'3Jy17 Mabel Parker, B

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AN HISTORICAL STUDY OF THE CAROL "IN DULCI JUBILO"

THESIS

Presented to the Graduate Council of the North Texas State Teachers College in Partial Fulfillment of the Requirements

For the Degree of

MASTER OF ARTS

'3jy17 Mabel Parker, B. A.

Denison, Texas

August, 1945

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TABLE OF CONTETiS

Page LISTP OF iUUVLOAL EXAPLE6 ...... iv

Chapter I. INTBODUCTION . . . . . * . * * * . * * 1

BIBLE. HYMNS, UEBR1h AND CHRISTIAN . . 4

TVE BEGINNING 9o CHYIISTIAN CAlT . . . . 11

IV. LATIL HYkrb ...... * . 20

V.9 PRt-REFOR\TION tYNNS . . * * * . . . .*.o 30

vI.9 THL CHO L ...... 36

VII. THE CAROL: ASSOCIATE IONS AND XAILPIES . 41

VIII. "Il DULCI JULILO", ITS ORIGIN AND HISTORIC REFERENCES ...... 53

IX. )USIC SETTINGS ...... 58

X. SUMMARY AND CONCLUSION ...... * . . 74

APPENDIX ...... 9 . 9 0 ...... 76

BIBLIOGRAP pT ( * * * 9 9 9 S 9 9 9 9 . 9 9 9 . 9 1110 9

iii LIST OF MUSICAL EXAMPLES

Zxaraple Page 1. Prose de l'Ane . . * . . . -. - . - 43 2. Lullaby ...... - - - * 43 3. Susani, Susani .* ...... * 44 4. Resonet in Laudibus ...... * 47 Es ist eMn Ros' entsprungen . . . . . 49 6. Original version oi- "In dulci jubilo". . 5'8 7. Version II of "In dulci jubilo". . . . 60 8. Cadeutial M1easure ...... * 71

iv Sacred song: Its final cause is none other than this, that it ministers solely to the honor of God and refreshment of the spirit; whereof, if one take not heed, it is no proper music, but devilish din and discord. - Johann Sebastian Bach CHAPTER I

INTRODUCTION

A study of the carol form immediately leads into the

field of the hymn; each is a form of praise or worship.

The hymn is as instinctive as life itself, and as uni-

versal as the air man breathes. Hymns to the sun god, to

the many Babylonian deities, to the Great Spirit of the

American Indian - these are found, along with others in all ancient literature.

The word "carol" once meant to dance in a ring; its

derivation has been traced through the old French "caroler"

and the Latin "choraula" to the Greek "choraules" which

meant a flute player for chorus dancing; then ultimately

to "choros" which was a circling dance and the origin of

the Attic drama. Whether this be its true derivation or

not, the term is difficult to define satisfactorily; but

the carol does have certain qualities that set it apart.

John Julian, the distinguished lexicographer, estimates

Oxford Book of Carols, Preface, p. v.

I 2

these characteristics as a simplicity of text, a rhythmic

brightness of melody, and a subjective praise of God. He

says, "It seems not too much to assert that from the

very beginning the Christian Church used sacred lyrics,

which, whether we range them under the head of Psalms,

hymns, spiritual songs, odes, canticles, or simply songs,

had among them some at least, if not many, having the 2 special characteristics of the carol."

Whether the song be hymn or carol, its music is in-

dependent of any creed or sect; no one church can claim it for it belongs to all. No historical study of religion

can ignore the place of music; next only to the Bible must

come the Christian hymn as a medium of Christian culture.

It rouses, teaches, comforts, guides; its rhymed form is

a memory aid, making it more readily available to the in-

dividual who turns to it for the nurture of his inner life. Because the carol is a particular type of hymn, this

study begins with the story of hymn development, tracing it

from Bible hymns as early as 1220 B.C. through apostolic days, early centuries of church history, and on through the chorale of the sixteenth century. A chapter is given to

2 John Julian, ictionar f HyMnol p. 20.

Awl 3

general history of the carol form, then the particular carol of the study is discussed, textually and musically.

