Second Revision of KELG Part III: Melodies.

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.¹ 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.² 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.)³ 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. 102.⁴ 115. 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. 131.⁵ 135. 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.)⁶ 155. 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.

1On the subcommittee is Prof. E. Homann, the organist J.M. Theiß, H.F. Hölter, H. Ilse, and Prof. F.O. Reuter.

2If the hymn were restored to its original form, it would be sung to “Herr, ich habe mißgehandelt.”

3Only in the circumstance that the first melody for this hymn is very unfamiliar, the committee has considered providing the melody “In dich hab ich gehoffet, Herr,” which fits the meter, though not the rhyme, so as to make the hymn more singable. All parenthetical melody appointments are only to be seen as an aid until the first melody is in use.

4In most of the reformation hymnals, the double Hallelujah in the middle of everys stanza is dropped and replaced with a single Hallelujah at the end, so that the hymn can be sung to the Easter melody “Erschienen ist der herrlich Tag.” This also applies to #107.

5Only to be sung after the proper melody and not after “Ein feste Burg.” There is recently a sort of unspoken agreement in hymnals to leave the melody “Ein feste Burg” only to its proper text.

6When sung as a repentance and confession hymn, use “Wenn wir in höchsten Nöten sein.”

Translation: © 2012 Matthew Carver.