought on the composition of the geistliche
lieder between 1800 and 1915, nor are the lieder used as
evidence for establishing a change of influence in the
case of any particular theological system or school.
Rather, this study concentrates on delineating 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.
extent of the genre, the geistliches lied, and t h e various
theological viewpoints which come to expression in the
texts thereof.
Basic Assumptions
Th e f o r e m o s t a s s u m p t i o n which u n d e r l i e s this study
is that the poetry chosen by c o m p o s e r s of the geistliches
lied expresses a variety of theological views. This study
also carries with it the assumption that the poetry and
the musical setting chosen by t h e c o m p o s e r f o r the wor k i n
s o me way r e f l e c t the theological mindset of the musician.
Basic Hypotheses
It wa s hypothesized that a large numbe r of geist
liche lieder were w ritten during the period of history
under consideration. It wa s also hypothesized that cer
t a i n common t h e o l o g i c a l understandings exist within the
diversity of expressions which a r e voiced in the g e i s t l i c h e
lieder w ritten between 1800 and 1915, and that these
theological viewpoints are related to the theological
understandings which w e r e commonl y held and taught during
the Romantic period. Furthermore, it was h y p o t h e s i z e d
that the musical settings in the geistliche lieder are
sim ilar to the settings which are in evidence in the
secular art song of this same historical period.
6
Th e Need f o r the Study
Q
There is no E n g l i s h - l a n g u a g e study of the geist
liches lied of the Romantic period which either catalogs
the material as a whole, translates the texts thereof, or
analyzes it musically or theologically. This study accom
plishes all these tasks in a r e p r e s e n t a t i v e manner. In
addition, it points toward ex ten siv e influence of theo
logical ideologies within a form of musical literature
which is often considered to be o r i e n t e d solely toward
secular concerns, thereby serving as a p o t e n t i a l basis for
a study of the geistliches lied within a historical-
theological-literary framework. Conjointly, this study
provides information which could be u s e d as the basis for
a study of the influence of the theological systems of
this time period in o th e r contemporaneous a rt 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 within the society on a popular, grass roots
level, thus forming the basis for further investigation.
This study also encourages the p e r f o r m a n c e of
geistliche lieder in r e c i t a l 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.
enlarges the r e p e r to ir e available for pedagogical uses.
Sim ilarly, it both indicates and supplies further
resources for devotional reading and m e d i t a t i o n through
the translations of the selected texts.
A Review of Re la te d Literature
Prior to this study no c o m p r e h e n s i v e or represen
tative collection of the translated texts of the
nineteenth century geistliche lieder has been a v a i l a b l e in
any l a n g u a g e nor has there been any systematic attempt to
examine the theological affirmations of these poems. Th e
extant lite ra tu re which is related to such a task,
however, is plentiful and will be considered 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 to solo vocal literature
have been compiled. Most of these works are of little
value in specific consideration of the texts involved, but
they are of some help in isolating the lieder to be
analyzed. Amo n g English-language works four are of
particular note. Katherine Siebel's Sacred Songs: _A
Guide to Repertory^ gives a brief description of the
songs and the uses which they ma y h a v e in a liturgical
^ K a th e rin e Siebel, Sacred Songs: _A G u i d e to

Repertory (New Y o r k : H.W. G r a y , 1 9 6 6 ) .
8
context. He r references are to English-language versions
of the texts which are of some assistance in preparing
literal translations. This guide contains thirty-five
songs which will be c a t a l o g u e d during the study.
Singer's R e p e r t o i r e , ^^ Berton Coffin's five-volume
work, includes thirty-nine geistliche lieder. These are
listed with cursory remarks for each song without refer
ence t o an E n g l i s h - l a n g u a g e version of the text.
Two volumes by Noni Espina, Repertoire for the
Solo V o i c e 19 a n d Vocal Solos for Christian C h u r c h e s , 13
give brief musical inform ation concerning each of the
songs named. The first-nam ed volume is concerned with
texts in the original languages without reference to
themes or liturgical function, both of which are consid
ered in the other volume, along with English-language
versions of the songs. The two volumes include informa
tion on f o r t y - f i v e and e i g h t e e n geistliche lieder, respec
tively.
Three G erm an-1anguage sources should be noted.
Verzeichnis deutscher Lieder sei t Haydn by Franz A.
^ B e rto n Coffin, Singer's Repertoire, 2nd ed., 5

vols. (New Y o r k : Scarecrow P ress, 1960).
19
Noni E s p in a , R e p e r t o i r e f. o.r. _t h. Solo Vo i c e
(Metuchen, N.J.: Scarecrow P r e s s , 1977).
13
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 ,
3rd. ed. (Metuchen, N . J . : Scarecrow P re s s, 1984).
Stein^ lists the songs by m a j o r composers according to
date, cycle or opus, and t i t l e . No i n f o r m a t i o n is given
concerning the text except t h e n a me o f the poet.
Martin Breslauer's Das d e u t s c h e Lied geistlich und
w eltlich bis zum 18. Jahrhundert^ gives an annotated
listing of collections and editions of lieder printed
prior to 1700. While some discussion is given of the
history of each individual collection and s o me texts are
given, there is no i d e n t i f i c a t i o n of the theological views
presented in the songs.
A sim ilar study is presented for the period
between 1700 and 1800 i n Das d e u t s c h e L i e d jLm 1 8 . J a h r
hundert : Q u e l 1 en und S t u d i e n by Max F r i e d l a n d e r . His
three volumes present the examinations of 798 c o l l e c t i o n s
of lieder and the most im portant texts therefrom, note
w h i c h poems h a v e been s e t by w h i c h c o m p o s e r s , and provide
m u s i c a l e x a m p l e s o f s o me o f these lieder. This monumental
work c o n t a i n s no d i s c u s s i o n of the theological views of
^ F r a n z A. S t e i n , Verzeichnis deutscher Lieder seit

Ha y d n (Bern: A. F r a n c k e , 1967).
^ 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 g e i s t l i c h und
weltlich 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 : Ge o r g 0 1ms ,
1966) .
^M ax Friedlander, I) a js d e u t s c h e JL i^ e^d^ jn 1 8 .
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 (1902; r p t . Hildesheim
a n d New Y o r k : Ge or g 01m s, 1 9 7 0 ) .
10
the g e is tlic h e lieder, but it is a valuable resource for
the m ethodical study of the lied in the eighteenth
century.
Histories of t h e Lied
Among the seemingly innumerable histories of the
G e r ma n l i e d very few s t u d i e s c a n be f o u n d which give mo r e
than passing attention to the text. Some w o r k s a r e avail
able which are, however, mo r e given to textual considera
tions. Her mann Kretzschmar's wor k includes s o me textual
examples as well as an extensive discussion of those
composers of the seventeenth and eighteenth centuries who
set texts by R i s t . Hi s study is to be f o u n d in Geschichte
des neuen deutsches Liedes. ^
Walter V e t t e r ’s historical treatment in Da s friih-
deutsche Lied: Ausgewahlte Kapitel aus der Ent w i c l c l u n g s -
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 - u nd m e h r s t i m m i g e n d e u t s c h -
1 ft
en K u n s t l i e d e s i m 17. Jahrhundert includes a discussion
of the d i f f i c u l t y in d is ti n g u is h in g b e t we e n " w e l t l i c h " and
geistliche lieder purely on the basis of language or
musical style. Texts are also included, but these are
^H erm ann Kretzschm ar, (1 s^c. Jl .i c..h t__e dê^s neuen

deutsches Liedes (Hildesheim: Geor g 01m s, 1 9 6 6 ) .
^ 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).
11
not theologically analyzed.
In the introductory section of his book, Da s
deutsche Lied s e i t Mozart, ^ H .J . Mo s e r sketches the h i s
tory of the genre up to Mozart with some theological
analysis of the texts used in those works. In a later
chapter on the lyrics of the lieder since the time of
Mozart there is an e x t e n s i v e list of r e l i g i o u s poets whose
texts were set. There is, however, no theological
analysis of these texts included in the study.
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 of the n i n e
teenth century g e istlic h e s lied as an a r t i s t i c entity in
and of itself is the 1951 inaugural dissertation of
H ildegard Jung, "Das g e i s t l i c h e Sololied im 19. J a h r h u n
dert: Ein Beitrag zur Geschichte des deutschen Kunst
liedes." Although the primary f o c u s of this work i s the
consideration of the question whether or not the geist
liches lied manifested the same musical forms as the
secular lied, Jung's wor k c o n t a i n s an e x t e n s i v e listing of
geistliche lieder from the period. In this aspect, the
current study is heavily indebted to her research. Within
her study, however, there is no c o n s i d e r a t i o n of the texts

9D
which were used.
^ H a n s J o a c h i m Moser, Das d e u t s c h e lied seit Mozart

(Berlin: A t l a n t i s , 1937).
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
12
Two o f the studies which have focused on t h e lied
as a l i t e r a r y phenomenon n a t u r a l l y pay c l o s e r attention to
the text. Gunther M uller's 1925 study, Geschichte des
deutschen Liedes vom Zeitalter des Barock bis zur Gegen-
wart,^ treats the history of the lied as a literary form
with particular attention to pietistic, rationalistic, and
naturalistic and h u m a n i s t i c text-types. A sim ilar, but
mor e narrowly focused, study appears in R a l p h Ty mms ' Ger
man Romantic Literature. ^ Here the works, thoughts, and
beliefs of the major Romantic writers are considered along
side a deeper analysis of some of the works. Both of
these works provide valuable information against 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 Liedes

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 : Drei
Masken, 1 9 2 5 ) .
^Ralph Tymms , Ger man R o m a n t i c Literature (London:

Methuen, 1955).
R eproduced with permission o f the copyright owner. Further reproduction prohibited without permission.
13
textual considerations may be p u r s u e d .
Textual Anthologies
In t e r m s of the contents of this study, there is a
close affinity to the various textual anthologies for the
lieder of this period. The c h i e f differences reside in
the focus on t h e geistliche lieder in this study and the
accompanying theological analyses of the translated
lieder.
Maximilian and Lilly Schochow have g a t h e r e d all
the texts of the Schubert lieder together i n F r a nz
Schubert: Di e T e x t e s e i n e r einstimmig komponierten Lieder
und ihr e D ichter. Although complete bibliographic
information is given for each text, no a n a l y s i s or trans
lation is presented.
A sim ilar work is John Reed's The S c h u b e r t song

o/
companion which g iv e s a w ea lt h of i n f o r m a t i o n on e a c h o f
the Schubert lieder, including a prose translation of the
text into English, although the original text is not
given. Infrequently, comments are made on 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/
J o h n R e e d , Th e S c h u b e r t song companion ( New Yo r k :
Universe Books, 1 9 8 5 ) .
14
religious ideas either held by t h e poet or e x p r e s s e d in
the text. Cursory musical analysis is also included for
each song.
Three other volumes must be mentioned here:
George Bird's and Richard S t o k e s ' t r a n s l a t i o n o f The

oc
Fischer-Dieskau Book o f Lieder; The R i n g o f W o r d s : An
A n t h o l o g y of Song T e x t s by P h i l i p M i l l e r , ^ a n d The P e n
guin k_ o^f_ L i e d e r , edited and translated by S.S.

97
Prawer. Each of these contains the original texts of
selected lieder and their literal translations in parallel
columns. The l a t t e r 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
the p o e t and t h e composer. Th e f o r m e r t wo works list the
settings of the text by v a r i o u s , often minor, composers
which i s very helpful for this study.
Other Studies
Among the numerous studies of the works of
individual composers, very few are focused on the
geistliche lieder. Ev e n those works which are concerned
with the sacred a r t s o n g s g e n e r a l l y f o c u s on t h e 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 • An

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
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
Lieder (Baltimore: Penguin Books, 1964).
15
elements rather than giving mor e t h a n c u r s o r y attention to
the texts and their theological assertions. This is true
of two fine studies: Betty Smith Campbell's "The Solo
Sacred Lieder of Hu g o Wolf: The Interrelationship of
Music and Text,"^ and Robert James Seeley's "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 on t h e
29
Two S a c r e d C y c l e s : Vaterunser and W e i h n a c h t s l i e d e r .
Minimal attention is also given to textual
analysis in the essays which comprise Religiose Musi k in

30
nicht-liturgischen Werken von Beethoven bis Reger
although two of the e s s a y s 3 1 do g i v e some attention to
textual content. Ev e n mo r e important for the understand
ing and analysis of the literature are the two essays
which dea l w it h th e r e l i g i o u s m e n t a l i t y of 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 .
c e n t u r y . 32
Methodology
The i s o l a t i o n of the specific geistliche lieder to
be s t u d i e d began w i t h the identification of those composers
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 . T h i s was
accomplished 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 sources: The

OO
New G r o v e Dictionary of Music and Musicians; Di e Mu s i k
in Geschichte und Gegenwart; and " Da s geistliches Solo
lied im 19. J a h r h u n d e r t . Ein B e i t r a g zur Geschichte des

oc
deutschen Kunstliedes."
Subsequently, these composers' published songs
which a r e currently available within the United States of
America were determined through the use of the printed
catalogs for the Library of C o n g r e s s ^ 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 Musicians,

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, 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
17
o 7
Public Library as well as by means of the use of the
Online Computer Library Center ( OCLC) of Dublin, Ohio.
Those songs which are available through OCLC o r at the
Library of Congress, the Boston Public Library, or the
libraries of Harvard University or Yale University were
examined to determine which of the lieder were germane
to this study, that is, whether or notthey can be
categorized as geistliche.
When t h i s d e t e r m i n a t i o n had b e e n made, fifty indi
vidual lieder were selected for study. This selection wa s
made in such a wa y so as to r e f l e c t the diversity of
composers and poets represented in the geistliche lieder
of the period. The twenty-five composers wh o w r o t e the
most g e i s t l i c h e lieder during the period are each repre
sented by t w o s o n g s . 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
have been s e l e c t e d so a s to reflect, so f a r as possible,
different time periods of the composer's life. In a d d i
tion, the fact that some p o e t s ' works (e.g., Goethe's and
Novalis') were ch o s en with mor e f r e q u e n c y than those of
and h as been c o n t i n u e d to the present with a s e r ie s of

subject catalogs, including a s e r i e s f o r music.
^ 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.
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 (e.g., traditional orthodoxy, Pietism, and
Romantic theology).
The study of each selected song is presented in
the following manner. Consideration is first given to
the importance of the g e i s t l i c h e s lied within the total
compositional o u t p u t of t h e c o m p o s e r , followed by b r i e f
biographical information concerning the poet. Th e Ge r ma n
text of the song is then given in poetic form with a
literal translation of the text, also in poetic form,
given immediately thereafter. This text has been a n a l y z e d
for explicit theological affirm ations concerning, Go d ,
Jesus Christ, t h e V i r g i n Mary, humanity, and t h e c r e a t e d
world (nature), and a summary of those statem ents is
presented. Finally, an a t t e m p t h a s b e e n made t o c a t e g o
rize the poem a c c o r d i n g to the theological movements dis
cussed within this wor k.
Consideration thereafter focuses upon a brief
musical analysis of the song. The f o l i o wi n g a s p e c t s of
the musical s t r u c t u r e of the song a r e m e n t io n ed : length;

OO
musical form; t o n a l i t y ; vocal range; type of keyboard
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
19
accompaniment; and treatm ent of the text. Finally, any
other known s e t t i n g s of the text of t h e song are liste d
by composer and date of composition. The m aterial is
presented chronologically with respect to the birthdate of
the composer, and s u b s e q u e n t l y with respect to the date of
composition by t h e individual composer.
Through this methodology the extent of the geist
liches lied in the Romantic period has been demonstrated.
It also has allowed for a view of the diversities and
sim ilarities of theological affirmation and compositional
styles within the 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.
Chapter 2
THE SOLO GEI STLI CHES LI ED BEFORE 1 8 0 0
Christianity had reached what is now German
s p e a k i n g E u r o p e by t h e tim e of the d eath of U l f i l a s , the
bishop of the C h r i s t i a n s in G oth ia , a r o u n d A. D. 3 8 0 . ^ It
is only natural to suppose that those people had begun to
express their faith in their own l a n g u a g e through the use
of indigenous musical traditions. Of such a development
there is no manuscript evidence and little is to be
gleaned from any oral tradition which might purport to
date from that early era.
In spite of the murkiness of the roots of the
geistliches lied, the h is to ry of the so lo religious song
c a n be t r a c e d w i t h some c l a r i t y . Within th is study th i s
history w ill be outlined by consideration of four
historical periods leading up t o t h e n i n e t e e n t h century.
Th e four eras which w i l l be c o n s i d e r e d chronologically are
(1) the period before A. D. 1450, the medieval e r a ; (2)
1450-1600, the period of the Renaissance; (3) 1600-1750,
the Baroque e r a ; and (4) t h e Classical period 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
21
The S o l o G e i s t l i c h e s Lied before A. D. 1450
In spite of the relatively early arrival of the
Christian faith a mo n g the Germanic peoples, the earliest
evidence for the existence of religious song in the verna
cular comes from at least 500 years later. It is that
evidence which receives first consideration here.
The E a r l i e s t 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
o
that he knew no geistliche lieder in the vernacular.
That, however, is the witness of only one person and
should not be t a k e n to imply that no s u c h lieder were in
existence at the time. Th e e a r l i e s t manuscript containing
a vernacular text is a Freisinger c o d e x (Cod. l a t . monac.
6260) from th e n i n t h or t e n t h century which c o n t a i n s the
"Petruslied." This text is in the

B a v a r i a n d i a l e c t and
O
probably dates from b e t w e e n 836 and 854. The m a n n e r o f
performance of this song cannot be u n e q u i v o c a l l y deter
mined, but its structure of three strophes each ending in
a "Kyrie e le is o n " would seem to i n d i c a t e the possibility
of a responsorial or antiphonal 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.
^ I b i d . , p. 140. The t r a n s c r i p t i o n of the lied is

given on p . 1 4 1 .
22
Th e M i n n e s i n g e r s
Beginning in 1156 the style of the Troubadours
began to be i n t r o d u c e d into the Germanic culture. This
led to the tradition of the Minnesingers. While these
composer-performers spoke and sang of courtly love (hence
the 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 " ) , they also composed ma ny l i e d e r to sacred or
moralistic texts. Meyster Rumelart showed the assimila
t i o n of c o u r t l y lo v e to God's lo v e f o r the Virgin Ma r y i n
" Da s Gedeonis wollenvlius."^
Other c h a r a c t e r i s t i c s e n t i m e n t s are seen in the
crusade song of Walther von d e r Vogelweide (1170-1228),
"Nu a l e r s t lebe ich," which r e j o i c e s in the arrival in the
Holy Land, -* as well as in Tannhauser's prayer upon
contemplating his own d e a t h . The h i g h e s t integration of
traditional Minnesinger ide als with the deep r e v e r e n c e for
nature and God i s to be f o u n d in the works of Frauenlob
(d. 1318).^ Typical works of his include "Dem Son G o t t e s
^ G u s t a v R e e s e , Mus i c i n t h e M i d d l e Ag e s (New Yo r k :
W.W. N o r t o n , 19 4 9 ) , pp. 2 3 5 - 2 3 6 .
■*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," The New G r o v e

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 . 6, 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. 809.
23
A l m e c h t i g " 8 and "Unser frauen leich"^.
The peak of the Minnesinger tradition was reached
in the l a t e fourteenth and e a r l y fifteenth century. The
otherwise anonymous Mo n k of Salzburg from the late
fourteenth century wrote forty-nine sacred songs, twenty
to th e V i r g i n Mary, twenty-four to the T r i n i t y , and f i v e
to the sa in ts.^ Oswald von Wolkenstein (1377-1445)
represented the transition from the Minnesingers to the
M eistersingers. Writing on a v a r i e t y of topics, he is
most importantly remembered for the close correlation of
text and tune which his work dem onstrated.^ A
representative monophonic sacred song of Oswald von

10
Wolkenstein is "Menschleichen got, beschniten schon.
8I b i d ., p. 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 History

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 : Oxford
U n i v e r s i t y P r e s s , 1 9 5 4 ) , p. 258.
^ 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 , " O s w a l d von

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 Mu s i c a n d
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 : Macmillan,
1980), pp. 16-17.
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.
24
Th e G e i s s l e r l i e d e r
In 1348-1349 the plague known a s the Black Death
spread throughout Europe. Groups of penitent flagellants
(G e i s s l e r ) banded together and j o u r n e y e d from town to town
throughout Ge r many. These pilgrimages gave r i s e to mo n o
phonic religious folksongs with a high level of m u s i c a l
sim plicity and texts which invoke the Virgin Mary and
recall Christ's s u f f e r i n g s . 1^ Although these songs could
have been sung by soloists, the settings were probably
sung r e s p o n s o r i a l l y or a n t i p h o n a l l y with a leader or l e a d e r s
singing the changing v erses and t h e remainder of the group
answering with the re fra in . 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 were used in the f l a g e l l a n t s ' travels and
rites the G eisslerlieder show t h e i r relationship to the
Latin l i t a n y 1^ and can be seen to be precursors of the
Lutheran chorale with regard to melodic 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 Mu s i c ( Ne w York:
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. 239.
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 , both wrote
polyphonic 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
ma r k the end o f t h e development of monophonic song in the

1 f\
medieval period. It is im portant to note that the
fullest f l o w e r i n g of t h e monophonic song in its extralitur-
gical f o r m c a me a t a time wh e n m o n o p h o n y wa s no l o n g e r of
great interest in the church. Philosophically and theolog
ically, mo n o p h o n y had been replaced by p o l y p h o n y with the
rise of humanism i n the Renaissance period.^
Th e S o l o G e i s t l i c h e s Lied 1450-1600
The years between 1450 and 1600 were times of
turmoil and development. Musically it wa s the period of
the height of the development and i n f l u e n c e of the Franco-
Flemish school throughout the European continent, while
the Meistersingers continued the traditions begun w i t h t h e
Minnesingers. In the church it was the period of the
Lutheran Reform ation, which began in 1517, and the
Catholic Council of Trent from 1545 u n t i l 1563. During
this era three classes of monophony were extant:
liturgical, secular, and a mi xed type with religious texts
^ R i c h a r d H. H o p p i n , Medieval Music ( Ne w York:

W.W. N o r t o n , 1 9 7 8 ) , p. 312.
^ 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.
26
I O
set in a musical style associated with secular 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 of c o n c e r n and will be c o n s i d e r e d .
Liturgical mo n o p h o n y
During this period of h i s t o r y it becomes n e c e s s a r y
to distinguish between the music of the Catholic and
Lutheran liturgies.
Catholic liturgical monophony. In 1527 the first
Catholic collection of liturgical mo n o p h o n y with vernacu
lar texts, Ein new Gesangbuech1in g e y s t l i c h e r , wa s p u b
lished by M i c h a e l Ve h e i n Leipzig. It contained fifty-two
songs. In s u cc ee d in g years many s i m i l a r collections
followed. ^
Protestant liturgical monophony. The p l a c i n g o f
the Bible and the congregational music in the vernacular
was one o f the c e n t r a l points of L u t h e r ' s r e f o r m . Mono
phonic music used in Lutheran worship included Leise from
previous centuries, s u c h a s " Nu n b i t t e n w i r den h e i l i g e n
Geist," as well as unison tunes written by Luther and
others expressly fo r use in the reform ed liturgy. These
were collected into anthologies in the 1520's 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

ed. (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 .
27
first three such published in 1524. Similar anthologies
followed during the p e r i o d of t h e n e x t t w e n t y to t h i r t y

90
years. Ge r ma n monophonic psalters also 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 setting of religious texts to secular-styled
music can be s e e n in the Liederbiicher of the period as
well as in the music 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 of the Renaissance. Three collec
tions of lieder arose in the last half of the fifteenth
century. The L o c h a m e r collection (1455-1460), the
Schedelsches collection from the 1460's, and the Glogauer
anthology from the 1470's and 1480's 22 a l l s ho w t h e influ
ence of the Franco-Flemish style in the setting of the
soprano solo line with 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).
28
l i n e s . 22 Although these collections were not primarily
compilations of sacred text settings, s o me w e r e i n c l u d e d .
The M e i s t e r s i n g e r s . 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), a pupil of the most prolific Meistersinger,
Hans Sachs (1494-1576), these guilds of singers,
composers, and poets continued the tradition of solo song
begun by the M innesingers.^ Prior to the Protestant
Reformation the song texts were primarily concerned with
religious subjects, including the V irgin Mary, the
Trinity, Christmas, the passion, the resurrection, and the
creation. Through Sachs' l e a d e r s h i p t h e s e me n c a m e i n t o
the service of the Reform ation.^ The focal point of
their Sunday afternoon concerts was the solo performance
of lieder based upon scripture. These 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 language of the Lutheran B ible.2^ Some such settings
even included the scriptural reference as part 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. 653.
29
Th e S o l o G e i s t l i c h e s Lied 1600-1750
The 150-year period of the Baroque era was one
which was controlled theologically and philosophically by
the forces of orthodoxy and mysticism. 78 Fostered by t h e
increasing individualization of the relationship between
God a n d h u m a n i t y , 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
song collections for private use were issued in this

9 Q
era. The songs included in these collections had
generally common a i m s a nd f o r m s . Textually there was a
high degree of self-expression focusing on t h e submersion
of the self in Christ and dissolution of the boundaries
between time and eternity. Almost all these compositions
consisted of solo m elodies with basso continuo
accompaniment. In some c a s e s , ritornelli or a d d i t i o n a l

30
melodic instruments were added.
Three regional schools of lieder

composition
OI
w ithin Germany have been id en tified, and each
contributed to the solo geistliches lied genre. The n o r t h
German school, founded by T h o m a s Selle (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.
30
Johann Schop (d. 1667),^ also included Heinrich Albert
(1604-1651) wh o w a s c o n s i d e r e d the father of the German
musical lied. Albert's main achievement has been seen as
the composition of eight volumes of Ar i e n published in
1638 and 1642. In this collection of 170 sacred and
secular songs nearly all the works are short, strophic,
and syllabic. Some, however, are more elaborate with
ritornelli and w o r d - p a i n t i n g , showing the influence of the
c a n t a t a . 33
The m ajor poetic fig u re of th is group,
notwithstanding Albert's extensive collaboration with the
father of the literary lied, S i m o n Da c h ( 1 6 0 5 - 1 6 5 9 ) , " ^ wa s
Johann Rist (1607-1667). His sacred texts, w ritten for
use in worship, teaching, and private devotions, are
usually strophic, having clear r hyme and regular m e t e r . 35
These texts, which emphasized the ego and celebrated the
^ I ( u r t S te p h e n s o n , "Johann Schop ( i ) , " 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 Mu s i c i a n s , v o l . 16, ed.
S ta n l e y Sadie (London: M a c m i l l a n , 1 9 8 0 ) , p. 732.
■ ^ 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.
31
self through highly emotional pictorial language, were s e t
at his instruction in a simple and popular manner for
voice and thoroughbass accompaniment.^ Th e composers of
the north Ge r ma n s c h o o l who s e t Rist's texts include Schop
(Himlische Lieder in two volumes, 1641-1643), Selle
(Sabbatische Seelenlust, 1651), and Heinrich Scheidemann
(c. 1595-1663), one of the founders of the north German
organ school, who s e t t wo collections of Rist texts: Di e
verschmalte Eitelkeit (1658) and Di e verlangte 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 to the north
German s c h o o l of l i e d e r composition. S.T. S t a d e n (1607-
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 settings of
Rist texts to t h e Ne u e h i m l i s c h e r Lieder sonderbahres Buch
of 1651. The i n f l u e n c e of Staden and J o h a n n Kindermann
(1616-1655) affected Wolfgang Carl Briegel ( 1 6 2 6 - 1 7 1 2 ) 33
who wrote what has been considered the only true Baroque
3^Bl ume , "C onfessionalism ," p. 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.
32
song cycle, G eistliche Oden Andreae Gr y p h i i for solo
voice, basso continuo, and t w o v i o l i n s . 39
R ist's poetry was also set by Andreas
Hammerschraidt (1611/12-1675), the prolific representative
of the central Ger man school. His musical presentations
of these texts were published with those o f S.T. Staden
and others in the aforementioned collection of 1651 as
well as in the Ne ue musikalische Katechismus-Andachten of
1656. The bulk of H am m erschm idt's work, however,
co n sisted of over 400 sacred works in fourteen
collections, including five volumes of Mu s i k a l i s c h e
Andachten which were issued between 1639 and 1653. The
first and t h i r d volumes of these works c o n t a i n settings of
sacred texts for solo voice with basso continuo
a c c o m p a n i m e n t . 40
Other members of the central German s c h o o l also
wrote geistliche lieder. J o h a n n H e r ma n n S c h e i n (1586—
1630) used chorale m elodies in his ^£11.1.1. a. N. o._v a_
(1618,1626).^ Adam Krieger (1634-1666) set at least 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).
33
religious text, " De r hat gesieget, den G o t t vergniigt," for
solo voice and thoroughbass accompaniment with string
ritornello.^
In 1700 a collection of one hundred lieder with
texts 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 appeared
as the culmination of his twenty-five year collaboration
with the opera composer Johann Wolfgang Franck (1644-
1710).^ In addition to F r a n c k ’s s e v e n t y - t h r ee songs in
the c o lle c tio n , twenty-three w e r e c o m p o s e d by t h e organist
G e o r g Bohm ( 1 6 6 1 - 1 7 3 3 ) ^ ; and f o u r were written by P e t e r
Laurentius Wockenfuss (1675-1721), a cantata poet and
composer.^ These G e i s t r e i c h L i e d e r , s o me w i t h a s ma ny a s
thirty strophes and manifesting the influence of operatic
sty le,^ were arranged according to the 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 see
34
with each song a s s o c i a t e d with a biblical text.
After the vast output of German s a c r e d s o l o song
in the seventeenth century, this line of com positional
activity almost ceased under the influence of Ger man and
Italian o p e r a and c a n t a t a arias. The P i e t i s t movement,
however, maintained its view of the smaller scale solo
song as a medium of personal devotion.^ In 1736 the
Schemelli Gesangbuch, containing 954 sacred songs and
arias, appeared as an e x p r e s s i o n of this understanding.
Sixty-nine tunes from the Gesangbuch were associated with
J.S. Bach (1685-1750), but it has been determined by
Arnold Schering that only three of these melodies are
actually the original work of Bach, with the remaining
basso continuo settings having been improved by h i m . ^
Bach, along with other major Baroque composers,
also contributed to this genre with solo 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 ) .
Îbid. 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 ) .
35
liturgical use. Heinrich SchUtz (1585-1672) wrote sacred
solo works as a p a r t 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
well as for his Kleine geistliche Konzerte (1636,1639).^
The Harmonische Gottesdienst (1725-1726) of Geor g Philipp
Telemann (1681-1767) contained seventy-two cantatas for
solo voice, basso continuo, and s o l o melodic instrum ents.^
G. F. H a n d e l ’s ( 1 6 8 5 - 1 7 5 9 ) sole contribution to this form
included his Neun deutsche Arien (1724-1727). These were
operatic-style settings of texts from B.H. BrocIces' Irdi-
s c h e Ver gni i gen i n Gott for soprano with b a s s o c o n t i n u o and
solo violin. ^
The S o l o G e i s t l i c h e s Lied 1750-1800
During the last fifty 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
36
for congregational use in worship or as c h o i r books. This
intense period of l i e d e r composition wa s a l s o a t i m e w h i c h
saw th e r i s e of the E n lig h te n m e n t with i t s accompanying
emphasis on rationalism . In addition the ideas which
would come to be known as "Romanticism" were taking

S3
shape.
The geistliche lieder of the Classical era s howed
the impact of the ideas of C. G. Krause (1720-1774). In
his treatise Von der musikalischen Poesie which was
written in 1747 and published in 1752 he espoused the
following ideals for song composition: strophic form,
folksong-like sim plicity and expressivity, syllabic
settings of the t e x t , 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
to be s u b o r d i n a t e to the vocal line.^^
Contemporaneously there were two m ajo r literary
figures who w e r e a c t i v e in the penning of sacred poetry.
The f i r s t of th e s e was C h r i s t i a n F. G e l l e r t (1715-1769).
He a n d his followers, including Balthasar 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 .
37
1793) and J o h a n n Peter Uz ( 1 7 2 0 - 1 7 9 6 ) , wrote poetry with a
rationalistic tone. F. G. Klopstock (1724-1803) and his
adherents J . A. Cramer (1723-1788), C.C. Sturm (1740-1786),
and Lavater (1741-1801) wrote texts mor e sentimental and
sublime in nature.^
The two major schools of lieder composition of
this half century were centered successionally in Berlin.
The first Berlin School, also known as Norddeutsche
Schule, centered around the c o u r t of F r e d e r i c k the Great
(1712-1786). The l e a d i n g f i g u r e s of t h i s group were J.J.
Quantz (1697-1773), J.G. Graun (1703-1771), K. H. Graun
(1704-1759), F. Benda (1709-1786), C.P.E. Bach (1714-
1788), C. Nichelmann (1717-1762), F. W. Marpurg (1718-
1795), J.P. Kirnberger (1721-1783), and J.G. Agricola
(1720-1774).-^ Although all of these except J.G. Graun
wrote r e li g io u s songs, the major figure involved in the
co m p o sitio n of the g e i s t l i c h e s lied was C. P. E. B a c h . His
over-300 lieder included settings of texts by Gellert
(1758), Cramer (1774), and Sturm (1786), all with piano
accompaniment and designed for private devotional 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.
38
the home.^
Later in this historical era a group of younger
composers arose who reacted against the narrow limits of
the previously mentioned ideals of Krause by u s i n g more
variation of form and giving greater prominence to the
keyboard. The main figures of this Zweite Berliner
Liederschule were J.A.P. Schulz (1747-1800), who s e t the
religious texts of Uz (1784) and other poets (1786) as

Co
well as spiritual folksongs for home worship; J.F.
Reichardt (1752-1814) wh o s e t texts by G . J . Mark (1726-
1774) in 1766 as w e l l as texts w ritten by L a v a t e r (1790)
and others (1790-1795) in a wa y which moved toward the
diversity and drama of the Romantic lied; a n d C. F. Zelter
( 1 7 5 8 - 1 8 3 2 ) . 59
The i n f l u e n c e of the two B e r l i n schools wa s w i d e
spread. Groups of composers in the cities of Hamburg,
Dessau, Breslau, Leipzig, Dresden, Wei mar , and Vienna were
affected in their compositional style, as were composers
in the d is tric t of Swabia and in the country of
Switzerland. Composition of geistliche lieder also
occurred in these geographical regions through Justin
Heinrich Knecht (1752-1817), Christoph Rheineck (1748-
■^Feder, "Decline," p. 337.
58I b i d ., pp. 338-339.
~Âpel, "Berlin School," p. 92.
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) in Switzerland, and J o s e f Ant on Steffan (1726-
c. 1797) in Vienna.
While neither VI.A. Mozart (1756-1791) nor F.J.
Haydn ( 1 7 3 2 - 1 8 0 9 ) were p r i m a r i l y lieder composers, both
men did contribute to the output of the geistliches lied.
Mozart wrote a solo sacred cantata for soprano with piano
accompaniment in 1791 (Die ihr unermesslichen W eltalls
Schopfer e h r t ) in addition to having written four songs
with religious texts for soprano with bass accompaniment.
He a l s o wrote a sacred German-language aria ( " Ko mme t her,
ihr frechen Sunder") for soprano, strings, and organ.^
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 four songs with religious
texts and the soprano aria "Ein' Magd, ein' Dienerin" with
fs 9
strings and basso continuo.
n
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
deutschen 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,
1 9 66) , pp. 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.
Chapter 3
THE THEOLOGICAL SETTING OF THE GEI STLI CHES

LI ED FROM 1 8 0 0 THROUGH 19 15
The Romantic geistliches lied is rooted in the
theological backgrounds of the nineteenth century as well
as in the subsequent developments which took place within
that period of time 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 Theology
Three different ideological currents form the
background for the developments which occurred in
theological thought between 1800 and 1915. These are
Pietism, Rationalism, and R o m a n t i c i s m.
Pietism
The p i e t i s t i c move ment began in the l a t t e r p a r t of
the seventeenth century. It arose within Ge r ma n L u t h e r a n
ism a s an a t t e m p t to recover the supposed sim plicity of
the apostolic faith, as opposed to the highly developed
dogmatic systems of Lutheran Scholasticism.-^ 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
41
classically expressed in the Pia Desideria (1675) of
Phillip Jakob Spener (1635-1705), P i e t i s m 's c e n t r a l con-
cern was the "interiorization of Christian truth." Wi t h
its focus on a c t i v e faith (fides qua c r e d i t u r ) i n c o n t r a s t

O
to articles of belief (fides quae c r e d i t u r ). Pietism held
to a p e rs o n a l co n v ersio n e x p e rie n c e , often preceded by a
deep conviction of personal sin.^ The P i e t i s t s met in
small informal groups which placed great emphasis upon
personal spiritual experience with Christ.^ Within these
assemblies an intolerance of laxity, indifference, and
immorality was coupled with a concern for the poor and
underprivileged member s of society.^ Pietism contributed
to th e Romantic movement ^ and grew t o l a r g e proportions in
in Lutheranism.
We l c h , Protestant T h o u g h t , p. 27.
^ Ib id ., p. 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.
^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
teenth 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 :
42
the nineteenth century, with e v e n mo r e influence in Swit-

O
zerland than in central Ger many.
Rationalism
Beginning in the seventeenth century and i n c r e a s
ing throughout the succeeding century, reason wa s a p p l i e d
to religious considerations in a thoroughgoing manner.
All religious teaching was summoned before the bar of
reason and examined and accredited as being "reasonable"
b e f o r e a s s e n t was g i v e n to t h e doctrine being discussed.
This "enlightened" approach to r e lig io n was a c c o m p a n i e d by
secularization, utilitarianism , and a strong moral sense,
and wa s indicative of an antidogmatic, anti-enthusiastic
mindset which grew from disenchantment 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.
43
controversies, persecutions, and w ar s . ^ This emphasis on
reason as "the last j u d g e and g u i d e i n e v e r y t h i n g " - * -® gave
rise to three different approaches to rationalistic reli
gion: rationalistic super n a t u r a l i s m , Deism, and a t h e -
i s m . •*•-*■ O n l y the first two of these had strong impact on
the theology of the nineteenth century.
Adherents of ra tio n a 1i s ti c supernaturalism ,
i n c l u d i n g John Locke (1 6 3 2 -1 7 0 4 ), held that religion had
to conform to reason and that Christianity did so, even
though i t s contents transcended what r e a s o n , unaided by
divine revelation, could discover. 19 This high evaluation
of the place of divine revelation led to C h r i s t i a n i t y not
Mysterious (1696) by John Toland (1670-1722), wh o held
that true revelation could not c o n t r a d i c t reason but would
always be congruent with it. This work marked the

1^
transition t o Deism.
Deism or "natural religion," which was based on
the concepts of Newtonian astrophysics, the socio
a n t hr o po 1 o g i c a 1 inform ation garnered from overseas
discoveries, and the rationalism of John Locke and his
®We l c h, Protestant T h o u g h t , pp. 30-34.
- *- ®I bi d. , p . 3 0 , quoting John Locke's A_n E s s a y in

Human U n d e r s t a n d i n g .
-*--*-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 .
-Îbid. ^®Ibid., p. 786.
44
followers,^ claimed that reasonable consideration of
religion led to the following conclusions: (1) God e x i s t s
and he should be worshiped; (2) virtue and piety are
essential to worship; (3) p e o p l e should repent of their
sins; and (4) there is a future life with rewards and
punishments. ^
Although Deism originated in England, it had
profound effects upon the Germanic peoples during the
period of t h e E n l i g h t e n m e n t and beyond. Included among
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 by D e i s t i c ideas were
He r ma n n Samuel Reimarus (1694-1768), the first important
Ge r ma n Deist, who r e j e c t e d all revealed religion and wa s
the first to attempt to uncover the "historical Jesus;"^
Gottfried Wilhelm Leibnitz (1646-1716), who sought to
reconcile L u t h e r a n s and C a t h o l i c s via a fa ith b a s e d upon
reason; Moses M en d e ls s o h n (1729-1786), who h e l d that no
religion is absolutely true; and G o t t h o l d Ephraim Lessing
(1729-1791), wh o a t t a c k e d the miracles, prophecies, and
some of the characters in the B ible,^ while conceding
that the teachings of Jesus ranked high as a natural
religion of love with i t s only te n e t being the n e c e s s ity
14I b i d . , p. 787
^Latourette, C h r i s t i a n i t y , p. 29.
^Barnes, H i s t o r y , p. 801.
^Latourette, C h r i s t i a n i t y , pp. 33-34.
45
1 ft
to love one's neighbor.
Further proponents of the rationalism of the
Enlightenment included Johann Gottfried von Herder (1744-
1803), Johann Wolfgang von Goethe (1749-1832), Johann
Christoph von Schiller (1759-1805), and Immanuel Kant
( 1 7 2 4 - 1 8 0 4 ) . While the first t h r e e of th e se were h i g h l y
influential within the sphere of literature, it wa s Kant
wh o, while carrying 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 begun

9n
in Leibnitz, was the most influential thinker with
91
regard to the course of n in e te e n t h - c e n tu r y theology.
The p r i n c i p l e s of Kantian thought which were to be
of great im portance in the work of the succeeding
generations of theologians were prom ulgated in a
succession of books. In the first, K ritik der reinen
Vernunft ("The Critique of Pure Reason," 1781), Kant
claim ed that people are unable to know things in
them selves, but human knowledge is lim ited to the
organization of sensations by the mind. This approach
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 reason.
It also worked against the rational proofs which had been
advanced for the existence and character of Go d . K ritik
1O
Barnes, H i s t o r y , p. 801.
1^ L a t o u r e t t e , C h r i s t i a n i t y , p. 34.
20I b i d ., p. 134.
2 We 1 c h , P r o t e s t a n t T h o u g h t , p . 45.
46
der practischen Vernunf t ("The Critique of Practical
Reason," 1788) presented Kant's argument for the existence
of Go d based on the "categorical im perative," the
unconditional and u n q u a l i f i e d moral o b l i g a t i o n which f a c e s
humankind. In 1793 Di e R e l i g i o n innerhalb der Grenzen der
b1 o s s e n Vernunft ("Religion within the Bounds of Mer e
Reason") published Kant's contention that anyone who
conformed to the "categorical imperative" is a son of God
and is pleasing to him, with Jesus Christ being the

OO
highest example of that conformity and that sonship/4
The p r o b l e m , according to Kant, is that though humanity
has received the moral im perative from God, it has not
become an e s s e n t i a l part of each i n d i v i d u a l ' s true w ill.