Musical examples are given in an appendix. The data have been collected through intensive research in church and music history and music literature. CHAPTER II

BIBLE HYMNS, HEBREW AND CHRISTIAN

In its unique continuity, Jewish history gives the best picture of typical evolution in the field of music. The times of the patriarchs and the judges represent a primitive stage in which emotion and free effusion shaped the patterns of melody and rhythm. Everyone in Israel sang, and playing the lyre and the timbrel was a common achievement, at least among women. When the children of Israel had walked upon dry land in the midst of the sea and were saved out of the hand of the Egyptians, (1220 B.C.)Moses himself struck up the holy tune to glorify the Lord, and all men joined the leader's voice, while the women, led by jiriam, the sister of Moses, responded antiphonally.

The song began:

"Sing unto the Lord, for He hath triumphed gloriously,

The horse and his rider hath He cast into the sea." 2

This same Joses is credited as the author of the hymn which is continually being sung before the throne of God in heaven.

Great and marvellous are Thy ways, Lord God Almighty; Just and true are Thy ways, Thou King of saints' Who shall not fear Thee, 0 Lord, and glorify Thy Name? for Thou only art holy; for all nations shall come and worship before Thee: for Thy judgments are made manifest.

Another song, quoted in entirety, celebrated a victory over an enemy (1150 B. C.). It was sung by Barak and

Curt Sachs, The Rise of Music in the Ancient World,p.59. 2 3 Exodus, 15:1-21 Revelation, 15:3-4. 4 Deborah, the triumphant leaders of the Hebrew tribes. The opening lines are:

Praise ye the Lord for the avenging of Israel when the people willingly offered themselves. Hear, 0 Ye Kings: give ear, 0 ye princes:4 I, even I will sing praise to the Lord God of Israel.

Saul and Davisd, (1025 B.C.) returning from the victorious battle against the Philistines, were welcomed by women singing, playing, and dancing. 5 Music exulted and wailed; it was both whipped up and soothing; it caused ecstasy to take possession of the seers, and it drove the demons from Saul's soul when David, the shepherd boy, played for him. 6

Then this shepherd David became king, a new era of appreciation for music was ushered in. Professional musicians of both sexes were supported by the court. The

Temple worship used great bodies of singers and instrument players. First Clironicles2:7 . gives the number 288.

When King Solomon consecrated the temple (950 .C.) a definite approval of the musical service was given by God.

Also the Levites which were the singers, all of them of Asaph, of Heman, of Jeduthun, with their sons and their brethren, being arrayed in white linen, having cymbals and psalteries and harps, stood at the east end of the altar, and with them an hundred and twenty priests sounding with trumpets: it came even to pass, as the trumpeters, and singers were as one, to make one sound to be heard in praising and thanking the Lord; and when they lifted up their voice with the trumpets and cymbals

Judges,5:1,31. 5Sachs, 2R. &fl., p. 59. 6 I Chronicles 16:25. 6

aad instruments of musick, and praised the Lord, saying, For he is good; for his mercy endureth forever: that then the house was filled with a cloud, even the house of the Lord; so that the priests could not stand to minister by reason of the cloud: for the glo y of the Lord had filled the house of God.

As a writer and collector of hymns David stands with-

out equal. His anthology, the book of Psalms in the Bible, was for centuries. considered the only songs worthy to be

used in divine worship. Even today there are sects which 8 confine their hymns to the psalms of David.

The powerful influence of song was known by King Je-

hoshaphat (875 B.C.) who appointed a singing regiment to

accompany his army into battle. Their definite assignment

was "to praise the beauty of holiness as they went out be-

fore the army, and to say, Praise the Lord; for his mercy 9 endureth for ever."

The fame of the singing Hebrews spread into Other

countries, themselves less musical. A vivid picture of a

garden party and a group of captive Hebrew musicians, utter-

ly homesick, is given in one of the Psalms. The writer sadly asks "How shall we sing the Lord's song in a strange land?"1 0

II Chronicles 5:12-14, 8 For example: Associate Reformed Presbyterian Church. 9 :2l IT.Chr onicle s 20:21 b. Psalm 137. 7

"Holy, Holy, Holy, Lord God of hosts,

The whole earth is full of His glory."

