Eyn geystlich Gesangk Buchleyn

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Eyn geystlich Gesangk Buchleyn
Walthersches Gesangbuch B6v.jpg
"Christ lag in Todes Banden", tenor part
Editor Johann Walter
Author Martin Luther and others
LanguageGerman
Genre Hymnal for choir
Published1524 (1524)

Eyn geystlich Gesangk Buchleyn ("A spiritual song booklet"), was the first German hymnal harmonised for choir, published in Wittenberg in 1524 by Johann Walter who collaborated with Martin Luther. It contains 32 sacred songs, including 24 by Luther, in settings by Walter for three to five parts with the melody in the tenor. Luther wrote a preface for the part books. The collection has been called the root of all Protestant song music.

Contents

History

Martin Luther used hymns in German to affirm his ideas of reformation and to have the congregation actively take part in church services. [1] Eyn geystlich Gesangk Buchleyn was the third German hymnal, after the " Achtliederbuch ", published in Nürnberg by Jobst Gutnecht, and the "Erfurt Enchiridion", published in Erfurt, both also dating from 1524. Eyn geystlich Gesangk Buchleyn was published in Wittenberg and is often referred to as the first Wittenberg hymnal. [2] It came with a foreword by Martin Luther:

... auf daß dadurch Gottes Wort und christliche Lehre auf allerlei Weise getrieben und geübt werden. Demnach habe ich auch samt etlichen andern zum guten Anfang und Ursach zu geben denen, die es besser vermögen, etliche geistliche Lieder zusammenbracht, das heilige Evangelion, so itzt von Gottes Gnaden wieder aufgangen ist, zu treiben und in Schwang zu bringen ... Auch daß ich nicht der Meinung bin, daß durchs Evangelion sollten alle Künste zu Boden geschlagen werden, sondern ich wollt alle Künste, sonderlich die musica, gerne sehen im Dienst des, der sie geben und geschaffen hat. [3]

That it is good, and pleasing to God, for us to sing spiritual songs is, I think, a truth whereof no Christian can be ignorant. Accordingly, to make a good beginning and to encourage others who can do it better, I have myself, with some others, put together a few hymns, in order to bring into full play the blessed Gospel, which by God’s grace hath again risen. These songs have been set in four parts, for no other reason than because I wished to provide our young people (who both will and ought to be instructed in music and other sciences) with something by which they might rid themselves of amorous and carnal songs, and so apply themselves to what is good with pleasure, as becometh the young. [4]

The collection was the first German collection of hymns for choir and was published in Wittenberg in 1524 by Johann Walter, who collaborated with Luther. [5] [1] The hymnal comprised originally 32 songs, 24 of which were written by Luther, [6] [7] including " Gelobet seist du, Jesu Christ " and " Mit Fried und Freud ich fahr dahin ". The settings are for three, four, and five parts (SATTB), with the melody in the tenor. [2] Nine of the songs are psalms paraphrased in metric stanzas, such as " Aus tiefer Not schrei ich zu dir ", a paraphrase of Psalm 130. [8] The order of the songs does not seem to follow a plan, but groupings are apparent, such as Latin songs being placed at the end, preceded by five songs about the topics of the creed and the Trinity:

  1. Gott, der Vater, wohn uns bei (Luther)
  2. Wir glauben all an einen Gott (Luther)
  3. Es ist das Heil uns kommen her (Speratus)
  4. Hilf Gott, wie ist der Menschen Not (Speratus)
  5. In Gott gelaub ich, das er hat (Speratus) [9]

Four of the songs had been part of the Achtliederbuch, the first Lutheran hymnal.

Walter continued to revise and enlarge the 1524 "Wittenberg hymnal", adding more songs, and it was reprinted in 1529, 1531, 1533, 1535, and 1543. [2] [10] [11] This culminated in an edition titled Geystliche Lieder, prefaced by Luther and published by Valentin Babst in Leipzig in 1545 shortly before Luther's death. [10] [12] [13]

Contemporaneous editions of hymnals for lay people followed the organization of Luther's choral "Wittenberg hymnal" rather closely. For example, the Wittenberg Enchiridion of 1526 (full title Enchyridion of Spiritual Songs and Psalms for the Laity, Improved with Many More than Previously). [2] contained ten more songs, with seven of them placed at the end and two others following a song with the same melody. This edition was copied in hymnals in Zurich in 1528 and in Leipzig in 1530. [2] Eyn geystlich Gesangk Buchleyn has been called the root of all Protestant song music ("Grundstock aller evangelischer Liedmusik"). [11]

Editions

See also

Lutheran

Anabaptist

Anglican

Presbyterian

Reformed

Related Research Articles

This article presents lists of the literary events and publications in 1524.

