Lehre und Wehre.
Volume 55. Nov. 1909. No. 11.
(pp. 198ff.)
OUR HYMNAL
III. The Melody Specifications.
In the feedback to the delegate
convention relating to the need for revising our hymnal, there was
attention given to blunders in the assignments of melodies for many
of the hymns in our hymnal. The committee for assessing the feedback
was provided with the necessary documents and notified as well that,
in the event that the synod is so inclined to undertake a revision of
its hymnal, this part of the task should only be committed to the
hands of experts. This was done. The commission on the hymnal
instituted by the synod turned to men in our circles who have a
vocation in the field of hymnody and musicology with the assignment
of examining the hymns of our hymnal with respect to the correctness
of the appointment of their melodies.
It was obvious that, in the process, individual taste was not to
serve a yardstick for what should be changed or left alone, so that a
predilection toward this or that melody could not be the deciding
factor, but that certain principles had to be followed which could
not change in the course of time according to taste but were always
applicable. After careful consideration of the reports submitted by
the members of the subcommission and a detailed examination of the
suggestions made by them, the commission on the hymnal can now
present the following results, beginning with the guidelines
operative for both commissions.
Our church possesses a rich treasury
of melodies which, when employed extensively and in a intentional
way, cannot but serve to give our divine services a greater and
greater sense of beauty. For this to occur, every melody must be
recognized and valued in its quality and viewed in its beauty and
peculiar characteristics. There will be some who ask whether melodies
in fact have any character. A hymn tune is a hymn tune. What kind of
particular features do these melodies have and how should they be
distinguished from other melodies except by key and meter? This is an
error, and where this erroneous opinion reigns, any given hymn of
like meter will be appointed whatever melody appeals to taste or is
easiest to sing. Where there is no sense for the characteristics of
the melody, one might think that “Lord Keep Us Steadfast in Thy
Word” could be sung to the tune for “From Heav’n Above to Earth
I Come,” or “From Depths of Woe I Cry to Thee” sung to the tune
for “All Glory Be to God Alone.” Many a jarring example could be
cited to show that this is no exaggeration. We have a hymnal in front
of us that was published some years ago in which we find the melody
“Vom Himmel Hoch” [From Heav’n Above] sung on Ascension and
Pentecost, at harvest, at a committal, and at the consecration of a
school building, and “Herzlich tut mich verlangen” [My Heart Is
Filled with Longing] sung at Christmas. The most astonishing,
however, is the use of the melody “Wer weiß, wie nahe mir mein
Ende” [Who Knows When Death May Overtake Me] for singing hymns from
the sections for Sunday, Morning, Confirmation, and even Dedication
of an Organ! Now that is what you call pushing praxis to the extreme.
Now, does anything similar happen in our hymnal? Can anyone think of
something more wrong than having the deeply stirring Passion hymn,
“Der am Kreuz ist meine Liebe” (KELG #71) [Jesus Crucified
Possesses], sung to the lightly prancing melody, “Werde munter,
mein Gemüte” [Sink Not Yet, My Soul, to Slumber]? Or would anyone
seriously suggest that the melody, “Liebster Jesu, wir sind hier”
[Dearest Jesus, We Are Here] is fitting for the contents of the
passion hymn, “Meine Seel’, ermuntre dich” [O My Soul, Take
Comfort, See] (KELG #81)? And we find plenty of such cases in
our current hymnal. Granted, the committee is aware that the melodies
appointed to the hymns are only a help, and that because of the
relative unfamiliarity of their proper melodies these hymns can only
be sung by a handful of our congregations. But the committee is also
convinced that it is just such an unprincipled handling of our
melodies that clouds the judgment of the singing congregation and
ruins its taste. Here it is apparent how much can be done in our
circles to improve the hymnody, namely, that they are not only sung
correctly in respect to their rhythms, but also to the right choice
of melodies, and that there is attention given to rehearsing them.
Just as hymn lyrics have their own
character, so do hymn melodies, and the character of the melody has
to fit precisely with the lyric. This is a principle of greatest
importance. The more innate and characteristic this connection is,
the greater the effect of the hymn when sung. From this is follows
that taking one of our melodies originally appointed for only one
hymn text and using it for another text requires the greatest
precaution so that two things are not linked together that do not
belong together. If this happens, the effect of these hymns that lack
their own tune suffers, and—what is even more significant—the
tune itself suffers. When they are used thoughtlessly for every
possible text, the congregation loses its sensitivity for the
characteristics of the melody; this creates a meaningless array of
tunes whose only value lies in the fact that any text of a certain
meter can be sung to them. In this way monotony and colorlessness
enter into the hymnody of the divine service. In addition, this
comes: When a melody is chosen at will, or if one melody is used for
a certain text today and another tomorrow, no firm tradition can be
built up in the congregation, and the divine service is impoverished
in its characteristic movement and in the means for giving it the
desired variety.