These reverent and adoring words which form a part of the text of the Sanctus were first recorded by Isaiah

(750 B.C.) in the account of his vision of the throne of God. They are repeated by John in a similar vision hundreds of years later. (96 A.D.)12 The Sanctus was used in the second c entury Christian

liturgies; 3 it is today a part of worship, not only in churches with a formal liturgy, but also in other groups, less formal.

To the cultured Greek writer, Luke, (55 A.D.) author

of the third Gospel, we owe the inclusion of several hymns

of eternal beauty and value:

My soul doth magnify the Lord1 Anr my spirit hath re- joiced in God my Saviour. For he hath regarded the low estate of his handmaiden: for behold, from henceforth all generations shall call me blessed. For he that is mighty hath done to me great things; and holy is his name. 14 These words were sung by Mary after the Annunciation,

voicing her spirit of joyful surrender to the will of the

"Lost High " ;they have been preserved to us as the MLg-

nificat;

1 2 Revelation 4:3. 13 Hugo Leichtentritt, Music, Histgy, and Ideas, p.37.

14 Luke 1:46-49. 8

Now letUtest Thou Thy servant depart in peace, according to thy word: for mine eyes have seen thy salvation which thou hast prepared before the face of all people; a light to lighten the Gentiles and the glory of thy people Israel. 15'.

This hymn of old age was sung by the aged prophet Simeon, vho had been perraitted to hold the infant Saviour in his ars; it is called tne Iunc Dimittis.

Ls to carols, the very first Christmas 'carol was given to the world in the Angel's Song at Bethlehem, and is known as the Gloria -in Excelis. pith a vain wish for the accompanying melody, we give thanks for the words which have been in- corpor'ed into countless oratorios, anthems, hymns, and carols.

"Glory to God in the highest, and on earth peace 16 good ill to men." Only one occasion is mentioned in vhich Jesus sang with his disciples. This was on the night before his death. after

Ie hlad talked a long time to them, trylnc to prepare their minds for what was iramediately ahead, we are told "ttey sang an hymn and went out."

After His resurrection, the groups of believers Leeting together were filled with a radiant new joy that coUpelled expression in song. These believers demanded hymns written

1% 16 Luke 2:23-32. Luke 2:14. 17 ark 14:26. 9 more directly and specifically about the Saviour than

those psalms of David which had been sufficient for the

temple service.

In his letter to the Ephesians, St. Paul speaks of

religious songs under three distinct terms: psalms, 181 hymns, and spiritual songs. The first two are mentioned elsewhere in the Scriptures; the expression spiritual song

is new. It is possible that this terra is used to name a new type of song, written especially for Christian worship.

If so, this vould be the beginning of a Christian hymnody.

In one of Paul's churches there were singers whose words were unintelligible. Paul wrote, rebuking them, and emphasizing the importance of the words to be sung. He said, So likewise ye, except ye utter by the tongue words easy to be understood, how shall it be known what is spoken? for ye shall speak in the air. There are it may be, so many kinds of voices in the world, and none of them is without signification. Therefore if I know not the meaning of the voice, I shall be unto him that speaketh a barbarian and he that speaketh shall be a barbarian unto rme. Etven so ye, forasmuch as ye are zealous of spiritual gifts, seek that ye may excel to the edi- fying of the church. Wherefore let him that speaketh in an unknown tongue pray that he may interpret. For if I pray in an unknown tongue, my spirit prayeth, but my understanding is unfruitful. uhat is it then? I will pray with the spirit, and I will pray with the understanding also: I will sing with th spirit, and I will sing vith the understanding also.'9

13 19 t~Iesas41.ICo3tias 1:-~ Ephe sla ns 5019.0 I Corinthians, 14**9-15. 10

Scattered through the New Testament writings there are several groups of sentences in rhythmic form which may be fragments of early hymns.