The Souterliedekens is a Dutch metrical psalter, published in 1540 in Antwerp, and which remained very popular throughout the century. The metrical rhyming psalms were, probably, arranged by a Utrecht nobleman: Willem van Zuylen van Nijevelt. For the melodies he used folksongs from the Low Countries. This publication has great value, because the publisher not only added the phrase 'sung to the tune of...' but also provided the actual music (melody) with the texts.

Johann Walter, also known as Johann Walther or Johannes Walter, was a Lutheran composer and poet during the Reformation period.

<span class="mw-page-title-main">Ach Gott, vom Himmel sieh darein</span> Lutheran chorale of 1524, with words by Martin Luther

"Ach Gott, vom Himmel sieh darein" is a Lutheran chorale of 1524, with words written by Martin Luther paraphrasing Psalm 12. It was published as one of eight songs in 1524 in the first Lutheran hymnal, the Achtliederbuch, which contained four songs by Luther, three by Speratus, and one by Justus Jonas. It was contained in 1524 in the Erfurt Enchiridion. It is part of many hymnals, also in translations. The text inspired vocal and organ music by composers such as Heinrich Schütz, who set it as part of his Becker Psalter, and Johann Sebastian Bach, who based a chorale cantata on it. Mozart used one of its tunes in his opera The Magic Flute.

<span class="mw-page-title-main">Aus tiefer Not schrei ich zu dir</span> 1524 Lutheran hymn

"Aus tiefer Not schrei ich zu dir", originally "Aus tieffer not schrey ich zu dir", later also "Aus tiefer Noth schrei' ich zu dir", is a Lutheran hymn of 1524, with words written by Martin Luther as a paraphrase of Psalm 130. It was first published in 1524 as one of eight songs in the first Lutheran hymnal, the Achtliederbuch, which contained four songs by Luther, three by Paul Speratus, and one by Justus Jonas, and also appeared the same year in the Erfurt Enchiridion. It is part of many hymnals, also in translations. The text inspired vocal and organ music from the Renaissance to contemporary, including composers such as Johann Sebastian Bach, who based a chorale cantata on it, Felix Mendelssohn and Max Reger.

<span class="mw-page-title-main">Christ lag in Todesbanden</span>

"Christ lag in Todesbanden" is an Easter hymn by Martin Luther. Its melody is by Luther and Johann Walter. Both the text and the melody were based on earlier examples. It was published in 1524 in the Erfurt Enchiridion and in Walter's choral hymnal Eyn geystlich Gesangk Buchleyn. Various composers, including Pachelbel, Bach and Telemann, have used the hymn in their compositions.

<span class="mw-page-title-main">First Lutheran hymnal</span> Hymnal by Martin Luther and Paul Speratus

The First Lutheran hymnal, published in 1524 as Etlich Cristlich lider / Lobgesang und Psalm, often also often referred to as the Achtliederbuch, was the first Lutheran hymnal.

There are 52 chorale cantatas by Johann Sebastian Bach surviving in at least one complete version. Around 40 of these were composed during his second year as Thomaskantor in Leipzig, which started after Trinity Sunday 4 June 1724, and form the backbone of his chorale cantata cycle. The eldest known cantata by Bach, an early version of Christ lag in Todes Banden, BWV 4, presumably written in 1707, was a chorale cantata. The last chorale cantata he wrote in his second year in Leipzig was Wie schön leuchtet der Morgenstern, BWV 1, first performed on Palm Sunday, 25 March 1725. In the ten years after that he wrote at least a dozen further chorale cantatas and other cantatas that were added to his chorale cantata cycle.