99
As a r e s u l t , each person liv e s with a perverted w ill.
For Kant, then, Christian belief consisted in faithfully
clinging to and i m i t a t i n g Christ, the a rc h ty p ic a l human

r\ /
who has overcome this perversion. Thus, while ending
"natural religion," Kant t u r n e d to morality as the basis
for and the utilitarian end of further theological consi-

9 S
derations.- Such further considerations included a
99
Latourette, C h r i s t i a n i t y , pp. 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, Protestant T h e o l o g y , pp. 2 8 8 - 2 8 9 .
^Welch, Protestant Thought , pp. 46-47.
h i
Kantian doctrine of the Trinity: the Father being t h e one
wh o loves because of his satisfaction with humanity's
moral performance; the Son r e p r e s e n t i n g the human r a c e
which is begotten and loved by t h e Father; and the Holy
Spirit viewed as God's wisdom which causes him to act

9 f\
favorably toward those w i t h whom h e i s pleased.
Following the work of Kan t, there remained four
possible approaches to theological thought in the nine
teenth century. One wa s to d is p u te the validity of Kant's
view of t h e o r e t i c a l knowledge. S u c h a v i e w w a s t a k e n by
Idealistic philosophers, 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
Hegel (1770-1831). A differing perspective, little-used in
the nineteenth century but r e v i t a l i z e d by t h e N e o - o r t h o d o x
theologian Karl Barth (1886-1968) in the early years of
the tw entieth century, wa s t o ma k e r e v e l a t i o n , rather than
reason, the starting point for further work. Building
further upon Kant's concentration on morality, a third
approach wa s to adopt morality as the basis for theology,
as wa s done by the pragmatic theologian Albrecht Ritschl
(1822-1899). Yet a n o t h e r course of a c t i o n , and t h e one
most widely followed, was to enlarge the category of
experience to in c lu d e feeling ( G e f i i h l ), s u c h a s was done

97
by t h e R o m a n t i c theologian Friedrich Schleiermacher.
^Barth, Protestant T h e o l o g y , pp. 287-288.
Îbid., pp. 47-48.
48
Romanticism
Arising in the 1790's in reaction to Kant's
critical Idealism, Romanticism claimed that people are not
fundamentally intellectual but, rather, i n s t i n c t i v e and
emotional.^® T h i s e m p h a s i s on f e e l i n g rather than thought
beca me t h e p r e d o m i n a n t bo nd u n i t i n g an o t h e r w i s e disparate
group of teachers, philosophers, and w r i t e r s . Indeed, an
essential element of the Romantic ethos was the belief
that e v e r y o n e i s an i n d i v i d u a l with fe e lin g s wh o h a s t h e

OQ
right to agree or disagree with others. '
Accompanying the prim acy of i n d i v i d u a l feelings
wa s t h e Romantic longing for the union of the finite with
the infinite which results in ultimate reconciliation and

on
peace with oneself and with Go d . Religiously, this
yearning caused a swing from a rationalistic and

orthodox
O1
Protestantism to a passionately mystical Catholicism,
but ultim ately moved beyond the ideas of Go d as
n o
B a r n e s , H i s t o r y , p. 8 4 7 , q u o t i n g J.H. Randall s
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 q
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
Art in the W e s t e r n World (Dubuque: Wm. C. B r o w n , 1 9 8 7 ) ,
p. 214.
^ 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.
49
exclusively revealed in the Bible toward a personal
apprehension of the "divine Principle" which was the
source of the created world and of the spiritual life
within all people. Hence, in the final analysis, the
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 man a n d
in nature and who reconciled in his own person the
antagonistic system s" of R ationalist and Romantic
philosophy.
These twin ch aracteristic notes of German
Romanticism were sounded forth in two generations of
writers. The first group, whose concerns were primarily
critical and philosophical rather than literary, included
Johann Gottlob Fichte (1 762-1814) and F r i e d r i c h Wilhelm
v on Schelling (1775-1854), both philosophers; the Schlegel
brothers, August W ilhelm Schlegel (1767-1845) and
Friedrich Schlegel (1772-1829), and their wives; Wilhelm
Wackenroder (1773-1798), an aesthetic theoretician and
critic like the Schlegels; the poets, Ludwig Tieck (1773-
1853) and N o v a l i s ( F r i e d r i c h von H a r d e n b e r g , 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.
50
and the theologian Friedrich Schleiermacher (1768-1834).^
The s e c o n d group, w h i c h was l e s s critical while putting
into practice the theories of the older group, included
the collectors, Clemens Brentano ( 1 7 7 8 - 1 8 4 2 ) a n d Ac h i m v o n
Arnim ( 1 7 8 1 - 1 8 3 1 ) ; the dramatists, Zacharias Wer ner (1768-
1823) and H e i n r i c h von K l e i s t (1774-1811); the n o v e lis t,
Ernst Theodor Wilhelm Hoffmann (E. T.A. Hoffmann, 1776-
1822); and the poets: Theodor Korner (1791-1813) and
Ernst Moritz Arndt (1769-1860), both p a t r i o t i c in focus;
Ludwig Uhland (1787-1862), the Idealistic lyricist; and

Q/
the ironic cynic, Heinrich Heine (1799-1856).
Basic Approaches to Theology in

the N ineteenth Century
As n o t e d a b o v e on p a g e 4 7 , the work of Kant a t the
close of the eighteenth century left four basic options
for ne w theological development. Three of these were of
significant importance in the nineteenth century, and e a c h
can be identified with the work of one seminal figure
within that period of time. As s u c h , alongside 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.
continuing forces of a
r e v i t a l i z e d t r a d i t i o n a l orthodoxy,
O
Pietism, and Rationalism, t o g e t h e r they c om plete a gen
eral picture of the theological world from which the
geistliches lied arose.
Schleiermacher and t h e E x p e r i e n c e
of " F e e l i n g " (Gefiihl)
o7
The r e l i g i o n of f e e l i n g which began w i t h P i e t i s m
was m o s t i n f l u e n t i a l l y expressed in the nineteenth century
by Friedrich Schleiermacher (1768-1834), the dominant

OQ
G e r ma n Protestant theologian of h i s time. In a d d i t i o n
to being shaped by t h e Moravian P i e t i s t i c education of his
youth, Schleiermacher's theology wa s a l s o 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 ) .
■ ^ 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
School 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.
52
impress of a family history of doctrinal uncertainties in
conjunction with the philosophical influences of
Aristotle, Plato, Spinoza, Leibnitz, and Ka n t , as well as
the close relationships which existed between him and t h e

39
first generation of Romantic philosophers and c r i t i c s .
Schleiermacher's views were presented via two
publications: Ub e r die Religion, Re d e n a n d i e Gebildeten
unter ihren Verachtern ("Speeches on Religion, to the
Cultured a mo n g its Despisers," 1799); and De r christliche
G la u b e nach den G r u n d s a t z e n d e r evangelischen Kirche im
Zusammenhange dargestellt ( " Th e Christian Faith According
to the Fundam entals of the P ro te sta n t Church
System atically Set Forth," 1820-1822, with a revised
edition which appeared in 1830). The key element in
Schleiermacher's theology 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
religious feeling or e x p e r ie n c e . According to h is view,
the essence of f a i t h , piety, or r e l i g i o n (terms w h i c h he
used interchangeably) is the self-conscious awareness of
one's absolute dependence upon Go d , ^ ^ which is 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 discussion of the id e a of

" Go d" i n S c h l e i e r m a c h e r ' s w o r k .
53
successfully expressed in Christianity.^ Such a r e l a t i o n
ship is characterized by a t t i t u d e s of reverence, humility,

/ A
gratitude, joy, confidence, and trust.
Because of the priority of r e l i g i o u s experience in
the views of Schleiermacher, he held that neither the

/ Q
Bible nor any s t a t e m e n t s of d o c t r i n e were the b a s i s of
Christian faith. Rather, religion, as the e x p e r i e n c e of
union with and d e t e r m i n a t i o n by t h e " i n f i n i t e , " gives rise
to doctrinal statements as a means of attempting to
describe symbolically the content of the faith relation
ship.^ After the believer has experienced faith in God
through Christ, the Bible can then become a u t h o r i t a t i v e ; ^
but the believer is one wh o has no need to adopt the
teachings of another person because his or her experience
has made it possible to write a personal "scripture."^
The B i b l e , for Schleiermacher, becomes a g u i d e so that the
believer may a l s o participate in the "consciousness, expe
rience, and c h a r a c t e r of Jesus.
^Burkill, E v o l u t i o n , p. 381.
^Neve and H e i c k , H i s t o r y , p. 107.
^ L a t o u r e t t e , C h r i s t i a n i t y , Vol. II, p. 14.
^Welch, Protestant Thought, pp. 62,67. See also,

Barnes, H i s t o r y , p. 8 5 4 .
^ ■’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 . II, p. 14.
54
W ithin this general framework of thought
Schleiermacher delineated the details of h i s dogmatics.
He viewed God as the unknown unity which causes,
underlies, and includes all things, designating this
u n k n o w a b l e and i n c o n c e i v a b l e reality as the "infinite,"
the "whole," or the "whence" which has an i n f i n i t e number

AO
of m anifestations, including personality. Because of
Schleiermacher's understanding o f God, which has been sum
marized as "the universe is God, God i s the universe,"^
he has been charged with being pantheistic, but debate
continues within scholarly circles on t h i s matter.
Because God is essentially unknowable through
mental apprehension, Schleiermacher held that statements
A O
George Matheson,Aids to the Study of German
Theology ( E d i n b u r g h : T.& T. C l a r k , 1 8 7 4 ) , p. 41. See
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.
^ 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 .
55
about the a t t r i b u t e s o f God a r e not truly statements about
God himself but only about our feelings of absolute
dependence upon him .^ It wa s Schleiermacher's view that
God h a s o n l y o n e a t t r i b u t e , power or c a u s a l i t y , with a ll

CO
else arising from a m o d i f i c a t i o n of t h i s .
As one e x p re s s io n of G od's c a u s a l ity ,
Schleiermacher affirm ed that all of the created order,
including humanity, lives, moves, and has its being in
God. There is uncertainty whether the world was created
at a particular point in tim e, but the human race
definitely was c r e a t e d at a unique instant by a n a c t of
God.^ Shortly after its creation, humankind f e l l from
perfect relationship with God i n that the heavenly nature
of people was s u b j u g a t e d to the earthly nature. From t h a t
point in time humankind has been corrupt and unable to
redeem itself. Only t h e i n t e r v e n t i o n o f God t h r o u g h t h e
life and death of J e s u s could restore life to h u m a n ity .^
In h i s discussion of the person of Jesu s Christ,
Schleiermacher shunned any f o r t h r i g h t attribution of d e i t y
to him, while the affirm ation of Jesus' humanity is
essential to S c h l e i e r m a c h e r Ts thought which saw C h r i s t as
the c o m p le tio n of the c r e a t i o n o f t h e human r a c e as well
as the actualization o f a new o r d e r of possibilities for
"Îbid., pp. 77-79. ^^Matheson, A i d s , p. 42.
■Îbid., p. 44. -Îbid., pp. 45-47.
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 uniqueness of Jesus was seen in Schleiermacher's
outlining of C hrist's sinlessness, his lack of need f o r
redemption, the difference of his origin, and, most
importantly, his totally undiminished "God-conscioiisness"
which S c h le ie rm a c h e r held t o be i d e n t i c a l with the real
essence o f God i n h i m . ^
Because of the perfection of h is r e l a t i o n s h i p of
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 i s th e most e f f e c t i v e
reconciler of the " i n f i n i t e " and t h e f i n i t e , and, hence,
the mediator between the d i v i n e and e a r t h l y realm s.^
Redemption, which occurs wh e n a n i n d i v i d u a l is confronted
with the historical personality of Jesus as testified to
in the Scriptures^ and participates in C hrist's own
experience of God-consciousness,^ involves not only
regeneration and sanctification, but the very gift of
Christ him self.^
•^Welch, Protestant T h o u g h t , p. 83.
^Neve and H e i c k , H i s t o r y , pp. 112-113.
■^BurkiH, Evolution, p. 382. See a l s o , Tillich,

P e r s p e c t i v e s , pp. 110-114.
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.
^Welch, Protestant T h o u g h t , p. 83.
57
Hegel and t h e Religion of Phil os op hy
Beginning where Kant ended, but accepting neither
his emphasis on m o r a l i t y nor Schleiermacher's focus on
feeling,^ Georg Wilhelm Friedrich Hegel (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 of
priority in theology.^ In his attempt to reconcile phi
l o s o p h y and t h e o l o g y fully, and t h e r e b y science and C h r i s
tianity,^ Hegel sought to understand the entire universe
under the rubric of a single system. In H e g e l ’s s y s t e m ,
S pirit, the ultim ate reality and the ground of all
existence, can be i n t e l l e c t u a l l y understood as it dialec-
tically unfolds itself in the history of the w orld.^ The
details of t h i s system of a b s o lu te Idealism were p r e s e n t e d
in four publications: Phanomenologie des G e i s t e s ("Pheno
menology of the Spirit," 1807); Wissenschaft der Logik
("Science of Logic," 1812-1816); Encyclopadie der philoso-
phischen W issenschaften m Grundrisse ( " E n c y c l o p e d i a of
the Philosophical Sciences in Outline," 1817); and Grund-
linien der P h i l o s o p h i e des Rechts ("Outlines of the Philo
sophy of R i g h t , " 1821).
^R eardon, Religious T h o u g h t , p. 20.
* ^ Ne v e a n d H e i c k , H i s t o r y , p p . 119-120. See also,

Wel ch, P r o t e s t a n t Th ou gh t, pp. 88-91.
58
A l t h o u g h t h e work of Hegel has been i n t e r p r e t e d in
a wide variety of ways, he understood him self to be a
C h ristian philosopher who brought the tru th of
Protestantism to its most com plete philosophical
expression so that this truth could have an observably
genuine claim to universal validity. In this undertaking
the ex p lic a tio n of the doctrines of the T rin ity and of the
Incarnation were o f central importance.
Building upon t h e tenet that the human mind was
built after the image of the 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 elements, two contradictory or c o m p l e m e n t a r y ideas
and one idea which unites them, so in the mind of the
divine there must be t w o r e a l i t i e s , self (Father) and n on
self (Son), which are united by Spirit which contains
them both. Similarly, as the h u ma n p e r s o n a l i t y is a union
of b o th body and s o u l , so S p i r i t unites the Father wh o i s
the Universal Soul and the S o n wh o i s the body in which
the Soul dwells. As a r e s u l t , Christ, in whom t h e Father
is eternally incarnate, is the dwelling place of the
Father.^ For Hegel, Jesus is the "self-manifestation of
the absolute m i n d , " who e x p r e s s e d "that which is universal
^^Wel ch, Protestant T h o u g h t , p. 87.
^Matheson, A i d s , pp. 92-97.
59
fi 7
and whi ch i s potentially true o f e v e r y huma n b e i n g . "
Hegel held that although the Trinity existed
independent of tim e in a s t a t e of p e r f e c t i o n , it entered
the realm of t i m e so a s t o embody i t s e l f much i n t h e s a m e
wa y t h a t a soul must occ up y a body t o become known. The
infinite Soul first concretely expressed itself in nature
through the act of creation. At its 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 into communi on w i t h the divine. Because, however,
nature itself shared in the life of the Soul, 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 human
soul through a process which included both plant and

f\ ft
animal stages of e x i s t e n c e .
Prior to the development of human l i f e , sin did
not exist, but as humanity developed and beca me personal
the possibilities for freedom and for an existence apart
from God developed.^ The individual is aware of the
separation which exists between self and God and must
decide whether to attempt to transcend the difference or
to live a life controlled by the life of nature as it
^Tillich, P e r s p e c t i v e s , p. 134.
^ M a t h e s o n , A i d s , pp. 97-104. See a l s o , Tillich,

P e r s p e c t i v e s , pp. 1 1 8 - 1 2 3 .
^ N e v e and H e ic k , H i s t o r y , p. 121. See also,

Tillich, P e r s p e c t i v e s , p. 124.
60
shows i t s e l f in selfishness. This l a t t e r choice, which
each person has made, constitutes H e g e l ’s d e f i n i t i o n of
sin.
In order to make possible the reconciliation
b e t w e e n God a n d ma n , a supernatural redeemer must be b o r n
by a n a c t of s u p e r n a t u r a l force in a d d itio n to the power
still resident within nature. This f i g u r e must not only
be o n e with humanity, but must a l s o be a w a r e of the rela
tionship which e x i s t s b e t w e e n him and the infinite Father
as he l a b o r s to r e s t o r e humanity to fello w sh ip w i t h Go d .
This is the role which Jesus played by submitting his
entire life to the will of God a n d c r u c i f y i n g the natural
selfish life. For Hegel, Christ's crucifixion was the
clearest demonstrable proof of both his humanity and his
divinity in that it showed him in his weakness while
removing the body w h ic h had served to v e il his divinity
f r om human s i g h t . His r e s u r r e c t i o n re-established both
divine-human communion and true h u ma n fellowship;^ and
it is in worship that the self is unified with God, and
God w i t h the self, as the individual voluntarily surrenders
to the divine grace which comprises the real power of his
or her o wn freedom and goodness. On t h e basis of this
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, A i d s , pp. 105-111.
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 middle of t h e nineteenth century the forces
of Idealism and Romanticism as theologically expressed by
Hegel and S c h l e i e r m a c h e r respectively w e r e on t h e wane.
The latter part of the century saw a return to ideas
closely associated with the thought of Kant and h i s empha
sis on m o r a l i t y , although now tempered with the concepts

79
of materialism and p o s i t i v i s m .
Arising within this background, it was A l b r e c h t
Ritschl (1822-1889) who was the most influential Protes
tant theologian of the last third of the nineteenth
century. He b e l i e v e d religion to be a c o n s t a n t factor in
human l i f e , as held 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 the
corporate nature of religion sim ilarly to Hegel. Most
importantly, however, it was R i t s c h l ' s perception, like
K a n t ’s , that God i s k n o wn neither intellectually nor e mo
tionally, but practically, as value judgments are formed
with an eye to the meeting of h u ma n needs, 7^ p a r t i c u l a r l y
the r e s o lu t io n of the c o n t r a d i c t i o n which l i e s within each
individual due to the spiritual and natural aspects of
human e x i s t e n c e . ^ Because of this fundamental
79
Ne ve a n d H e i c k , H i s t o r y , pp. 148-149.
^Burkill, E v o l u t i o n , pp. 428-429.
■^Reardon, Religious T h o u g h t , p. 21.
62
understanding, Ritschl g a v e t h e h u ma n w i l l the position of
priority in r e li g io u s thought while seeking to exclude a l l
e le m e n ts of m y s t i c i s m , Pietism, devotional sentimentalism,
or speculative Rationalism.^
Beginning with the gospel as given h i s t o r i c a l l y in
Christ, and holding Christ to be the only source for
knowledge of G o d , ^ Ritschl published the mai n i d e a s of
his wor k i n t h e t h r e e volumes of h i s Die c h r i s t l i c h e Lehre
der Rechtfertigung und V e r s o h n u n g ("The C h r i s t i a n Doctrine
of Justification and Reconciliation," 1870-1874) while
adding further reflections in Theologie und Me t a p h y s i k
("Theology and Metaphysics," 1881) and the three-volumed
Die G e s c h i c h t e des Pietismus ("The H i s t o r y of Pietism,"
1880-1886). Within Ritschl's understanding of the Chris
tian faith, God is seen as a personal Father who has
neither wrath nor holiness as divine attributes, but who
is always ready to forgive his h u ma n c h i l d r e n uncondition
ally and to re-adm it them to fellowship purely on the
basis of his love.
Because humanity had sinned and constructed false
ideas of God's wrath and holiness which kept the human
race from drawing near to him, God r e v e a l e d himself in
^Îbid. 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.
63
Christ so t h a t all people would k n ow o f this divine atti
tude of unchanging love. The prophetic word and the
example of the sacerdotal service of Jesus, ^ wh o had
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 to him in moral

7 ft
obedience, convinces believers of the justification or
forgiveness which i s a v a i l a b l e to them as th e p r e l u d e to
ultim ate reconciliation with God based on t h e Father's
love.^ According to Ritschl, this truth, when fully
grasped by f a i t h , should ultim ately result in obedience
which w ill bring about the K i n g d o m o f God, that is, the
moral u n i f i c a t i o n of th e e n t i r e h u ma n r a c e through action

ft 0
inspired by love. Thus reconciliation, the Ritschlian
ideal for human l i f e , consists of four divine acts: (1)
God's c o n f r o n t i n g the believer as his or her F a th e r ; (2)
ju stifying the person based on that in d iv id u al's
"childlike feeling of utter trust;" (3) giving the
believer spiritual dominion over the world; and
^Barth, Protestant T h e o l o g y , p. 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. "
®^Latourette, C h ris tia n ity , Vol. II, p. 28. See

also, Lane, C h r i s t i a n F a i t h , p. 174.
64
Q1
(4) engaging the person 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 theological orientations of the
nineteenth century can be most easily classified by iden
tifying that part of the human consciousness which is
stre sse d by each of the in d iv id u al view points.
Schleiermacher's Romantic theology c a n be s a i d to focus on
t h e e m o t i o n s or f e e l i n g s of humankind i n r e l a t i o n s h i p with
God, but, in contrast to the mindset of Romanticism in
general, Schleierm acher's orientation is specifically
christocentric and stresses the believer's feeling of
absolute dependence u p o n God. On t h e other hand, Romanti
cism is concerned with the union of the human and the
divine and accepts the experience of the divine realm
through contact with the created order. Pietism, in which
both Romanticism and S c h l e i e r m a c h e r ' s theology are rooted,
is also an e m o t i o n a l approach to re lig io n , but, in d i s t i n c
tion from its Romantic successors, it recognizes the dis
tance between the human and t h e d i v i n e as e x p r e s s e d i n a
deep c o n s c i o u s n e s s of h u ma n sinfulness and the need for a
personal conversion experience. According to pietistic
thought, it is out of this conversion experience 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 ) .
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 to the emotional emphasis of P ietism ,
Romanticism, and Schleierm acher's Romantic theology,
H e g e l ’s Idealism is focused on the mind or intellect,
while R itschl's concentration is on t h e h u ma n w i l l . Tra
ditional orthodoxy is able to subsume the three 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 poetic
expression to determine whether i t is o rien ted toward the
emotions, the mind, or the will.
Owing to the generally emotional character of
poetic expression and because of the three differing foci
- em otional,intellectual, and volitional - of the theolo
gical approaches discussed in this chapter, it is not
surprising that the influence of R om anticism , Romantic
theology, and their predecessor, Pietism, is most likely
to dominate the texts of the geistliche lied. This is
particularly true of those songs which express sentiments
of love and devoted adoration, such as in the songs which
set the texts of Novalis. There are, however, Idealistic
poets like Johann Ludwig Uhland and moralizing poets like
Julius Ha mme r whose t e x t s were s e t . These texts tend to
be devoid of mysticism, Pietism, or devotional sentimen
talism, 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 similar
to those addressed by t h e Romantic and P i e t i s t i c poets.
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 songs for voice
and piano which Beet hoven wrote there are eight which are
settings of r e l i g i o u s texts.^ Two a r e discussed 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 poet, Christian Fiirchtegott G ellert (1715-
1769), wa s o n e o f t h e m o s t i m p o r t a n t figures o f t h e G e r ma n
Enlightenment. In addition to teaching poetry, rhetoric,
and moral philosophy at Leipzig University, he also wrote

O
fables, songs, novels, plays and p o e t r y . The s o u r c e of
the six Gellert texts set by B e e t h o v e n in h is Opus 48 i s
the Geistliche Oden und Li e d e r of 1757 from w h i c h C. P. E.
Bach c h o s e fifty-five texts to set for voice and piano.
F r a n z J o s e p h Haydn, C a r l Loewe, and T c h a i k o v s k y a l s o set
Gellert texts, although his texts were most popular a mo n g
■^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 geist
liche 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 .
^ 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
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 .
O
Love o f the Neighbor
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 summary. God i s love. He h a s made
k n o wn t o h u ma n b e i n g s the truth of his will: each person
is to love other persons as the individual loves his or
h e r own s e l f . 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
another person is a mocker and a destroyer o f God' s truth.
This text expresses the ideas of traditional orthodoxy
under the influence of Kant's rationalistic moralism and
Pietism.
Mu s i c a l analysis. This entire song^ occupies
■Ânot 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 of
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
6 8
twenty-nine measures and i s in binary-form with an e i g h t -
measure coda and a two-measure interlude for the piano.^
W ritten in the key of E - f l a t m a jo r , the song has a vocal

I O
range of a m i n o r t e n t h (d t o f ). The accompaniment
doubles the vocal line almost completely with a r t i c u l a t i o n
changing to underline the sense of the text. The f i r s t
section of th e song i s homophonic in texture, but t h e B-
section and the coda are polyphonic with the four note
melody at "Gott ist die Lieb" serving as the germ of the
contrapuntal accompaniment in the latter part of the
song.^ The text is declaimed in a straightforward,
unrepeated manner.^
Other s e t t i n g s . No o t h e r nineteenth-century set
tings of t h i s t e x t a r e known, but i t was s e t 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 a
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 .
^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 ) .
69
Ba c h (1758) and J o h a n n e s Schmidlin (1761).®
"Abendlied unterm g e s t i r n t e n H i mme l "

( WoO 1 5 0 , 1 8 2 0 )
No inform ation concerning the poet, Heinrich
Goeble, is available.
Abendlied 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.
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.
Q
Evening So n g b e n e a t h the Starry 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 shimmer,
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 ;
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 I have a t t a i n e d t h e g o a l ,
So o n h a v e s o a r e d up t o y o u ,
S o on a t God's t hr o ne have reaped
The 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 , L i e d e r , pp. 33-34, for

another English t r a n s l a tio n .
71
Theological summary. God, the one who j u d g e s the
stars'*'® and rewards the sufferer at the time of death,
rules over the created order from the distant heaven. For
an individual, life on e a r t h is a pilgrimage of returning
to the heavenly homeland. In the m idst of the turbulent
and unjust circumstances of this earthly life, when a
person contem plates the night sky he or she longs
hopefully for the quick com pletion of this mortal
existence so t h a t the soul ma y b e s e t free of a l l bodily
lim itations and attain the goal of m ortal existence: a
beautiful reward from God. ■*■■*• This poem gives expression
to the Deistic rationalism of the Enlightenment combined
with the Romantic longing for u n i o n w i t h God.
Musical analysis. Within the scope of this song's
eighty-one measures, Beethoven has treated Goeble's eight

72
strophes as four eight-line strophes. 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 for study in

B e e t h o v e n ' s Werke, s e r i e s 23, pp. 148-151.
72
IO
lied is an e x a m p l e of the strophic-variation lied form. J
The r a n g e o f t h e song is a perfect eleventh (c^-sharp to

n ^
f-sharp) within the key of E m a jo r . Th e v o c a l me l ody and
the piano accompaniment both change in response to the
varying of emotions and imagery within the text. Each
strophe ends with the same chordal accompaniment 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 patterns within the earlier phrases of
each strophe. These patterns include chordal triplets,
Alberti bass figurations, chords broken between the two
hands of the pianist, and m artial dotted rhythms. The
text is presented without repetition except for the
ecstatic restatem ent of "j a , bald! bald meiner Leiden
schonen Lohn" which moves into a six-measure codetta
quoting the same chordal accompaniment which ends each
strophe .
Other settings. No o t h e r settings of this text are
known t o 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 a
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.
Chapter 5
AUGUST HARDER
(1775-1813)
Although little - r e m e m b e r e d today, August Harder
was one of t h e m o s t p o p u l a r com posers of h is era. After
studying theology at the university in Leipzig, Harder
turned his energies to the field of music. He was
successful as a teacher, pianist, and g u itarist in
addition to composing ap p r o x im a te ly forty volumes of songs
for solo voice with either piano or g u i t a r a c c o mp a n i me n t . ' * '
Of this total at least eleven individual songs were
settings of r e l i g i o u s texts for voice and piano, two of
which a r e considered below.
The a u t h o r of the texts of both of t he songs under
discussion here was F r i e d r i c h Adolph Krummacher (17 6 7—
1845). Raised in a pietistic family, Kr ummac her beca me a
school teacher, university lecturer, and a pastor in
addition to being a p ro lific author. Under 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
74
n
influence of Johann G o t t f r i e d von H e r d e r Krummacher gave
expression to his Bible-believing faith in an allegorical
and didactic manner which combined pietistic ideas and a
vocabulary influenced by t h e humanistic rationalism of
Herder's philosophy. The s o u r c e s of the p o e ms c o n s i d e r e d
below are Der Sonntag (1805) and Das Christfest (1810),
respectively. Together they form the first two sections
of Krummacher's Festbiichlein: Eine Schrift fiir das Vol k
which he com pleted in 1819 with the additon of Da s
Neujahrstagfest. These three works contain almost all of
Krummacher's religious poetry and have been the source of
texts for composers other than Harder, including Carl
Neuner (1778-1839), August G o t t f r i e d Ritter (1811-1885),
and F r i e d r i c h Schneider (1786-1853).^
" Da s W o r t "
( 1807)
This lied is the second in that section of
H arder's £ .e.s a..n.g.je u..n ji Ljl je jd e^jr a _ujs d„e m S o n n t a ^ e which
contains songs for solo voice with 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
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 Rund
Dein r e d e n d e n Odem a u s L i p p e n u nd Mund.
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.
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 ,
77
And l i v e s i n t h e joy of the prayer of the

impoverished.
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 s u mma r y . The all-powerful God who
reigns in heaven is the source of the word which is his
breath. It existed before creation began and was
instrum ental in the c re a tio n process. The wor d b r o u g h t
forth the light to dispel the darkness and gave rise to
the flowers which can be s e e n beautifying the whole e a r t h .
This wo r d i s related to God' s covenant with 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 experience divine life as a personal
possession and become an inheritor of heaven. By me a n s
of this same word one ma y a l s o approach God in prayer.
This text shows the imprint of traditional orthodoxy
combined w i t h ideas from P i e t i s m and R o m a n t i c i s m .
78
Musical analysis. Following a two-measure piano
introduction, this song consists of eight strophes of
twenty-eight measures each for a total length of 226
measures. The vocal line has a folksong-like simplicity,
encompassing a major tenth (e^-flat to g^) i n t h e key of
E-flat major. The keyboard accompaniment consists of
simple guitar-like arpeggiation.^ Th e fourth, sixth, and
seventh strophes share an altered accompaniment which
retains the texture and the harmonic progression of the
other strophes while having different arpeggiated
patterns. Th e same strophes also share a slight rhythmic
change in the vocal line as w ell as all having a
fortepiano dynamic marking for the first note of each
measure for both hands of the pianist. The text is
presented without repetition in a predominantly syllabic

/:
style. This is an e x a m p l e of a t y p i c a l Harder song.
Other settings. No o t h e r settings of this text
a r e known t o 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 .
79
" Di e A h n u n g "
( 1811)
This song is the sixth in that section of Harder's
Gesange und Lieder aus dem Christfeste which contains
songs for solo voice with 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 H e r z e n du g e b o h r e n
Uns zura T r o s t im d u n k e l n T h a i g e k o h r e n !
Ach i c h f i i h l e d e i n e s F i t t i c h s Wehn!
S o l i i c h denn 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 !
^This score is a v a i l a b l e for study at the Library

of C o n g r e s s i n W a s h i n g t o n , D. C.
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 valley!
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?
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 !
O
Theological summary. Go d ’s essence is holy. It
comes from h eaven where i t moves in f r e e d o m , but i t also
comes to those wh o s e r v e God i n h u m i l i t y . Wh e n i t comes
it brings comfort to the heart and inspiration for the
lips. In God's presence the human soul is reverently
®I n t h i s poem t h e e s s e n c e o f God i s r e f e r r e d t o
hypostatically through th e use of the term "Ahnung"
( Idea ) .
81
fearful yet longs to see God' s face and know his presence
eternally. The stars look down on humanity with
compassion. This text reflects the influence of Pietism
and H e r d e r ' s rationalistic vocabulary.^
Musical analysis. Harder has fashioned a modified
strophic song from the six strophes of Krummacher's poem
resulting in a t o t a l l e n g t h of s i x t y - s i x measures. Most
of the modifications for the individual strophes consist
of s l i g h t rhythmic c h a n g e s i n t h e melody. This mel ody has