Characteristic variety does not consist of
colorfully trading off melodies of the same meter between hymn texts,
but of choosing the melody that fits the text and allowing the melody
to be heard in the right place and at the right time. Then the golden
apples of our hymns are provided with the silver settings of melody.
There are hence two things to look for in the proper apportioning of
melody and text of like meter: first, to regard the characteristics
of the hymn and tune; second, to examine the melody in its
appropriateness for festivals and feast days. The first principle is
immediately obvious and applies to the majority of hymns in our
current hymnal whose character does not direct them for a specific
time of the church year; the second principle is in need of closer
substantiation.
The study of hymnology teaches us that
a large portion of our most magnificent hymn music finds its roots in
certain particular times of the church year and feast days. Our most
significant melodies belong in origin and character to a festival of
the church or a certain particular segment of the Christian life.
Mostly, however, the former is the case. We have many marks that give
the seasons of the church year their own quality; but aside from the
act of salvation to be celebrated, the hymn and its melody form the
characteristic mark of the seasons of the church year. The fact that
the church seasons have need of such particular quality is essential
to their nature. The way the earth looks, its clothing, instantly
appears in our mind whenever a season of the natural year is
mentioned. New leaves, buds and blossoms signify the spring; the
beauty of flowers and ripening grain, the summer; produce,
harvest-time; falling leaves, the autumn; and the snowy garments of
the frigid earth, the winter. It is the same with the church year.
When we hear “Gott sei Dank durch alle Welt” [Let the Earth Now
Praise the Lord], to the customary melody “Nun komm, der Heiden
Heiland” [Savior of the Nations, Come], we know that we are in the
serious season of Advent. Among the classic melodies of the Christmas
season belong “Gelobet seist du, Jesu Christ” [We Praise Thee,
Jesus, at Thy Birth] and “Vom Himmel hoch, da komm ich her” [From
Heav’n Above to Earth I Come]. When we hear the crown of all
passion tunes, “Herzlich tut mich verlangen” with the words “O
Haupt voll Blut und Wunden” [O Sacred Head, Now Wounded] or the
singular “O Lamm Gottes unschuldig” [Lamb of God, Pure and Holy]
sounded, it must be the season when Christians meditate on the
Savior’s the sufferings and death; when the powerful tune “O
Traurigkeit” [O Darkest Woe] is intoned, it must be Good Friday,
and when the exultant cry, “Christ ist erstanden” [Christ Is
Arisen] rings out, and “Auf, auf, mein Herz, mit Freuden” [Awake,
My Heart, with Gladness] at its heels, it is the Easter jubilee. We
could go on and on, but these examples will suffice.
According to these principles, then,
the following melody rubrics have been selected and amended. It is
not suggested that the right one was always found in every case
according to these principles, since it is obviously far easier to
characterize hymn texts than to discern the core essence of melodies.
The committee welcomes notification of erroneous indication of
melodies. It should be further noted that certain melodies that were
burdened too heavily have been unburdened somewhat, and others of
like character and fitting the text put in their place. Where the
chorale books that we use contain proper melodies for specific hymns,
these were indicated in almost every case, so that the wealth of our
church’s melodies could always be recalled, and organists and
congregations encouraged to think about rehearsing those melodies in
cases where they are unfamiliar. However, a more closely fitting
melody is always provided by which the hymn may be sung until the
proper melody has come into practice. When two melodies are indicated
for the same hymn, the first takes precedence. Perhaps in a later
article the correction of the melody assignments will be explained in
greater detail.
New melody specifications:
2.
Christus, der ist mein Leben. 3. Proper melody, or: Nun laßt
uns Gott dem Herren. 13. Zeuch ein zu meinen Toren, or: Aus meines
Herzens Grunde. 15. Proper melody, or: Vom Himmel hoch. 16.
Ach Gott vom Himmelreiche, or: Valet will ich dir geben. 25. Nun
danket alle Gott. 26. The repeats should be dropped. 29.
Proper melody, or: Vom Himmel hoch. 33. Von Gott will ich
nicht lassen, or: Helft mir Gotts Güte preisen. 34. Nun
danket alle Gott, or: Was frag ich nach der Welt. 37. Proper
melody. 42. Proper melody, or: Vom Himmel hoch. 43. Vom
Himmel hoch, or: Lob sei dem allmächtigen Gott. 44. Proper
melody, or:Valet will ich dir geben. 45. O Jesu Christ, dein
Kripplein ist, or proper melody. 48. Proper melody, or:
Herr Jesu Christ, dich zu uns wend. 49. Vom Himmel hoch, or
proper melody. 50. Proper melody, or: Aus meines Herzens
Grunde. 52. Zion klagt mit Angst und Schmerzen, or: Werde
munter, mein Gemüte.