Nianifest in the flesh, Justified in the Spirit, Seen of angels Preached unto the Gentiles, Believed on in the world deceived up into glory.26

Awake, thou that sleepest, And arise from the dead, And Christ shall give thee light. 2 1 Great and marvelous are Thy works, 0 Lord God, the Almighty! Righteous and true are Thy ways, Thou King of the ages. Who shall not fear, 0 Lord And glorify Thy name? Por Thou only art holy; For all the nations shall come And worship before Thee; For Thy righteous acts Have been made manifest."

20 21 I Timothy, 3:16 Ephesians 5:14. 22 Revelation 15:3-4. CHAPTER III

THE BLGINNINGS OF CHRISTIAN SACRED CHANT

The first centuries of Christian history saw a remark- able spread from the small beginning at Jerusalem. Church authority had not yet centered itself and the eager missionaries pressed out from many established congregations.

The movement toward Syria and the Near East was particularly strong and Christianity there became a flourishing religion.

Armenia, Greece, and Syria - each with its own language - contributed poetry and music to the growing library of 1 liturgical chant.

Contemporary comment on music in the Grecian world is given in the writings of the philosophers. Plotinos, a neo-Platonist thinker of the third century, believed that music had a magical power, and, according to its nature, might lead one toward either good or evil. Philo of

Alexandria combined the Bible with Plato to form his philosophy. His writings contain many references to music.

In a work titled On the Contemplative Life he tells of an ascetic Christian sect, the Therapeutae, whose musical activities included antiphonal singing.

Gustave Reese, Music in the Middle jgjs, p. %7.

11 12

They all stand up together, and... two choruses are formed..., the one of men and the other of women, and for each chorus there is a leader... selected who is the most honorable and most excellent of the band. Then they sing hymns which have been composed in honor of God in many metres and tunes, at one time all singing together, and at another, answering one another in a skilful manner...The chorus of male and female worshippers, throughout the singing and the alternation of the melodies, makes...a truly musical symphony, the shrill voices of tse women mingling with the deep-toned voices of the men.

The history of the primitive Christian Chant has been divided into three periods, the first of which covered the first two centuries. Music was used as a proselyting agent during this time. The second period embodied the third century and was a time of real growth. The new converts to the Christian faith were residents of highly civilized cities, and were often educated and trained in the arts and sciences.

The Church was alert in utilizing these elements of culture, particularly in the field of music, but the strong influence of Judaism with its "Thou shalt make unto thee no graven

image" still shut out the sculptor. The church leaders carefully watched for musical manifestations that might

carry undesirable associations from the pagan world. Some-

what overlapping this period, the third began in the year 313

when Constantine the Great issued the edict of Milan, assur- ing a tolerance toward Christianity throughout the empire,

2 Reese, 9M. cit., p. 60. 3 Exodus 20: 4a.

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and paving the way for its ultimate adoption as the of- ficial religion of the Roman Empire. Now the adherents to the new faith might come out of the catacombs; their devotion might express itself in beautiful architecture, and 4 suitable music might be provided. Training for vocal execution was of three general kinds first, cantillation, in which portions of the Gospels were solemnly intoned to certain melodic formulas; psalm and hymn- singing which ranged from cantillation to full-grown song; and third, the joyous chanting of the single word "alleluia" to florid melismas.

A particular reverence has always been attached to the writings of the Church Fathers. Their nearness to the be-

ginnings of Christianity has lent a sanctity to their words, making them almost scriptural in significance. We have writings in all three periods from these men, and we find

frequent references to the practice of music. There is no

technical analysis to aid the theorist, but there is in-

teresting comment on the ecclesiastical attitude toward music and the manner in which it was utilized by the early Christians.

4 Reese, 2p. cit., p. 61.

Ibid., p. 62. 14

Tertullian (155-222) describes an ideal Christian home thus: "Between the two (husband and wife) echo psalms and hymns; and they mutually challenge each other which 6 shall better chant to their Lord." Eusebios (260-340),

aUthor of the Ecclesiastical History, disapproved of the use of instruments in divine worship. He said, "We sing1

God's praise with living psaltery....Far more pleasant and dear to God than any instrument is the harmony of the whole

Christian people...We sing the psalms in melodious tones."7

St. Basil (330-379), author of the liturgy known by his

name and still used in the Eastern Church, declared that the

psalms had been provided with melodies to attract children

and youths to the end that their souls and minds might be en- lightened while, as they thought, they were merely enjoying 8 the music.