1 O
a span of one o c t a v e (g to g ) in th e key of A-flat
major. The piano accompaniment consists of 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 broken chord patterns. The t e x t setting is predomi
nantly syllabic with the last line of each strophe
repeated.
are known t o be e x t a n t .
^See p a g e s 73-74 above.
Chapter 6
FRANZ XAVER SCHNYDER VON WARTENSEE

(1786-1868)
As a c o m p o s e r , performer, and t e a c h e r Schnyder von
Wartensee was one of Sw itzerland's most versatile and
important musicians of the late Classical and early
Romantic e r a s . Whi l e d i v i d i n g his time between his h o me
land and Frankfurt am Ma i n in G e r ma n y he wrote operatic,
choral, and symphonic works as well as nine volumes of
lieder.^ The fourth of those volumes consisted of the
seven songs w h i c h he w r o t e between 18 2 3 a n d 1827 to reli-

n
gious texts by N o v a l i s . Two o f those songs are the focus
of consideration in this chapter.
Geor g Friedrich Philipp vo n H a r d e n b e r g (1772-1801)
wrote under the pseudonym Novalis. After having been
reared i n a home c o n t r o l l e d by t h e r e l i g i o u s insights of
Moravian Pietism , Novalis became part of the 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
83
O
generation o f Ger man R o m a n t i c s . Hi s t wo ma i n c o l l e c t i o n s
of religious poetry were H y mn e n an d i e Nacht ("Hymns to
the Night," 1797) and G eistliche Lieder (1799). The
latter, written with the encouragement of fellow Romantic
Friedrich Schleierm acherw as to be t h e core of a hymnal
which Novalis intended to accompany with a volume of
sermons. The poetry of Novalis became a favorite textual
source for song c o m p o sers of th e Romantic era with over
200 s e t t i n g s of h i s works extant. The t w o t e x t s discussed
below are the fifth and seventh, respectively, of the
sixteen poems which co m p ri s e his G eistliche Lieder
" Das h o c h s t e Gut"
This lied is the third of the songs in Schnyder
von W a r t e n s e e ' s Geistliche Lieder v on N o v a l i s .
Da s h o c h s t e 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 .
^ [ N o v a l i s J , G e s a m me l t e W e r k e , vol. 1, ed. Carl

Seelig (Zurich: Buhl, 1945) , pp. 36-37.
84
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.
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 .
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 .
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 summary. Jesus Christ is the faithful,

O
loving, and gentle Lord who g i v e s gifts to people. Per
sonal relationship t o him r e m o v e s a l l sorrow and d r e a d and
issues forth in devotion, love, joy, sacrificial loyalty,
discipleship, and comfort at the time of death. The
Virgin Mar y i s a t t e n d e d by h e a v e n l y beings. Each m o r t a l
human being lives in a world which is conditioned by
sorrow and f e a r - p r o d u c i n g events. Within this life one
can l i v e as a p i l g r i m while following Christ on a n a r r o w ,
arduous, and sparsely-populated path, or one may 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 .
86
broad, less strenuous, a nd mo r e common r o a d . T h o s e who
follow Christ as disciples are spiritual siblings. This
poem i s an example of Romantic theology as espoused by
Schleiermacher with pietistic roots.
Musical summary. This song of eighty-eight meas
ures in modified strophic form consists of five strophes
which each begin and end alike. The Italianate melody

1 9
spans a range of a diminished twelfth (c-sharp to g ) in
the key of D major. The a c c o m p a n i m e n t is highly complex.
Although it doubles the vocal li n e at p a r t i c u l a r points,
the piano is an equal partner with the voice with
independent rhythms, countermelodies, and p h r a s i n g s . Har
monically, the piano exploits chromatic passing tones and
arpeggiated chords as well as parallel thirds and sixths.
Rhythmically, syncopation and passages of tw o-against-
three are common.^ The t e x t - s e t t i n g is primarily syllabic
with the last line of text repeated in the first, second,
and fifth strophes.
Other settings. Th e extant settings of this text
include those of Schubert (1819), Louise Reicharat (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 .
87
and L oe we (1821).^
" Hymne"
This lied is the last of the songs contained in
Geistliche Lieder v on N o v a l i s by Franz Xaver 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,
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.
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 summary. Jesus Christ is the source
of u n l i i n i t e d l y abundant love. It is h e who b r e a t h e s the
breath of eternal life into individuals and o f f e r s them
his body and blood in the Lord's Supper. I'his event is
beyond human intellectual comprehension, but it is an
experience which quenches a l l h u ma n d e s i r e s except for the
longing to be bound to Christ in loving intimacy for both
90
time and eternity. People should give this event the
highest priority and p r a i s e Christ for his gift of spirit
ual nourishment. Ultimately all of the created order and
all of h u ma n e x i s t e n c e will become an e t e r n a l celebration
of the Lord's Supper. This text is strongly influenced by
Romanticism and r e f l e c t s Schleiermacher's theology as w el l
as the Roman C a t h o l i c doctrine of transubstantiation.
Musical analysis. This song, eighty-eight meas
ures in le n g th , is technically in through-composed form
but has been loosely organized around an ABA' scheme.
Alternating sections of recitative and arioso form the
substance of the first and last sections which are in the
key of E m a j o r , while the middle section in G major is
consistently more ly rical in nature. Coherence is
achieved through melodic sim ilarities at the beginnings of
the recitative passages as well as through the climactic
eight-measure phrase which a p p e a r s in both the o p e n i n g and
closing sections. It spans the entire compass of the

*J O
vocal range, a major thirteenth (b to g - s h a r p ) , and i s
built on a n E-major arpeggio. The piano accompaniment
supports the recitatives primarily with sustained chords
while undergirding the mo r e lyrical sections with broken
chords and a r p e g g i o s which occasionally introduce counter
m e l o d i e s or l i n e s which p a r a l l e l the voice at the inter
vals of a sixth or a third. The tex t-settin g is
consistently syllabic with text repetition occurring on
91
the words " e w i g l i c h , " and " a l l e s ist ein Leib," as well as
on t h e last t wo l i n e s of the poem.
Other settings. The o n l y o t h e r known s e t t i n g of
this text is by S c h u b e r t (1819).
Chapter 7
MAXIMILIAN JOSEPH LEIDESDORF

(1787-1840)
The A u s t r i a n Jew Maximilian Joseph Leidesdorf wa s
well-known in h is native Vienna, and later in Florence,
Italy, as a p i a n i s t and as a t e a c h e r of p i a n o and g u i t a r .
In addition he was also a music publisher and composed
choral, orchestral, c h a m b e r , and p i a n o works. Amo n g h i s
172 w o r k s t h e r e were o n ly a few f o r solo voice with key
board accompaniment, but his compositional output did
i n c l u d e a m a n u s c r i p t of "Davids Lied vom S c h i c k s a l " to a
text by A. Pollack and the eight songs in his Novalis

1 9
Geistliche Lieder ( Op. 129). Two s o n g s from this volume
Q
are discussed below.
" Wenn i n bangen, triiben Stunden"

( Op. 1 2 9 , No. 1 )
The text of 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 a ila b le for study at the Boston
Public Library in Boston, Massachusetts.
O
S e e C h a p t e r 6, pp. 8 2 - 8 3 , for information on
N o v a l i s and h i s G e i s t l i c h e Lieder.
92
93
the sixteen in N o v alis1 G eistliche Lieder.
Wenn i n baneen, 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 loved,
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 :
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.
^ j^No v a 1 i s J , G e s a mm e l t e We r k e , vol. 1, ed. Carl

Seelig (Zurich: Bi i h l , 1 9 4 5 ) , p . 4 8 .
Â 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 .
94
Theological s u m m a r y . God l i v e s in heaven above;
but, 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 t o c o me l o v i n g l y n e a r them. Through t h e agency of
his heavenly servants he o f f e r s individuals encouragement,
consolation, and a r e n e w e d l i f e . People liv e in c i r c u m
stances full of anxiety, illness, grief, and sorrow which
cause the h u ma n h e a r t to experience fear 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 peace as well as for our own, and our prayers are
answered. This text shows the ideas of Pietism coupled
with Romanticism's longing for union with the divine.
Musical analysis. This through-composed song
fills thirty-eight measures in binary form. The first
section i s in t h e key of F m i nor with each phrase ending
in a h a lf cadence, thereby preparing for the appearance of
an F major tonality in the second section of the song.

1 O
The vocal mel ody covers a perfect eleventh (c t o f ) and
is accompanied by a p i a n o part comprised mainly of chords
played within a homophonic texture or i n a ma nner similar
to the strumming of a guitar. The text is prim arily
treated in a syllabic fashion, but there are repeated
instances of pairs of notes in a descending scale being
sung on one syllable in the first section of the song.
This "sighing" motif is in keeping with the mo o d of
Novalis' initial strophe, as i s the minor t o n a l i t y which
95
changes as the emotional content of the poem c h a n g e s . The
last two lines of the poem a r e repeated in Leidesdorf's
setting, as is the wo r d " Wo l k e n " f r o m the first strophe of
the poe m.
Other settings. This text was also set by Max
Reger in 1900.
" Wenn a l l e u n t r e u w e r d e n "

( Op. 1 2 9 , No. 6 )
The t e x t of this lied is the six th of the s i x t e e n
poems contained in the collection G eistliche Lieder by
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.
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.
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 summary. Christ, who i s full of love,
died p a in fu lly for his people. Although having suffered
grief for them, he has been forgotten by them; yet he
remains faithful to them in spite of t h e i r ingratitude and
unfaithfulness toward him, still standing beside them in
love. The f a i t h f u l person is full of g r a t i t u d e for what
Christ has done. This one joyfully entrusts his or her
life to Christ's care for all eternity, longing only to be
intim ately and ardently united with him forever.
Ultimately the supreme love which C h r i s t has demonstrated
will overcome the faithlessness of the others. Th e y will
repent a n d c o me to him like children, kneeling before him
in heartfelt devotion. This text voices the Romantic
theology of which S c h l e i e r m a c h e r was a p r o p o n e n t .
Musical analysis. Each of the four strophes of
this lied is twenty-two measures in length, resulting in a
strophic song of eighty-eight total measures. The vocal
line spans a major thirteenth (b-flat to g ) in the key of
E-flat major. The m a j o r c o m p o n e n t o f the piano accompani
ment is a pattern consisting of an octave played with the
le ft hand followed by a th r ic e - repeated chord for
98
the r i g h t hand, but the vocal line is doubled in thirds by
th e p ia n o in two p h r a s e s . The t e x t - s e t t i n g is prim arily
syllabic except for the final clim actic phrase of each
strophe. The third and fourth poetic lines of Novalis'
strophes are repeated, and t h e r e is s o me r e p e t i t i o n of the
seventh and eighth lines of text as well, although not in
a u n i f o r m manner throughout the strophes.
Other settings. Schubert (1819), Loewe (1822),
Schnyder von W a r t e n s e e (1823-1827), Felix Draeseke ( Op.
16, No. 5; 1886), Josef Rheinberger (1888), and Nicolai
von Wi l m ( Op . 200) are among those composers wh o also
chose to set this text.
Chapter 8
BERNHARD JOSEPH KLEIN

(1793-1832)
Having begun his career as a conductor and choral
composer associated with the cathedral in his native city
of Cologne, Klein became known as "the Palestrina of
Berlin" after becoming r e l a t e d to the Institute for Church
Music and the university in that city as a teacher,
conductor, and singing instructor. His compositional
output included operas, oratorios, and sacred and secular
choral music, in addition to works for both piano and
string quartet. He w r o t e m o r e t h a n 100 l i e d e r a mo n g w h i c h
were at least twenty settings of religious texts in the
German language, including his () g e i s t l i c h e Lieder ( Op.
40) to texts of 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
1 9 8 0 ) , p. 1 0 1 .
99
100
p
Gesange for soprano with piano accompaniment. The
anonymous text paraphrases Psalm 46:1-4, Psalm 32:11, and
Psalm 137:1-2, in that order.
Gott ist 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 up
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 s u mma r y . God is a source of
confidence, strength, help, and d e l i v e r a n c e . He s t a n d s in
a special relationship with his people Israel which he
shows by h e a r i n g and a n s w e r i n g their prayers. Although
p
This score is a v a i la b l e for study at the Library
of C o n g r e s s i n W a s h i n g t o n , D.C.
101
believers experience times of personal need as well as
natural and political disasters, th ey can be f e a r l e s s l y
joyful as they praise Go d . Wha t he h a s d o n e f o r them in
the past indicates that he can be relied upon in the
present. The forces of nature are powerful and beyond
human control, but God controls the events which take
place in the created order. This text is a biblical
pastiche which represents traditional biblical religious
thought.
Musical analysis. The forty-seven measures of
this s o n g a r e i n AB AC D AC' f o r m , a modified rondo form.
The song begins and ends in the key of G major, but
through the use of half cadences and d e c e p t i v e cadences
and a modulation into E minor in the D -section the varying
textual mo o d s are evoked. The voice is asked to cover an

I O
octave range (f -sharp to f -sharp). The piano part is
active and i n d e p e n d e n t . Sometimes it doubles the vocal
melody in a homophonic texture, but it also shows the
impact of K lein's polyphonic and c h o r a l interests. The
text-setting is syllabic except for the melismatic word-
painting on "jauchzen." There is consistent text repeti
tion which gives the s o n g an a r i a - l i l c e quality.
Other settings. No o t h e r setting of this text is
k n o wn to be e x t a n t .
102
" Wandr e r s N a c h t l i e d "

( Fr om Op. 1 5 , 1 8 2 7 )
The author of this poem, Johann Wolfgang von
Goethe (1749-1832), was a critic, journalist, painter,
theater manager, statesm an, educator, and natural
philosopher, in addition to being the literary creator of
poems, novels, and p l a y s , including the masterpiece Faust.
"Wandrers Nachtlied" was written in Weimar between the
years 1775 and 1786 w h i l e G o e t h e s e r v e d the duke C h a r l e s
Augustus in a v a r i e t y of governmental organizational capa
cities. Religiously, 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
of the Christian tradition, including the Bible, but he
did not believe that salvation was exclusively to be
experienced through relationship with Jesus Christ. He
saw a l l religions as v arying expressions of an o r i g i n a l
archetypical religion. Goethe viewed himself as a poly
theistic poet, a pantheistic scientist, and a moral being

O
who had a p e r s o n a l Go d . His literary influence was
widespread; and he, along with Wilhelm Miiller, wa s o n e o f
Klein's favorite 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.
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 , the joy?
Sweet p e a c e ,
Come, 0 come i n t o my b r e a s t !
Theological summary. God, who resides in heaven,
is the source of true peace. He can be addressed
obliquely by p r a y i n g for the coming of personal peace into
one's life. Human b e i n g s live amidst suffering, pain, a nd
misery which b r in g s d e s p a i r and m e a n i n g l e s s n e s s even in
the presence of j o y . The p e a c e w h i c h c o m e s f r o m God c a n
bring comfort in the midst of s uc h an e x i s t e n c e . Although
Goethe's text pre-dates the "official" beginning of
^The o r i g i n a l G o e t h e text has "der Schmerz und

Lust" at t h e end o f t h i s l i n e .
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 .
104
Romanticism, the ideas expressed therein are indicative of
the longings of the Romantic poets, theologians, and c o m
posers as can be s e e n in the popularity of this text.
Musical analysis. This through-composed lied is
thirty measures long. The vocal range is a minor ninth
(d 1- s h a r p to e ? ) i n t h e key of E m a j o r . The p i a n o a c c o m
paniment is predominantly chordal, providing a sparse and
sustained undergirding for the r e c i t a t i v e - 1ike passages
and movi ng mo r e q u i c k l y with the lyrical phrases so a s to
even double the vocal melody at times. The keyboard
supplies a two-measure postlude consisting of a repeated
tonic chord in root position with a G-sharp in the upper
most voice. Th e text is primarily set syllabically with
the last line of the text repeated.^
Other settings. This wa s one of the most popular
of all texts with the composers of the Romantic era.
Those wh o chose to set the text include Conrad Ansorge
( Op . 19, No. 2 ) , Max A n s o r g e ( Op . 2 3 , No. 5 ) , H e r m a n n Go t z
( Op . 19, No. 6), Willy Herrmann ( Op . 29, No. 2; 1898),
Friedrich Wilhelm Jahns ( Op. 13, No. 2), Bruno Oskar
Klein, Franz Liszt (three settings: 1843, 1856, 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).
105
K a r l L o e w e ( Op . 9 , No . 3 b ; 1 8 2 8 ) , J o s e p h Marx ( 1 9 0 6 ) , Hans
Georg Nageli, Viktor Nessler ( Op . 34, No. 2), Joachim
Raff, Johann Friedrich Reichardt (1809), Joseph
Rheinberger, Franz Schubert ( Op . 4 , No. 3 ; D. 2 2 4 ; 1815),
Wenzel Tomaschek (Op. 58, No.4), Karl Weigl (Op. 1, No.
5), Hugo Wo l f (1887), and C a r l Friedrich Zelter (1807).8
8M iller, Ring, pp. 88-89, and Fischer-Dieskau,

L i e d e r , p. 392.
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 voice and piano. As a b a r i t o n e , he p e r f o r m e d his
own compositions with a highly effective dramatic flair.
Loewe also wrote works for solo piano and for chamber
ensembles, as well as opera, oratorios, symphonies, and
sacred and s e c u l a r choral music. As a d e v o u t Roman C a t h o
lic theologian and church musician Loewe expressed his
faith through his compositions. His last string quartet,
"Quatuor spirituel" ( Op . 26, 1830), incorporated a move
ment based on a cantus f i r mu s , the melody of the h y mn
Me d i a vita sumus i n mo r t e . Of his 370 works for solo
voice with piano accompaniment, at least eighty deal with
religious subjects. Many of these geistliche lieder and
ballads which span his entire career as a composer can be
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 4,
5, 23, and 14; 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
the eighteen 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
106
107
" Gross i s t der Herr"

C1 8 2 0 )
The text for this lied is based on four of the
seventeen strophes which c o m p r i s e the 1 7 5 8 poem " Hy mne " by
the German lyric poet Ewald C h r i s t i a n von K l e i s t (1715-
1759). Having been born i n t o a h ome w h e r e both pietistic
and r a t i o n a l i s t i c influences were strongly felt, Kleist
first matriculated at a Jesuit school i n D e u t s c h - K r o n e a nd
later undertook the study of law, m athem atics, and
philosophy in Konigsberg. Ultimately the tension between
intellect and emotion caused him to attempt to unite a
stoic resignation and r e a d i n e s s to suffer with a s e n s itiv e
directness of approach to life and an impulsive religion
based on nature. Kleist went on to have a career as a
soldier as well as being a noted poet in h is own d a y . 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 .
108
poems, of which the most famous is Der F r i i h l i n g (1749),
were generally idyllic and elegaic in tone

and r e p l e t e
O
with expression of an intense love of nature. "Gross i s t
der Herr" is the only Loewe s e t t i n g of a K l e i s t text.
Gross i s t 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 .
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 .
^ 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
Lo e we has added the last line of this strophe as
a refrain.
109
Ich w ill entziickt auf Felsen kli mmen, durch

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 mi c h d i e Nacht
I n h e i l ' g e T r a u me w i e g t .
Great Is the 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 n u mb e r
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 light
Of t h e s u n i s t w i l i g h t .
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.
E n r a p t u r e d I want t o c l i m b on t h e rock, through

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 , until the night
R o c k s me i n h o l y d r e a m s .
TheoloRical summary. God is great and resides in
heaven. His movements can be c h a r t e d through thethunder
storm, and the brightest and most beautiful elements of
creation are minimized wh e n c o m p a r e d t o hi m. He i s to be
praised by a l l o f n a t u r e a s w e l l a s by t h e w h o l e o f h u m a n
ity which has dominion over the earth. In t h i s act of
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 ) .
110
praise people and the created order are in perfect
harmony. God i s also the one whom i n d i v i d u a l s address
with questions concerning every aspect of nature and e x i s t
ence until the sleep of death brings them into

God's
O
presence. This text represents a pietistic theology with
mu c h i n d e b t e d n e s s to the imagery of the psalms of the Ol d
Testament. ^
Musical analysis. The s e v e n t y measures of this
four-strophe song^ are in modified strophic form. The
melody c o v e r s t h e i n t e r v a l of a p e r f e c t e l e v e n t h (e^ to
O
a ) i n t h e key of A m a j o r . The a c c o m p a n i m e n t i s i n h y mn
like homophonic s t y l e and d o u b l e s the voice throughout the
song. The text-setting is almost exclusively syllabic
with the words "Gross ist der Herr" rep ea te d at the end of
each of the first three strophes and the last line-and-a-
half of text repeated in the final strophe.
O
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: 1 -3 f o r an e x a m p l e of t h i s use of

d e s c rip tiv e language.
■^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 .
I l l
"Kaiser O tto 's Weihnachtsfeier"

( Op. 1 2 1 . No. 1; 1 8 5 3 )
Loewe has om itted the second and the fourth
of the eleven strophes of the ballad "Kaiser Otto I" by
Heinrich von Miihl er ( 1 8 1 3 - 1 8 7 4 ) w h i c h he s e t to music in
this com position. The narrative, which appeared in
Miihler' s Gedichte in 1842, is based on t h e actual reconcil
iation of Otto the Great with his brother Heinrich, later
the Du k e of Bavaria, which occurred at Christmas in the
year 941.^*
Kaiser 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 .
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 Herzog

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 wi e im T o d t e n -
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 f a l l e n d Laub,
Denn l c e i n e r w a g t z u w e h r e n dem Lowen 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.
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 , 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;
I l i e here 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
ness!
The w r o n g I 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 ,
forgive, 0 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 . ’"
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 s u mma r y . God the Father speaks to
people's hearts through the Bible, instructing them t h a t
the ability of a person to forgive another an u n l i m i t e d
number of ti m e s is truly the definition of love for that
offending individual as well as the definition of love for
Go d . Hu ma n beings live in a world where warfare and
betrayal are realities, even between family members.
Individuals c a n s p e a k on b e h a l f o f G o d , reminding others
that revenge is to be r e p l a c e d by f o r g i v e n e s s , and strict
judgment is t o be s u p e r c e d e d by g r a c e . Such b e h a v i o r is
in keeping with the r e a l i t y o f God' s sending of Jesus to
be t h e Savior of the world, the event which is celebrated
at Christmas. This text expresses the thought of t r a d i
tional orthodoxy.
1O
Musical analysis. This through-composed ballad
fills 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 ,
modulating t o F m a j o r and returning to the original tonal-
ity before ultim ately cadencing in D major. The s o n g i s
^ T h is score is available for study in jLoewe],

We r k e , v o l . 4 , p p . 1 8 - 2 4 .
1 15
unified by t h e recurrence of certain melodic and rhythmic
motives which are shared by t h e voice and the piano. The
piano also retains its independence while offering sup
port, chiefly through the quoting of the hymntune NUN
KOMM, DER I i EIDEN HEI LAND in the introduction, in two
interludes, and as t h e a c c o m p a n i m e n t in the f i n a l eighteen

IO
measures. T h e p i a n o p r o v i d e s e m o t i o n a l c o m m e n t a r y on
the events narrated by t h e text as well as both doubling
the vocal line and being in canon with it at different
points. Th e text-setting is primarily syllabic with the
exceptions occurring in the setting of the fourth strophe.
There the brother's address to the emperor is set as a
short arioso with le ss syllabic h a n d l i n g of th e t e x t and
some text repetition, a feature which occurs nowhere
else in the song.^
1O
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 .
116
are kno wn t o be e x t a n t .
Chapter 10
FRANZ PETER SCHUBERT

(1797-1828)
Of the over-600 lieder of Schubert at least
sixty-three are settings of religious texts.
"Abendlied"
( D. 4 9 9 ; 1 8 1 6 )
The G e r ma n poet Matthias Claudius (1740-1815) wa s
the son of a Lutheran pastor. After studying theology and
law at the university in Jena he became editor of the
influential journal De r Wandsbecker Bothe. Subsequently
he secured a banking position which s till afforded him
time for literary endeavors. Claudius' works with their
emphases of nature, love of other people, justice and
toleration, Christian faith, and peace were valued by
c o mmo n p e o p l e and intellectuals alike for their treatment
of the basic issues o f human e x i s t e n c e in a manner which
combined grace and simplicity with a unique and sensitive
blending of objective and subjective elements. Claudius
strove to retain a natural and Christian character in
literature in reaction to the rationalistic classicism of
his day. Schubert chose at least eleven of Claudius'
poems for song texts, including one of the poet's most
117
1 18
famous, "Abendlied" (1778), which i s discussed below.^
o
Abendlied
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 .
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 silent,
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 .
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.
Ôther 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.
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 s u mma r y . God is the source of
salvation. He c a n be a d d r e s s e d by p e o p l e who request his
assistance in making their lives pleasing t o Go d . Hu ma n
beings are sinners who o u g h t to live joyfully and d e v o t i o n -
a l l y in God's presence as his children. Unfortunately,
individuals put their trust in the things of this world
and in t h e c o n s t r u c t s of t h e i r o wn i n t e l l e c t which keeps
them separated from the goal of relationship with God.
Nature in its beauty can s peak to people concerning unseen
but concrete realities of existence. This text represents
a pietistic theology which has been called a type of
"nascent" Romanticism.
Musical analysis. This lied is in strophic form
with each of the five strophes consisting of 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 .
121
measures for a total ofeighty measures. The angular

"I O
melody covers one o ctav e (f to f ) in th e key of B-flat
major, although there is a brief tonicization of F in the
major modality. The k e y b o a r d accompaniment features bro
ken figurations for the right hand with a subtle counter
melody in the lowest voice for the left hand. The f o u r -
measure postlude incorporates a right-hand countermelody
on the unaccented portion of each of the measures' six
beats. The text-setting is basically syllabic, although
there is a use of n eu m at ic text treatment reminiscent of a
folksong. hone of the text is repeated.
Other settings. This text was set by a large
numbe r o f c o m p o s e r s of t h e C l a s s i c a l era, including Johann
Friedrich Reichardt (1779), Johann Friedrich Hobein
(1779), Christoph Rheineck (1780), Friedrich Wilhelm Rust
(1784), Johann Adam H i l l e r (1790), Johann Abraham Peter
Schulz (17 9 0 ) , Friedrich von Dal b e r g (17 9 3), and J.H.C.
iiornhardt (1794). Nineteenth-century settings of this
poem i n c l u d e d those of G. E. G. Kallenbach (1801) and Carl
Rei necl ce. / This text wa s also set by O t h m a r Schoeck (Op.
52, No. 10; 1936-37).
^Friedlaender, L ie d , vol. 2, p. 255. Also

mentioned in t h i s source a r e s i x o t h e r unnamed c o m p o s e r s '
settings.
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 Friedrich Sauter (1766-1846) wa s a v i l l a g e
schoolmaster from Baden. Because of his lifestyle he wa s
satirized in the figure of Gottlieb Biedermeier in the
Munich F l i e g e n d e Blatter. This Sauter text, written in

O
1796, is the only one which wa s s e t by S c h u b e r t .
Per 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, how i t sounds forth so s w e e t l y yonder:
p
John Reed, S c h u b e r t , p. 475.
Q
•"An E n g l i s h p r o s e t r a n s l a t i o n of this text is
a v a i l a b l e i n Reed, S c h u b e r t , p . 135.
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 field?
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 .
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 s u mm a r y . God is the Lord of nature,
lie is good, kind, and provides for all his creatures'
needs, b o t h human and a n i m a l . He i s active on b e h a l f of
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 . Nature
teaches the observer how t o r e l a t e t o Go d , that is, with
fear, love, praise, thanksgiving, prayer, a nd trust. This
is a text which exhibits the influence of Pietism
coupled with the beliefs of traditional orthodoxy.
Musical analysis. This forty-measure song^ is in
modified strophic form. Written in the key of A major
with a brief use of the relative minor in 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 .
124
strophe, th e song has a v o c a l r a n g e of a minor t e n t h (d^-
sharp to f ). 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
dotted rhythmic figure which is imitative of the quail's
cry. Schubert set the te x t in a s tr a i g h tf o r w a r d 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 brief postlude which mirrors the song's introduction
with only slight changes of the rhythmic alignment within
the final measures.
Other settings. Beethoven (1804), Ludwig A b e i l l e
(1811), and C a r l Eduard Kering (1822) have also set this
text for solo voice 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.
Chapter 11
KARL GOTTLIEB REI SSI GER

(1798-1859)
Reissiger, the son of an organist- choirm aster,
first studied music at the Thomasschule in Leipzig.
Subsequently he briefly studied theology, but his first
success was a s a p i a n i s t , singer, and c o m p o s e r . For the
last thirty years of h is life he wa s an i m p o r t a n t figure
in the musical life of the city of Dresden 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 which capacity he wa s responsible for chamber
music, sacred music, and music for the court theater.
Although his conducting was the source of most of his
public acclaim, Reissiger was a p r o l i f i c and popular c o m
poser. Ilis solo and choral songs were particularly well-
received, but he a l s o wrote eight operas, an o r a t o r i o , a
symphony, and many works for solo piano as well as a
number of works for chamber ensembles. ilis fifty-eight
collections of solo lieder included at least seventeen
settings of religious texts, t wo of which are the subject
of discussion in this chapter.^
^John Rutter, "Reissiger, Karl Gottlieb," Th e New'

125
126
" Noah"
( Op. 14, No. 2; 1827)
Th e t e x t of this lied is 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 sehr,
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 ,
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.
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 at all,
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 .
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 .
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 summary. Go d , t h e L o r d , is gracious
and give good gifts to those with whom h e i s pleased. He
also teaches people how to use the gifts which he has
given. People can please God t h r o u g h offering 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 help. By a p p r e c i a t i n g , cultivat
ing, and enjoying the good gifts of God one honors him.
This poem d e m o n s t r a t e s a popularized traditional orthodox
theology based on t h e events narrated in Genesis 7-9.
O
Musical analysis. The 110 measures of this song
form six s t r o p l i es in rnodified-strophic form. The mel ody
spans a major thirteenth (F-sharp to d ^) in t h e key of B
minor. 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 w i t h a r h y t h m i c and
melodic motif in the l e f t hand which s e r v e s as th e b a s i s
for the entire song. This motif is shared by the voice
and the piano in a dialogical ma nner and appears consist
e n t l y in t h e l e f t hand 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
right hand. The 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 for study at
the 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.
^ 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
element 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 .
129
ballad is strictly syllabic with the last two l i n e s of
text repeated in a l l but the t wo m i d d l e strophes.
are 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 known a s the discoverer of t h e "Blue
Grotto" on Capri, the poet August Kopisch (1799-1853) wa s
a transitional figure in the history o f G e r ma n l i t e r a t u r e .
On t h e basis of a wide-ranging education and extensive
international travel he c o m b i n e d interests in c l a s s i c a l
literary forms with those in f a i r y tales as w ell as well
as developing a humorous realistic style.^ Reissiger
chose at least five of his poems a s song 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 .
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 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 :
The w i n e wa s ma de f r o m w a t e r ;
liow worthy of wonder!
The ene my h a s t a u g h t i t t o p o u r o u t ,
You make i t o p p o s i t e !
Theolo g ic al summa r y . Jesus, the Lord, has
miraculous powers to meet people's needs. Individuals
experience needs in their lives for a variety of reasons,
including h uma n e r r o r . Those needs c a n be m e t through the
power of Christ. In such cases, the miraculous answer to
the s i t u a t i o n is worthy of praise. Christians are t o be
wary of th e a c t i v i t y of 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
nullify his efforts. This poem is expressing a
traditional theology based on t h e narration of the events
of John 2:1-11.
Mu s i c a l an aly sis. This song's7 sixty-three
measures are in strophie form with each of the three
strophes having an eight-measure prelude. The song
concludes with a postlude of f o u r measures. W ritten in
the key of D major, the melody covers a range of one
octave (d to d ■*■). The piano accompaniment consists of
repeated chords for the right hand punctuated by r e c u r r e n t
turn-like figurations in the left hand. The t e x t is set
in a s t r i c t l y syllabic manner with the last line of each
poetic strophe repeated.
Other settings. This text has also been set by
R eissiger's younger brother, Friedrich August Reissiger
( Op . 29, No. 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 for study at

Chapter 12
FELI X MENDELSSOHN
(1809-1847)
After being born i n t o a J e w i s h f a m i l y and b a p t i z e d
in 1816, Mendelssohn gave expression to his Protestant
faith through his works for orchestra, organ, chorus, and
solo voice with piano.^ His s e v e n t y - t h r e e published songs
are in the tradition of the first and second Berlin
Schools of l i e d composition, 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
to him v i a his teacher Carl Zelter. This chapter focuses
on two of the eight of these lieder which reflect his
religious 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
133
"M o r g e n l i e d "
( Op. 8 6 , No. 2 ; 1 8 2 8 ) 4
The text of this song is anonymous, but the
possibility exists that the poet is J.G. Droysen (1808-
1884),^ the son o f an army c h a p l a i n , who s t u d i e d philology
and philosophy at the university in Berlin in 1828^
alongside Mendelssohn, whose home he frequented.^
Mendelssohn s e le c te d a t least two t e x t s by D r o y s e n a s the
basis of songs during the period bet we e n and i n c l u d i n g the
years 18 2 8 a n d 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.
^Woodward, "M endelssohn," p. 65. See also,

Kohler, " M e n d e l s s o h n , " p. 136.
®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 .
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 s u m ma r y . God i s the creator of the
varied elements of n a t u r e . I he r e j o i c i n g of the created
135
order brings joy to t h e human b e i n g who s e e s , hears, and
smells it. This text represents a traditional orthodox
theology of creation.
Mu s i c a l analysis. The fifty measures of this
song^ c o n s is t of a b r i e f introduction, three strophes in
strictly strophic form, and

a se v e n -m e a s u re coda. The
I O
folklike melody spans a minor n i n t h ( f - s h a r p to g ) in
t h e icey o f D m a j o r . At t h e b e g i n n i n g of each s t r o p h e the
lively accompaniment features a single n o t e or o c t a v e bass
line m o v i n g on t h e beat with the right-hand chords answer
ing on t h e weaker half of the beat. In th e last half of
each strophe there is a countermelody played in parallel
sixths between the two hands in addition to a repeated
pedal tone on the dominant or tonic. The text-setting is
basically syllabic w i t h minor variations from that norm i n
the manner of a lyrical folksong. The v/ords are not
repeated except for the last two l i n e s of t e x t which are
repeated to form the basis of the coda.
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.
136
"Trostung"
( Op. 7 1 . No. 1; 1 8 4 5 )
This song is based on one of the two poems of
August Heinrich Hoffmann von Fallersleben (1798-1874)
which Mendelssohn chose to s e t to music. H o f f m a n n wa s n o t
only a highly nationalistic and patriotic Ge r ma n poet who
wrote "Deustchland, Deuschland iiber a l l e s , " but he a l s o
had an e m i n e n t l y successful career as a p h i l o l o g i s t and
literary historian. His studies in this latter area
resulted in numerous collections of folk poetry and
folksong as well as in his study of the German-language
h y mn p r i o r to Luther (G eschichte des d e u t s c h e n Kirchen-
1i eds bis auf Luthers Ze i t , 1832). As a poet Hoffmann
stood in the lyrical tradition of Romantic G e r ma n poetry
which em phasized a simple, f o 1k 1ike q u a lity to w h i c h he
added the element of tunefulness, even going so far as to
write simple melodies to accompany h i s 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 , gold'ne Mor g e n

Hicht hervor aus dunkler 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 , vol. 9
(Berlin: D u n c k e r & Hum b l o t , 1 9 7 1 ) , pp. 4 2 1 - 4 2 3 .
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 s u m ma r y . God is good and gracious,
he is close at hand and is at work for good in people's
lives. Because of t h i s fact those who l i v e in a w o rld of
anxiety, pain, lamentation, and d e s p a i r can find cause for
hope and serenity as they wait for better and mo r e j o y f u l
tim es. Even the cycles of nature, both daily and
seasonal, affirm this truth. This text, with its emphases
on emotion and the nearness of God, demonstrates the
influence of Romanticism.
Musical analysis. This song's^ minimally
^ T h e s c o r e of t h i s song is available for study in

| i ' *i e nde l s s ohn^J , S o n g s , p p . 6 0 - 6 1 .
138
modified-strophic form f i l l s f i f t y measures. The vocal