<span class="mw-page-title-main">Herr Christ, der einig Gotts Sohn</span> Protestant hymn

"Herr Christ, der einig Gotts Sohn" is a Lutheran hymn by Elisabeth Cruciger. Printed in 1524 in the Erfurt Enchiridion, together with 18 hymns by Martin Luther, it is one of the oldest Lutheran hymns. The text combines Lutheran teaching with medieval mysticism. It has been the basis of musical settings such as Bach's chorale cantata Herr Christ, der einge Gottessohn, BWV 96.

<i>Erfurt Enchiridion</i> Second Lutheran hymnal published in 1524

The Erfurt Enchiridion is the second Lutheran hymnal. It appeared in 1524 in Erfurt in two competing editions. One of them contains 26 songs, the other 25, 18 of them by Martin Luther, others by Elisabeth Cruciger, Erhard Hegenwald, Justus Jonas and Paul Speratus. While the songs of the Enchiridion could be used in churches, they were intended primarily for singing elsewhere, such as at home, at court, and in guild meetings.

<span class="mw-page-title-main">Mit Fried und Freud ich fahr dahin</span>

"Mit Fried und Freud ich fahr dahin" is a hymn by Martin Luther, a paraphrase in German of the Nunc dimittis, the canticle of Simeon. Luther wrote the text and melody, Zahn No. 3986, in 1524 and it was first published in the same year. Originally a song for Purification, it has been used for funerals. Luther included it in 1542 in Christliche Geseng ... zum Begrebniss.

"Jesus Christus, unser Heiland, der von uns den Gotteszorn wandt" is a Lutheran hymn in ten stanzas by Martin Luther for communion, first published in 1524 in the Erfurt Enchiridion. It is one of Luther's hymns which he wrote to strengthen his concepts of reformation. The models for the text and the melody of Luther's hymn existed in early 15th-century Bohemia. The text of the earlier hymn, "Jesus Christus nostra salus", goes back to the late 14th century. That hymn was embedded in a Hussite tradition.

<span class="mw-page-title-main">Nun freut euch, lieben Christen g'mein</span>

"Nun freut euch, lieben Christen g'mein", or “Dear Christians, One and All, Rejoice” in English, is a Lutheran hymn, written in 1523 by Martin Luther. It is one of Luther's early hymns and considered by some as one of his finest. It was published as one of eight songs in 1524 in the first Lutheran hymnal, the Achtliederbuch. The Achtliederbuch contained four songs by Luther, three by Speratus, and one by Justus Jonas. It appeared also in 1524 in the Erfurt Enchiridion.

<span class="mw-page-title-main">Gott sei gelobet und gebenedeiet</span> Lutheran hynm composed by Martin Luther

"Gott sei gelobet und gebenedeiet" is a Lutheran hymn of 1524 with words written by Martin Luther who used an older first stanza and melody. It is a song of thanks after communion. Luther's version in three stanzas was printed in the Erfurt Enchiridion of 1524 and in Johann Walter's choral hymnal Eyn geystlich Gesangk Buchleyn the same year. Today, the song appears in German hymnals, including both the Protestant Evangelisches Gesangbuch, and in a different version in the Catholic Gotteslob.

<span class="mw-page-title-main">Komm, Gott Schöpfer, Heiliger Geist</span> Lutheran hymm for Pentecost

"Komm, Gott Schöpfer, Heiliger Geist" is a Lutheran hymn for Pentecost, with words written by Martin Luther based on the Latin "Veni Creator Spiritus". The hymn in seven stanzas was first published in 1524. Its hymn tunes are Zahn No. 294, derived from the chant of the Latin hymn, and Zahn No. 295, a later transformation of that melody. The number in the current Protestant hymnal Evangelisches Gesangbuch (EG) is 126.

<span class="mw-page-title-main">Lutheran hymn</span> Christian hymn used in Lutheran services

Martin Luther was a great enthusiast for music, and this is why it forms a large part of Lutheran services; in particular, Luther admired the composers Josquin des Prez and Ludwig Senfl and wanted singing in the church to move away from the ars perfecta and towards singing as a Gemeinschaft (community). Lutheran hymns are sometimes known as chorales. Lutheran hymnody is well known for its doctrinal, didactic, and musical richness. Most Lutheran churches are active musically with choirs, handbell choirs, children's choirs, and occasionally change ringing groups that ring bells in a bell tower. Johann Sebastian Bach, a devout Lutheran, composed music for the Lutheran church: more than half of his over 1000 compositions are or contain Lutheran hymns.