St. Jerome (340-420), author of the VAlgate, the standard

Latin translation of the Bible, acted as adviser to Pope

Damasus, whose interest raised the Roman liturgy to a higher

level. St. Jerome, like Eusebios, opposed the use of in-

struments, but favored more elaborate vocal music. His influence brought about the addition of the Alleluia to the Roman mass. At the end of the Alleluia there is a long and

6 7. Ibid., p. 62. Ibid., p. 62. 8 _ia., p. 63. florid vocal flourish which is called the jubilus. Concern- ing this, he wrote: "By the term 'jubilus' we understand

that which neither in words nor syllables nor letters nor

speech is it possible to express or comprehend how much man

f 9 ought to praise God.

St. Augustine (354-430), author of The Confessions and

De Civitate Di, introduced into the African Church the prac-

tice of singing psalms as the'gifts were offered. This

brought about the inclusion of the Offertory in the Mass.

He described the "jubilus" thus: "It is a certain sound of

joy...A man rejoicing in his own exultation, after certain words which cannot be...understood, bursteth forth into

sounds of exultation without words, so that it seemeth that he...filled with excessive joy cannot express in words the 10 subject of that joy."

In his Confessions, St.Augustine writes of the power-

ful effect music had on him: "How greatly did I weep in Thy hymns and canticles, deeply moved by the voices of Thy sweet-

speaking church! The voices flowed into mine ears, and the

truth was poured forth into my heart, whence the agitation of my piety overflowed, and my tears ran over, and blessed was I 11 therein."- St. Silvia (or Etheria) of .quitaine made a pilgrimage

9 10 11 Ibjid. Ibid, p. 64. Ibid., p. 64. r 4b to the Holy Land about the year 385. Her diary describes the chanting at the Church of the Holy Sepulchre, built at

Jerusalem by Constantine. She tells of hearing psalms, hymns, antiphons, and responsories; she also mentions the 12 presence of boy choristers. St. John Chrysostom (345-407), the most famous of the

Greek Fathers and bishop of Constantinople, explained why psalms are sung rather than recited: "When God saw that many men were lazy, andgave themselves only with difficulty to spiritual reading, He wished to make it easy for them, and added the melody to the Prophet's words, that all beings, re- joiced by the charm of the music, should sing hymns to Him 13 with gladness."

Syrian Chant

From the earliest apostolic days Syria was a center of intense Christian activity. It had been the church at An- tioch, Syria, which first felt missionary zeal and sent out

Paul and Barnabas on a preaching tour. Syria was near to

Palestine with its holy associations, while its commercial interests were strong and far-reaching in the Roman Empire.

It was thus a natural and ideal center for the development of the basic elements characteristic of Christian chant, and for the spread abroad of the new ideas.

12pi p. 65 1 3 17

In the fourth century antiphony is said to have been introduced into the orthodox practice of Antioch, Syria.1 4

An effort to make the service more attractive and to include more of the people in active participation assigned the chanting of the psalm-verses to the congregation. Two semi-choruses were formed, one of men, the other of women and children; these groups alternated in the psalm-verses and combined in an alleluia or sometimes a new refrain. The practice of intercalating a passage of song between psalm- verses was adopted; the passage was called an"enyand', and was 15 later taken over by the Western Church. The Syrian preference for an organized rhythmical structure led to important results. They favored a line in which a tonically accented syllable alternated with one or

two unaccented; lines were made to correspond by an equality in the number of accents. This accentual concept of verbal rhythm was eventually transformed to hymns in the Latin language as well, replacing there the quantitative "long versus short" principles of classical prosody.

If a poem of several stanzas was sung to a particular

strophe, adjustments were often necessary in the melody. Light beats might be added or suppressed, but the accented beats remained constant. Up to this time the word "hymn"

14 15 Ibid., p. 68. Ibid.

I 18

had been used in a general sense for spiritual songs; now it began to mean "versified poetry intended to be sung in 16 praise of Christian truths or events."