I O
range is a major t e n t h (c to e ) in th e key of C major.
Th e piano plays an idiomatic accompaniment consisting of
arpeggiated diminished s e v e n th chords above a c h r o m a tic
bass line which features muc h o c t a v e doubling. The text-
setting is predominantly syllabic with the last line of
each poetic strophe repeated. In the final musical
strophe a further appearance of the last line of

the te x t
1p
becomes incorporated into a codetta-lilce extension.
Other settings. iMo o t h e r settings of this text
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 .
Chapter 13
ROBERT SCHUMANN
(1810-1856)
Schumann's compositions for solo voice with piano
accompaniment number in excess of 270 s o n g s with at least
sixteen of these dealing with religious subjects in the
text. Two o f these lieder are the center of discussion in
this 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 poet Joseph Eichendorff (178S-
18 5 7 ) was one of t h e most p o p u la r a u t h o r s of h i s 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
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
140
his writings. His folklike lyric poems are striking
expressions of Stimmung, the Romantic ideal of a state of
perfect correspondence between subject and object, espe
cially in the relationship between h u ma n e m o t i o n a l states
and the conditions w ithin n a tu re / This ideal is
expressed in "Der frohe Wandersmann" which originally
appeared in the opening chapter of E i c h e n d o r f f 's important
prose novella, Aus dem Leben eines Taugenichts (" h e r a o i r s
of a Good-for-Nothing") after having probably been written
around 1817.^ Schuma nn s e t a total of sixteen Eichendorff
texts of which at least three others besides "Der frohe
Wande r s mann" a r e religious in their content/
De r frohe 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, "Eichendorff," pp. ii, 49-87.
■’ I b i d . , p. 3 8 2 . See a l s o , pp. 3 9 - 4 0 for a more

detailed 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 " De r S c h a t z g r a b e r " (Op. 45, No. 1 ) ,

" F r i i h l i n g s f a h r t " ( Op . 4 5 , No. 2 ) , a n d " D e r E i n s i e d l e r "
( Op . 8 3 , No. 3 ) .
141
Di e 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 ,
Di e Le r c hen s c h w i r r e n hoch vor L u s t ,
was 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
Aus 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 l i e b e n Gott nur l a s s ' ich w a l t e n ;

Der B a c h l e i n , L e r c h e n , Wi nd u n d F e l d ,
Und E r d ' und Hi mmel w i l l e r h a l t e n ,
Ha t 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 Wanderer^
To 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 ,
He s e n d s hi m i n t o t h e w i d e w o r l d ,
He w a n t s t o s how h i s w o n d e r s t o h i m
In 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 summary. God is the creator and sus
ta in er of nature in which he m anifests his miraculous
power. He chooses some people to recieve his special
favor by l e a d i n g them into the world and showing them his
w onderful works. 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
he has chosen. People who a r e lazy and occupy themselves
Ânother 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 Eric
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 : W. W.
H o r t o n , 1 9 6 9 ) , p. 106.
142
with the mundane realities of home and family cannot
experience a unity of spirit with the created order.
Those who g i v e God a f r e e hand in their lives and uespond
to his leading experience a joyous oneness w i t h n a t u r e and
give voice to it in song. The v/onders of nature, and,
indeed, the whole universe, are protected by God a n d show
forth his creative abilities. This text shows a combina
tion of traditional theology and Romanticism undergirded
by t h e concept of election.
Musical analysis. The fifty measures of this

O
song are in ABA' C form with elements of rondo form
intimated at the end of the final section. Th e moderately

1 9
disjunct melody has a range of a major tenth (d to f -
sharp) in t h e key of D m a j o r , but the t o n a l i t y also 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 textual ideas.^ The a c c o m p a n i m e n t is based on
a march rhythm which occurs in the introduction, the
interludes, and the postlude. Within the first and 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.
143
sections the texture is basically homophonic with
disconnected chords.^ In the second section this texture
is changed slightly by the imitative entries of the piano
which quote the first five notes of the vocal line at the
beginning of each of the section's two phrases. The
fourth section uses a hymnlike chordal accompaniment at
the mention of trust i n God. Onl y a t the end o f the vocal
line is there an appearance of Schumann's characteristic
o v e r l a p p i n g of v o c a l and p i a n o melodies which l e a d s into a
typical postlude. The text-setting is mostly syllabic
in folksong style with only the final poetic line
repeated.
Other s e t t i n g s . This text was a l s o set by O t h m a r
Schoeck ( Op . 17, No. 8; 1909).
" Keq u i e m "

( Op. 9 0 , No. 7; 1 8 5 0 )
The text of this lied is an anonymous translation
of three of the nine strophes of an old Latin text
which depicts Heloise, accompanied by a c h o r u s of mo n k s ,
lamenting over 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
A b r a h a m , " S c h u m a n n , " p. 8 5 1 , n o t e d t h e s e as two
elements of Schumann's song s t y l e .
12Sams, S c h u ma n n , p. 256. He a l s o included 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 .
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 summary. Jesus the Lord i s the Savior
wh o dwells in heaven in glory, accompanied by t h e Holy
Spirit, the angelic musicians, and the souls of the
blessed. Hu ma n b e i n g s ' earthly lives are full of l a b o r ,
sorrow, longing, and passion. Wh e n a r i g h t e o u s person
dies, those realities are put a s id e as th e i n d i v i d u a l is
taken to heaven w h e r e he or she sees Jesus and is trans
formed into a shining entity. This fact can bring comfort
to those who r e m a i n on e a r t h , grieving over their loss.
This text expresses a traditional orthodox theology.
H jj_s_i£ a 1__ a^ji a_ _s _s. This song's^ sixty-five
measures are in ABCA' form. The melody spans a major
^ 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 study in
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 .
146
I o
tenth ( e - f l a t to g ) in the key of E-flat major. The
piano accompaniment is m a r ke d "Wie H a r f e n t o n " (like the
sound of a harp) and consists of arpeggiated chords
supported by o r g a n l i k e sustained octaves. Incorporated
into this fabric are melodic lines which for eshad ow , echo,
or, sometimes, double the vocal line, as well as occasion
ally being totally independent of the voice part. The
text is treated syllabically with the entire first Latin
strophe repeated.^
•'•■’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 the
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 his
decision, although th is is not t o t a l l y c e rta in .
Chapter 14
FRANZ LI SZT
(1811-1886)
Although noted p r i m a r i l y as a p i a n i s t and as a
composer for the piano, Liszt al s o wrote a l m o s t 10 0 s o n g s
for solo voice with piano accompaniment. At l e a s t thirteen
of these are religious in nature and give expression to
Liszt's lifelong quest for spiritual security which ulti
mately led him t o take the four minor orders of the Roman
Catholic church in 186 5. * Two o f his geistliche lieder
are discussed below.
" Da s V e i l c h e n "
( 1857)
While in Aac he n in May o f 1857 L i s z t received t wo
texts in the mail from the otherwise u n k n o wn poet Joseph
Muller. These became the basis for the two songs of
Liszt's M uttergottes-StrauClein z u m Ma jL m oji a t e^ ( " T h e
Blessed Virgin's Little Bouquet in the Month of Ma y " )
which were written later that y e a r and first 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
148
1860.^ "Das V e i l c h e n " is the f i r s t of the p a i r w i t h "Die
Schliisselbluinen" (The P r i m r o s e s ) being the 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 du und b e s c h e i d e n ,
D e i n e r Tugend unbewusst,
Einsam w i l l s t du g e r n e v/ ohne n,
A l l e r Mens chen 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 of i nyrrh
I b r i n g you i n t o t h e h o l y p l a c e .
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 part 2
(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 .
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 blessings,
And a l l o f h e a v e n t o y o u .
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 s u mma r y . God t h e L o r d h a s g i v e n a l l
of the blessings of earth and the entirety of heaven to
his bride, the Virgin Mary. She lives in a state of
perpetual virginity, always humble, chaste and pure, and
is t h e one t h r o u g h whom a c c e s s to heaven is gained. The
worshipper who p r a y s to the Virgin aspires to be c o n s i s t
ently gentle, devout, 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
live under her protection. As an act of adoration the
devotee ma k e s an offering of that element of n a t u r e which
most p e r f e c t l y reflects the qualities o f Ma r y , namely, the
violet. This text espouses traditional Ro ma n Catholic
theology concerning the Virgin Ma r y accompanied by Ro ma n
tic impulses concerning the created order.
Mu s i c a l analysis. The six poetic strophes of
150
Miiller have been grouped by L i s z t in such a way that this

O
song consists of three strophes in raodified-strophic form
which fill sixty-nine measures. The a r c h e d melody covers
a minor ninth ( d * to e ^ - f l a t ) 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 v/ith
six measures that quote the melodic germ of the song. It
bears the marking " sern p r e d o l c i s s i m o " and provides trans
parent support for the voice in the first half of each
musical strophe while becoming thicker and mo r e chromatic
in the latter portion. The p i a n o doubles the vocal line at
the phrase endings but not always with precisely the s a me
rhythm. Th e text-setting is primarily syllabic and with
out repetition except for the reiteration of the last line
of text which incorporates a slight vocal flourish on the
word " l e b e n " ( t o l i v e ) .
"Sei s t i l l "
( 1S77)
L ittle is l enown of the author of this text,
H enriette von Schorn (d. 1869) who wrote under the
pseudonym K. N o r d h e i m , other than the fact that she 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
Franz 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 -
113.
151
one of the f e w We i m a r a r i s t o c r a t s who wa s not scandalized
by t h e relationship between Liszt and the Princess Carolyn
Sayn-W ittgenstein and remained faithful to them. Her
daughter Adelheid von S c h o r n became a member of L i s z t ' s
household in 1869 at the behest of the then-absent
Princess^ and later became the author of two important
books for the study of Liszt, Z w e_i M e n s c h e n a l t e r ( " T wo
Generations") and Das n a c h k l a s s i s c h e We i ma r ("The P o s t -
Classical Wei mar ") . ^
Sei still
Ac h , wa s ist Leben doch so s c h w e r ,

Wann, was du l i e b h a s t , i s t n i c h t me hr :
Ab e r s e i stil l,
We i l G o t t es will!
Ac h , wa s ist S t e r b e n doch so schwer ,

Wann, was du l i e b h a s t , w e i n t umher:
Ab e r s e i stil l,
We i l G o t t es will!
Ac h , L e b e n , S t e r b e n wa r n i c h t s c h w e r ,
Ivenn u n s e r l i e r z n u r s t i l l e war.
Darurn s e i s t i l l ,
We i l G o t t e s w i l l .
Be S t i l l 6
0, 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 the
Musician (New Y o r k : U n i v e r s e Bo o k s , 1 9 S 6 ) , p. 193.
~*F r a n z Liszts musikalische Werke, vol. 7, part 3,

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.
152
I s when w h a t y o u h o l d dear is no m o r e :
B u t be s t i l l ,
B e c a u s e God w i l l s i t !
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 it:
B u t be s t i l l ,
B e c a u s e God w i l l s i t !
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 summary. God' s will is that the h uma n
heart should be still. It is this lack of inner peace
which makes the losses and th e s o r r o w s of l i f e and d e a t h
so difficult for people to bear. Consequently, each
individual should seek inward repose. This text voices a
traditional orthodox theological perspective which can be
found in the psalms of the Ol d T e s t a m e n t , ^ but which al so
has a pla ce within pietistic and rationalistic theologies.
O
Mu s i c a l analysis. The AA' B f o r m of this song
fills fifty-three measures. Th e funereal recitative-like
melody spans the interval of a m i n o r ninth (c^-sharp to

n
d ) in the context of tonal ambiguity which finally
reaches a relatively stable cadence i n D m a j o r . Th e a c c o m
paniment is sparse and barren, 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.

62:1-2, 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 .
%
153
chords and lengthy passages of s i l e n c e . ^ The text is
handled s y l l a b i c a l l y with the f i r s t t wo s e c t i o n s repeating
the words "sei still" (be still) and the last section
reiterating all but the first line of the third poetic
stanza.
Other settings. This text wa s also set by E d u a r d
L a s s e n and J o a c h i m Ra f f ( Op . 173, No. 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 .
Chapter 15
CARL GOTTFRIED WILHELM TAUBERT

(1811-1891)
Though now virtually unremembered, Taubert wa s a
prominent figure in the musical life of his native Berlin
between the years 1830 and 1885. During this time he
fulfilled conducting responsibilities at the Berlin Royal
Opera under Mendelssohn and Meyerbeer as well as serving
as court Kapellmeister and teaching at the Royal Ac a d e my
of Arts. In a d d i t i o n to being a pianist, Taubert was a
prolific composer. Besides his six operas, four sympho
nies, various concertos, and chamber works he wrote s o me
300 solo songs, prim arily in the style of the Second
Berlin S c h o o l . T h e most well-known of these are his
Kinderlieder ("Children's Songs;" 0pp. 145, 160)^ whose
intimate lyrical style is reflected in s ome o f his geist-
liche lieder as well. His religious songs numbe r at
■^See p a g e s 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
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 score gave the author of this poem a s
"Ch. B i r c h . " The m o s t likely referent ma y b e c o n s i d e r e d
to 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 Charlotte Birch-
Pfeiffer (1799-1868) who was associated with the court
theater in Berlin from 1844 u n t i l her 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 Welt,
Dass s i e r u h i g s c h l a f e .
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 child
Lovely to look a t .
Kunstliedes" (Inaugural-D issertation, Universitat Koln,

1 9 5 1 ) , p. 48.
^ I( a r 1 R i c h t e r , "Birch-Pfeif fer, Charlotte

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 . 2 (Berlin:
Duncker & Humblot, 1953), pp. 252- 253.
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 summary. The beautiful Christ child,
Jesus, is in heaven where he o v e r s e e s all the stars and
through the stars watches over the world to bring its
inhabitants peace. The b e l i e v e r may r e s t irenically if he
or she is devout and righteous. This text shows a senti
mental popularization of an amalgam of traditional Roman
Catholic theology, Pietism, and R o m a n t i c i s m .
Musical analysis. The three poetic strophes have
been set in a through-com posed song^ of tw enty-six
measures. Th e s o m e w h a t a n g u l a r mel ody s p a n s a m a j o r tenth

1 9
(c to e ) in the key of C major, but there are fleeting
modulations to E minor at the beginnings of the second and
third poetic strophes. The p i a n o generally doubles the
mel ody i n a t h i n homophonic texture incorporating parallel
sixths. The text is set in a straightforward syllabic
style with only the last line of text repeated as the
basis for movi ng m u s i c a l l y to a s t r o n g e r final cadence.
~*The s c o r e o f t h i s song i s a v a i l a b l e f o r study in

Wi 1 h e 1 m T a u b e r t , Klanae a u s d e r K i n d e r we l t (Berlin:
Trautwein, n . d .).
157
a r e known t o 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 of t h i s text, Andreas Gryphius (1616—
1664), wa s a l e a d i n g poet and dramatist in G e r ma n y during
the Baroque era. 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
faith in his writings, the central t h e m e o f w h i c h wa s t h e
transitory nature of all earthly things. Through his
wo r k s he a t t e m p t e d to encourage his readers to lead a l i f e
in proper relationship with God.^ The text set by
Taubert wa s d r a w n f r o m t h r e e of the f i f t e e n strophes of
"V anitas! Vanitatum V an itas" (Vanity! Vanity of Vanities)

Q
from Gryphius' Geistliches Oden of 1643° and an anonymous
fourth poetic strophe.
^ T h i s d a t e , w h i c h was n o t printed on t h e score,

c a me f r o m J u n g , " S o l o l i e d , " p. LV.
^ 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 .
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) .
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 summary. God dwells in heaven where
everything is eternal. Human existence, which builds its
defiance of God on worldly p o mp and splendor, personal
skill and k n o w l e d g e , m aterial possessions, and sensual
delights, is very short and soon ends in certain death.
In light of this fact, people should focus on heavenly
values so that they may g a i n entrance to heaven wh e n t h i s
world passes away. This is a text which reflects the
impact of Pietism.
Mu s i c a l analysis. The four strophes of this
song's^ seventy-three measures are in m o d i f i e d - s t r o p h i c

1 9
form with a vocal compass of a m i n o r ninth (e to f ) in
the key of A minor. The firs t three strophes 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.
1 6 0
accompanied by chorale-like homophonic chords which double the
melody while the fourth strophe incorporates more
accompanimental v arie ty , including triplet figurations for
the left hand of the pianist. Th e t e x t - s e t t i n g is primar
ily syllabic with the last textual line repeated twice.
Carl Friedrich Briegel (1670).^
^ 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

G e r ma n Baroque (Oxford: C l a r e n d o n , 1 9 6 3 ) , pp. 8 0 - 8 2 , 1 6 8 -
170.
Chapter 16
FRANZ COMMER
(1813-1887)
Although of greatest historical significance as a
music historian and editor with a particular interest in
the choral music of the sixteenth and seventeenth centu
ries, Commer was also a singing instructor and church
musician. His o wn n o w - f o r g o t t e n compositions consisted
exclusively of vocal music and included secular partsongs
and choruses in addition to M a s s e s and o t h e r liturgical
choral music. He w r o t e a l m o s t 160 l i e d e r for voice and
piano, of which a t least fifty-three 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 Swiss poet Friedrich Heinrich Oser
(182 0 - 1 8 9 1 ) 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 with at
least twenty-three of his texts used as the basis for the
composer's songs. Oser published several collections of
religious poetry, beginning with 6j3 K r e u z - und T r o s t l i e d e r
("Sixty Songs of the Cross and 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
16 2
offered comfort and e n c o u r a g e m e n t to the suffering, but
also provided general spiritual refreshment by p r e s e n t i n g

2
the joyful message of Jesus in a new form. Accompanying
"Kreuz-Lied" in Commer ' s Drei Lieder v on F r . Oser (Op. 65)
are "Trost-Lied" (Song of C o n s o l a t i o n ) and " L ie d 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 du d i c h ?
Lo b e n w i r s t du n o c h und d a n k e n !
Kann d e r e w ' g e F e l s denn wanken?
U betriib n i c h t fiir 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 .
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 . God the eternal Lord is
aw are of th e s i t u a t i o n s and d e t a i l s of each i n d i v i d u a l ' s
life. lie is always faithful to his word and will act
powerfully to meet the needs of those who trust him.
Human existence is replete with sorrow, unfulfilled aspi
rations, and threatening circumstances, all of which can
cause a person to grieve and become depressed. In the
face of these conditions one should resolutely wait for
God and his answer, which will be a cause for joyous
164
praise and thanksgiving on t h e part of the believer. This
text expresses a pietistic theology.
Mu_jS j; ,a_l _ a__n £i_l s^_i s^. This song's^ sixty-three
measures form three strophes in strict strophic form with
each musical strophe incorporating two of O s e r ' s poetic
strophes. Because of this the first half of each of
Commer ' s three strophes is in the key of £ minor with the
second half in E major owing to the alteration of the
emotional content between successive poetic 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 chords above a slowly-moving, single-note
bass line. The t e x t is set syllabically with the last two
poetic lines repeated in each strophe.
Other settings. This text was a l s o set by L o u i s
Schindelmeisser.^
"Herr, der du r u f s t "

( Op. 76, No. 1 )
This song is from C o m m e r ’s D r e i geistliche Lieder
v o n F. Oser ( Op . 76) where it appears in the company of
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 for 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.
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 .
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 kindled:
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 .
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 fear
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 s u m ma r y . God t h e Lord controls the
created order. He i s good and may be a d d r e s s e d in prayer
as a source of g r a c e and d e l i v e r a n c e . After he a n s w e r s by
166
sending the Koly Spirit, he is to be praised. People's
lives are controlled by forces of despair accompanied by
fear and pain, but faith allows individuals to focus on
God and not fear the exigencies of life. The 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 life of a believer. This text demonstrates the
influence of Pietism.
Musical analysis. The forty-three measures of

ir
this song in strict strophic form include a one-measure
introduction, a four-measure interlude, and a seven-
measure postlude. Th e undulating me l ody spans an octave

1 9 i
(e 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 modulation t o li m a j o r . This
song has an arpeggiated piano accompaniment sim ilar to
that of "Kreuz-Lied." The text is presented syllabically
and without repetition.
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 for study at

Chapter 17
FRANZ ABT
(1819-1885)
As the son of a musical!, y - t r a i n e d Protestant pas
tor, Abt wa s educated in Leipzig with the goal of receiv
ing theological training at the university while also
furthering his musical education at the Thomasschu1e .
F o ll o w i n g the d e a t h of h i s f a t h e r , he d e v o t e d h i m s e l f t o a
career in music, serving as a successful choral conductor
in Bernburg, Zurich, and B r u n s w i c k and developing an i n t e r
national reputation. As a composer Ab t wa s prolific with
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 over 3000 i n d i v i d u a l
pieces. Kis main interest was v o c a l music, particularly
works for male c h o ru s, but he a l s o wrote over 400 songs
for solo voice, including at least thirty geistliche
lieder. his compositional style in these songs has been
likened to that of the cheaply sentimental salon music of
his time with p rim itiv e accompanimental forms, we a k h a r m o
nies, awkward declamation, and trite melodies, but Abt's
s o ngs were e x t r e m e l y p o p u l a r a mo n g h i s contemporaries with
s o me even gaining an a c c e p t a n c e akin to that of 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
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 score gave the poet as an otherwise-unknown
"L. Drewes." It may be c o n j e c t u r e d that the author is the
Protestant-turned-Catholic poet Leberecht Bliicher Dreves
(1816-1870) who was a close personal friend of Joseph

O
Eichendorff with whom h e shared a similarity of thought
and feeling.^ His works, through which he sought to
reconcile simple Christianity and modern s e c u l a r 1i f e , ^
included Lyrischen Anklangen ("Lyrical Harmony, " 1837) and
the collection, Lieder der Ki r c h e ("Songs of the Church,"
1846), 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.
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 an
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. 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.
Êrnst 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 .
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 in the
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 (1832-1914) (Stuttgart: Alfred Kroner, 1969),

p . 237.
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 s u mma r y . God the Lord silently
passes through the forest early in the morning. The w h o l e
of the created order loves God a n d senses his presence.
Each part of the forest worships him in reverent awe.
This te x t shows the i d e a s of Romanticism.
Mus i c a l a n a l y s i s. This song's^ ninety-three
measures are in strict strophic form. In the key of F
major the vocal melody has a compass of a p e r f e c t twelfth
(c^ to g^). Th e piano accompaniment is highly idiomatic,
utilizing broken chord patterns in both hands, doubling
the voice in triads or thirds, and even echoing the voice
at one point. The text-setting is syllabic, but the last
four lines of text are repeated in the last half of each
strophe.
Other settings. No o t h e r solo voice s e t t i n g s of
this text are k n o wn t o 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 for study at

the n id d le b u ry College Music L i b r a r y in Middlebury,
Vermont.
171
" Ave M a r i a "

( Op. 4 3 8 a )
The text of this song is an anonymous German
paraphrase of the Latin prayer which was used in Ro ma n
Catholic worship. The L a t i n t e x t c o n s i s t e d of the words
of the angel G abriel from Luke 1:28, the words of
Elizabeth fr o m Luke 1 :4 2 , and a p r a y e r of p e t i t i o n which
was added in the fifteenth century. The text became

O
standardized for liturgical use in the following century
and can be f o u n d in The L i b e r 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 , " The New G r o v e D i c t i o n a r y of Music

and M u s i c i a n s , 1 : 7 4 4.
^ The L i b e r Usua1i s , ed. B e n e d i c t i n e s of Solesmes

( T o u r n a i , Belgium: D e s c l e e , 1947) , p. 1861.
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, m o t h e r o f God!
Fervently we e n t r e a t y o u :
0 entreat f o r t h e g u i l t of our s i n s !
Intercede in l i f e , as in the hour of d e a t h ,
Intercede f o r us poor ones b e f o r e t h e t h r o n e
o f God.
Ho l y Ma r y, i n t e r c e d e f o r us poor o nes ,
I n t e r c e d e f o r us i n l i f e as in the hour of death.
Ame n .
Theological summary. God the Lord h a s chosen the
V i r g i n Ma r y s o t h a t she could bring salvation to the h u ma n
race through Jesus. Mary, wh o i s blessed, is 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 during their lives and
at the tim e s of t h e i r individual deaths. The h u ma n r a c e
is sinful and n e e d y , calling out to heaven for forgive
ness. This text expresses traditional Ro ma n Catholic
theology.
Mu s i c a l analysis. This through-composed s o n g ^
fills forty-eight m e a s u r e s . Th e s o a r i n g vocal melody spans

1 9
a major tenth (e to g-sharp) in the key of E Maj or .
Th e s c o r e o f t h i s s o n g is available for study at

th e M iddlebury C olleg e Music L i b r a r y in Middlebury,
Vermont.
173
The piano accompaniment consists of arpeggiated chords in
sixteenth-note patterns throughout the beginning and
ending p o r t i o n s of t h e song w i t h t r i p l e t rhythm permeating
the central portion, first with repeated block chords and
then with arpeggiation. This results in cross rhythms
between the voice and the piano in the middle section.
The p i a n o does not double the vocal melody, but it does
complete the melodic line at the close of the first
section. The text is set in a style reminiscent of an
aria with a syllable often extended over two or three
notes. There is some text repetition but even more
reiteration of the textual ideas through paraphrase in the
last section of the song.
Other settings. While many other German solo
songs are entitled " Ave M a r i a , " no o t h e r setting of this
particular G e r ma n text is k n o wn t o be e x t a n t .
Chapter 18
JOHANN GEORG HERZOG

(1822-1909)
Herzog, a virtuoso o r g a n i s t and h i g h l y r e s p e c t e d
organ pedagogue, has been considered by s o me to have been
the most important Protestant church musician in G e r ma n y
during the second h a lf of th e n i n e t e e n t h century. While
serving in a church position in Munich and later in his
capacity as the d i r e c t o r of the U n i v e r s i t y of E r l a n g e n ' s
Institute for Church Music, he wa s a c t i v e l y involved in
the revitalization of Protestant church music through
reforming the hymnal. Although prim arily a c o m p o se r of
liturgically-oriented organ works and sacred choral music
Herzog penned s o me twenty sacred songs for solo voice a nd
keyboard accompaniment, including his 1_0 geistliche
Gesange (Op. 50) o f 1879 i n which the t wo l i e d e r discussed
below 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
175
and third of the five stanzas of the poem "Sei mir
tausendmal gegriisset" w ritten by Paul Gerhardt (160 7-
1676).^ After having been trained in a s t r i c t l y orthodox
Lutheran school and completing theological studies at the
University of Wittenberg, Gerhardt served as a private
tutor in Berlin from 16 43 t o 165 1. Subsequently he s e r v e d
as a pastor in a number of parishes where he offered
spiritual n u r t u r e and e n c o u r a g e m e n t during and i n the wa ke
of the Thirty Years Wa r ( 1 6 1 8 - 1 6 4 8 ) . It was within the
context of his pastoral m inistry that he wrote the
majority of h i s 134 t e x t s , inspired by t h e B i b l e a s w e l l
a s by t h e writings contained within devotional collections
and prayer books.0 One such collection was M artin
fioller's Me d i t a t i o n e s sanctorum p a t r u m ( " M e d i t a t i o n s on
the Holy F a t h e r s , " 1584-1591)^ which in c lu d e d the seven-
part medieval Latin poem " K h y t h m i c a 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 .
^Gerhard Podding, _P_a_u .1 £ n i l fLL llJl (Giitersloh:

Mohn, 1 9 8 1 ) , pp. 3 4 - 3 6 .
176
to Bernard of Clairvaux (1091-1153), now d e e m e d to have
been written by A r n u l p h of Louvain, which Gerhardt trans
lated. "Sei mir tausendmal gegriisset" car ne f r o m the first
of the poem's seven parts and the famous Gerhardt h y mn
text, "0 H a u p t voll Blut und Wunden," commonly known in
English as "0 Sacred Head Now Wounded," came from the
final se c tio n .G e rh a rd t's e m p h a s i s on t h e p e r s o n a l a n d
devotional experience of 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 the t r a n s i t i o n from strictly orthodox Lutheranism
to Pietism under the influence of the Thirty Years War a n d
his reading of earlier devotional authors.^ The text of
"Sei mir tausendmal gegriisset" first appeared in the fifth
edition of Johann Criiger's Praxis pietatis me 1 i c a i n
16 5 3 . ^ Herzog also set another Gerhardt text in his 10
geistliche Gesange, "Norgenlied" ( Op . 50, No. 1), begin
ning with the text " Wach a u f , mein Herz, und s i n g e . "
Passionsgesang
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.
^Marshall, "Gerhardt," p. 256.
^ F i s c h e r , K i r c h e n l i e d , pp. 295, 405.
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 me,
A l l my m i s e r y w i l l s u b s i d e .
Theological summary. Jesus, the physician and
redeemer of the soul, atoned for each person's 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.
178
the believer's b u r d e n s and r e l i e v e his or her pain. The
o n e who s u f f e r s from the g u i l t and p a i n of Adam's s i n as
well as from t h a t of p e r s o n a l misdeeds can f i n d relief a nd
forgiveness in relationship with Jesus. T’h e believer
experiences these benefits of C hrist's death by corning
humbly and p r a y e r f u l l y to th e c r o s s a t t i m e s of s i c k n e s s
and sadness of heart. This text is pietistic in its
theology . ^
Hu. ®. i £ ilJL_ fLUffi X s . i .s . This so n g 's^ th irty -six
measures form two strophes in strict strophic form.
Within a basic tonality of D major there occurs a modula
tion to and from F-sharp major. The range of the angular

I O
melody is one octave (d to d ) with a honiophonic,
chorale-like keyboard accompaniment which consistently
doubles the vocal line. The text-setting is primarily
syllabic and without repetition.
Other settings. No o t h e r solo settings of this
text are known t o be e x t a n t .
"Arie"
( Op. 50. Ho. 9; 1879)
The text of this song consists of L uther's
^Rodding, 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 for study 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 t o me,
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.
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 s u mma r y . The L o r d J e s u s C h r i s t is a
faithful and true shepherd who c o n s t a n t l y abides with and
protects those who t r u s t in him. He i s gracious and can
be petitioned by h i s people in time of need, for his wo r d
is eternally true. The believer lives in a world of
solitude and anxiety which threatens to destroy him or
her. Protection and salvation are to be found by turning
to Christ and seeking his presence. This text is a
180
combination of traditional orthodoxy with pietistic ideas.
Musical analysis. This song'*''*' c o n s i s t s of f i f t e e n
m e a s u r e s of s e c c o recitative followed by a n ABA* a r i a of
103 measures. The r e c i t a t i v e begins in F major and has
its final cadence in A minor, while the a ria begins in F
major and modulates t o C ma j o r and A mi nor s u c c e s s i v e l y in
the B-section before returning to F major for the third
section, thus yielding an a b b r e v i a t e d and slightly altered
da capo form. The recitative has a vocal range of a

1 9
diminished eleventh (c -sharp to f ) while the angular
1 O
melody of the aria spans a perfect twelfth (c to g ) .
Th e i d i o m a t i c piano accompaniment is basically homophonic
in its conception and contains both the melodic and
rhythmic germs of the aria which are presented in the
eight-m easure introduction thereto. The keyboard
frequently doubles the voice but also foreshadows and
echoes it. Occasionally there are cross-rhythms between
the singer and the accompanist, and in the B-section there
is muc h more melodic and rhythmic independence in the
keyboard part. Th e text is basically set with a syllabic
approach, but often one s y l l a b l e is set to three or four
notes. There is extensive repetition of the text through
out the aria while none o c c u r s in the recitative.
I1
131
Chapter 19
PETER CORNELIUS
(1824-1874)
Having been born to parents who w e r e both stage
performers, the poet-composer Peter Cornelius received his
early training in both acting and music with his earliest
family experiences having brought him under the influence
of the works o f M o z a r t a n d Go e t h e . ' * ' Following the death
of his father, Cornelius decided to pursue a musical
career and subsequently mo ve d t o B e r l i n w h e r e he c o m p l e t e d
his musical studies. While there he also received a
thorough literary education and discovered his own p o e t i c
and literary talents through acquaintance with Joseph v on
Eichendorff^ and P a u l Heyse, among o t h e r poets. I n 1852
Cornelius moved to Weimar and there became a member of
Franz Liszt's household, which ultimately led to his first
meeting with Richard Wa g n e r i n t h e f o l l o w i n g year. It was
in relationship to these t w o men t h a t Cornelius lived 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
183
rest of h i s life, serving as friend, secretary, transla
tor, and c o p y i s t while interm ittently seeking

to a s s e r t
O
his o wn p e r s o n a l and c o m p o s i t i o n a l independence. As a
devout Roman C a t h o l i c Cornelius wrote a numbe r of sacred
choral works at the encouragement of L i s z t , ^ as w ell as
penning secular choral music. It is, however, for his
comic opera Der Bar b i e r von Ba g d a d ( 1 8 5 5 - 1 8 5 8 ) and his
lieder that he i s primarily remembered today.^ Among h i s
seventy-eight solo songs, ma n y o f which are settings of
his own t e x t s , are nineteen geistliche 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 is the final component in Cornelius'
song cycle Vaterunser ( Op . 2), which he composed at
Bernhardshiitte near We i m a r in 1854. Th e t e x t of each song
wa s written by t h e composer and s e r v e s as a p o e t i c ampli
fication on t h e L o r d ' s Prayer as recorded in Lu k e 11:2-4.
O
For a more d etaile d account of these
relationships, 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.
184
In the history of the lied this cycle is unique in that
each of the individual songs is musically based on the
corresponding melodic phrase of an Ambrosian chant Pater-
noster which C o r n e liu s found in a te x tb o o k w r i t t e n by N.
A. Janssen on G r e g o r i a n chant. These c h a n t phrases which
were included under the individual lied titles and foot
noted in Cornelius' manuscript have been used by the
composer in a manner reminiscent of the cantus f i r mu s
Masses of the fifteenth and s i x t e e n t h centuries.^
Erlose uns 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 Liederkompo-

n 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.
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 .
O
Deliver Us f r o m t h e E v i l One
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 summary. God, who c a n be a d d r e s s e d
in prayer, is Father, Son, and S p i r i t . As F a t h e r he h a s
sent the Son s o t h a t through divine 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 .
186
find salvation and deliverance from evil. As the Son
Jesus, he h a s r e v e a l e d himself and p r o v i d e d deliverance
from the evil one, Satan. Through faith which looks to
the cross where Jesus died, this deliverance is appropri
ated by t h e believer. As t h e Holy Spirit he offers the
consolation of hope by a s s u r i n g believers of their present
and f u t u r e relationship w i t h God, thus saving them from
the power of the evil one. People liv e in a world where
the Devil is threateningly active. Amidst the resultant
storms and battles human b e i n g s n e e d l o v e , faith's guid
ance, and the emotional and spiritual rest which comes
from hope. All of these can be f o u n d in relationship with
Christ. This text bespeaks traditional orthodoxy tempered
by Rom antic theology such as that espoused by
Schleiermacher.
Mu s i c a l analysis. The ninety-nine measures of
this lied^ are in three strophes of almost identical
melody with varied accompaniment for each strophe,
resulting in a type of strophic variation The form.