<span class="mw-page-title-main">Mitten wir im Leben sind</span> Lutheran hymn

"Mitten wir im Leben sind mit dem Tod umfangen" is a Lutheran hymn, with words written by Martin Luther based on the Latin antiphon "Media vita in morte sumus". The hymn in three stanzas was first published in 1524. The hymn inspired composers from the Renaissance to contemporary to write chorale preludes and vocal compositions. Catherine Winkworth translated Luther's song to English in 1862. It has appeared in hymnals of various denominations.

<span class="mw-page-title-main">Es woll uns Gott genädig sein</span>

"Es woll uns Gott genädig sein" is a Lutheran hymn, with words written by Martin Luther based on the Psalm 67. The hymn in three stanzas of nine lines each was first published in Wittenberg in 1524. Its best known hymn tune, Zahn No. 7247, was published in Strasbourg in 1524. Heinrich Schütz and Johann Sebastian Bach wrote settings of the hymn. It was translated to English and has appeared in dozens of hymnals.

<span class="mw-page-title-main">Es spricht der Unweisen Mund wohl</span>

"Es spricht der Unweisen Mund wohl" is a Lutheran hymn of 1524, with words written by Martin Luther in 1523, paraphrasing Psalm 14. It was published as one of eight songs in 1524 in the first Lutheran hymnal, the Achtliederbuch. It was also published later that year in the Erfurt Enchiridion. It has appeared in many hymnals, both in German and in translation. The text inspired vocal and organ music by composers such as Johann Pachelbel.

References

  1. 1 2 Schiltz, Katelijne (2011). "Middle Ages and Renaissance / Music in German-speaking territories" (in German). Goethe Institut . Retrieved 21 April 2015.
  2. 1 2 3 4 5 Herl, Joseph (2004). Worship Wars in Early Lutheranism : Choir, Congregation, and Three Centuries of Conflict. Oxford University Press. pp. 100–103. ISBN   9780195348309.
  3. ↑ Stroeve, Barbara (2005). "Gesungene Aufklärung / Untersuchungen zu nordwestdeutschen Gesangbuchreformen im späten 18. Jahrhundert" (PDF) (in German). University of Oldenburg . Retrieved 21 April 2015.
  4. ↑ Kohlschmidt, Werner; Mohr, Wolfgang, eds. (2001). Reallexikon der deutschen Literaturgeschichte (in German). Walter de Gruyter. p. 397. ISBN   9783110879568.
  5. ↑ "Geystliches Gesangk-Buchleyn". Encyclopædia Britannica. Retrieved 21 April 2015.
  6. ↑ "Martin Luther". hymnary.org. Retrieved 21 April 2015.
  7. ↑ Roelcke, Eckhard (1 December 1995). "Die Musik im Lauf der Zeit / Rückblick auf die abendländische Tonkunst". Der Spiegel (in German). Retrieved 21 April 2015.
  8. ↑ Glover, Raymond F. (1990). The Hymnal 1982 Companion, Band 1. Church Publishing, Inc. pp. 321–323. ISBN   9780898691436.
  9. ↑ Leaver, Robin (2007). Luther's Liturgical Music. Wm. B. Eerdmans Publishing. pp. 124–103. ISBN   9780802832214.
  10. 1 2 Glover, Raymond F. (1990). The Hymnal 1982 Companion. ISBN   9780898691436.
  11. 1 2 Vogts, Kevin (2011). Martin Luther / Renaissance Man. Holy Cross Evangelical Lutheran Church. pp. 1–2. ISBN   9783110879568.
  12. ↑ "LUTHER, Martin (1483-1546). Geystliche Lieder. -Psalmen und Geistliche Lieder. Leipzig: Valentin Babst, 1545". www.christies.com. Retrieved 9 April 2016.
  13. ↑ Glover, Raymond F. (1 January 1990). The Hymnal 1982 Companion. Church Publishing, Inc. ISBN   9780898691436.

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