Byzantine Chant

The founding of Constantinople by Constantine the Great in A. D. 328 provided a great center for the mingling of cultural forces. Hellenic and Oriental influences merged here. So we find in the hymns of the Byzantine Church a distinctive contribution to music and poetry. As in Syria, intercalations between verses were adopted. The psalm- verse was called a "stichos" and the intercalation a 17 "troparion." Among the early Greek hymn-texts is the famous Pho hilaron ("0 Gladsome Light" in Longfellow's translation) which is still sung as a Vesper Hymn in the Eastern Church. An interesting legend is told concerning the hymn writer, Romanos, a converted Jew, who lived in the, latter half of the fifth century. He was called by his contempo- raries "Ielodos" (maker of songs). According to this

legend, the Virgin appeared to Romanos and ordered him to

eat a scroll. He did so, and found himself able to write a new form of hymn called "kontakion".

The 'kontakia", based on passages from the Bible and 16 17 .I lbid., p.69 Ibid.,I Po 78.

i 19

and performed at holiday seasons, were really poetic sermons, and sometimes included dramatic effects.

Until the ninth century, the poet and the musician, in Byzantine hymnology, were one; after the functions were divided, the poet was called a "hymnographer." Accompanying a hymn-text, there often appeared the direction: "To be 18 sung to the melody of ."f

18 _Ij, p. 82. CHAPTER IV

LATIN HYMNS

Oriental hymns were introduced in western Europe by Bishop Poitiers in the early part of the fourth century. About a generation later, Ambrose, Bishop of Milan, a man of vision and consecration, recognized the value of hymn singing by the congregation and began to write hymn texts of his own. These were not Scripture fragments, but new poetry, Latin verse, employing the accentual treatment of accent derived from Syria. Compared with the irregularity of psalmody, the new poetry had a pleasing symmetry. Ambrose borrowed from the Greeks the use of the ancient modes, fitting to a plain, easily remembered tune, regular stanzas of four lines each. It has been said that the Ambrosian hymn was the model for 2 the Protestant chorale, evolved a thousand years later. St. Augustine's book De Musica mentions four hymns written by Ambrose: "Deus Creator Omnium," "Iam Surgit Hora Tertia," "Aeterna Rerum Conditor," and "Veni Redemp- tor Gentium." Quotations are made from three of these:

Leichententritt, _ .fl.,it. p. 29. 2 3 2bit7., p. 31. 3Ibid., p.29. 20 21

Deus, creator omnium Polique rector, vestiens Diem decoro lumine, Noctem soporis gratia,

Artus solutos ut quies iieddat laboris usual, Mentesque fessas allevet Luctusque solvat anxios.

Aeterne rerum conditor, Noctem diemque qui regis, Et temporum das tempora, Ut alleyes fastidium;

Praeco diei iam sonat, Noctis profundae pervigil, Nocturna lux viantibus, 5 A nocte noctem segregans.

Veni, redemptor gentium, Ostende partum virginis, Miretur omne saeculum: Talis decet partus Deum.

Non ex virili semine Sed mystico spiramine, 6 Verbum Dei factum est caro, Fructusque ventris floruit. It seems strange, considering the popularity of these hymns, that Rome should have barred them from use in the divine service until the twelfth century. The reason lay in an ancient rule of the Church that only the words of the Bible should be used in the church service; it is interesting

9. F. A. March, editor, Latin lyxn, With English Notes, 6 octi., p. 8 Ibid., p.*263. 22

to observe this same intolerant attitude in the Protestant

churches of France and Switzerland a thousand years later.7

By the time of the seventh century the Church had become a commanding power in religion and in politics.