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 a harmonic framework which cadences strongly in
E-flat major but which also hints at a variety of o t h e r
tonalities, particularly D-flat major. The keyboard
^ 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 for study in
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 .
187
accompaniment fe a tu re s twelve r e p e titio n s of t h e c a n t u s
f i r mu s i n the uppermost notes of the pianist's chorale
like chords, with rhythmic displacement and sometimes
octave displacement during the second strophe. In the
final strophe a p p o g g i a tu r a - 1ike descant figures occur
which some i n t e r p r e t e r s d e e m t o b e a k i n t o t h o s e u s e d by
Mozart in the "Lacrymosa" of his Req u i e m . ^ ^ The text-
setting is basically syllabic and without repetition.
" Di e K o n i g e "
( Op. 8 , No. 3; 1 8 7 0 )
This song comes from th e cycle W eihnachtslieder
( Op . 8 ) which C o rn e liu s originally wrote in November of
1856 a t Bernhardshiitte, but which wa s not published 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 ,
ed., P e t e r C o r n e l i u s : M usikalische
We r k e , v o l . 1 (Leipzig: B reitkopf & H a rte l, 1905-1906),
p. I X.
188
described these settings of h i s o wn p o e m s a s thoughtful
and proper with their roots in the beauties of German
family life and i n an u n s t u d i e d piety. He b e l i e v e d that
they communicated their contents from one heart 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.
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 the
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 .
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 heart!
Theological summary. Jesus the Lord and king wa s
born in a s t a l l in Judah. He i s to be s o u g h t , worshipped,
and loved. People are t o be l e d by h i s l o v e and g r a c e to
give their entire selves to h i m. Th e c r e a t e d order, under
God's control, can direct individuals throughout their
lives. This text voices traditional orthodoxy coupled
with the ideas of Pietism.
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
190
Musical analysis. This song's twenty-eight meas
ures hold t wo virtually identical strophes followed by a
totally new s e t t i n g of the third poetic strophe, resulting
in an AAB f o r m . The melody, with its arched phrases,
spans a perfect eleventh (b t o e ) while th e song has i t s
harmonic center i n t h e key of G m a j o r but fleetingly and
subtly tonicizes E minor in the final section. The a c c o m
paniment consists of a v i r t u a l l y homophonic setting of the
Philipp Nicolai (1556-1608) chorale WIE SCHON LEUCHTET15
which i s readily identifiable until the final six measures
where C ornelius alters the acc o m p anim enta1 melody. The
text-setting is primarily syllabic, and technically there
is no text repetition. Cornelius does, however, 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 of the words "Schenk' ihm d e i n H er z! " (Give him
your heart!)
Other settings. The o n l y o t h e r known s e t t i n g of
this text is Cornelius' first version of this 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.
Chapter 20
CARL REINECKE
(1824-1910)
Following the completion of a t h o r o u g h b a s i c music
education under the tutelage of his father, J.P. Reinecke
(1795-1883), Reinecke spent the years between 1845 and
1859 t o u r i n g Europe as a pianist as well as teaching in
C o l o g n e and s e r v i n g as a musical director and c o n d u c t o r in
B a r me n a n d B r e s l a u . In 1 8 60 h e mo v e d to Leipzig where he
taught at the conservatory until 1902 and c o n d u c t e d the
Gewandhaus Orchestra until 1895. As a composer Reinecke
was m o s t p r o l i f i c in works for the piano, both as a s o lo
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 , b u t he
also composed orchestral works, operas, and sacred and
secular choral works. Among h i s 288 o p u s e s there are ten
which consist of songs for solo voice besides his Kinder-
lieder ("Children's Songs"), many o f which have r e t a i n e d
their popularity a nd are regarded as folksongs a mo n g the
G e r ma n p e o p l e . ' * ’ He w r o t e a t least fourteen 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
19 8 0 ) , pp. 7 1 8 - 7 1 9 .
191
192
lieder, several of which a re included in his Kinderlieder.
Two o f these are the focus of the following discussion.
"Weihnachtslied"
The t e x t of this song c o n s i s t s of the first four
s t r o p h e s of th e seven s t r o p h e s of th e S o u th German f o l k -
song, "Engellied zu Weihnachten.
Weihnachtslied
Ihr Hirten erwacht,

Seid munter un d l a c h t ,
Di e Engel s i c h schwingen
Vom Hi mme l un d s i n g e n :
Di e Freude i s t nah,
Der 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 lcannten ges chwi nd

Das h i m m l i s c h e Kind,
Sie fielen darnieder
Und s a n g e n i hm L i e d e r ,
Und bleiben dabei
Di e 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 .
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 . Jesus, the Savior of the
world, was bo rn i n a s t a b l e . He h a d h i s origin in heaven
whence the angels c a me to announce his birth. He r e j o i c e s
in the music of those wh o adore him. For people, the
coming of J e s u s is a source of joy. B e c a u s e he i s the one
who o f f e r s them s a l v a t i o n , they are to l i s t e n to those who
proclaim his arrival and s e e k himw i t h e a g e r h a s t e so as
to worship and s e r v e h i m. This t e x t , b a s e d on Luke 2 : 8 -
20, expresses traditional orthodoxy.
Musical analysis. The forty-two measures of this
194
O
song consist of four strophes in modified strophic form.
The spritely, folksong mel ody which Reinecke used^ spans
one octave (c ^ to c ^) in the key of C major. The p i a n o
accompaniment is homophonically conceived in the f i r s t t wo
strophes and often doubles the melody in thirds in the
right-hand part. Following the second strophe there is a
four-measure interlude which introduces an altered accom-
panimental texture which continues throughout the remain
der of the song. In the last two s t r o p h e s the left hand
of the pianist supplies the harmonic support for the
voice, periodically doubling it or paralleling it in
thirds, while the right hand plays a quick, running,
monophonic filigree suggestive of the playing of a flute.
The t e x t - s e t t i n g is syllabic and without repetition.
are kn o wn t o be e x t a n t .
" De r liebe Gott im H i mm e l "
The poet of this text, Wilhelm He y (1789-1854),
served as aP rotestant p a s to r in addition to being a
private tutor and later a school a d m i n i s t r a t o r . He 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 in
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.
195
several p o e ms of both a general and religious nature, but
it wa s h i s t wo v o l u m e s (1833, 1837) of fables for children
for w h i c h he was m o s t w i d e l y known. To t h e s e v o l u m e s h e
appended a collection of religious poems for children^
from which Reinecke s e l e c t e d this text.
Der l i e b e Gott 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 step
Like a f a t h e r .
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.
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 s u mm a r y . God dwells in heaven but
looks down on e a c h earthly child. He g l a d l y cares for
each one, giving unfailing and fatherlike protection,
provision, assistance, and a t t e n t i o n to each b oy a n d girl.
He tells the children that he is their father and that
they are pleasing in his sight. Children have many needs
of which they can speak in prayer t o God, their heavenly
father. This text is representative of traditional ortho
doxy and P i e t i s m .
Musical analysis. This song consists of sixteen
measures in strict strophic form. The predominantly

1 7
scalar mel ody covers one o c t a v e (d to d ) in the key of G
major. The piano accompaniment doubles the voice
throughout, sometimes paralleling it in sixths, in a
chorale-like homophonic texture. The text-setting is
strictly syllabic and w i t h o u t any r e p e t i t i o n of text.
^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.
Chapter 21
JOHANNES BRAHMS
(1833-1897)
The c o m p o s i t i o n a l output of Brahms includes 1 96
original solo songs a n d an a d d i t i o n a l ninety-five arrange
ments of f o l k s o n g s for solo voice with piano accompani
ment. At least fourteen of the total number^ of his songs
have religious texts. Two o f these are considered 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 , which Brahms h eld t o be t h e

2
ideal song form, played a large part in his musical life.
In 1858 Brahms set a collection of fourteen Volks-
Kinderlieder ("Children's Folksongs") for the children of
Robert and Clara Schuma nn. As h i s source Brahms used his
favorite folksong collection, the t wo volumes of Deutsche
Volkslieder mi t ihren Original-Weisen ( " Ger man Folksongs
with Their Original Melodies") 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 .
2W alter Niemann, Brahms, tr. C atherine Alison

Philips ( New Y o r k : Alfred A. K n o p f , 1 9 2 9 ) , p p . 3 5 9 - 3 6 0 .
197
198
O
Anton Zucca1mag1i o , which had been published in 1840.
Earlier in 1858 Brahms had also arranged a group of
twenty-eight other folksongs from this s ame source. " Di e
heilige Elisabeth" is the seventh in that earlier
collection entitled 2J3 d e u t s c h e Volkslieder which was
first published in 1926.
Di e h e i l i g e 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.
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 a long time,
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
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 malice,
Who w a n t s t o m u r d e r h e r t h e r e .
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 s u mma r y . God i s t h e L o r d who c a n be
addressed in prayer. He i s m erciful and will bless the
repentant sinner through his grace. Jesus is the Savior.
The Virgin Mary, the mother of Jesus, is the mother of
Go d . She, wh o is holy and full of grace, becomes a
parental figure for the one who w o r s h i p s h e r . People live
in a world filled with joyous c e l e b r a t i o n s as w e ll as with
dangerous events. In the midst of these circumstances
one's highest priority is the worship of Mar y which
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 devotee
and which evokes repentance and a p l e a for intercession on
the part of those who b e h o l d such a d o r a t i o n . This text is
an expression of traditional Roman C a t h o l i c orthodoxy.
Musi c a l ana ly s is . The six strophes of this
201
strophic song^ f i l l eighty-four measures. In the key of A
minor the scalar melody has a range of a minor tenth (c^-
sharp to e^). The piano accompaniment features steadily-
moving low bass octaves beneath continuously-moving
sixteenth-note patterns of broken 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. The text-setting is strictly syllabic and
without repetition.
" 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 religiously open-minded Brahms used biblical
texts as the basis for a number of his choral works,
including Ein d e u t s c h e s R e q u i e m ( "A G e r m a n R e q u i e m ; " Op.
45, 1857-1868) and Triumphlied ("Song of T r i u m p h ; ” Op. 55,
1870-1871), but a mo n g h i s solo songs only the Vier ernste
Gesange ("Four Serious Songs," Op. 121) have scriptural
texts.^ The first two texts of this opus come 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
202
Ecclesiastes, the third from the apocryphal Ecclesias-
ticus, and t h e f o u r t h 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.
13: 1-3, 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
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
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.
203
If I Spoke w i t h Tongues of
Hen a n d A n g e l s
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 summary. God, who is only partially
known through his word in the present, will one day be
fully seen and known by the believer. The greatest
of a p e r s o n ' s accomplishments, abilities, or s a c r i f i c e s is
worthless unless motivated by a n d accompanied by love,
because love is the greatest of those qualities which
endure, the other two being faith and hope. This text
gives voice to the theology of traditional orthodoxy.
Ânother 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 .
204
Musical analysis. The ninety-nine measures of
this song^ are in through-composed binary form with a
brief melodic return of the first two measures of the
opening vocal line in the midst of the second s e c t i o n of
the song. The angular melody has a compass of a major
fourteenth (A-flat t o g ■*■) i n a h a r m o n i c framework which
begins in E - f l a t major, modulates to B major, and returns
to E -flat when the original melody is quoted. The
piano accompaniment is orchestral in style in the first
section of the song with a dense chordal texture, a high
degree of r h y t h m i c activity, and o c c a s i o n a l doubling or
echoing of the melody. The second section has an
accompaniment based on chordal arpeggiated triplets
coupled with supporting octaves and triads which incorpo-

C
rates c o u n te r m e 1odic lines. The t e x t - s e t t i n g is aria
like within a basically-syllabic approach with text
repetition at the conclusion of each of the song's two
sections.
^ 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 .
Chapter 22
ALBERT BECKER
(1834-1899)
Becker's musical career centered around the c i t y
of Berlin in which he taught composition at two conserva
tories seriatim beginning in 1869 and directed the cathe
dral choir during the last eight years of his life.
Although he c omp o s e d for a wide variety of musical media,
including orchestral, chamber, and o p e r a t i c forces, his
most prolific and s u c c e s s f u l work was done i n t h e field of
choral composition, particularly that of a religious
nature. In a d d i t i o n to his frequent use of vocal soloists
in his choral music Becker wrote in excess of eighty songs
for solo voice with keyboard accompaniment, at least
twenty-one of which were settings of r e l i g i o u s 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
206
"W eihnachtslied"
( Op. 1 1 , No. 2 )
This s ong was p u b l i s h e d as the second of a group
of t h r e e l i e d e r by B e c k e r e n t i t l e d H e r z h i m m e l w a r t s ( Op .
11).^ The p o e t is the 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.
Âlbert Becker, Herz h i m me l w a r t s (Berlin: W.

Sulzbach, n . d .) , pp. 4 - 5 .
^ 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.
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
Ei j a ! Ei j a !
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 !
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 .
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 .
208
Wi t h h i 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 .
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 .
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
Theological summary. Jesus c a me f r o m h e a v e n t o be
born in a manger in Bethlehem. In s p i t e of h is physical
size a s an i n f a n t he i s victorious over death and h e l l and
rules the universe by h i s word. His u l t i m a t e desire is to
inhabit the h e a rt of each individual. People are needy
sinners who f a c e a certain death. Throughout l i f e ’s pain,
however, the o n e wh o m a k e s J e s u s his or her most valued
personal possession will find grace, peace, comfort, and
gladness. This text is expressive of the theological
ideas of P i e t i s m .
Mus i c a l a n a l y s i s. This song's^ seventy-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 for study at

Stanford U n iv ersity in Palo Alto, C a l i f o r n i a .
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 ( f^ to f^). The piano accompaniment is
chorale-like, doubling the melody throughout the song i n a
homophonic texture. The text is set syllabically and
without repetition.
are known t o b e e x t a n t .
" Du, Herr, b is t unser V a te r!"

( Op. 5 1 , No. 4 )
The t e x t of this song, which quotes a phrase from
Luther's translation of I s a ia h 63:16 f o r its title, was
written by G e o r g W i l h e l m S c h u l z e (1829-1891) who p u b l i s h e d
a collection entitled G eistliche Lieder i n 1858 a n d Das
G e h e i m n i s vom v e r l o r n e n S o h n e . Dem C h r i s t e n v o l k e an's Herz
gelegt und m i t e i n e r Zugabe in L iedern dargereicht ("The
Parable of the Prodigal Son. Placed on the Heart of
Christian People and O f f e r e d with a Supplement in Lieder")
in 1888. No f u r t h e r information concerning him 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 .
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 t g n a d i g : e r g i e b t s e i n e n So h n
Fiir m i c h h i 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 ;
Er l e i h t m i r 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 ,
Und h a l t m i r 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 mi r
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, 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 .
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
which is 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
included in th e s c o re which a p p e a rs in A lb e rt Becker,
A u s g e wa h 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 :
Breitkopf & H a r t e l , n . d . ) , pp. 27 - 34 .
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 summary. God, the Lord o f the entire
earth, controls the affairs of the world's governments.
By m e a n s o f his power, love, grace, goodness, counsel, and
riches he attends to the needs of believers in a fatherly
manner, giving them his presence, protection, provision,
and peace. God's ultim ate gift of his son Jesus in a
painful and humiliating death on the cross prepares a
place in heaven for each of God's c h i l d r e n . In s p i t e of
the fact that life is full of storms which give rise to
anxiety, individuals may e x p e r i e n c e joy in a parent-child
relationship with God, wh o is to be the sole focus of
human prayer, thought, ambition, and devotion. Within
such a r e l a t i o n s h i p each b e l i e v e r is blessed. This te x t
expresses the theology of traditional orthodoxy coupled
with the devotional orientation of P i e t i s m .
Musical analysis. Becker's treatment of the five
212
strophes of Schulze results in a basically through-
composed song of 114 m e a s u r e s , but the third and f o u r t h
s t r o p h e s have been s e t to the same m u s ic , resulting in a
form which ma y be symbolized as ABCCD. The harmonic
framework of the song is centered around the key of C
major in which i t clearly b e g i n s and ends but from which
it often briefly wanders into other tonalities, including
A minor, A-flat major, and E-flat major. Within these
param eters the 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
augmented 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 ,
which frequently doubles or echoes the melody, is scored
for an o r g a n w i t h three 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
and virtuoso manner which utilizes a variety of textures
and p a t t e r n s , including martial syncopations, chromatic
scalar motifs, arpeggiated triplets, and block chords,
which change in response to varying textual ideas. The
text-setting is prim arily syllabic with tex t repetition
occurring at the ends of the second and fifth poetic
strophes.
Chapter 23
ALEXANDER WINTERBERGER
(1834-1914)
Prior to becoming recognized as one of the most
im portant piano and organ virtuosos of his day,
Winterberger studied at the conservatory in Leipzig during
1843 and 1849 and subsequently returned to his native
Weimar where he became a pupil of Franz Liszt. After
s p e n d i n g a number of years in Vienna and teaching at the
conservatory in Petersburg, Winterberger returned to
Leipzig, where he taught and wrote as a music critic.^
riis c o m p o s i t i o n s include works for p i a n o and o r g a n as we 11
as vocal duets and solos with keyboard accompaniment. At
least sixty-one of h i s solo songs are settings of reli-

O
gious texts, t wo of which are the subject of the discus
sion 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.
1 9 5 1 ) , pp. LX-LXI.
213
214
" 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 ) 3
Angelus Silesius (1624-1677), the author of t h i s
song's text, was o r i g i n a l l y a Lutheran, but c o n v e r te d to
Roman Catholicism in 16 5 3 after muc h personal reflection
on the w ritings of m ystical theologians such as Jakob
Bohme ( 1 5 7 5 - 1 6 2 4 ) and V a l e n t i n Wei gel (1533-1588). He wa s
also greatly influenced in h is decision by h i s relation
ships with a number of his contemporaries who w e r e mysti
cal poets and theologians, particularly Abraham von
Franckenberg (15 9 3 - 1 6 5 2 ) . Following his conversion,
Angelus Silesius expressed his intimate religious expe
riences as well as h is enthusiastically emotional thoughts
a b o u t God i n h i s writings, including t h e H e i 1 gen S e e l e n -
1us t ("Holy Desire of the Soul") of 1657, whereby he
formed a point of transition between the mysticism of the
Kiddle Ages and the Pietism of the Baroque e r a /
W interberger is n o t known t o h a v e s e t any o t h e r texts of
this poet.
Das Wo r t G o t t e s
Treuer K eister, deine Wo r t e
O
The d a t e c o m e s f r o m Jung, "Sololied," p. LX, as
no d a t e a p p e a r s on t h e s c o r e .
^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.
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 summary. God, who c a n be a d d r e s s e d in
prayer, is the Lord who i s the source of a l l truth. his
words, which command people t o l o v e God a n d e a c h other,
lead the believer toward heaven. In the midst of human
life, which will end in death, God seeks to speak to
individuals who w i l l be g r e a t l y blessed if they hear and
obey his teachings with humility. This text combines the
theology of traditional orthodoxy with the personal
spirituality which later became a central concern of
Pie t ism.
216
Musical analysis. The three strophes which fill
the thirty measures of this song^ are presented in
modified strophic form. The fundamental tonality of the
song is the key of G major, but the first two strophes
aiodulat.e to and f i n i s h in B minor. Within th is harmonic
design the a r i a - l i k e melody has a compass of a minor

O
thirteenth (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
accompaniment is highly idiomatic and self-contained,
although it does double the melody at times. The b a s i c
c o n c e p t i o n of the acc om panim ent is contrapuntal with as
ma ny a s four voices which sometimes enter i n an i m i t a t i v e
manner and p r e s e n t the melodic and r h y t h m i c germ of the
song. The t e x t is set so t h a t one s y l l a b l e is frequently
sustained over three or four notes, and the text is some
times repeated so as to synchronize with the mor e impor
tant musical phrase.
"T odessehnsucht"
( Op. 13b, Mo. 1; 1909)
In contrast to the P ietists of his era, the
strongly orthodox Lutheran poet and theologian Hinrich

the Library of Congress in Washington, D .C .
217
Elmenhorst ( 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 v/ith
regard to the involvement of C h r i s t i a n s in secular events.
In a d d i t i o n to s e r v i n g as a d e a c o n , pastor, and h o s p i t a l
chaplain, Elmenhorst expressed his musical interests by
participating in the founding of the Hamburg Opera for
which he a l s o wrote libretti. His r e l i g i o u s poetry was
published in three collections: Geistliche Lieder (1661);
G eistliche Gesangbuch (1685); and Geistreiche Lieder
(1700).^ Th e texts are replete with metaphor and express
an e x t r e m e l y rigid and w e l l - d e f i n e d understanding of r i g h t
and wrong.^ This Elmenhorst text, 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 , "Elmenhorst, K i n r i c h , " i\:e u e d e u t -

sche B iographie , vol. 4 (Berlin: D u n c k e r fi Hu m b 1 o t ,
19 5 7 ) , p . 4 6 1 .
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.
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 summary. God, the gracious Lord of
life and death, is the believer's ultim ate destination.
He ma y b e a d d r e s s e d in prayer so t h a t he w i l l admit into
heaven the soul of a dying person. In the midst of a
person's longing for death, the sleep of r e s t , he o r s h e
is to su b m it to God's g r a c i o u s will and hope in the Lord.
This text expresses the theological views of traditional
orthodoxy accompanied by p i e t i s t i c ideas.
Musical analysis. This song's° forty-two measures
^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 for study in

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.
219
are in through-composed binary form. Th e h i g h l y chromatic
harmonic structure of this lied is deliberately unsettled.
Beginning in what seems to be the key of A minor but
completing each phrase in a different key, the first of
the t wo p a r t s of t h e song ultimately cadences clearly in f
major. The second portion of the song finally returns to
A minor, but the four-measure postlude is in A major. 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 in texture, but in the latter portion of the
song the bass line 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 . Occa
sionally the accompaniment doubles the voice, but it also
contains countermelodic lines and sometimes completes the
vocal line at the cadence or continues its musical phrase
beyond t h a t of the voice. The t e x t - s e t t i n g is basically
syllaLic with repetition of the crucial textual phrases,
"1'iach de m M i m m e l z u g e b r a c h t " and "Gnadig a u f n i mm m e i n e
See 1 e . "
Other settings. The setting of this text by
Johann Wolfgang Franck (1644-1710) was published in
1 7 0 0 . 1Li
^See footnote 8 above.
Chapter 24
MICHAEL HALLER
(1840-1915)
The work of the R o ma n Catholic priest Michael
H aller, who has been called the "Palestrina of the
nineteenth century," ^ centered around the city of
R e g e n s b u r g w h e r e he was an a c t i v e proponent of the musical
reforms associated with the Cecilian movement and its
desire to return the style of liturgical music within the
Catholic church to that of the sixteenth century. Through
his conducting, teaching, and compositional activities he
sought to encourage the revitalization of Roman Catholic
church music through the use of p r i n c i p l e s derived from
the study of R e n a i s s a n c e choral liturgical music rather
than by slavish im itation thereof. Most of Haller's
compositions are Masses, motets, and other liturgical
choral music, but he a l s o wrote devotional 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
221
in the ho me a n d in the school setting, including at least
thirteen geistliche lieder for solo voice with piano
accompaniment. One collection of such devotional music,
containing twenty-three choral compositions and e l e v e n
sacred solo songs, is his Ma r i e n g a r t e n : 34 Lieder zur
Verehrung der seligste Jungfrau Maria ("Mary's Garden: 34
Songs f o r the Worship of the Most Blessed Virgin Mary,"

O
Up. 3 2 ; I S 85) from which the two songs discussed below
are taken.
" H e i mw e h "
( Op. 3 2 , No. 6; 1 8 8 5 )
The a u t h o r of 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 ' ich voll Verlangen
Fustet, 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" (Inaugural-
D 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 .
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 light,
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 longing
The n a r r o w b r e a s t e x p l o d e d .
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 s ways
The w a v e s t o a n d f r o ?
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 summary. God t h e F a t h e r dwells in the
glories of heaven greatly separated from this ’w o r l d and
the individuals who i n h a b i t it. The V i r g i n Mary, who i s
holy, gentle, and g r a c i o u s , provides a wa y t o bridge the
gap between earth and h e a v e n for those who p u t their trust
in her. h u ma n beings live on e a r t h and l o o k toward heaven,
224
hearing the jo y fu l m u s i c o f t h o s e wh o no w d w e l l there in
peace and invite people to come to heaven. Earthbound
believers longingly recognize their need for an escape
from d e a t h ana a s s i s t a n c e in g a i n in g heaven, because the
separation between the t wo r e a l m s of e x i s t e n c e is immense
and threatening, while the wa y t o h e a v e n can e a s i l y be
misapprehended. This text is an e x p r e s s i o n of traditional
Roman C a t h o l i c orthodoxy influenced by P i e t i s m .
Musical a n a l y s i s . The 111 m e a s u r e s of this song^
have a structure which combines elements of through-
composed , strophic, a n d d_a c a p o a r i a forms into what mi g h t
be s e e n a s a h i g h 1 y - mod i f i ed s o n a t a form. The f i r s t three
poetic strophes are set in a s t r i c t strophic manner. The
next three textual strophes are placed in a totally new
nusical setting which c o n c l u d e s v;ith a t w o - me a s u r e inter
lude. The s e v e n t h strophe of the lyrics is also set to
new m u s i c a l material w h i c h mo v e s d i r e c t l y into a r e t u r n of
the opening mel ody for the beginning of the eighth strophe
Following a keyboard interlude which presents a modified
instrumental version of the opening musical material, the
setting of the ninth strophe begins with a melodic remem
brance of the initial mel ody but mo v e s directly into new
m aterial which continues to the end of the song. 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.
225
harmonic structure of the song is also full of ambiguity.
After beginning in B minor and modulating to D major in
the course of the first section of strophic material, the
tonality is constantly in transition between those two
keys with other tonalities, e.g., F-sharp major and A
major, fleetingly evoked through the frequent use of half
cadences. The undulating melodic line encompasses the
interval of a perfect eleventh (d^ to g ^ ). The piano
accompaniment is basically homophonic with muc h doubling
of the melody. During the second, more e x t e n s i v e inter
lude the left hand has the initial phrases of the melody,
and f o r the last two p o e t i c strophes there is c o n siste n t
use of a r p e g g i a t e d patterns for the right hand or a r u n
ning bass line for the left hand, each accompanied by
chords in the o p p o s ite hand. The t e x t is set in a s y l l a
bic style with only the final line of the poem r e p e a t e d .
"K e e r e s s t e r n "
( Op. 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 ,
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
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 you
I n t o the black depths;
Shelter, 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
228
of each individual. Ke i s the source of peace and the one
who d e l i v e r s people from death through the Virgin Mary.
She, whose name is highly praised in heaven, can be
addressed in p rayer for help in time of need, for in the
darkest of circumstances she shines ' : ke a star on a
stormy night. Mary is one in whor . protection and
d e l i v e r a n c e may be f o u n d for she contj s the forces which
bring distress to people. The l i v e s of men a n d women a r e
tumultuously filled with and c o n t r o l l e d by forces of pas
sion which have their source in Satan. The h u ma n r a c e is
weak, ineffective in m a s t e r i n g its p r o b l e m s and c i r c u m
stances, anxious for deliverance from the passions of the
heart, and longing for the rest which can be f o u n d within
a parent-child relationship with the Virgin. This text
represents the thoughts of traditional Roman Catholic
orthodoxy we d d e d to the e m o t i o n a l i m p e t u s of R o ma n t i c is m.
Musical analysis. The f i v e strophes of this song~*
fill ninety measures in strict stro p hie form with each
individual s t r o p lie h a v i n g a binary structure. The mel ody
spans a diminished octave ( d ^ - s h a r p to d^) within a
harmonic scheme wherein each strophe begins in the keyof
ii m i n o r , briefly modulates to 6 major at the beginning of
the second portion of each strophe, and returns to 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.
229
original tonality, with the final cadence of the song
terminating on a n E m a j o r chord. The p i a n o a c c o m p a n i m e n t
is chorale-like in i t s hoinophonic texture while only occa
sionally doubling the voice. The t e x t - s e t t i n g is syllabic
and without repetition.
Chapter 25
HUGO WOLF
(1860-1903)
Although he wrote operas, symphonies, chamber
music, choral music, and works for piano, A u s t r i a n Hugo
Wo l f is most importantly remembered as a song c o mp o s e r . - ^
In s p i t e of the i n f l u e n c e of the p hilosophy of F r i e d r i c h
Wilhelm Nietzsche (1844-1900) upon Wol f , which led him t o
identify himself as an "unbeliever," there are thirty-two
geistliche lieder a mo n g his 2 43 p u b l i s h e d songs. Two o f
these are discussed 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 poet, Eduard Morike (1804-1875) , during his years
in the circle of the composer Adalbert von G o l d s c h m i d t

O
(1848-1906) in Vienna. Morike, a pastor and later a
teacher of lite ra tu re , has been considered one of
Germany's finest lyric poets.^ W i t h i n h i s v e r s e s c a n be
found an inherently musical quality based on folksong,
hymn meters, and the general German poetic tradition.^

£
Wolf responded strongly to Morike's lyrics, setting a
total of fifty-seven Morike texts, including fifty-three
settings within a ten-month period in 1888. " Zum n e u e n
Jahr," which Morike had w ritten to an existing church
song,^ is one of the ten religious t e x t s of Morike which
Wo l f p u t to 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, "Wolf," pp. 4-5.
^ E r i c S a m s , Thj 2 S o n g s £ f_ Hu g o Wo l f (London:
Methuen, 1961), p. 35.
^ 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 ) , " 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 . 12, 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. 575.
fl
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.
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 summary. God, who i s Father and Lor d,
is the one wh o c o n t r o l s the movements of the 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 .
233
bodies. He c a n be a d d r e s s e d in prayer for guidance and
direction at the beginning of a new year as well as
throughout its duration. Devout believers are to rejoice
in the coming of a n o t h e r year. Th e c r e a t e d order is under
Go d ' s control and reminds believers of divine activities
in the spiritual realm. This poem i s expressive of the
views of P i e t i s m .
Musical a n a l y s i s . This song's tripartite through-
composed form f i l l s forty measures. The e n e r g e t i c melody^

1 9
spans a major thirteenth (d to b ) within a harmonic
scheme r e p l e t e with seventh and ninth 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 of the first section. The m i d d l e section then opens
in G major and s u b s e q u e n t l y modulates to D major before
wending i t s way t o A m a j o r a t the begin ning of the final
section. The piano accompaniment is based on the same
melodic and rhythmic germ throughout the song. In the
b e g i n n i n g and e n d i n g s e c t i o n s it consists of p a t t e r n s of
successive p arallel thirds in e a c h hand movi ng i n c o n t r a r y
motion, while the middle s e c tio n uses a d i f f e r e n t rhythmic
pattern for i t s repeated open f i f t h s and o t h e r 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.
234
the left hand while retaining the previously-heard accora-
paniraental m elody.^ The text-setting is prim arily
syllabic with only the words "sei alles" repeated.
Carl Attenhofer (1837-1914; Op. 44, No. 7), Johannes Pache
(1857-1897), W. Me r ke l - *- * and Adalbert von Goldschmidt
(1848-1906; 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 Spanisches Liederbuch, the translation of
s i x t e e n t h - and seventeenth-century Spanish texts by t w o
N o r t h German p o e t s , Emanuel G eibel (1815-1884) and P au l
Heyse (1830-1914), which ap peared in 1852. " D i e du G o t t
gebarst," a Heyse translation of a text by the otherwise-
unknown N i c o l a s Nunez, is the second of the ten geistliche
lieder 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. 188. No o t h e r inform ation is

a v a i l a b l e on W. M e r k e l .
* 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
1 9 5 1 ) , p. XVI I I.
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.
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 me,
Not l o s t
Am I y e t , y o u w i l l s a v e me.
Theological summary. God i n t h e p e r s o n o f J e s u s
came to earth through the Virgin Ma r y , the mother of God.
She, p u r e and s i n l e s s , w a s c h o s e n b y God t o d w e l l i n t h e
unending glory of heaven. Mary, and Mary a l o n e , is the
o n e who h a s r e d e e m e d the h u ma n r a c e and through her kind
ness and grace will provide salvation to those wh o c a l l
upon her and turn to her wholeheartedly. Human e x i s t e n c e
is characterized by s a d n e s s , pain, terror, and t h e f e a r of
death, but in a relationship with the Virgin these 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 Roman C a t h o l i c theology.
Musical analysis. Th e f i f t y - f i v e measures of this
song a r e i n ABA' f o r m . Within a highly-chromatic harmonic
structure which is rooted in the key of A minor with a
final E-major chord the a u s t e r e melody s pa ns a minor tenth

1 9
(e to g ). Th e k e y b o a r d a c c o m p a n i m e n t consists of throb
bing re p e a te d octaves for the pianist's right hand above
237
sustained and often dissonant left-hand chords.^ The
text is generally set syllabically, but when the voice
mo v e s in a "sighing" pattern the syllable is extended over
two notes.
■^For mor e d e t a i l e d o b s e r v a t i o n s concerning th is

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 . See a l s o , Sams,
S o n g s , p. 166.
Chapter 26
MAX GULBINS
(1862-1932)
The G e r ma n composer Max G u l b i n s is seldom remem
bered today. After studying at the Hochschule in B e r l in
he h e l d positions in Elbing and B r e s l a u as church organist
and conductor. In addition to four organ sonatas and
various organ works for liturgical use Gulbins also wrote
for male chorus and

o r c h e s t r a as w ell as for solo voice
I
with keyboard accompaniment. At l e a s t s i x t e e n g e i s t l i c h e
lieder are included in h i s com positional output, two of
which a r e discussed 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 publisher, editor, and a u t h o r Siegfried
August Mahlmann (1771-1826) was e d u c a t e d in a p i e t i s t i c
private school in Borna and later studied law at the
university in Leipzig. His subsequent literary undertak
ings brought him into contact with many o f the 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 , <i C o . , 1 9 8 5 ) , p. 8 8 5 .
238
239
O O
his day, including Friedrich Schlegel and Ludwig Tieck.
Together with parodistic plays and didactic novels
Mahlmann wrote poetry which was quite conventional and
colored by the religious attitudes of his da y.^ Herzog
chose to set one such group of Ma h 1 ma n n ' s poems, Da s
Vaterunser, a collection of seven verse compositions, each
based on a p o r t i o n of the Lord's Prayer as presented in
Matthew 6:9-13.^ "Der d u e w ' g e L i e be b i s t , " the third in
this cycle, is b a s e d on t h e statement "Thy k i n g d o m come"
from Matthew 6:10a.
De r du d i e ew'ge Liebe bist
De r du d i e e w ' g e L i e b e b i s t
Und d e s s e n Gn a d e Ice i n Me n s c h e r m i s s t ,
Wi e s e l i g i s t d e i n T h r o n !
De r f r i e d e n s c h w i n g t d i e P a l m e n ,
Hs s i n g t d i e F r e u d e P s a l m e n ,
D i e F r e i h e i t t e n t im J u b e l t o n !
iierr! In deinem ew' gen Kimmelreich
Ist a lies recht, is t alles gleich -
2u u n s lcomme d e i n R e i c h !
^See p. 50 a b o v e for mo r e information on F r i e d r i c h

Schlegel
O
See p. 50 above for more information of Ludwig
Tieck.
R e i n h a r t Meyer, "Mahlmann, S i e g f r i e d A u g u st,"

Ne u e d e u t s c h e B i o g r a p h i e , v o l . 15 ( B e r l i n : Ouncker «
Hum!) l o t , 1 9 8 6 ) , p p . 6 9 0 - 6 9 1 .
f o r i n f o r m a t i o n on t h e V a t e r u n s e r s o n g c y c l e o f
P e t e r C o r n e l i u s ( 1 8 2 4 - 1 8 7 4 ) w h i c h wa s b a s e d on t h e L o r d ' s
P r a y e r a s r e c o r d e d i n Lu k e 1 1 : 2 - 4 , s e e pp. 1 6 5 - 1 8 4 a b o v e .
240
You Who Ar e E t e r n a l Lo v e
You who a r e e t e r n a l l o v e
And wh o s e g r a c e no p e r s o n c o m p r e h e n d s ,
Iiow b l e s s e d i s y o u r t h r o n e !
P e a c e s wa ys t h e p a l m s ,
Freedom r e s o u n d s i n t h e sound of j oy!
Lord! In your e t e r n a l h e a v e n l y kingdom
Everything is r ig h t , everything is equal -
Hay y o u r k i n g d o m come t o u s !
Theological summary. God, who i s unending love
and whose g r a c e is incomprehensible, dwells in an eternal
heavenly kingdom where there is praise, peace, freedom,
joy, justice, and equality. Hu ma n s long for s u c h an i d e a l
state of existence. This text expresses the ideas of
traditional orthodoxy focused on the concerns of Romanti
cism for a peaceful relationship with and u n i t y w i t h God.
Mu s i c a l analysis. The twenty-seven measures of
this song^ a r e i n AA' B f o r m . The a n g u l a r melody h a s a one

1 ?
octave (e -flat to e -flat) compass in th e key of E - f l a t
i:iajor, although there is a brief and sudden shift to D
major in the final section of the song b e f o r e it returns
to E-flat. The organ accompaniment is basically
homophonic in texture with inner voices which mo v e
c i i r o ma t i c a 1 1 y . At t i me s t h e k ey b o a r d pa r t doubles t he
voice, but it frequently has an independent melody whose
phrase endings do n o t coincide with those of the voice.
^ Th e s c o r e o f t h i s e n t i r e s o n g c y c l e i s a v a i l a b l e
for 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.
241
Th e text-setting is basically syllabic, and the last line
of each p o e t i c strophe is repeated.
"Herr, unsre Z u v e rs ic h t"

( Op. 2 9 , No. 7; 1 9 0 5 )
This text o f Ma h l ma n n i s based on M a t t h e w 6 : 1 3 . ^
Herr, unsre Zuversicht!
Ilerr, unsre Zuversicht!