57. O Welt, ich muß dich lassen. 60. Wo Gott zum Haus nicht gibt
sein Gunst, or: Herr
Jesu Christ, meins Lebens Licht. 61. Vom Himmel hoch, or: Lob
sei dem allmächtigen Gott. 62. Herr Jesu Christ, dich zu uns wend.
66. Allein aus Gottes Wort, or: Durch Adams Fall ist ganz
verderbt. 70. Da Jesus an dem Kreuze stund (or: In dich hab
ich gehoffet, Herr.)
71. Proper melody, or: Freu dich sehr, o meine Seele. 74. Herr
Jesu Christ, du höchstes Gut, or: Herr, wie du willst. 77.
Der am Kreuz ist meine Liebe, or: Freu dich sehr, o meine
Seele. 78. Jesu, meines Lebens Leben, or: Jesu, der du meine
Seele. 81. Proper melody (or: Liebster Jesu, wir sind
hier). 83. Proper melody, or: O Gott, du frommer Gott. 85.
Proper melody, or: Nun laßt uns den Leib begraben. 86. The
repeats should be dropped. 87. The repeats should be dropped.
89. Proper melody, or: O Welt, ich muß dich lassen. 91. Freu
dich sehr, o meine Seele, or: Der am Kreuz ist meine Liebe.
94. Proper melody (or: Herr Christ, der einig Gottssohn). 95.
Nun laßt uns den Leib begraben, or: Wenn wir in höchsten
Nöten sein. 101. Zeuch ein zu meinen Toren, or: Aus meines
Herzens Grunde. 102.
115. Herr Jesu Christ, meins Lebens Licht, or: Ach, bleib bei
uns. Herr Jesu Christ. 118. Es ist das Heil uns kommen her. 121.
Zeuch ein zu meinen Toren, or: Aus meines Herzens Grunde. 126.
Proper melody, or: Erschienen ist der herrlich Tag. 127. Der
Heilge Geist herniederkam, or: Erschienen ist der herrlich
Tag. 128. Helft mir Gott Güte preisen, or: Aus meines Herzens
Grunde. 131.
135. Proper melody, or: Gott des Himmels und der Erden. 137. O
daß ich tausend Zungen hätte (in 4/4 time), or: Wer nur den
lieben Gott läßt walten. 139. Herr Jesu Christ, dich zu uns wend.
141. Proper melody, or: Aus meines Herzens Grunde. 143. Herr
Jesu Christ, dich zu uns wend, or proper melody. 148. Proper
melody, or: Aus meines Herzens Grunde. 150. Christ, unser Herr,
zum Jordan kam (or: Es wollt uns Gott genädig sein). 153.
Herr Jesu Christ, meins Lebens Licht.)
155. Nun freut euch, lieben Christen gmein, or proper melody.
157. Es ist das Heil uns kommen her. 160. Allein auf Gottes Wort, or:
O Herre Gott, dein göttlich Wort. 162. Proper melody, or: Wo
Gott der Herr nicht bei uns hält (Nun freut euch, lieben Christen
gmein). 163. Proper melody, or: Vater unser im Himmelreich.
166. Proper melody (or: Aus tiefer Not). 167. Proper
melody, or: Herzliebster Jesu, was hast du verbrochen. 169. Ich
dank dir, lieber Herre, or: Valet will ich dir geben. 170.
Proper melody (or: Wo Gott der Herr nicht bei uns
hält). 176. Erhalt uns, Herr, bei deinem Wort, or: Wenn wir
in höchsten Nöten sein. 179. Erhalt uns, Herr, bei deinem Wort, or:
Herr Jesu Christ, meins Lebens Licht. 181. Dies sind die heilgen zehn
Gebot. 182. Dies sind die heilgen zehn Gebot. 186. Proper melody
(or: Es wollt uns Gott genädig sein). 191. Christ, unser
Herr, zum Jordan kam (or: Es wollt uns Gott genädig sein).
194. Herr, wie du willst, or: Herr Jesu Christ, du höchstes
Gut. 197. Proper melody, or: Herr Jesu Christ, du höchstes
Gut. 201. O Welt, sieh hier dein Leben, or: O Welt, ich muß
dich lassen. 202. Ich sterbe taglich, or: Wer nur den lieben
Gott läßt walten (G maj.).
206. Proper melody, or: Herr Jesu Christ, dich zu uns wend.
214. Proper melody (or: Herr, wie du willst). 215. Aus
tiefer Not, or: Wo Gott der Herr nicht bei uns hält. 216.
Proper melody (or: Es ist gewißlich an der Zeit). 218.
Proper melody, or: Wer nur den lieben Gott läßt walten. 221.