S t a r k e r H e l d , v e r l a s s uns n i c h t !
li ebe d i e B l i k k e , d i e f r e i e n Ge da nke n
liber d i e L n d l i c h k e i t enge S c h r a n k e n
Koch ernpor i i b e r G r a b und To d!
Wi r h o f f e n , w i r w a r t e n a u f M o r g e n r o t ,
Wi r s e h n e n u n s a l l e n a c h d e i n e m L i c h t ,
Na c h dei nei , i h o c h h e i 1 i g e n A n g e s i c h t !
F ii h r u n s n i c h t i n V e r s u c h u n g ,
S o n d e r n e r i c s ' u n s vom H e b e i !
L'enn du b i s t H e r r und du b i s t G o t t ,
linser Vat er !
lind d e i n i s t d a s R e i c h und d i e K r a f t
Und d i e K e r r i i c h k e i t i n E w i g k e i t .
Amen !
Lord, Our C o n f i d e n c e !
Lord, our c o n f i d e n c e !
S t r o n g e r c h a m p i o n , do n o t f o r s a k e u s !
L i f t up h i g h t h e g l a n c e s , t h e f r e e t h o u g h t s
A b o u t f i n i t ud e r s n a r r o w b o u n d a r y ,
About t h e g r a v e and d e a t h !
We h o p e , we w a i t f o r d a wn ,
We a l l l o n g f o r y o u r l i g h t ,
F o r a s o n g w i t h a s i m i l a r t i t l e b a s e d on O l d
T e s t a m e n t t e x t s , s e e pp. 9 9 - 1 0 1 a b o v e c o n c e r n i n g " G o t t i s t
u n s r e Z u v e r s i c h t u n d S t a r k e " by B e r n h a r d J o s e p h K l e i n
( 1 7 9 3 - 1 o 3 2)
242
For y o u r mos t h o l y f a c e !
Lead us n o t i n t o t e m p t a t i o n ,
Bu t d e l i v e r u s f r o m e v i l !
F o r yo u a r e L o r d a n d y ou a r e God,
Our F a t h e r !
And y o u r s i s t h e k i n g d o m a n d t h e p o we r
And t h e g l o r y f o r e v e r .
Amen !
Theological summary. God, the holy Lord and
Father of believers, is the source of victory in the
circumstances of life. His glorious and powerful kingdom
is eternal. People whose lives are circumscribed by d e a t h
and wh o long for hope and victory over evil find
confidence in God' s strength and faithfulness. This text
presents the theology of traditional orthodoxy.
Musical analysis. The recitative and three-part
through-composed aria form (ABC) o f this song f i l l s forty-
six measures. The scalar me l ody has a range of a perfect

1 9
tw elfth (c to g ) in the key of C major. The organ
accompaniment supports t he e i g h t - me a s u r e recitative with
sustained block ch ords. The c o n t r a p u n t a l texture of t h e
aria makes c o n s i s t e n t use of parallel sequential lines,
occasionally incorporating independent melodic patterns in
an internal voice. The text is set syllabically with
extensive text-repetition in the initial section of the
ar i a .
Chapter 27
MAX REGER
(1873-1916)
In addition to being a noted keyboard performer
and pedagogue, Reger has been considered to be the most
im portant German o r g a n composer since Johann Sebastian

1 ?
Bach, his most h i g h l y - e s t e e m e d composer. A l t h o u g h he
wrote for both o r c h e s t r a l and cham ber forces as well as
for solo piano, it was in ma ny of his works for chorus,
for organ, and f o r accompanied solo voice th a t t h i s strict

O
and convinced Catholic gave e x p r e s s i o n to h i s faith.
There are thirty geistliche lieder among h i s almost 300
songs for solo voice with keyboard accompaniment. Two o f
these religious com positions are the focus of this
^Helmut W irth, "Reger, (Johann B a p t i s t Joseph)

M a x ( i m i l i a 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 , v o l . 15, e d . S t a n l e y S a d i e ( Lo n d o n : Macmillan,
1980), pp. 6 7 5 - 6 8 1 . See a l s o , Helmut W irth, "Reger,
Johann B ap tist J o s e p h M a x ( i m i l i a n ) , " Djl e^ Mju.s ijk iîi
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 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. 119-132.
H e l m u t W i r t h , Max R e g e r i n S e l b s t z e u g n i s s e n u nd
B il d d o k u m e n t e n (Reinbek b ei Hamburg: R o w o h l t , 1 9 7 3 ) , p.
6 8 , r e p o r t e d R e g e r a s h a v i n g p e r s o n a l l y c o n s i d e r e d Bach t o
be t h e b e g i n n i n g a n d t h e e n d o f a l l m u s i c .
^Wirth, " R e g e r , " T h e New G r o v e , p p . 6 7 5 , 6 7 8 .

S e e a l s o , W i r t h , Ma_x R e g e r , p p . 7 0 , 1 0 7 , w h e r e R e g e r i s
quoted as having d e s c r ib e d h i m s e l f as " C a th o lic to h is
fingertips."
2 43
244
chapter.
" V e r l a s s e n h a b ' i c h me i n L i e b "

( Op. 1 5 , No. 9 ; 1 8 9 4 )
This song is the penultimate entry i n R e g e r ’s Op us
15. Th e p o e t is the otherwise-unknown Franz Engel.^ This
is the only Engel text which Reger used as the lyrics for
a solo song, but in 1892 he set an Engel text, "Zur
Nacht," fo r mixed ch o ru s w ith piano acompaniment ( Op . 6 ,
No. 2) . 5
Verlassen hab* i c h mei n Li e b
V e r l a s s e n h a b ’ i c h mei n Li e b
Und h a b g e w e i n t d a z u ;
H e r r G o t t i m H i mme l , oh g i b
De r a r m e n S e e l e Ru h .
Es wa r n i c h t d e r W i l l e m e i n ,
Es h a t s o s e i n g e m i i s s t .
H e r r G o t t , du w e i s s t e s a l l e i n ,
Wi e m i r i m H e r z e n i s t .
D i e Wege z u s a mme n g e h n
Und g e h n auseinand.
So l i e g t auch das Wiedersehn
Allein in G o t t e s Hand.
A s e a r c h o f The N a t i o n a l U n i o n C a t a l o g : Pre-1956
I m p r i n t s , v o l . 160 ( C h i c a g o : M a n s e l l , 1971), pp. 5 5 - 5 6 ,
y i e l d e d f o u r p o s s i b l e a u t h o r s u n d e r t h e n a me F r a n z E n g e l :
a s t u d e n t of H o m e r i c l i t e r a t u r e (b. 1867); a p h y s i c i a n
(1850-1931); a t r a v e l w r i t e r (b. 1834); and a p a s t o r
( n . d . ) r e p r e s e n t e d by a n 1 8 9 9 v o l u m e o f s e r m o n s , Das
" V a t e r u n s e r ” v o r dem T a b e r n a k e l .
^Wirth, Max R e g e r , p . 161.
I Ha ve L o s t My L o v e
I h a v e l o s t my l o v e
And h a v e w e p t a b o u t i t ;
L o r d God i n h e a v e n , oh g i v e
Rest t o t h e poor s o u l .
I t was n o t my w i l l ,
So i t m u s t have been h i s .
L o r d Go d , y o u a l o n e know i t ,
How i t i s i n my h e a r t .
The p a t h s come t o g e t h e r
And go a p a r t .
Therefore the reunion also lies
Onl y i n G o d ' s h a n d .
Theological summary. God t h e L o r d i s i n h e a v e n .
He a l o n e k n o w s t h e d e e p e s t e m o t i o n s o f the h u ma n h e a r t and
can bring comfort thereto. He controls the lives of
individuals, separating them and u n i t i n g them a c c o r d i n g to
his will. People live in relationships characterized by
love, disappointment, and sadness. Each one's life is
impacted and s e e m i n g l y c o n t r o l l e d by e x t e r n a l forces which
can lead to frustration and resignation. This text
expresses the theology of traditional orthodoxy.
Musical analysis. This song's^ through-composed
form fills forty-two and o n e - f o u r t h measures. The v o i c e
covers a range of a minor thirteenth (b to g ) in a
h i g h l y - c h r o m a t i c harmonic framework which f i n a l l y cadences
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
[ Max R e g e r J , S a m t l i c h e We r k e , v o l . 3 1 , e d . F r i t z S t e i n
( Wiesbaden: B r e i t k o p f & H a r t e l , 1955), pp. 66-69.
246
in the key of C minor but not before having tonicized G
m i n o r and B - f l a t major. Th e p i a n o a c c o m p a n i m e n t i s highly
idiomatic, incorporating arpeggiated chords for the left
hand w i t h a v a r i e t y of t e x t u r e s for the r ig h t hand, most
of which i n v o l v e block chords or chords divided between
equal portions of the rhyth m ic pulse. The i n s t r u m e n t a l
part doubles the vocal line in many phrases but is
essentially independent thereof both with regard t o me l ody
and phrase length. The tex t-settin g is prim arily
syllabic, although the syllables are often extended over
two or threenotes, particularly at the emotional or
melodic apex of the phrases. Text r e p e t i t i o n occurs in the
setting of the final line of each of the poetic strophes.
" B i t t e urn 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 )
For the twelve songs of his Opus 139 Reger
selected texts from De r deutsche Psalter, a collection of
sacred poetry from a p e r io d of a thousand ye ar s amassed by
Will Vesper,^ which i n c l u d e d this p o p u l a r hymn t e x t by
^ Thi s was i n d i c a t e d i n t h e s c o r e : [[Max R e g e r ] } ,

S a m t l i c h e We r k e , ed. F r i t z S t e i n ( Wi e s b a d e n : Breitkopf &
H a r t e l , 1967) , p. 181.
247
Q
Nicolaus H e r ma n (1500-1561). As a L u t h e r a n schoolmaster,
organist, and K a n t o r in the small Ger man mountain city of
Joachim sthal, Herman saw his task as being that of a
servant o f t h e Wo r d o f G o d , ^ t h u s p l a c i n g h i m s e l f f i r m l y
within the i n f l u e n c e of th e Meistersinger tradition of the
poet-coiposer.^ Th e b u l k o f Herman's lieder for w h i c h he
wrote bot h words and m u s i c , envisioned f o r s c h o o l a n d h o me
use, were written during the final years of h i s life with
the majority of his works having appeared in two collec
tions: Die Sonntagsevangelia iiber das ganz te Jahr in
Gesange verfasset ("The Sunday Gospels for the Wh o l e Year
Composed i n S o n g s," 1560) and Die H i s t o r i e von d e r Sint-
f 1 u d t , J o s e p h , M o s e , H e l i s a und d e r S u s a n n a s a m t e t l i c h e
Historie aus der E v a n g e l i s t e n , auch e t l i c h e P s a 1 me n u n d
geistlichen Liedern ("The Story of the Flood, Joseph,
Mos e s , Elisha, and S us an n a , Together with Several Stories
from the Evangelists, also So me Psalms and Sacred Songs,"
1 5 6 2 ) . "Bitte urn e i n e n seligen Tod" is Reger's only
^ W a l t e r B l a n k e n b u r g , " H e r m a n , N i c o l a u s , " T h e New

Grove 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. 8, ed.
S t a n l e y S ad ie (London: M a c m i l l a n , 1980), p. 507.
^ E d w a r d E m i l e Ko c 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 e s
und K i r c h e n g e s a n g s d e r c h r i s t l i c h e n , i n s b e s o n d e r e d e r
deutschen evangelischea K irch en , vol. 1 ( S t u t t g a r t : Chr .
B e l f e r , 1866) , p. 391.
^ S e e pp. 27-28 above for further inform ation

concerning the M e is te rs in g e rs .
1 1C arl von W in terfeld , J) js r_ £y_a_iiê^ s_£h_e_
Kirchengesang u nd s e i n V e r h a l t n i s z u r K u n s t d e r T o n s a t z e s
248
setting o f a He r ma n t e x t .
Bitte urn e i n e n seligen Tod
Wenn m e i n S t i i n d l e i n f i i r h a n d e n i s t ,
Und s o i l h i n f a h r n m e i n ' S t r a s s e ,
So g ' l e i t du m i c h , H e r r J e s u C h r i s t ,
Mi t H i l f mi ch n i c h t v e r l a s s e ,
Me i n S e e l a n me i n e m l e t z t e n End
B e f e h l i c h d i r i n d e i n e Ha n d ,
Du w o l l s t s i e m i r b e w a h r e n .
Me i n Siind m i c h w e r d e n k r a n k e n s e h r ,
Me i n G ' w i s s e n w i r d m i c h n a g e n ,
De n n i h r ' r s i n d v i e l w i e S a n d am M e e r ,
Do c h w i l l i c h n i c h t v e r z a g e n ,
Ge de nke n w i l l i c h an d e i n ' Tod,
H e r r J e s u , u n d d e i n Wunden r o t ,
Di e we r de n mi ch e r h a l t e n .
Petition Concerning a Blessed Death
When my l i t t l e h o u r i s p r e s e n t
And my s t r e e t m u s t go t h e r e ,
So l e a d me , L o r d J e s u s C h r i s t ,
Wi t h h e l p do n o t f o r s a k e me,
My s o u l a t my f i n a l e n d
I e n t r u s t to you, i n t o your hands,
You d e s i r e t o p r o t e c t i t f o r me.
My s i n s w i l l g r e a t l y o f f e n d me ,
My c o n s c i e n c e w i l l r a n k l e me
F o r t h e r e a r e mo r e o f t h e m t h a n t h e sand
by t h e s e a ,
Ho we v e r I w i l l n o t d e s p a i r ,
I w i l l t h i n k of your d e a t h ,
Lord J e s u s , and your r e d wounds,
Wh i c h w i l l s a v e me.
Theological summary. Th e Lord Jesus Christ died
on a c r o s s for the salvation of sinners. He leads and
helps the believer, protecting the Christian's soul at the
(1843; rpt. Hildesheim: Georg 01ms, 1966), pp. 395-396.
249
time of death. People are sinners whose path ultimately
leads them to death. In the hour of death, when the
aw areness of one's sins afflicts his or her conscience and
evokes despair, hope and consolation can be found in
remembering C h rist's death. This text affirm s the
theology of t r a d i t i o n a l orthodoxy.
Musical a n a l y s i s . Th e m i n i m a l l y - m o d i f i e d s t r o p h i c
form of t h i s song f i l l s twenty-nine measures. Within a
highly-chromatic harmonic structure which is based firmly
i n t h e k e y o f C m i n o r and c o n c l u d e s on a C - m a j o r c h o r d t h e
angular mel ody encompasses the interval of a minor tenth

1 9
(c to e - f l a t ) . The k e y b o a r d a c c o m p a n i m e n t i s c h o r a l e
like, doubling the voice throughout in a homophonic
texture. The text is set syllabically and without
repetition.
Other settings. No o t h e r solo settings of this
text are known t o be e x t a n t .
Chapter 28
OTHMAR SCKOECK
(1886-1957)
The S w i s s conductor, pianist, and composer Ot hma r
Schoeck s tu d ie d in Zurich and later in Leipzig with Max
Reger. Following his return to S w i t z e r l a n d , he b e c a m e a
prominent figure in the musical life of his homeland. As
a composer his principal area of a c t i v i t y wa s v o c a l music,
particularly that of the solo song, a genre in which he
has been seen as the direct, and p o s s i b l y last, descendent
of the nineteenth-century lied tradition.^ Amo n g his
almost 400 s o n g s at least thirteen are settings of reli
gious texts, nine of which p r e - d a t e the year 1916. Two o f
these songs are considered below.
^ i( u r t v o n F i s c h e r a n d F r i t z M u g g i e r , " S c h o e c k ,
O t h m a r , " The i\ew 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 : M a c m i l l a n , 1 9 8 0 ) , pp.
698-/00. Also, I v i l l i Schuh, "Schoeck, Ot hmar, " Di e H 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 . 12, 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 , 1965 ) , pp. 7 - 1 4.
O
D e r r i c k P u f f e t t , .T-he. . S , o _ n C y c l e s o^f_ O t h m a r
S ch o e c k (Bern and S t u t t g a r t : P a u l l i a u p t , I S 8 2 ) , pp. 1 0 0 -
101, r e p o r t e d t h a t Schoeck s e t s i x of J o s e p h F i c h e n d o r f f ' s
( s e e pp. 138-135 above) G e i s t l i c h e L i e d e r , but t he s c o r e s
were not a v a i l a b l e for study. I f th o s e t e x t s were s u i t
ab le for i n c l u s i o n in t h i s stu dy, the t o t a l number of
S c h o e c k 's g e i s t l i c h e l i e d e r would r i s e to at l e a s t
nineteen.
250
251
"M arienlied"
( Op. 6; No. 5; 1 9 0 7 )
This text is the second of the two Ma r i e n l i e d e r
which were included by the poet Novalis in his Geistliche
Lieder of 17 9 9 . ^ This is Schoeck's only setting of a
Novalis text.
Marienlied^
Ich sehe dich in tausend B il d e rn ,

Maria, l i e b l i c h ausgedriickt,
l)och k e i n s vo n a l i e n k a n n d i c h s c h i l d e r n ,
Wi e m e i n e S e e 1 e d i c h e r b l i c k t .
I c h w eii i n u r , daB d e r W e l t Getiimmel

S e i t d e m m i r w i e e i n Traurr. v e r w e h t
Und e i n u n n e n n b a r s i i b e r Hi mme l
Mi r e wi g i m Ge inii t e s t e h t .
S o n g o f Mar y
I s e e y ou i n a t h o u s a n d p i c t u r e s ,
Ma r y , l o v i n g l y e x p r e s s e d ,
Ye t n o n e o f t h e m a l l c a n d e p i c t y o u ,
As my s o u l p e r c e i v e s y o u .
I only k n o w, t h a t t h e t u r m o i l o f t h e w o r l d
Since t h a t t i m e t o me b l o w s a wa y l i k e a dr e a i n
And a n i n e x p r e s s i b l y swe eter heaven
Stands e t e r n a l l y f o r me i n my s o u l .
Theological s u m ma r y . An inner vision of the
Virgin Mar y provides peace in the midst of personal
o
-’ F o r i n f o r m a t i o n c o n c e r n i n g Novalis and his
G e i s t l i c h e L i e d e r , see pp. S2-S3 ab o v e .
Lr' JTn o v a 1 i s j , G e s a mm e l t e W e r k e , vol. 1, ed. Carl

Seelig (Ziirich: B u h l , 1 9 4 5 ) , p. 52.
252
turmoil. For the believer love for and devotion to the
Virgin ma k e t h e blessings of h e a v e n a p r e s e n t and e n d u r i n g
reality. This text expresses the theology of traditional
Roma n C a t h o l i c orthodoxy.
Musical analysis. This s o n g ' s ’’ e i g h t e e n measures
are in through-composed form. The a r i o s o v o c a l l i n e s p a n s

■I O
a m i n o r t h i r t e e n t h (c to a - f l a t ) in a harmonic framework
which b e g i n s in L m a j o r and m o d u l a t e s to t h e key of A - f l a t
major. The piano accompaniment provides a thin-textured,
chromatic, hoaopiionic background for t he voice utilizing
the upper half of the keyboard. The text-setting is
syllabic and without repetition.
Maximilian Josef Leidesdorf ( Op . 129, No. 5);^ Schubert
( D. 658; 1819);^ Louise Reicnardt (1819); Max R e g e r ( Op.
105, No. 1; 1 9 0 7 ) ^ and J o s e p h Mar x (1915).
“*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 a t
£
F o r m o r e i n f o r m a t i o n on L e i d e s d o r f , s e e p. 92
above.
^ Fo r more inform ation on Schubert, see p. 11 7

above.
O
For mo r e i n f o r m a t i o n on R e g e r , see p. 2 43 a b o v e .
253
Di e V e r k l a r e n d e
( Op. 9 , No. 1; 1 9 0 7 )
The Italian sculptor, painter, and architect
Michelangelo Buonarroti (1475-1564) v/as a l s o an a u t h o r who
idolized the p o e t D a n t e a n d w h o s e own p o e t i c works provide
what has been called a "spiritual biography" of their
creator. As a R o ma n Catholic Michelangelo reconciled
within his life and works the influences of orthodox
Christianity and n o n - C h r i s t i a n humanism, resulting in a
christocentric religion which incorporated mystical
elements and a f e a r of being deemed unworthy of heaven at
the time of judgment whi ch would f o l l o w his certain death,
a c o n c e r n w h i c h g a v e r i s e t o and came to e x p r e s s i o n in h is
famous work, "The Last Judgment."^ The text of "Die
V erklarende," one of two M ichelangelo settings by
S c h o e c k , i s the wo r k o f an unknown translator.
Di e Verklarende
I n mi r n u r Tod, i n d i r me i n Lebe n r u h t ,
Du g i b s t und n i mms t m i r m e i n e E r d e n z e i t ,
E n t s c h e l d e s t , ob i c h k u r z ob l a n g e l e b e .
D u r e h d e i n e ifu 1 d a l l e i n s o g e h t ' s m i r g u t ,
Du n u r b e w i r k s t , d a b mi r z u r E w i g k e i t ,
Zu G o t t d i e S e e l e s i c h b e g l i i c k t e r h e b e .
^ R o b e r t J o h n C l e m e n t s , " M i c h e l a n g e l o , " T h e New

E n c y c l o p a e d i a i i r i t a n n i c a , 1 5 t h e d . , v o l . 12 ( C h i c a g o :
Bent on, 1974), pp. 97-102.
The o t h e r S c h o e c k s e t t i n g o f a M i c h e l a n g e l o t e x t
i s " M a d r i g a l " ( o p . 3 1 , Do. 1) w h i c h wa s w r i t t e n i n 1 9 1 7 ,
a c c o r d i n g to P u f f e t t , C y c l e s , p . 441.
254
The T r a n s f i g u r i n g One
I n me o n l y d e a t h , i n y ou my l i f e r e s t s ,
You g i v e t o me a n d t a k e f r o m me my t i m e on e a r t h ,
Determine whether I l i v e s h o r t or long.
On l y t h r o u g h y o u r g r a c e d o e s i t go w e l l f o r me,
On l y y o u b r i n g i t a b o u t t h a t f o r e t e r n i t y
hy s o u l b l e s s e d l y r i s e s up t o God.
Theological s u mm a r y . God is in heaven. Jesus
Christ is gracious a nd d e t e r m i n e s the length of a person's
life. He p r o v i d e s the believer with entrance into God's
presence. The existence of h u ma n beings is characterized
by death and is overseen by Christ whose grace is the
source of all goodness in people's lives. This text is
expressive of the thought of traditional orthodoxy.
Husical analysis. The t h i r t y - t w o measures of this
song^ are in through-composed bipartite form. The
angular vocal line spans a diminished twelfth (B t o f ^)
within a highly-chroma tic tonal scheme which begins in F
minor and modulates to ii m a j o r at the beginning of the
second s e c t i o n in which it subsequently modulates seriatim
to D - f l a t major and F major, t h e key in which i t finally
cadences. The independent piano accompaniment is
homophonic in texture with muc h dissonance and the use of
the instrum ent's lower register in the treatment of the
first three lines of the poetic text in the first section
■^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 for study at

the Library of Congress in Washington, D .C .
255
of the song. The s e c o n d section has a more transparent
accompaniment b u i l t upon a t w o - m e a s u r e m u s i c a l p h r a s e , the
seven i t e r a t i o n s of which r i s e in depiction of the subject
of the l a s t three lines of the t e x t . The t e x t - s e t t i n g is
primarily syllabic ana without repetition with only the
middle syllable of the final wo r d extended over mor e t h a n
t wo n o t e s .
are known to be e >:t a n t .
Chapter 29
CONCLUSIONS
The t w e n t y - f i v e c o m p o se r s and t h e f i f t y individual
geistliche lieder considered within this work hav e been
selected from the scores of 110 c o m p o s e r s ' 65 3 g e i s t l i c h e
lieder which were a v a i l a b l e for examination during this
study. Table 1 contains a listing of those tw enty-five
composers whose songs have been c o n s i d e r e d above, along
with the total number of their geistliche lieder. The
se le c tio n process has been influenced by those
uncontrollable factors of history which have brought the
works of s o me composers to be housed in the libraries of
the United States while allowing the musical scores of
o th e r com posers' songs to rem ain in Europe. This influ
ence is evidenced in Table 2 which combines the r e s u l t s of
this author's research with that of Hildegard Jung' *' whose
work wa s done in a European context. The fourteen compo
sers in Table 2 whose names a re marked with an a s t e r i s k
(*) are those whose sacred solo song compositions are not
■ ^ 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 m 19.
K u n s t l i e d e s " ( I n a u g u r a 1- 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. I - L X I I . See Appe ndi x A f o r a c o m p l e t e l i s t i n g
o f t h e s o n g s f r o m w h i c h T a b l e 2 was d e r i v e d .
256
257
Table 1
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
Discussed in This Study
80 Karl Loewe (1796-1869)
63 Franz Schubert (1797-1828)
61 Alexander Winterberger (1834-1914)
53 F r a n z Commer (1813-1887)
32 Hugo Wo l f (1860-1903)
30 F r a n z Abt (1819-1885)
30 Max R e g e r (1873-1916)
21 Albert Becker (1834-1899)
20 Bernhard Klein (1793-1832)

20 J o h a n n Georg Her zog ( 1 8 2 2 - 1 9 0 9 )
19 Peter Cornelius (1824-1874)
17 Carl Gottlieb Reissiger (1798-1859)
16 R o b e r t S c h u ma n n ( 1 8 1 0 - 1 8 5 6 )
16 Max G u l b i n s ( 1 8 6 2 - 1 9 1 3 )
14 C a r l Rei neclce ( 1 8 2 4 - 1 9 1 0 )
14 J o h a n n e s Br a h ms ( 1 8 3 3 - 1 8 9 7 )
13 Franz L i sz t (1811-1886)
13 Wi l hel m T a u b e r t ( 1 8 1 1 - 1 8 9 1 )
13 Michael H a ll e r (1840-1915)
13 Ot hma r S c h o e c k ( 1 8 8 6 - 1 9 5 7 )
11 August Harder (1775-1813)
8 Lu d w i g v a n B e e t h o v e n ( 1 7 7 0 - 1 8 2 7 )
8 Maximilian Joseph Leidesdorf (1787-1840)
8 F e l i x Mendelssohn (1809-1847)
7 F r a n z Xaver S c h n y d e r von War t e n s e e

(1786-1868)
258
Table 2
Nu mb e r 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 t e n t i a l l y
Eligible for I n c l u s i o n in Thi s Study
90 * F r i e d r i c h Mer gner (1818-1891)
80 K a r l Loewe (1796-1869)
63 Franz Schubert (1797-1828)
61 Alexander Winterberger (1834-1914)
53 F r a n z Commer (1813-1887)
50 * F r a n z Bohme ( 1 8 2 7 - 1 8 9 8 )
50 * 0 s k a r Wer mann ( 1 8 4 0 - 1 9 0 6 )
44 * V o l k ma r Schurig
32 Hugo Wo l f (1860-1903)
30 *Mar ie N a t h u s i u s
30 F r a n z Ab t ( 1 8 1 9 - 1 8 8 5 )
30 Max R e g e r ( 1 8 7 3 - 1 9 1 6 )
28 *Josef Rheinberger (1839-1901)
27 " ' - J ohanne s E v a n g e l i s t a Habert (1833-1896)
24 *G. Ra b e
22 *Valdemar Voullaire
21 Albert Becker (1834-1899)
20 Bernhard Klein (1793-1832)

20 J o h a n n Geor g Her zo g ( 1 8 2 2 - 1 9 0 9 )
20 "‘- A d o l f Za h n
19 Peter Cornelius (1824-1874)
18 *Gustav Fliigel (b. 1812)

18 *L. H e s s e l m a n n
18 * J u 1. S c h l a d e n b a c h
17 *Karl Eduard Hering ( 18 07 - 1879)

17 Carl G o ttlie b R e i ss ig e r (1798-1859)
Note: The a s t e r i s k ( * ) i n d i c a t e s t h o s e c o m p o s e r s w h o s e
w o r k s a r e n o t i n c l u d e d i n t h e bod y o f t h i s s t u d y .
259
available in this country in sufficient numbers to be
included in t h i s research, but whose n u mb e r s of g e i s t l i c h e
lieder would bring them within the purview of this study
if their musical scores were a v a i l a b l e - Significantly,
the absence of th e se fourteen composers from this study
allows for the consideration of the geistliche lieder of
such major composers as Robert Schumann, Liszt, Beethoven,
Felix Mendelssohn, and Brahms within the body of this
work. These composers appear in t h i s study on t h e basis
of their stature as composers in general rather than on
the basis of t h e number of geistliche lieder which they
wrote.
Th e twenty-five composers included in this study
c a n be d i v i d e d into three categories: seven major compo
sers (Beethoven, Schubert, Mendelssohn, Schuma nn, Liszt,
Brahms, and Wolf); five familiar but secondary composers
(Loewe, Ab t , Cornelius, Reger, and Schoeck); and thirteen
m i n o r and v i r t u a l l y unknown c o m p o s e r s (Harder, Schnyder
von Wartensee, Leidesdorf, Klein, Reissiger, Taubert,
Commer, Herzog, Reinecke, Becker, Winterberger, Haller,
and G u l b i n s . An a s s e s s m e n t of T a b l e 1 indicates that the
vast majority of geistliche lieder during the nineteenth
century wa s n o t written by t h e m a j o r c o m p o s e r s of t h e day,
but by a handful of secondary composers and by a mu c h
larger numbe r of minor composers. This becomes even mo r e
apparent from an examination of Table 2 which lists only
260
two m a jo r composers (Schubert and Wolf), four secondary
composers (Loewe, Abt, Cornelius, and Reger), and n i n e t e e n
minor composers, seven o f whom a r e of such l i t t l e historical
significance that no b i r t h or death dates are available
for them.
Many o f the composers discussed in this work seem
to have had personal religious convictions which probably
encouraged the composition of geistliche lieder. Included
in this category are Mendelssohn and Liszt from a mo n g the
major composers; Loewe, Abt, Cornelius, and Reger from
among the secondary composers; and the minor composers
Harder, Klein, Reissiger, Co mme r , Herzog, Becker, Haller,
and Gulbins. Of these minor composers, Harder and
Reissiger had each studied theology, as had the secondary
composers Loewe and Abt, while each of the other minor
composers n a me d above served as church musicians at s o me
point in their lives.
Of t h e thirteen minor composers c o n s i d e r e d in t h i s
work, only Reissiger wa s a singer while Klein and Commer
were s i n g i n g instructors. The m a j o r i t y of the others were
prim arily pianists and teachers (Harder, Schnyder von
W artensee, L eidesdorf, Taubert, Reinecke, and
Winterberger), while the remainder were organists (Herzog
and G u l b i n s ) or professors (Becker). As c o m p o s e r s , only
Harder, Klein, R eissiger, Taubert, Commer, Becker,
and Winterberger wrote approximately fifty or mo r e total
261
songs, with only Co mme r , Becker, and Winterberger having
written more t h a n twenty geistliche lieder. Thus, even
a m o n g t h o s e m i n o r c o m p o s e r s who c o n t r i b u t e d the most to
the sacred solo song in the nineteenth century, the geist-
liches lied was n o t a m a j o r part of their compositional
output.
The texts selected by t h e composers of geistliche
lieder during the nineteenth century reflect a wide
variety of poetic origins and theological influences.
S o me are anonymous texts, either from folksongs (e.g.,
Brahms' "Di e heilige Elisabeth"), translations of Latin or
Italian texts (e.g., Schumann's "Requiem" or Schoeck's
"Die Verklarende"), paraphrases of biblical texts (e.g.,
Klein's "Gott ist unsre Zuversicht und Starke"), or origi
nal p o e ms (e.g., Reissiger's " No a h " ) . So me , like those of
Cornelius, were written by t h e composer himself. Still
others were the product of poets of historical insignifi
cance (e.g., Heinrich Goeble, Joseph Muller, Theodor
Kohler, W. von Born, and Franz Engel).
However, there is a large number of important
poets from various historical periods represented within
the texts of the nineteenth-century geistliche lieder.
These authors include the Italian Renaissance poet-artist
Michelangelo (1475-1564), the Ger man R e f o r m a t i o n church
musician and p o e t Nicolaus H e r ma n (15U0-1561), the Baroque
Pietists Andreas Cry p h i us ( 1 6 1 6 - 1 6 64) and P a u l Gerhardt
262
(1607-1676), as w e ll as th e o r th o d o x L u th e r a n t h e o l o g i a n
Hinrich Elmenhorst (1632-1704) and the Roma n Catholic
Angelus Silesius (1624-1677). The period of the Enlight
enment is represented by t h e p r o f e s s o r - a u t h o r Christian
Fii.rchtegott G e l l e r t (1715-1769), the religiously broad
minded p h i 1o s o p h e r - s c i e n t i s t Johann W o l f g a n g von G o e t h e
(1749-1832), the nature-loving poet and soldier Ewald
Christian von K l e i s t (1715-1759), and the Lutheran pas
tor's son Matthias Claudius (1740-1815); but the majority
of the texts for the g e i s t l i c h e lieder of t h e n i n e t e e n t h
century were w r i t t e n by c o n t e m p o r a r y poets.
Of p a r t i c u l a r importance among the poets of the
Romantic era are Goethe, the first-generation Romantic
poet and novelist Novalis (1772-1801), the devout Ro ma n
Catholic bureaucrat Joseph Eichendorff (1788-1857), the
Lutheran pastor and teacher Eduard Morike (1804-1875), the
North German poets Emanuel Geibel (1815-1884) and Paul
Keyse (1830-1914) with their translation of the Spanisches
Liederbuch, and the Protestant Swiss poet Friedrich
Heinrich Oser (1820-1891). The G eistliche Lieder of
Novalis were particularly attractive to composers in the
first third of the n i n e t e e n t h century. They c o n t i n u e d to
inspire musical expression even into the first decade of
the twentieth century.
Theologically, the ideas of traditional orthodoxy
are found in the works of each of the tw enty-five
263
composers considered in this study. At least twenty-eight
of the lieder display the influence of that deposit of
Christian belief c ommon t o both P r o t e s t a n t s and C a t h o l i c s .
A specifically Ro ma n Catholic perspective, manifested

o
through expressions of devotion to the Virgin Mary,
through reference to the Roman C a t h o l i c doctrine of trans
substantiation, and t h r o u g h the poetic image of the infant
Jesus in heaven, appears in nine of the fifty poems.
These texts have been set by Schnyder von Wartensee,
Liszt, Taubert, Abt, Brahms, H aller (2), Ivolf, and
Schoeck.
Pietism and R o m a n t i c i s m a r e both stro n g influences
in the texts chosen by t h e composers studied here, with
t w e n t y of t h e poems ( e . g . , C laudius' "Abendlied") showing
that personal devotional orientation which is the charac
teristic of Pietism. The influence of Romanticism is
evident in s i x t e e n of the song texts, either in the non-
christocentric orientation of R o m a n t i c i s m w i t h its longing
f o r u n i o n w i t h t h e d i v i n e o r t h e e x p e r i e n c e o f Cod t h r o u g h
the created order which occurs in twelve of the songs
(e.g., Goeble's "Abendlied unterm gestirnten Himmel" or
Dreves' "Waldandacht") or in the Romantic christocentric
^ J u n g , " S o l o l i e d , " p. 6 7 , s t a t e d t h a t s h e f o u n d
12 5 Ma r i e n l i e d e r s e t by b o t h P r o t e s t a n t a n d C a t h o l i c
c o m p o s e r s , as com pare d w i t h t w e n t y - f i v e s e t t i n g s of th e
Lord's P r a y e r .
264
theology of Schleiermacher with its expressions of abso
lute dependence, such as appear in four of the songs
(e.g., Novalis' "Das h o c h s t e Gut").
The l a c k of any H e g e l i a n or R i t s c h l i a n influence
among the fifty texts ma y seem a t first to be puzzling.
Idealistic religious poetry and m oralistic religious
poetry wa s w r i t t e n and s e t to music between 1800 and 1915.
Johann Ludwig Uhland (1/87-1862) wrote religious
Idealistic poetry w h i c h wa s s e t by c o m p o s e r s , for example,
Othmar Schoeck's 1907 setting of "Auf den To d eines
Kindes" ( Op . 3, No. 6 ) . Solo song s e t t i n g s of m oralistic
religious poetry were composed, the Josephine La n g (1815-
1880) setting of the Julius Hammer (1810-1862)^ poem
"Blick n a c h Obe n " being one s u c h c o m p o s i t i o n . However, in
general the intellectual and philosophical orientation of
Kegel - * a n d t h e R i t s c h l i a n f o c u s on t h e w i l l of h u m a n ity ^
may be s e e n to be k i n d s of thought patterns which rarely
give rise to religious poetry o f an e m o t i o n a l nature and,
F o r m o r e i n f o r m a t i o n on t h e r e l i g i o u s p o e t r y o f
Uhl and, s e e Au g u s 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 -
sen Dichtung in Deutschland (Essen: G.D. B a e d e k e r , 1 9 1 9 ) ,
pp. 2 1 8 - 2 2 0 . S e e a l s o , 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
G h r i s t u s l i e d des neunzehnten J a h r h u n d e r t s (L ei p zi g: Ernst
W u n d e r l i c h , 1 9 0 3 ) , p. 1 3 1 - 1 3 2 .
^ F o r m o r e i n f o r m a t i o n on t h e r e l i g i o u s p o e t r y of
Julius Hammer , s e e N i p p o l d , G h r i s t u s l i e d , p p . 1 3 6 - 1 3 7 .
-*See t h e discussion on I l e g e l on p p . 57-61 above.
^See the discussion on R i t s c h l on p p . 61-64 above.
265
as such, are less likely to be chosen by composers as
texts for geistliche lieder. While Hegel wa s influential
in the areas of philosophy, biblical studies, and poli
tics,^ and Kitschl wa s

a d o m i n a n t f o r c e a mo n g t h e o l o g i a n s
O
and church historians, t h e r e was a r e v i v e d a n d s t i l l
vital orthodox faith among both Protestants and Ro ma n
Catholics® as well as a vibrant Pietism a mo n g the l aity' *' ®
giving rise to both religious poetry and geistliche
l i e d e r . •*■■*■
Musically, twenty-nine of the songs display s o me
variety of strophic form: strict (e.g., Schubert's "Abend
lied"), modified (e.g., M endelssohn's "Trostung"),
Kenneth S c o tt L a t o u r e t t e , Christianity i n a_
R evo 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
N in e t e e n th and Twen t i e th C en t u r i e s , Vol. II: The
N i n e t e e n t h Century in Europe: Th 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 (New Y o r k : H a r p e r M B r o t h e r s , 1 9 5 9 ) , pp. 16, 4 8 ,
120. S e e a l s o , 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 and 2 0 t h
C e n t u r y P r o t e s t a n t T h e o l o g y , e d . C a r l E. B r a a t e n ( Ne w
Yor k: H a r p e r & Row, 1 9 6 7 ) , o p . 1 3 5 - 1 4 1 .
O
L a t o u r e t t e , C h r i s t i a n i t y , pp. 2 6 - 3 2 , w h i c h
f o c u s e d on t h r e e R i t s c h l i a n s : Wilhelm Herrmann (1846-
1 92 2) ; J u l i u s K a f t a n ( 1 8 4 8 - 1 9 2 6 ) ; and A d o l f von H a r n a c k
( 1 8 5 1 - 1 9 3 G) . 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. 2 1 9 -
225 .
^ L a t o u r e t t e , C h r i s t i a n i t y , pp. 1 8 - 2 4 . 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. 1 5 7 - 1 5 8 , f o r d i s c u s s i o n o f t h e
t h e o l o g y of r e s t o r a t i o n or " r e p r i s t i n a t i o n " whi c h marked a
" r a d i c a l r e t u r n to and r e d i s c o v e r y of the o r t h o d o x
tradition."
^Latourette, Christianity, p. 76. See also,

Tillich, P e r s p e c t i v e s , pp. 152-157.
^Latourette, Ch r i s t i a n i t y , p. 78.
266
strophic variation (e.g., Beethoven's "Abendlied unterm
gestirnten Hi mmel ") or a sectional form based on s t r o p h i c
form with alterations or additions (e.g., Cornelius' " Di e
Kon ige " or H a l l e r ' s "Heimweh"). S ix te en of the songs are
through-composed with either four sections (e.g.,
Schumann's "Requiem"), three sections (e.g., S c h n y d e r von
Iv’a r t e n s e e ' s "Hymne” ), two s e c t i o n s (e.g., W interberger's
"Todessehnsucht"), or a single unified whole (e.g.,
Schoeck's "M arienlied"). Modified rondo form (e.g.,
K lein's "Gott ist unsre Zuversicht und Starke") and
recitative a n d ABA' a r i a form (e.g., Herzog's "Arie") are
also represented. These musical forms represented in the
nineteenth-century extra-liturgical geistliches lied are
the same a s those present in the r e m a i n d e r of t h e Romantic

19
lied tradition of which these songs are a part.
Half of the songs are between twenty and sixty
measures long, the shortest, Taubert's " De r liebe Gott im
himmel," having only sixteen measures and the longest,
Harder's " Das Wor t " , filling 226 bars. The vocal range of
these songs is generally moderate with twelve of the songs
spanning an octave, sixteen requiring the singer to nego
tiate the interval of a ninth or a tenth, and an
additional dozen demanding the c o mma n d of an eleventh or
1 9
Jung, " S o l o l i e d , " p. 6 5 , c o n c l u d e d t h a t "das
g e is tlic h e s S ololied ist keine Spezialform der
Vo k a 1 k o mp o s i t i o n . "
267
tw elfth. A more extensive range of a thirteenth is
required for the performance of eight of the songs, and
one, Brahms' "fe' enn ich mit Menschen- und Lngelszungen
redete," spans a major fourteenth. A syllabic approach to
text-setting is universal and in g en era l very limited text
repetition is present, with only Klein's "Gott ist unsre
Zuversicht und Starke" and Herzog's "Arie" departing from
this n o r m.
The a c c o m p a n i m e n t is scored for the piano in a l l
but three of the songs which are specifically written for
organ by t h e church musician Becker ( " Du, Herr, bist unser
V a t e r !") and the organist Gulbins ("Der du ew'ge L i e be
bist" and "Herr, unsre Zuversicht"). Reger's "Bitte urn
einen seligen Tod" ma y be accompanied on the organ as
well, a s ma y o t h e r s o f t h e s o n g s which have c h o r a l e - l i k e
accompaniments (.e.g., Herzog's " P a s s i o n s g e s a n g " ). The
orientation of Ha r de r and L e i d e s d o r f toward the guitar may
be s e e n i n s o me o f the accompani mental figurations used in
their songs (e.g., Harder's " Das Wort" and Leidesdorf's
"u' enn in ban g e n , triiben Stun den").
At the beginning of the nineteenth century the
role of the keyboard instrument wa s basically determined
by t h e ideas of the first and s e c o n d Berlin lied schools
which viewed it as simply providing a harmonic background
and doubling the vocal line in such a wa y that the text
268
might be clearly delivered and understood.^ As the cen
tury progressed the keyboard accompaniment beca me i n c r e a s
ingly idiomatic and independent of the vocal line. The
instrument had become an equal partner with the voice in
the art song in general, and in the geistliches lied as
well. Such a development can be seen by c o m p a r i n g the
accompaniments of Beethoven's " Di e Liebe d e s N a c h s t e n " a nd
Mendelssohn's "Trostung" with those of Schumann's "Requiem,"
Reger's "Verlassen hab' ich mein Lieb" and Winterberger's
" Da s Wo r t Gottes."
While this study has d e m o n stra te d the b r e a d t h of
composers, poets, theological influences, and musical
forms present in the sacred solo art song of the
nineteenth century, further wor k r e m a i n s to be d o n e in the
study of the geistliches lied of that era. The basic
approach and focus of this study could be e x p a n d e d through
the use of European libraries. Studies focusing on t h e
theological orientations and the musical expressions
thereof for any single major composer of geistliche
lieder, for example, Peter Cornelius or Carl Loewe, could
be u n d e r t a k e n . Additionally, work r e m a i n s t o be d o n e t o
determine if the influence of a particular theological
viewpoint, for example, Pietism or devotion to the Virgin
1 *3
Mendelssohn's song c o m p o s i t i o n s stand within
that tradition. S e e pp. 3 7 - 3 8 , 132 a b o v e .
269
Mary, can be t r a c e d chronologically by m e a n s of further
study of the nineteenth-century geistliches lied.
With regard to the transfer of the geistliche
lieder from the library shelves to the perform er's
repertoire there is a need for translations which could be
used in performance in a liturgical or recital setting.
Similarly, a performer's guide for any or a l l of the songs
discussed within this study would be an aid in placing
before teachers, students, audiences, and congregations a
vast amount of largely unknown sacred song literature
which i s worthy of use in church, h o me , studio, or recital
contexts.
Appendix A
THE EXTRA-LITURGICAL GEI STLI CHES LIED 1 8 0 0 - 1 9 1 5

A LI STI NG BY COMPOSER
This listin g by composer of the individual
geistliche lieder w ritten or published between and
including the years 1800 and 191 5 is based on the wor k of
Hildegard Jung-*- and has been amplified by this author.
The songs are listed in chronological order with
information given concerning opus or catalog number, date
of composition or publication, and textual source, where
such information is available.
Those song titles marked with an asterisk (' ^Jhave
been examined by this author. If a composer's name is
marked with an asterisk, all of the lieder given below
that n a me h a v e been studied by t h i s author. All unmarked
titles ma y be a s s u m e d to be taken directly from Jung's
listing. The names of the composers and the individual
songs which have been discussed within the body of t h i s
study have been printed in boldfaced type.
■ ^ 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 i m 19.

K u n s t l i e d e s " ( I n a u g u r a 1 - 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. I - L X I I . T h i s wor k i s u n a v a i l a b l e i n t h e U n i t e d
S t a t e s , hence for co m p le te n ess i t s c o n t e n t s are included
here to supply a b asis for f u r t h e r study.
270
271
Abt. Franz Wilhelm (1819-1885)
" G e b e t d e r J u n g f r a u " ( Op . 6 0 / 6 1 , No. 3; 1 8 5 2 )

* " D a s t r e u e d e u t s c h e H e r z " ( O p . 6 7 , N o . 5; D. O t t o )
* " E i n J u d e " ( Op . 7 1 , No. 1; Z e i s e )
* " K r i e g e r s A b s c h i e d " ( Op . 7 7 ; P a u l W i l c k e n )
* " B e i m We i n e " ( Op . 8 7 , No. 1; S t e r n a u )
* " F r i i h l i n g s m o r g e n " ( Op . 8 8 , No. 6; K a r l E n s l i n )
* " Av e M a r i a " ( Op . 9 6 ; 1 8 5 2 - 5 9 ; G. S c h e u r l i n )
* " D e r l i e b e G o t t h a t t r e u ' s g e m e i n t " ( O p . 1 0 6 , No. 2;
1 8 5 2 - 5 9 ; C. G a r t n e r )
* " U b e r d i e S t e r n e n i s t Ruh" ( Op . 1 2 8 , No. 1; 1 8 6 0 -
6 7 ; W. F l o t o )
* " Av e M a r i a " ( Op . 1 2 8 , No. 2 ; 1 8 6 0 - 6 7 ; W. F l o t o )
* " I n d u n k l e r N a c h t " ( Op . 1 4 4 , No. 4 ; M. v . C o l l i g n o n )
" K e i n H a l m l e i n w a c h s t a u f E r d e n " ( Op . 1 5 9 , No. 1;
1852-59)
* " Me i n E n g e l h i i t e d e i n ! " ( Op . 1 6 4 , No. 3; W i l h .
Hertz)
*"Wem G o t t e i n b r a v e s L i e b b e s c h e e r t " ( Op . 1 6 7 ,
No . 1; A. C o r r o d i )
* " F r i i h l i n g s w o l c k e n " ( Op . 1 6 7 , No. 2; F r i e d r i c h
Oser )
*"Waldandacht" ( Op . 2 1 1 , No. 3 ; L. D r e v e s )
>!;" 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)
"Klagen des leidenden Heilands" (1852)
Al ma , Max
" Ave M a r i a " ( Op . 5; 1885)
Altmann, Arthur
"Vater unser, der du b i s t im Hi mme l " (1897)
Alvensleben, G. v.
"Auferstehung" ( f r o m Op. 2; 1843)
Amadei , Albert
"Friede, Friede, a c h f Ur Miide" ( f r o m Op. 17; 1892)
Anacker, August F r i e d r i c h (1790-1854)
Sechs geistliche Lieder ( Op . 26; 1852)
Andre, J o h a n n Anton (1775-1842)
" De r 1 3 8 . P s a l m " ( Op . 6 3 , No. 1; 1 8 4 0 )

" Der 2 8 . P s a l m " ( Op . 6 3 , No. 2; 1 8 4 0 )
Andrei Jean Baptiste (1823-1882)
Trost ( Op. 17; 1852-59)
Andre', J.
"Neujahrslied" (Voss)
Ansorge, 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 )
273
* " D e r du von dem Hi mme l b i s t " ( Op . 2 3 , No. 5;

Goethe)
* " E i n G r a b " ( Op. 2 3 , No. 7; Anna R i t t e r )
Ar n e ma n n
"0 d i e Zukunft dir mag b r i n g e n " ( Op . 65; 1893)
Bagge, Selmar (1823-1896)
"Vertrauen auf Gott" (1852-1859)
Baldenecker, Udalrich
"Sehnsucht n a c h dem J e n s e i t s " (1852)
Banck, Karl (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" (1852-59)
Bartz, Joh.
Fiinfzehn g e i s t l i c h e Lieder ( Op . 28; 1904-08)
B a t k a , J . N.
"Gottes Liebe" ( Op . 26; before 1843; Tiedge)
Ba u ma n n , C. F.
Religiose Lieder und G e s a n g e ( Op . 33; 1852)
274
B a u m f e l d e r , G.
"Mein Heiland, der fiir m i c h gelitten" (Op. 9; 190 1)
Baumgart, Albert
"Marienlied fiir d i e Mai-Andacht" (1904-08)
Baunack, C. F .
"Gott, du b i s t me i n G o t t " (1898; Ps. 63)
Bausznern, Wa l d e ma r von ( 1 8 6 6 - 1 9 3 1 )
" Es i s t so s t i l l geworden" ( Op . 3, No. 11; 1888)
Becher, Alfred (1803 1848)
"Gebet" ( Op . 3, No. 3; before 1843)
Becker, Albert (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)
275
Becker, Ida
Vier kleine Legenden (Op. 8; 1891)
Becker, Reinhold (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 " (1881)
Bellermann, Heinrich (1832-1903)
" Ave M a r i a " (1888)
Bellmann, Julius
" Es i s t so s t i l l geworden" (1888)
Beneken, Friedrich Bernhard (1760-1818)
Lieder der R e l i g i o n , Freundschaft und L i e b e

( c . 1805)
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 , No. 11;
L. R e l l s t a b )
Berger, 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 . 49; 1899)

"Vom Hi mmel i n d i e t i e f s t e n K l i i f t e " ( Op. 52; 1899)
Bertelsmann, K. A.
"Gebet" (1852)
Beyer, He r ma n n
"Gott ist me i n H i r t " ( Op . 9; 1898)
Bischoff, K a r l B.
"Ein g e i s t l i c h Abendlied" (1860-67)
Blanck, Konstanze
"Wenn i c h , o Schopfer, deine Ma c h t " (1860-67)
B1 a s e 1 , H.
"Du H e i l i g s t e , zu d e i n e n Fiissen" ( Op . 6, No. 1;

1903)
Bley, 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 )
277
Bliithgen, E.
" Wo du hingehest" (Op. 3; 1894)
Blumenberg, Carl
" Der w e i t e Kirchhof liegt so s t i l l " ( Op . 171; 1896)
Blumenberg, Franz
"Es l i e g t ein weiter Garten" ( Op . 30; 1895)
Blumenthal, Paul (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 ; Ps. 61)
Blumner, Martin (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, No.

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. 2;
1890)
Bohl, Heinrich
"Es i s t so still geworden" ( Op . 3; 1896)
278
Bohnenblust, Gottfried
"Wenn J a h w e Z i o n h e r s t e l l t " ( Op. 3; 1904-08;

P s . 126)
Bojanus, W. E.
Fi l nf g e i s t l i c h e Gesange ( Op . 2; 1875)
Bonvin, Ludwi g (1850-1939)
"Singt, jubelt eurem H e r r n" ( Op. 72; 1904-08;

P s . 100)
Borchers, 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 im d i e n s t e r mi i d e n " ( Op . 4, No. 1;

1902)
* Brahms, Johannes (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"
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 " ( f r o m Op. 2; 1852-59)
Bratsch, J. B.
" Ave M a r i a " ( Op. 11, No. 3; 1852-59)
Braunrath, Ferdinand
" 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 . 4, No. 1;

1890; G e i b e l )
Brede, Albrecht
"Es i s t so s t i l l geworden" ( Op . 34; 1897)
Breuer, B.
" Au f d i c h , 0 Herr" (1860-67)
Broksch, R.
"Herr, sei me i n L i c h t " ( Op . 23, No. 2)
Bronsart von S c h e l l e n d o r f f , I n g e b o r d (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 . Wildenbruch)
Bruch, Max ( 1 8 3 8 - 1 9 2 0 )
-"Gott!" ( Op . 15, No. 2; 1860-67; H. Bo n e )
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 ( Op . 4; 1888)
Bu c k , Rudolf (b. 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 . 2 0 , No. 1; 1 8 5 2 - 5 9 )

" O s t e r l i e d " ( Op . 2 0 , No. 3; 1 8 5 2 - 5 9 )
" A l l e s , was d e i n G o t t d i r g i b t " ( Op . 38, No. 1;
1896)
Buchner, Louis
"Gott erhore me i n G e b e t " (1895)
Bii nte, August
"Bethania, du F r i e d e n s h i i t t e " ( Op . 25; 1899)
Burghardt, L.
Geistliche Ge s i i n g e ( Op . 5; before 1843)
281
Burkhardt, Chr.
"Uber Nacht kommt still d as Lied" (Op. 6; 1883)
Chelius, Oskar von (1859-1923)
"Die B i b e l ist ein heilige Buch" (op. 1, No. 1;

1888)
Christlieb, A.
Zwolf geistliche Festgesange (before 1843)
Claasen, Arthur (1859-1920)
" Wi e G o t t es will" ( Op . 35, No. 2; 1888)
Clarus, Max ( b . 1852)
"Schauet hinauf zum M e i s t e r der Welt" ( Op . 38;

1904-08)
Co mme r , Franz (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)
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, den i c h tief im H e r z e n t r a g e " ( Op. 10)
Curschmann, Karl Friedrich (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 )
283
Curti, Franz (1854-1898)
"Engel, die lind um P a l m e n ihr wallet" ( Op . 16;

1888)
Daab, H.
" De r H e r r ist me i n H i r t " ( Op . 8; 1883; Ps. 23)
Damlce, Berthold (1812-1875)
"Maria Gebiirt" ( Op . 41, No. 3; 1852-59)
Deprosse, Ant on
"Vom Hi mmel in die tiefsten Kliifte" ( Op . 37, No. 1;

1878)
Deschermeier, Jos.
Mar i e n - B l i i t e n : Zehn L i e d e r zur V e r e h r u n g Mar i e n s

( Op . 3 7 ; 1 9 0 0 )
Dessauer, Josef (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 du i n G o t t e s Jahr" ( Op . 5; 1904-08)
Dieter, Heinrich
"Du b i s t Petrus! Fels vom F e l s e n ! " (1904-08)
Doebber, Johannes (1866-1921)
" Vor d i r , o Herr, liegt meine S e e l e " ( Op. 1, 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 . 9;

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, W.
" Ave M a r i a "
Dorn, Alexander (1833-1901)
" De s D i c h t e r s Gebet" ( f r o m Op. 67)
Dor n , H e i n r i c h (1804-1892)
"Di e h e i l i g e d r e i K o n i g e " ( f r o m Op. 9; 1845)

"Abendgebet" ( f r o m Op. 4 4 ; 1 8 5 2 )
Dor n , O t t o
"Herr, Herr, ich lasse nicht von d i r " ( Op . 43;

1899)
Dr aeselce, Felix (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 , No. 4;

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 )
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 . 18 )
285
Ebeling, M.
Sechs Lieder (Spitta)
*Eberwein, M. C. (1786-1868)
"Gute Nacht" (E. Geibel)
E c k a r d t , A.
Sechs Gesange: Trost in triiben Stunden (Op. 16;

1852)
Edenhofer, 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 , das wahr a l s Pfand" (Op. 2,

No. 3 ; 1 9 0 1 )
E h m a n n , K. C. Eberhard
"G eistliches Lied" (1875)
E h rlich , C hristian Friedrich (1810-1887)
"Geh n a c h Emmaus" (1886)
Eickhoff, J. D.
"Deinen F rie d e n sende n ie d e r " (1895)

" M i t dern H e r r n f a n g a l l e s a n " (1895)
Emmerich, Robert
" Lobe den H e r r n , m e i n e S e e l e " (Op. 35, No. 1;

1860-67)
" G o t t s e i m i r g n a d i g " ( O p . 3 5 , No. 2; 1860-67)
286
"Meine S e e l e i s t still zu G o t t " (Op. 35, No. 3;

1860-67)
"Es i s t so s t i l l geworden" ( f r o m Op. 37; 1883)
Engl, P. Bernardin
Marien-Blumen: S e c h s L i e d e r zu E h r e n d e r aller-
h e i l i g s t e n Ju n g fra u Maria (1899)
Epstein, Julius (1832-1926)
Sechs 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 unser" ( Op . 33; 1902)
Erler, He r ma n n (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 hauslichen Andacht ( Op . 18; 1852)
Eschborn, W.
"Gebet" (1852-59)
Evers, Karl (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
287
" Wi r g l a u b e n all an e i n e n G o t t " (1904-08)
Fahrmann, Ernst Hans (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 g e h n im Dammer ung g r a u " ( Op . 9;

1904-08)
"Warum s o l l t i c h mich d enn g r ame n" (1904-08)
*FaiJ3t, Immanuel (1823-1894)
"Der 57. Psalm"
Fauter, 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, den i c h tief im H e r z e n t r a g e " (Op. 3; 1880)
Fehrmann, Paul
"Da d i e Hirten ihre Herd liessen" ( Op . 3; 1901)
Fesca, Friedrich Ernst (1789-1826)
"Mariens Opfer" ( f r o m Op. 17; 1 8 4 5 )

" Au s d e n T i e f e n r u f i c h " ( f r o m Op. 2 4 ; 1845)
Fink, C hristian (1822-1911)
"Ich folge Jesu nach" (Op. 5 2; 1898)
288
Fink, Wilhelm
"Vater unser" (Op. 377; 1904-08)
Finkennest, 0.
"Vernehmt mit Andacht d ie Prophezeiung" ( Op . 5;

1904-08; I s a . 9 :2 -7 )
Fischer, C a rl August
"Bleibt bei dem, der e u r e t w i lle n " (1894)
Fischer, Karl Ludwig (b. 1816)
"Vater unser" (1904-08)
*F i s c h o f , Robert (b. 1856)
" Hymne" (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. 7; 1852-59)
Flinsch, Carl
"Die Glocken l a u t e n das Ostern ein" ( Op . 21,

No. 1; 1 8 9 1 )
Fliigel, Gustav (b. 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)
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;

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;
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, Reinhold
"Vater unser, der du b i s t im H i mm e l " (Op. 7; 1895)
*F ranz, Robert (1815-1892)
" 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 " ( Op . 48,
No. 5 ; 1 8 9 2 )
"Abends" ( E i c h e n d o r f f )
Friclce, Richard (b. 1877)
" S e i mir g e g r i i s s t , o stille Woche " (Op. 27; 1904-

OS; M o r i k e )
Friedland, S. 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 und
h a u s l i c h e Andacht (1899)
Fritze, Wilhelm
"Gebet der Mater dolorosa" (Op. 17, No. 3; 1877)
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 , aller Gnaden S c h r e i n " (Op. 39,

No. 4 ; G e i b e l )
Gansbacher, Josef (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 (1798-1851)
"Das G e b e t des Herrn" (1852)
Geibel, Konrad (1813-1872)
"Ave M a r i a " (1852-59)
G eissler, Karl (1802-1869)
Hausandachten in Liedern ( Op . 120; 1852-59;

Fr. Oser)
Georg, Kronprinz von H a n n o v e r
" G e is tli c h e s Lied" (b e fo re 1843)

"In d e i n e r Ehr" (1845)
291
Gernsheim, Friedrich (1839-1916)
"Die ihr schwebet um d i e s e Palmen" (Op. 34; 1877)
Gersdorff, C. von
"In dein l e u c h t e n d e s Himmelsblau" (1897)

"Was h a b i c h d i r g e t a n , mein Volk" ( 1 8 9 7 )
Girschner, Christian Friedrich Johann (1794-1860)
" D e r h e i l i g e C h r i s t " ( f r o m Op. 16; before 1843)

V ier r e l i g i o s e Gesange (1852)
G laser, C.
Neun r e l i g i o s e Gesange (before 1843)
Glaesz, Alexander
"0 du, vor dem d i e S t i i r me schweigen" (Op. 14)
G lass, F.
"Wo L i e b e du ! F u r m i c h g i n g s t du i n T o d e s -
s c h m e r z e n " (Op. 17; 1 901)
Go b e 1, K.
"Dem H e r r n sei Lob und E h r " ( f r o m Op. 39; 1860-67)
G oepfart, Karl Eduard (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)
292
Goetze, Eduard
"Her r, der du alles wohl gemacht" (Op. 3; 1900)
Goetze, 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" (Op. 18, No. 12; old Ge r ma n t e x t )
Goldschmidt, Adalbert von (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 ; Hahn-
Hahn )
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)
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 (1812-1883)
"Es g i n g M a r i a in d e n Mo r g e n h i n e i n " (Op. 45,

No. 4 ; 1 8 7 6 )
Grassner, Richard
"Laut von d e n B e r g e n h a l l e t nieder" (Op. 25; 1896)
Grafmiiller, J.
"Wenn d i e M u t t e r betet fur die Kind" (Op. 59;

1852-59)
G retscher, 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.
Gr i mm, Julius Otto (1827-1903)
"Gebet" ( f r o m Op. 3; 1852-59)
29 4
Grosheim, Georg C h r i s t o p h (1764-1841)
Pie zehn Gebote (before 1843)
*Gross, Johann Benjamin (1809-1848)
" Der 142. Buss-Psalm Davids" ( Op . 2)
Gruber, 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 " ( Op . 29; 1852-59)
Giitli, J. Ludwig
"R ecitative and A r i a " (Op. 36; 1896)
Gunther, Richard
" H e r r , d e i n Leben kann n i c h t enden" (1903)

"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, 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)
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" ( f r o m Op. 83;

1852-59)
" Da s b e s s e r e L a n d " ( f r o m Op. 8 4 )
Gurland, 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 (1833-1896)
9_ M a r i e n l i e d e r und W eihnachtslieder (Op. 2)

15 r e l i g i o s e L i e d e r (Op. 6)
Ilackel, Anton (1799-1846)
"Gebet" ( f r o m Op. 37; 1852)
Hacker, Denedikt (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. 1777)
"Gebet" (Op. 17; 1860-67)
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 " (Carl
Griineisen )
" T i e f e s Grab" (G riineisen)
Hagemann, 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 dein Heiland fragt" (Op. 12, No. 3;

1899)
Haine, Carl (b. 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. 68, No. 1;

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 " ( Op . 68,
No. 2 ; 1 8 9 3 )
Haller. Michael (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 )
297
Hamel, Eduard (b. 1811)
"Stamm mit dem Pilgerfuss" (Op. 42; 1886)
Hamma, F r i d o l i n B. (b. 1818)
"Gott, mein T r o s t " ( Op . 56; 1852-59)
Hammerstein, Hertha von
"Was s u c h e t ihr den L e b e n d i g e n bei den T o t e n ? "

(1904-08)
^Harder, August (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 an C h r i s t u s (1845)
Hartmann, Georg
" M i t f rommem S i n n b i n i c h e r g e b e n " ( o p . 39; 1885)

Des J a h r e s f e s t l i c h e T a g e i n L i e d , G e s a n a und
B ild (1885)
298
Hartmann, Johann Peter Emilius (1805-1900)
"Die H e i l i g e d r e i Konige aus Morgenland" (from

Op. 3 5 ; 1 8 4 5 )
H a r t m a n n vo n An d e r L a n - H o c h b r u n n , P.
"An d e n H e i l a n d " (Carl Eichwede)
Hartung, Philipp
"Es ist so still geworden" (Op. 7, No. 2; 1886)
H aselhorst, Max
" I h n M e n s c h e n b r i i d e r , wer ihr seid" (Op. 4; 1878)
Hasse, Gustav
"Kein Ilalm lein w achst au f Erden" (Op. 27, No. 6;

1877)
Hauptmann, Moritz (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. 1851)
" L a s s mich i mme r stiller werden" (Op. 36; 1896)
Hegele, 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. 1;

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 )
299
Heiser, Wilhelm (b. 18 17)
"Wenn einst dir in der Welt" (from Op. 218; 1879)
Heitmann, M.
" L e h r mich b e t e n , Gott der H errlichkeit" (Op. 14)
Henzmann, E.
"Es f l a c k e r n im G o t t e s h a g e " (Op. 4; 1889)
Bering, Karl Eduard (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 )
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 . 29, No. 1;

1898)
" D e r du vo n dem Hi mmel b i s t " ( Op. 2 9 , No. 2; 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 (1843-1900)
G eistliche Gesange (Op. 89; 1896)
Kesselmann, L.
Sechs geistliche Lieder (1899)

Zwolf geistliche Lieder (1901)
H essling, M» v .
" Wi e G o t t w i l l " ( f r o m Op. 16; 1852-59)
*H etsch, L.
" Ave M a r i a "
Heuberger, Richard (1850-1914)
"Die Glocken l a u t e n das O stern e in " (1877)

"Der J u n g f r a u D i l d " ( Op . 2 4 , No. 5 ; 1885)
Heuchemer, Johannes (b. 1826)
"Gebet" ( f r o m Op. 2; 1852)
lleuler, Ra i mu n d (b. 1872)
Vier 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 " (Op. 6,

No. 2; 1 8 8 4 )
Hildach, Eugen (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)
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 " (1891)
Himmel, Friedrich 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 und me in H e i l a n d , ich hoffe auf dich"

(1898)
H inrichs, Marie
"Blicke zum H i m m e l " (from Op. 1; 1852)
H inzpeter, Ludwig
"Wenn d i c h d i e Schar der bosen G e i s t e r " (Op. 29,

No. 2; 1 8 9 2 )
Hoffer, Alwin
"Herr, zu d i r w ill ich mich r e t t e n " (Op. 16; 1889)
Ronis, Heinrich (b. 1852)
"Vater unser" (Op. 70; 1900)
3 03
Hosel, Kurt
"Herr, schicke was du w i l l s t " ( 1904-08; Mo r i l c e )
Hotzel, Karl
"Es z i e h t v on G o t t e s Huld g e s a n d t " (Op. 3; 1895)
Hoffmann, Ludwig (b. 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 " (op. 14; 1893)
Hofmann, Heinrich (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 Hi mmel liebt" (Op. 37,

No. 3 ; 1 8 8 1 )
Hohfeld, Carl
"Kommt a l l e h e r zu m i r " (1895)

"Wo du h i n g e h s t " ( 1 8 9 5 )
11oh f e l d , Otto
"Kein H alm lein wachst auf Erden" (Op. 5, No. 3;

1878)
304
Hollaender, Alexis (1840-1924)
H olstein, F r a n z von (1826-1878)
"Wenn G o t t a u c h n i e v e r g o n n t e " ( Op. 11, No. 3;

1881)
" Ave M a r i a " ( O p . 1 1 , No. 4 ; 1 8 8 1 )
Hoppe, Paul
"Madonna, wunderholdes Bild" ( Op. 28; 1891)
Horn, August (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 " (1852-59)
Hummel , Ferdinand (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 . 73;

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; 1903;
Felix P h ilip p i)
^Humperdinck, E n g elb ert (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 )
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. 2:
1899; I s a . 53, 54)
Irrgang, Wilhelm (b. 1836)
"Ich klopfe a n zum H e i l i g e Advent" (Op. 34; 1894)
Israel, Carl (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 der Herr ist Gott" (Op. 60; 1884;

P s . 100)
:;,:J a h n s , Friedrich Wilhelm (1809-1888)
" W a n d r e r s N a c h t l i e d " ( Op . 13, No. 2; Goethe)

" D e r S o l d a t " ( Op . 1 3 , No. 5)
Jakobi, 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 ich zu d i r , Herr" ( Op . 19b;

1902; P s . 129)
306
Jansen, Friedrich Gustav (1831-1910)
"Suchst du d e n F r i e d e n "
Jensen, Adolf (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 lieb habe, ziichtige ich" (Op. 145;

1903)
Jonas, Ernst
"Bete, bete, f r omm und l e i s e " (Op. 1 8; 1875)
Kahle, Theodor
" 0 d u , v o r dem d i e Stiirme schweigen" (op. 21,

No. 1 ; 1 8 8 6 )
Kahn, Robert (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. Allmers)

" 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 Not"
( O p . 6 3 , No. 1)
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)
307
Kalliwoda, J o h a n n Wenzel (1801-1866)
"Sei s t i l l " (Op. 7, No. 6 ; 1 8 5 2 - 5 9 )

"Der F r i e d e Gottes" ( O p . 7 9 , No. 5 ; 1845)
*Kaminski, Heinrich
"orautlied" (Ruth)
Kast, Ch . E.
Stunden der Einsamkeit und A n d a c h t (1845)
K atterfeld, 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 hast" (Op. 25;
1881)
Kauffmann, 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; 1879)
" De i n L i e b e s f e u e r , a c h H e r r " (Op. 11, No. 4 ; 1879)
Kauffmann, Ernst Friedrich (1803-1856)
"Gebet" (Op. 1, No. 4; 1860-67)
* Kaun, Hugo ( 1 8 6 3 - 1 9 3 2 )
"Und h a b ' so g r o s s e Sehnsucht doch" (Op. 55,

No. 7; Anna R itter)
K eller, Josef Michael
Sechs T o d t e n li e d e r (before 1843)
K eller, Karl (1784-1855)
"Zu k a m p f e n fur der Christen Ehre" ( f r o m Op. 11;

1845)
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 r-

s 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; 1897)

" 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 (Op. 33; 1852)

"Anfangs w o l l t ic h f a s t v e r z a g e n " (Op. 53; 1852-
59)
Ketschau, Wilhelm (1805-1869)
*"Wo du 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 "
(Op. 5; R u t h 1 : 1 6 - 1 7 )
"Wandle 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 "
( Op . 9; 1 9 0 4 - 0 8 )
K indler, Paul
M a r i e n l i e d e r zu E h r e n d e r allerseligsten Jung
f r a u (Op. 3 9; 1 9 0 4 - 0 8 )
K irchl, Adolf (1858-1936)
M arienlieder (Op. 32; 1894)
K la u w e l l , Adolf (1851-1917)
" A l l e s m i t G o t t " ( f r o m Op. 18; 1 8 5 2 - 5 9 )

" A b e n d g e b e t " ( f r o m Op. 1 8; 1852-59)
K lein, Bernhard (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; 1819)
* " W a n d e r e r s N a c h t l i e d " ( Op . 1 5 ; 1827; Goethe)
" l i y mn u s " ( Op. 3 9 ; 1 8 3 2 ; P s . 9)
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" (L. Rellstab)
K lein, 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; 1903)
K l i e r , K.
F i i nf L i e d e r (1860-67; Spitta)
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 mein F r i e d e n " ( 1 8 7 9 )

"Tu e i n e n S c h r i t t zum a n d e r n " ( 1 8 7 9 )
"Nun r u h t d i e Welt mit S chw eigen" (1879)
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. 1; 1904-08)

"Wenn e i n L i e b e s d i r d e n T o d " ( O p . 6, No. 2 ;
1904-08)
Koemmenich, Lo u is
"Herr des Himmels" (Op. 6; 1897)
Kohlmann, Otto
" Wi e i s t d o c h o h n e Ma s s und Z i e l " (1904-08)
Kolle, 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. 20,

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, No. 6
1890)
Kortenbach, 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)
311
Kralilc, Mathilde von
"Einstm als v e r li e s s das bergige Land G a l i l a a der

T aufer" (1898)
Kr a 1 1 , J .