Proper melody, or: Jesu, meines Lebens Leben. 222. Jesus,
meine Zuversicht, or: Meinen Jesum last ich nicht. 228. Aus
tiefer Not, or: Herr, wie du willst. 230. Auf meinen lieben
Gott. 234. O daß ich tausend Zungen hätte (4/4
time). 238. Herr Jesu Christ, du höchstes Gut, or: Es
ist gewißlich an der Zeit. 239. Ich dank dir, lieber Herre, or:
Valet will ich dir geben. 240. Proper melody, or: O daß ich
tausend Zungen hätte. 245. Proper melody, or: Es ist das Heil
uns kommen her. 250. Proper melody (or: Nun komm, der
Heiden Heiland). 253. Proper melody, or: Gott des Himmels und
der Erden. 254. Proper melody, or the melody of hymn no. 255.
263. Proper melody, or: O Gott, du frommer Gott. 264. Proper
melody, or: Herr, ich habe mißgehandelt. 266. Herr Jesu Christ,
dich zu uns wend. 267. Jesus, meine Zuversicht, or: Meinen
Jesum last ich nicht. 272. Das Jesulein soll doch mein Trost, or:
Durch Adams Fall ist ganz verderbt. 284. Proper melody, or: O
Herre Gott, dein göttlich Wort. 288. Ach Gott vom Himmel, sieh
darein (or: Es ist gewißlich an der Zeit). 293. Geduld, die
solln wir haben, or: Ich dank dir, lieber Herre. 299. Herr
Jesu Christ, meins Lebens Licht. 304. Nun laßt uns Gott dem Herren.
312. Proper melody, or: Ach, bleib bei uns, Herr Jesu Christ.
(drop repeats) 313. Proper melody, or: Herr Jesu
Christ, dich zu uns wend. 314. Proper melody (or:
Herzlichster Jesu, was hast du verbrochen). 317. Wo Gott zum Haus
nicht gibt sein Gunst. 320. Proper melody, or: Nun danket all
und bringet Ehr. 329. Proper melody, or: O Welt, ich muß dich
lassen. 333. Proper melody (Kunz-Brauer). 334. Proper
melody, or: Herr Gott, dich loben alle wir. 339. Proper
melody, or: Nun danket all und bringet Ehr. 342. Lob sei dem
allmächtigen Gott, or: Herr Gott, dich loben alle wir. 344.
Proper melody, or: Nun freut euch, lieben Christen gmein. 345.
Lob sei dem allmächtigen Gott, or: Herr Gott, dich loben alle
wir. 351. Proper melody, or: Lasset uns mit Jesu ziehen. 352.
Proper melody, or: Herr Jesu Christ, meins Lebens Licht. 353.
Wo Gott der Herr nicht bei uns hält, or: Herr, wie du willst.
358. Was frag ich nach der Welt. 361. Proper melody, or:
Erhalt uns, Herr, bei deinem Wort. 362. Erhalt uns, Herr, bei deinem
Wort, or: Wenn wir in höchsten Nöten sein. 367. Proper
melody, or: Herzlich tut mich verlangen. 377. Proper melody,
or: Durch Adams Fall ist ganz verderbt. 378. Von Gott will ich
nicht lassen, or: Helft mir Gotts Güte preisen. 379. Zion
klagt mit Angst und Schmerzen, or: Freu dich sehr, o meine
Seele. 380. Zion klagt mit Angst und Schmerzen, or: Freu dich
sehr, o meine Seele. 381. Proper melody (or: O Herre
Gott, dein göttlich Wort.) (Drop repeats.) 385. Proper
melody, or: Freu dich sehr, o meine Seele. 386. Proper melody
(or: Herzliebster Jesu, was hast du verbrochen). 388. Was
mein Gott will, das gscheh allzeit, or: Durch Adams Fall ist
ganz verderbt. 395. Aus tiefer Not, or: Ach Gott vom Himmel,
sieh darein. 396. Herr Jesu Christ, du höchstes Gut, or:
Herr, wie du willst. 402. Wenn mein Stündlein vorhanden ist, or:
Herr, wie du willst. 407. Proper melody, or: Wenn wir in
höchsten Nöten sein. 410. Proper melody, or: O Ewigkeit, du
Donnerwort. 413. Zion klagt mit Angst und Schmerzen, or: Freu
dich sehr, o meine Seele. 414. Proper melody, or: Zeuch ein zu
meinen Toren. 418. Herr Jesu Christ, wahr Mensch und Gott, or:
Nun laßt uns den Leib begraben. 419. Wenn mein Stündlein vorhanden
ist, or: Herr, wie du willst. 422. O Welt, sieh hier dein
Leben, or: O Welt, ich muß dich lassen. 428. Proper
melody, or: Herr, wie du willst. 437. Ach Gott vom Himmelreiche,
or: Valet will ich dir geben. 438. Proper melody, or: Es
ist das Heil uns kommen her.
The
Commission on the Hymnal: A. Crull.
O.
Hattstädt.
J.
Schlerf.