" 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. 3;
1860-67)
" N a c h f e i e r " ( O p . 1 0 , No. 4 ; 1 8 6 0 - 6 7 )
Krause, Theodor (b. 1833)
"Es ist so s t i l l geworden" (Op. 19; 1880)
*Krebs, Karl August (1804-1SS0)
Kretzschmer, Edmund (1830-1908)
" Ave M a r i a " ( Op . 20; 1875)
Kretzschmar, Ha n s
"Wi e e i n e i l l ume i n m ilder Nacht" (Op. 13, No. 2;

1904-08)
Kr i c h , ii e 1 e n e
"Uber Nacht sind wir alt geworden" ( Op . 25; 1892)
312
Krigar, Jul. Her.
" D ie auf den Herrn hoffen" (Op. 25; 1860-67)
K rinniger, 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; 1880)

" 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, Jenny
"Lieber gott, ich bin dein Kind" (1904-08)
* Ktic k e n , Friedrich Wilhelm (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 , du S c h m e r z e n r e i c h e " ( Op . 7, No. 2;

1893)
* I(iihn, Edmund
"Ich l i e b e dich in G ott" (Op. 12, No. 4; Hoffmann

v on F a l l e r s l e b e n )
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, No. 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. 2; 1883;
B ible)
" O p f e r G o t t Da nk" ( O p . 1, No. 3 ; 1 8 8 3 ; Bible)
Kii n d i g , F .
"Geduld" (1852-59)
"Schweige s t i l l " (1852-59)
"Stilie" (1852-59)
"Leidvoll Herz" (1852-59)
Kualer, Adolf
"Wenn d e r Herr ein Kreuze sch iclct" (Op. 58; 1895)
Kuhlenkampff, Gustav
" 0 d u , v o r dem d i e St i i rr ne s c h w e i g e n " ( Op . 5,

No. 1; 1 8 8 6 )
Kunlcel, G ottlieb
"0 H e r r , l a s s mich n i c h t schuldig werden" ( Op . 3;

1860-67)
Kunze, 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 , Herr, ist Erlosung"

1904-08)
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" ( Op. 73, No. 2; 1893)
L afite, Carl (1872-1945)
"Durch d i e zerbrochenen alten K irchenfenster"

(1894)
Lang, Josephine (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 )
315
Langenbeck, Georg
"H e r r , mein Gott, erbarm dich meiner Seele" (1 8 9 4 )
Lanz, E.
"Wiegenlied der Mutter Gottes" (1852-59)
Lasch, Eugen
"Troste dich in deinem Leid" (Op. 7)
Lassen, 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 . 81,
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 (1787-1840)
*"Wenn im bangen, 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)
Leitzen, C. M.
" Der H e r r ist mein H i r t " (1894; Ps. 23)
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 d e i n e Wo h n u n g e n " ( P s a l m )
" Vo r d e n V o l l c e r n w i l l ic h bekenne d ic h , Herr"
(Psalm)
Lewalter, 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 " ( Op . 52; 1904-08)
Lewandowsky, Louis (b. 1823)
"Es g l e i c h t das M enschenleben" ( Op . 43; 1892)
Le wy, Carl
"Befiehl dich Gott" (Op. 52, No. 1; 1879)
Liehey, Reinh.
"Herr, schicke was du w i l l s t " ( Op. 1 5; 1904-08;

Morike)
Liebmann, Axel
"0 G o t t , wie dank ich dir" (1878)
Liebmann, Helene. Riese (b. 1796)
Drei g e i s t l i c h e Lieder fiir innige und s t i l l e Seele

( b e f o r e 1843)
Liese, Richard
" I c h h e b e m e i n e Augen a u f zu den B e r g e n " (Op. 4;

1 9 0 4 - 0 8 ; P s . 121)
Lindpainter, Peter Josef von (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 : Acht
froinme L i e d e r ( Op . 1 6 4 ; 1 8 5 2 - 5 9 )
317
Sechs geistliche Lieder (Op. 167; 1852-59)
*L i s z t , Franz (1811-1886)
" 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 ;
"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 ;
" 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 ;
" 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)
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 ;
" 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 "
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 )
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, der du a l l e s wohlgemacht" (Op. 8; 1887)
Loewenberg, 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 " ( Op . 15,

No. 1; 1 8 9 6 )
Lorenz, G. A.
Vier ernst Gesange (Op. 58; 1900)
Liineburg, Eberhard
"Wenn L e i d und Kummer um d i c h s t e h n " ( f r o m Op. 15;

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 " ( f r o m Op. 1;

1852)
" E i n p o r , e mp o r zu i h m " ( 1 8 8 9 )
Lyra, Justus Wilhelm (1822-1882)
" 0 s e l i g l i a u s , wo man d i c h aufgenommen" ( 1895)

" B e th a n ie n " (1895)
Mah1 b e r g , Carl
"Wenn d i c h t e r sich die Wollcen t i i r m e n " (1904-08)
':' i i a h l e r , Gustav (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 " (before
1 8 9 9 ; Des Kn a b e n W u n d e r h o r n )
"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 in die tiefsten Kliifte" (1896)
Marschner, H einrich August (1795-1861)
* " Av e M a r i a " ( Op . 1 1 5 , No. 1; b e f o r e 1843)

" G e b e t " ( O p . 1 5 4 , No. 1; 1 8 5 2 - 5 9 )
Martens, 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 " (1888)
Meinardus, 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)
322
^M e n d e l s s o h n , Arnold (b . 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 G ottlieb (1785-1869)
"Morgenlied" ( f r o m Op. 12; L. A. Freyherr von

Scheie)
Me y e r - H e l m u n d , E r i k
" I c h bin durch dich w i e du d u r c h m i c h " (Op. 120,

No. 3; 1895)
M iller, Julius
"Paraphrase des allgemein Gebetes" ( Op . 26, No. 2;

1845)
32 3
Mittmann, Paul
"0 Palme, s o n n e n k l a r e " ( O p . 1 2 3 , No. 1; 1 9 0 1 )

"£s bliiht d e r Blumen e i n e " (Op. 1 23, No. 2 ; 1 9 0 1 )
Modlmayr, J o s e f
" Me i n G o t t , dir hab i c h mich e r g e b e n " (1892)
H olier, 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" ( f r o m Op. 13; 1852)
Molique, Bernhard (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 (1794-1870)
"Gib uns taglich Brot" (Op. 131, No. 1; 1860-67)
hiihling, August (17S6-1S47)
Zehn M e l o d i e n (1839; Spitta)
M uller, C. F. W. (b. 1835)
" Gi b m i r G o t t , der alles gibt" ( f r o m Op. 12; 1852)
324
Muller, Donatus
Vesperhymnen (before 1843)
M uller, Peter (b. 1791)
L i e d e r und C h o r e z u r W eihnachts-Charfreitags-oder
O sterfeie r (before 1843)
Miiller, Selmar (b. 1819)
"Gebet" ( 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 im O s t e n " ( Op . 30,

Mo. 1; 1 8 8 2 )
" O s t e r l i e d " ( Op . 3 0 , No. 2; 1882)
Mussa, Viktor fim.
"Dulde, gedulde dich fein" (Op. 50; 1893)
*Mageli, iians Georg (1773-1836)
"Wandrers N a c h tlie d " (1800; Goethe)

" 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 " (before 1815)
N athusius, 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
325
Natorp, Paul (1854-1924)
"Vom Ki mmel i n die tiefsten Kliifte" ( Op. 2, No. 2;

1884)
Neuhoff, Ludwig
" I c h m oc hte heim, mich z i e h t s zum V a t e r h a u s e "

(Op. 2 0 ; 1 9 0 4 - 0 8 )
*N e u n e r, C arl (1778-1830)
"Der H i r t e n Lied am K r i p p l e i n " (1814; C hristian

Schubart)
Nicode, Jean Louis (1S53-1919)
"Dich p r e i s t , A l l m a c h t i g e r " (Op. 33; 1890)
Nicola, Carl (b. 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 R e g i n a " (Op. 39; 1852)

* "Gebet 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 vor meinen S c h o p fer trete" (1852-59)
Nitzsche, Otto
"Liegst du i n schwerer S o r g e Bann" (Op. 29; 1882)
N ossler, Eduard
" Vo r d e r T r a u u n g " ( O p . 3 0 , No. 1; 1 8 9 6 )

"Wenn a l l e u n t r e u v /erden" (Op. 39; 1904-08;
Novalis)
R eproduced with permission of the copyright owner. Further reproduction prohibited w ithout permission.
" 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 " (Op. 319; 1899)
Oechsler, Elias
Drei geistliche Gesange (Op. 1 2; 1897)
Oeser, August
O r e , Adam
"Gott, heilger Vater" (Op. 37; 1895)
O rtner, A.
" Wi r I cni e n v o r deinem B i l d e " ( Op . 89; 1892)
Ostner, Mathilde
"Sanft erlclingt es in der Seele" (Op. 1; 1883)
Palm, G ottfried
Palme, Rudolph
Drei geistliche Lieder ( Op . 40; 1886)

Drei geistliche Lieder (Op. 69; 1900)
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 (1854-1911)
"Was i c h in der Kirche gebetet" ( Op . 2, No. 1;

1881)
Peters, Paul
"Es i s t so s t i l l geworden" (Op. 5; 1887)
Peuschel, Moritz (1838-1892)
" L a s s mich r u h n , Herr, an dein em H erz" (Op. 80;

1893)
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; 1901)

" 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 Welt" (Op. 36; 1887;

P s . 100)
*P fitz n e r, Ha ns (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 still zu Ende" (Op. 31, No. 1;

1904-08)
32 8
"Ira S t e r n e n s a a l ist Freudenfest" (Op. 31, No. 2;

1904-08)
Pittraann, Josef
Zwolf g e i s t l i c h e F e s tg e s a n g e zu M e l o d i e n von
Beethoven (1852-59)
P iutti, Carl
D r e i g e i s t l i c h e L i e d e r (Op. 2 8; 1897)
" G o t t zum G r u s s " ( O p . 2 9 ; 1 8 9 7 )
Pliidderaann, Martin (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 " (1893)
Poenitz, Franz
"Herr, wie l a n g e w i l l s t du m e i n s o g a r vergessen"

( Op. 30; 1 8 9 2 ; P s . 13)
Por aper , A .
"Unser Vater i n dem H i mm e l " (1904-08)
Popp, Wilhelm (1828-1902)
Religiose Gesange ( Op . 465; 1896)
Prellw itz, M.
"Wenn d e r H e r r d i e Gefangenen Zions erlosen wird"

( 1 9 0 0 ; P s . 126)
-:-P r e y e r , G ottfried
" 0 b s i e w o h l koinmen w i r d ? " (Op. 43, No. 2; M. G.

Saphir)
329
Priimers, Adolf
"Den Hagelschlag, den Wintertag" (Op. 1; 19 01)
Putsch, H.
"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 " (1897)

" Wi e i s t d i e N a c h t s o s t i l l " (1897)
Rabe, G.
24 L i e d e r (1852-59; Spitta)
Ra b u s , Hugo
"Herr, Herr, e r h o r e mich" (1898)
Radecke, Robert (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)
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 , No. 2; D ilia

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, Theodor
"Seele, ach S e e l e , du k e n n s t dich n ic h t" (Op. 10;

1901)
Raphael, 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 (b. 1821)
"Herr, e r h o r e meine Worte" (Op. 28; Ps. 5)
Rechenberg, Ernst (b. 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 )
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 in deinen Frieden" (Op. 1, No. 2;

1891)
Reimann, Heinrich (1850-1906)
*"Es i s t so s t i l l geworden" (1895; G. Kinkel)

"Der 1 2 6 . P s a l m " (Op. 26; 1 89 7)
332
^ " W i e g e n l i e d d e r K i r t e n an d e r K r i p p e zu B e t h l e h e m "
(Chr. D aniel S ch u b art)
Reinecke, Carl (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. 3;

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 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; August Kopisch)
’• ' " S a ms o n " ( Op . 2 9 , No. 3 ; K o p i s c h )
* Re i s s i g e r , G .
"An M a r i a " (Op. 3, No. 1)
’:' K e i s s i o e r , K a r l G o t t l i e b ( 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) - ■
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. (1868-1934)
" Ave M a r i a " ( Op . 12b; 1902)
Reuter, Fritz
"Nur s e l i g ! Nur d i e s eine" (1904-08)
*Reznicek, Emil N i k o l a u s von (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 )
334
Riccius, Karl August G. (b. 1830)
" Es i s t so s t i l l geworden" (1883)
Richter, Ernst Friedrich (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 , so s c h i c k s mit mir"

1901)
R i e f f e 1, 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 hangen" (1885)
Ri e h 1 , Wilhelm H e i n r i c h von (1823-1897)
"Herr, Gott, 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)
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 . 41, No. 1;
1895)
Rietsch, H einrich (1860-1927)
Z we i g e i s t l i c h e Gesange (Op. 11; 1901)
R ietz, Julius (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 (1811-1885)
"Der H e rr ist mein H i r t " (Op. 27; P s . 23)
R itter, Carl
"Vergiss mein n i c h t , mein a l l e r l i e b s t e r Gott"

(1895)
R itter, He r ma n n (1849-1926)
"Herr, neige deine Ohren und h o r e m i c h " (Op. 1 6;

1901)
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 . 22; 1852; Spitta)

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 )
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 und
G e s a n g e (Op. 4 4; 1 903 )
R oeder, Martin
" Ave M a r i a " ( Op . 47; 1887)
Ros s e l , L .
"Gott, vor dein A ntlitz"
Rossel, Willy
" Wi r ri i hmen un d d e r Hoffnung" (1904-08)
Rohde, Eduard, Jr.
" V a t e r u n s e r " ( Op . 7 7 , No. 1; 1902)

" V e r l a s s mi ch n i c h t " (Op. 77, 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)
R o lla , Charles
"Wenn du d e r e i n s t in d e i n e m Lebe m" (Op. 73)
Rorich, 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 (1813-1894)
" Wi r tragen st umm d i e Kranze" (1889)
Roth, Philipp
"Wenn du e i n tiefes Leid e r f a h r e n " ( Op . 2, No.
*R ubenstein, Anton (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 Sorgen auf den H e r r n " ( Op. 5; 1900)
Kiibner, Cornelius ( 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 , soli ich die Schritte richten"

(1894)
Rlickert, Theodor
Z we i g e i s t l i c h e Lieder (Op. 57; 1904-08)
338
Rungenhagen, Karl Friedrich (1778-1851)
"Verlass mich n i c h t " (before 1843)
Rust, Hugo
" Wi e i s t d e r Abend s o t r a u l i c h " ( Op . 14; 1895)
Rust, Wilhelm (1822-1892)
Drei geistliche Lieder ( Op . 11; 1860-67)
Sachs, Julius
"In des Lebens banger Stunde" (Op. 9; 1874)
*S a n d b e rg e r, Adolf (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, Arnoldo
"Iierr, zu d i r w ill i c h mich r e t t e n " (Op. 1 9; 1892)
Satter, Gustav (1832-1879)
"Gebet" ( Op . 19, Heft 1, No. 3; 1860-67)
Sattler, Heinrich (b. 1811)
"Herr, gib mir, was m i c h f i i h r z u d i r " (Op. 50)
Schaab, Robert (1817-1887)
"Gott s e i mir gnadig" (Op. 82; 1901; Ps. 57)
Schaefer, 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 " (Op. 44;

1904-08; P s . 90)
33 9
Scheller, G .
"Ich weiss, an wen i ch g l a u b e " (f r o m Op. 1; 1 85 2)
Schenker, Eduard
"Maria m ild, o Mutter zart" (1895)
Schenner, 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 " ( Op . 411; 1891)
Schilling, Ferdinand
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)
340
Schm idt, Ernst
Zwei geistliche Gesange (Op. 24; 1902)
Schmidt, Johann P h ilip p Samuel (1779-1853)
"Gott ist mein Z u v e r s i c h t " (1887)
Schneider, Theodor (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 , o Schopfer, d e in e Macht" (Op. 39; 1897)
'!:S c h n y d e r von W a r t e n s e e , Franz Xaver (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" (Op. 4; before 1843)
Schonfeld, 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 erlostet"
(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 . 4)
Schonrich, G. A.
"Der liebe Gott hats treu gemeint"
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 unser" (Op. 5; 1903)
Schreck, Gustav Ernst (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 dem S c h i r m d e s Hochsten sitzt" ( Op . 26;

1889)
;!: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 )
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 )
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 mein K r o n l e i n , Licht und L e b e n "

( 1 9 0 4 —0 8 )
Sc h u h , J o h a n n e s
"Wiegenlied der Mutter Gottes" (1885)
Schulz, Ferdinand (b. 1821)
"Den B l i c k 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)
Schulze, Kobst. Willy
" Zur W e i h n a c h t " (Op. 2; 1882)

"Du r e i c h t e s t stumra m i r beide Iiande" (Op. 32; 1882)
" K i n d e s G e b e t " (Op. 4 4 ; 1882)
Schumacher, Paul
"Fiihr m i c h , Kind, nach Bethlehem" (Op. 14, No. 1;

1899)
Schumann, Camille
Drei geistliche Lieder ( Op . 11; 1899)
^ Schumann, Robert (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)
345
Schurig, Volkmar
Zwanzig g e i s t l i c h e L i e d e r ( Op . 14; 1889)

24 G e i s t l i c h e L i e d e r ( Op . 33)
Schwantzer, Hugo (b. 1829)
"Wenn du m i c h z i i r s t , dann b e t e ich" ( Op . 19, No. 1)
Schwarz, Ant on
"Oelberglied" ( Op . 18 ; 1904-08)
Schwarz, Richard 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 " ( Op . 7)
Schwencke, Friedrich Gottlieb (1823-1896)
"Gottvertrauen" ( Op . 2; 1852-59)
Seibert, Louis
"Allerseelen" ( Op . 49; 1883)
Seifert, 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 . 4; 1887)

"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, Wi l hel m
"0 w u n d e r b a r e s , tiefes Schweigen" ( Op . 5, No. 1;

1879)
34 6
Seitz, Karl
Geistliche Lieder (before 1843)
Seligmann, Heinrich
"Allerseelen" ( Op . 2; 1892)
Seyffert, F.C.
Sechs geistliche Lieder ( Op . 2; 1845)
Siering, Moritz (b. 1821)
" Ave M a r i a " ( Op . 11; 1852-59)
* Si 1 c h e r , F r i e d r i c h (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 Stunde, frohe Ku n d e " (1897)
Spengler, Lorenz
" Au f d i c h , o I i e r r , vertraut meine S e e l e " (1898)

"Dei n J e s u s w e i n t " (1901)
Speyer, Wi l h e l m (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 ist leicht"
( Op. 1 2 , No. 3; D i b l e )
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 " ( Op . 160,
No. 1; 1 8 8 4 )
Stade, Wi l h e l m (b. 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 ; Ps. 71)
*S t a d l e r , Maximilian (1748-1833)
" Domi nus r e g i t me" (Ps. 23)
S tahl , E.
"Ich will dem H e r r n singen" ( Op . 28; 1896)
Stange, 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 du d e i n e Wege" (1887)
Stiehl, Karl (1826-1911)
"Ein g e i s t l i c h e Abendlied" ( f r o m Op. 4; 1852-59)
Stopel, Eranz (1794-1836)
G e i s t l i c h e G e s a n g e ( Op . 11; before 1843; Goethe,

H e r d e r , and N o v a l i s )
Stor, Carl (b. 1814)
348
S toi b e r , E r n s t
"Ave Maria" (Op. 23; 1 8 80 )
Stolberg, C.
"Hast du v i e l Sorgen" (1875)
Stollbrock, Lu d wi g
" Ab e n d ists, Jesus Christ" ( Op . 8, No. 3; 1890)
Stolz, 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 an M a r i a " ( Op . 131; 1852-59)
*S t r a u s s , Richard (1864-1949)
"Weihnachtslied" ( Op . 1; 1871; Josephine Strauss)
Streben, Theodor
"Cott in der Natur" ( f r o m Op. 26, Heft 1; 1852-59)
S t r ii mpel , Ad o l f
"Wenn du e i n tiefes Leid erfahren" (1876)
Sturm, Wi l h e l m
"Es i s t so s t i l l geworden" ( Op . 7, No. 1; 1875)
Taubert, Carl Gottfried Wilhelm (1811-1891)
*"Christkindlein" ( Op . 88, No. 6; Ch. Birch)
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 ; 1885)

" 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 , 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, No. 1)

" De r S o l d a t " ( u p . 1 8 , No. 1; H. C. A n d e r s e n , tr.
Chamisso)
T e f k e , 11u a o
Herzenstimmen: Zwolf g e i s t l i c h e Lieder ( Op . 12;

1901)
Tennenbaum, J .
"Ich bin ein Gast auf Erden" (1904-08)
Teresius, P.
Fiinfzehn M a r i e n l i e d e r ( Op . 12; 1900)
350
Thaller, Johann Babtist (1872-1952)
"Marienlied" ( Op . 15 ; 1904-0S)
Thiel, Carl (1862-1939)
Zwe i geistliche gesange ( Op . 23; 1901)
Thiele, 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 , die Ruh" (1903)
Thielen, Peter Heinrich (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 " (1904-08)
Th o ma , Rudolf (b. 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 " (1898)

" G r o s s s i nci d i e Wogen und b r a u s e n g a r se hr " (1900)
Thomas , Otto (b. 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 n i c h t " ( Op . 1 0 ; 1 9 0 0 )

"Wenn w i r i n s p a t e n T a g e n " ( Op . 19; 1903)
Tiehsen, Otto (b. 1817)
"Gott ist me i n I l i r t " ( f r o m Op. 22; 1845)
351
T i t l , Anton Emil (1809-1882)
"Aller Seelennacht" ( f r o m Op. 1; 1845)
* To ma s c h e l c , VJenzel ' J o h a n n (1774-1850)
" B u s s l i e d " ( Op . 2 7 ; 1 8 4 5 ; Gellert)

" W a n d r e r s M a c h t l i e d " ( Op . 5 8 , No. 4 ; Goethe)
T r i i mp e l ma n n , Max
"Ich 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 aus dem " R e i s e p s a l t 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 (b. 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)
U1 b r i c h , i l . F .
" Ave M a r i a " (1885)
Umlauft, Paul (1853-1934)
"Gott heiss die Sonne gli ihen" ( Op. 10, No. 4; 1882)
Vogel, Adolf Bernhard (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 ; 1896)
" i i e r r , " b l e i b b e i u n s " ( Op . 6 2 a ; 18S6)
Vogel, l-ioritz (1846-1922)
Geistliche Lieder ( Op . 57; 1890)
35 2
Volck, A .
"0 H er r, vor dem die Stiirme schweigen" ( 18 9 7 )
Voullaire, 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, der Allgiitige" ( Op . 45; 1882)
Wa l l f i s c h , J. ii. (b. 185 7)
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 . 17, No. 3;
1860-67)
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" (1903; Ferdinand Avenarius)
Wehe, He r ma n n
"Ich sende euch, geht ihr meine Zwo l f e " ( Op. 20

1878; Gerok)
*Weigl, Karl (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 ; Goethe)
" h e i n H e r z " ( Op . 3 , No. 5 ; L e n a u )
Weinberger, Karl Friedrich (1853-1908)
"Gott, du Q u e l l e m e i n e r Frende" ( Op . 51; 1901)
Weingartner, Felix (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 . 17; 1860-67; Tho ma s a

K e m p i s , t r . anonymous)
354
Weiss, Heinrich
"Ave Maria" (Op. 57, No. 3)
W e i s s , Laurenz
Vier geistliche Lieder ( A. Passy)
Wennrich, £ m.
"Befiehl du d e i n e Wege"
We r ma n n , A.
"Herz und W i l l e ma c he s t i l l e " (1893)
We r ma n n , Oskar (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 )
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 )
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 )
* " 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 ich noch n i c h t beten" (op. 16, No. 1;

1884)
35 5
Werner, Max
"Ich will in Gott mich fassen" (Op. 17; 1904-08)
Wernicke, Alfred
"Herr, e r h o r e mi ch" ( Op . 13; 1890)
We y e r ma n n , Moritz
Drei geistliche Gesange ( Op . 16; 1874)
Wi cher n, Caroline
" Es sind die Leiden dieser Zeit" (1904-08)
* Wi c h ma n n , Her r mann
"Fliegendes Blatt" ( Op . 25, No. 3)
*W i c h t l , G.
" Dank" ( A u g u s t e Ki i hn)
Wickede, Friedrich
"Gegriisst, du R r e u z voll Segen" ( Op . 55; 1875)
Wi eck, Marie (1832-1916)
"Wenn am Mo r g e n k l a r " (1901)
Wi e d e r ma n n , 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 . 9;
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
3 56
Wilm, Nicolai von (1834-1911)
Zwe i M a r i e n l i e d e r ( Op . 1 0 7 ; 1 8 9 3 )
*" Wenn a l l e u n t r e u v / e r d e n " ( Op . 2 0 0 ; 1904-08;
Novalis)
Wiltberger, August (1850-1928)
"Da d r o b e n , da d r o b e n "
"Flieg aus, me i n K e r z , ins Friihlingsland" (1881)
Wi n l c e l ma n n , Theodor
"Lobe d e i n e n H e r r n " (1903)
Winkler, Max J o s e p h (b. 1810)
"Ich bin erlost, mi r ist vergeben" ( Op . 8; 1902)
W in te rb e rg e r, Alexander (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 )
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 "
358
Winterstein, S.

" 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 de (1823-1855)
Vier geistliche Lieder ( Op . 8; 1852-59)
* Wi 11 e n b e c h e r , O t t o
"Trauungslied" (Karl Gerok)
*« o l f , 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 )
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 Jungfrau" (Friedlander)
Wi i r s t , Richard (b. 1824)
"Auferstehungsklange" ( Op . 18, No. 1; 1860-67)
Wulffrath, C. A., Jr.
"Nun t a u t der heilge Friede sacht hernieder"

( Op . 9, No. 1; 1 9 0 0 )
Zahn, Adolf
Zwanzig g e i s t l i c h e Lieder (1896)
Zander , F r i e d r i c h ( b . 1811)
"De r 23. 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)
360
lj L X L X L 1 j d U S C l
Zenker , Casimir
" Ave M a r i a " ( Op . 15; 18 8 5 )
Ziegler, M. Paul
Drei geistliche Gesange
o o
Zwe i geistliche Gesange
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 Ehre, Preis und Ruhrn" ( Op . 80)
Zi mmers, Theodor
"Gottvertrauen" (1845)
Zingel, Rudolf Kwa l d (1876-1944)
"Herr, den i c h tief ini I l e r z e n trage" (1904-08)
Z i n f i s c m, 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)
Appendix B
TEXTUAL SOURCES OF LIEDER DISCUSSED

IN THI S STUDY
An o n y mo u s
"Arie" Chapter
" Ave M a r i a " Chapter 17
"Die h e i l i g e E l i s a b e t h " Chapter 21
"Die V e r k l a r e n d e " Chapter 28
"Gott i s t unsre Z u v e r s i c h t und S t a r k e " Chapter 8
" No a h " Chapter 11
"Requiem" Chapter 13
"Weihnachtslied" Chapter 20
Th e B i b l e
P s a l m 2 5 : 1 6 , 20 Chapter 18
Psalm 3 2:11 Chapter 8
Psalm 4 6 : 1 - 4 Chapter 8
Psalm 1 3 7 : 1 - 2 Chapter 8
L u k e 1 : 2 8 , 42 Chapter 17
1 Corinthians 13:1-3, 12-13 Chapter 21
B irch-P feiffer, Charlotte (1799-1868)
"Christkindlein" Chapter 15
Born, W. vo n
" He i mwe h " Chapter 24

"Meeresstern" Chapter 24
Buonarroti, Michelangelo (1475-1564)
"Die V e r k l a r e n d e " Chapter 28
Claudius, Matthias (1740-1815)
"Abendlied" Chapter 10
361
362
Cornelius, Peter (1824-1874)
" E r l o s e u n s vom U b e l " Chapter 19

"Di e Ko n i g e " Chapter 19
Dreves, Leberecht Blticher (1816-1870)
"Waldandacht" Chapter 17
Droysen, J. G. (1808-1884)
"Morgenlied" Chapter 12
Eichendorff, Joseph (1788-1857)
" De r f r o h e W a n d e r s m a n n " Chapter 13
Elmenhorst, Hinrich (1632-1704)
"Todessehnsucht" Chapter 23
Engel, Franz
"Verlassen h a b 1 i c h me i n L i e b " Chapter 27
Gerhardt, Paul (1607-1676)
"Passionsgesang" Chapter 18
Gellert, Christian Fiirchtegott (1715-1769)
"Di e L i e b e d e s N a c h s t e n " Chapter 4
Goeble, Heinrich
"Abendlied unterm g e s t i r n t e n Hi mme l " Chapter 4
Goethe, 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" Chapter 8
3 63
Gryphius, Andreas (1616-1664)
"Di e H e r r l i c h k e i t der Erde" Chapter 15
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 Novalis
H e r ma n , Nicolaus (1500-1561)
"Bitte um e i n e n seligen To d " Chapter 27
He y , Wi l he l m ( 1 7 8 9 - 1 8 5 4 )
" De r l i e b e Gott im Hi mme l " Chapter 20
Heyse, Paul (1830-1914)
" D i e du G o t t gebarst" Chapter 25
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" Chapter 12
Kleist, Ewal d C h r i s t i a n von (1715-1759)
"Gross i s t der Herr" Chapter 9
Kohler, Theodor
"Weihnachtslied" Chapter 22
Kopisch, August (1799-1853)
" We i n a u s W a s s e r " Chapter 11
Kr umma c he r , Friedrich Adolph (1767-1845)
" Da s Wo r t " Chapter 5

" Di e Ahnung" Chapter 5
364
Luther, Martin (1483-1546)
"Arie" Chapter 17
"Wenn i c h m i t M e n s c h e n - u n d
Engelszungen re d e te " Chapter 21
Ma h l m a n n , August (1771-1826)
" D e r du e w ' g e L i e b e b i s t " Chapter 26

"Herr, unsre Zuversicht" Chapter 26
Morike, Eduard (1804-1875)
"Zum n e u e n J a h r " C h a p t e r 25
Mi i hl er , Heinrich von (1813-1874)
"Kaiser Otto's Weihnachtsfeier" Chapter 9
Muller, Joseph
" Da s V e i l c h e n " C h a p t e r 14
Nordheim, H.
See S c h o r n , Henriette v on
N o v a l i s (Georg F r i e d r i c h Philipp v on
Hardenberg, 1772-1801)
" Da s h o c h s t e G u t " Chapter 6

" Hymne " Chapter 6
"Marienlied" C h a p t e r 28
"Wenn a l l e u n t r e u w e r d e n " Chapter 7
"Wenn i n b a n g e n , t i i i ben S t u n d e n " Chapter 7
Nunez, Nicolas
" D i e du G o t t gebarst" Chapter 25
365
Oser, Friedrich Heinrich (1820-1891)
"Kreuz-Lied" Chapter
" H e r r , d e r du r u f s t " Chapter
Sauter, S a mu e l Friedrich (1766-1846)
"Der W a c h t e l s c h l a g " Chapter
Schorn, Henriette von (d. 1869)
"Sei still" Chapter
Schulze, Georg Wi l h e l m (1829-1891)
" Du , Herr, bist unser Vater" Chapter
Silesius, Angelus (1624-1677)
" Da s Wo r t G o t t e s " Chapter
Spanisches Liederbuch
" D i e du G o t t g e b a r s t " Chapter 25
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ABSTRACT
THE EXTRA- LI TURGI CAL GEI STLI CHES LI ED 1 8 0 0 - 1 9 1 5 :

P a u l O d g e r s D a v i d s o n , D. M. A.
The 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, 19 8 9
Chairperson: Dr . J a y W. W i l k e y
The purpose of the dissertation was to identify
the m u s i c a l f o r m s and t h e theological understandings which
characterize the geistliche Lieder composed or first pub
lished between and including the years 1800 a nd 1915. In
chapter 1 geistliche Lieder were defined as German-
language a r t songs which a re r e l a t e d to the r e l i g i o n s of
the Judeo-Christian tradition by description, content, or
inspiration.
Chapter 2 traced the history of the solo geist-
1iches Lied prior to 1800. In the third chapter the
theological setting of the Romantic geistliches Lied wa s
discussed. The i d e o l o g i c a l currents of Pietism, Rational
ism, and R o m a n t i c i s m were examined as part of the back
ground to nineteenth-century theological thought along
with traditional orthodoxy. Subsequently, the theological
approaches of Schleiermacher, Hegel, and Ritschl were
presented as the most significant new v i e w p o i n t s of th e
nineteenth century.
Chapters 4 through 28 f o c u s e d on t h e text, trans
lation, theological summary, and m u s i c a l a n a l y s i s for each
of t wo geistliche Lieder written by e a c h o f the following
composers: Ludwig van B eeth o v en , August Harder, Franz
Xaver S c h n y d e r vo n W a r t e n s e e , Maximilian Joseph Leidesdorf,
Bernhard Klein, Carl Loewe, Franz Schubert, Karl Reissiger,
Felix Mendelssohn, Robert Schuma nn, Franz Liszt, Wilhelm
Taubert, Franz Commer, Franz Abt, Johann Georg Herzog,
Peter Cornelius, Carl Reinecke, Johannes Brahms, Albert
Becker, Alexander W i n te r b e r g e r , Michael H aller, Hugo Wo l f ,
Max G u l b i n s , Max R e g e r , and Ot hmar Schoeck.
Chapter 29 s u m m a r i z e d the results of the study.
The geistliche Lieder were primarily composed by h i s t o r i
c a l l y unimportant composers, ma ny o f whom s e e m t o h a v e ha d
personal religious convictions. The t e x t s reflected a wide
variety of p o e t ic origins with the majority having been
written in the nineteenth century. The i d e a s of tradi
tional orthodoxy were most often expressed, although they
were frequently accompanied by motifs from Pietism or
Romanticism. Musically, the songs e x h i b i t e d all the forms
seen in the secular art song of the nineteenth century
w i t h s o me v a r i e t y of s t r o p h i c form being predominant.
The d i s s e r t a t i o n concluded with two appendixes.
The first listed the nineteenth-century geistliche Lieder
individually by composer, giving the date of composition
and the poetic source wh e n a v a i l a b l e . The s e c o n d gave the
textual sources for the songs considered in the study.
VITA
PERSONAL
Born: J u n e 29, 1951; Ab er deen, Was hi ngt on
Parents: R o b e r t H. a n d H a r r i e t O d g e r s D a v i d s o n
Married: D i a n e Kay H i l l , A u g u s t 6 , 1983
Children: An d r e w P a u l , b o r n A u g u s t 2 4 , 198 9
EDUCATIONAL
P u b l i c S c h o o l s , Amboy, W a s h i n g t o n ; Y a m h i l l , O r e g o n ;
and C o t t a g e Gr ove, Or egon; 1957- 1969
B . S . , M i c h i g a n S t a t e U n i v e r s i t y , 1973
M . D i v . , N o r t h e r n B a p t i s t T h e o l o g i c a l S e m i n a r y , 19 76
Th. M. , T h e L u t h e r a n S c h o o l o f T h e o l o g y a t C h i c a g o , 1 9 7 8
American I n s t i t u t e of M u s i c a l S t u d i e s , Graz, A u s t r i a ,
1982
M. C . M. , Th 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 S e m i n a r y , 19 8 4
MI NI STERI AL
C h o i r D i r e c t o r , F i r s t B a p t i s t C h u r c h , D o wn e r s G r o v e ,
I l l i n o i s , 1973-1976
M i n i s t e r of Music, F i r s t B a p t i s t Church, Clar endon
H i l l s , I l l i n o i s , 1980-1982
M i n i s t e r o f Mu s i c a n d Y o u t h , B u l l i t t L i c k B a p t i s t
Church, S h e p h e r d s v i l l e , Kentucky 1983-1985
A s s o c i a t e P a s t o r , B u l l i t t Lick B a p t i s t Church, Shep-
h e r d s v i l l e , Kentucky, 1985-
ACADEMIC
I n s t r u c t o r , Department of Mathematics, Michigan S t a t e
U n i v e r s i t y , 1968-1969
F e l l o w , Ol d T e s t a m e n t D e p a r t m e n t , N o r t h e r n B a p t i s t
T h e o l o g i c a l Seminary, 1972-1973
G a r r e t t F e l l o w , School of Church Music, 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, 1985-1987
I n s t r u c t o r i n Vo i c e , School of Church Music, S ou t h e r n
B a p t i s t T h e o l o g i c a l Seminary, 1985-
Adjunct Voice I n s t r u c t o r , I n d i a n a U n i v e r s i t y S ou th
e a s t , 1988-1989
ORGANIZATIONAL
S oc ie ty of B i b l i c a l L i t e r a t u r e
Catholic B iblical Association

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University Microfilms International

T he extra-liturgical Geistliehes Lied, 1800—1915: A survey w ith

Davidson, Paul Odgers, D.M.A.

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

A SURVEY WITH MUSICAL AND THEOLOGICAL ANALYSES

OF FI FTY SELECTED WORKS

The S o u t h e r n Baptist Theological Seminary

of the Requirements for the Degree

Paul Odgers Davidson

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 Odgers Davidson

Specific Problems ........................................................... 1

Basic Assumptions ...................................................... 5

A Review of R e l a t e d Literature ........................... 7

A n n o ta t e d Guides t o Vocal Solo

Histories of the L i e d ........................................... 10

Textual Anthologies ................................................. 13

2. THE SOLO GEI STLI CHES LI ED BEFORE 1 8 0 0 . . . 20

The E a r l i e s t Evidence ........................................... 21

The Solo G e i s t l i c h e s Lied 1450-1600 . . . 25

Liturgical Mo n o p h o n y ...... ............................................. 26

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

3. THE THEOLOGICAL SETTING OF THE GEI STLI CHES

Basic Approaches to Theology in the

Hegel and the R e l i g i o n of Phil os oph y . . 56

4. 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;

" 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 "

" D a s Wo r t " ( 1 8 0 7 ) ............................................................. 74

" Di e Ahnung" ( 1 8 1 1 ) ....................................................... 79

6. FRANZ XAVER SCHNYDER VON WARTENSEE

" Da s h o c h s t e G u t " .................................................. 83

" H y m n e " ............................................................................ 87

7. MAXIMILIAN JOSEPH LEIDESDORF ( 1 7 8 7 - 1 8 4 0 ) . . 92

8. BERNHARD JOSEPH KLEIN ( 1 7 9 3 - 1 8 3 2 ) 99

"Gott ist unsre Zuversicht und S t a r k e " . . 99

"Wandrers N a c h t l i e d " ( F r o m Op. 15, 1827) . 102

9. CARL LOEWE ( 1 7 9 6 - 1 8 6 9 ) ............................................... 106

"Gross ist der Herr" ( 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 ,

10. FRANZ PETER SCHUBERT ( 1 7 9 7 - 1 8 2 8 ) ............................. 117

"Abendlied" ( D. 499; 1 8 1 6 ) ............................. 117

" De r W a c h t e l s c h l a g " ( Op . 68; D. 742;

11. KARL GOTTLIEB REI SSI GER ( 1 7 9 8 - 1 8 5 9 ) . . . . 125

" No a h " ( Op . 14, No. 2; 1 8 2 7 ) ........................ 126

" We i n a u s W a s s e r " ( Op . 121, No. 3) . . . . 129

12. FELI X MENDELSSOHN ( 1 8 0 9 - 1 8 4 7 ) 132

"Morgenlied" ( Op . 86, No. 2; 1828). . . . 133

"Trostung" ( Op . 71, No. 1; 1 8 4 5 ) .............. 136

13. ROBERT SCHUMANN ( 1 8 1 0 - 1 8 5 6 ) 139

" D e r f r o h e W a n d e r s m a n n " ( Op . 7 7 , No. 1;

"Requiem" ( Op . 90, No. 7; 1 8 5 0 ) ...................... 143

14. FRANZ LI S ZT ( 1 8 1 1 - 1 8 8 6 ) 147

" Das V e i l c h e n " (1857) 147

"Sei still" ( 1 8 7 7 ) ............................................................ 150

The most advanced technology has been used to photo

Oversize materials (e.g., maps, drawings, charts) are re

The c o m p l e t i o n o f this dissertation has been f a c i