Gregory I, who was the first pope to establish a leadership,

politically, was particularly zealous for the advancement 8 of music. Many of the traditions about him cannot be substan-

tiated, but it is clear that his standing was not questioned 9 during the Middle Ages. Gregorian chant, the basis of

Catholic Church music ever since, is forever linked to his

name. Writers of that period credit Gregory with the com- piling of a great book, the Antiphonary. It contained his notation system and a collection of choice hymns adapted to the principal seasons of the Church. This book was kept chained to the altar in St. Peter's Cathedral in2cnn=e that 10 it might be always available for reference. Gregory was the author of the following hymn:

Veni, creator Spiritus, bLentes tuorum visita, Imple superna gratia quae tu creasti pectora

7 3 Ibid., notes, p. 263. Ibid., p. 31. 9 Reese, p.. .cit.., p. 121. 10 Edward S. Ninde, Jjneteen Centuries of hristin .ong, p. 43.

I1 10 -, --- '' - 23

Accende lumen sensibus, Infunde amorem cordibus Infirma nostri corporis 11 Virtue firmans perpetim.

The Schola Cantorum was either founded or reorganized by

Gregory, according to these same medieval writers.12 This training school for singers provided skilled musicians for

the established centers of worship and for the new fields which were being continually opened by missionaries of the

Church. It insured a faithful adherence to the Gregorian chant authorized by the Church.

The student of today can scarcely realize the important place which Gregorian chants played in medieval life. For example, the chant which was proper for a particular day would be named in current records for the purpose of dating an event.

All state ceremonies and important celebrations were accompanied by the solemn chant.1 3

Gradually the worship service of the Church was altered, and the celebration of the mass became the center of the liturgy. This celebration is not primarily a musical form, but a liturgical complex, with an appeal to other senses as

11 March, _2. jt., p. 77. 12 Reese, .op... ciI p. 121. 13 Cecil Gray, The History of iisic, p. 23. 24

well as to the religious emotions and the ear.14 The music

of the mass conforms to a careful pattern; it is purely

vocal and normally consists of ten pieces: first the In-

troit, liturgical choir-singing accompanying the entrance

of the priests; second, the Kyrie eleison, sung by the

people, a confession of sins and a prayer for pardon; third,

the Gloria in excelsis, sung by the priest, continued by the

choir; fourth, the Gradual, sung by the cantor and the ..coLa,

followed by the joyous Alleluia;fifth, the Credo, sung after

a reading from the Bible and the sermon;_ sixth, the Offer-

tory, which accompanies and follows the benediction of bread and wine; seventh, the Sanctus, following a prayer of thanks;

eighth, silent prayers, the procession, the Pater Noster, the breaking of the Host, then the Agnus Dei; ninth, the Holy Sacrament and the chanting of the Communion; tenth, final prayers, benediction, and the dismissal of the people. The Introit, the Offertory, and the Communion are to be sung by a double chorus, antiphonally; the Gradual and the Alleluia are sung by a soloist with responses from the people or from the trained choir (schola). Originally the Kyrie, the Gloria, the Credo, the Sanctus, and the Agnus Dei were less important and were sung by the congregation. But the 14 Leichententritt, gpp. cit., p. 35. 15 Ibid., P. 36.

rA - -, ,, -,,, -11,11- 1 ------, , - -1, . 25

trained singers became more and more dominant in the service until they finally took over these forms also. The form of the mass today in text and liturgical order is, in 16 the main, as it has been since the eleventh century. The Kyrie, one of the oldest liturgical forms, is of Greek origin, and is in Greek; all the other parts of the mass have Latin words. The Sanctus also is one of the oldest sections of the mass, since it was used as early as the second century; it was taken over from the Jewish service. The Hebrew 17 word "Sabaoth" remains in the Latin text. A discussion of Latin hymns would be incomplete without mention of a few other famous songs and their writers. Paulus Diaconus in the eighth century wrote a hymn which was used by the theorist Guido of Arezzo as a basis for his musical scale. He used the first syllable in each verse to name the notes of his scale: Qt queant laxis Resonare fibris Mira gestorum Famuli tuorum, Solve polluti abii reatum Sancte Iohannes! Ut was later changed to Do, and Si was added for the seventh tone; it was probably taken from the first letters of the words Sancte lohannes.18

16 !h., p. 37. 1 7 Ibid. 18March, Marh, P.c.n p.. .. :.t.., notes,sp2 p. 263. 26

Bernard, abbot of Clairvaux, in the twelfth century

wrote many hymns, but the following one has been called

"the sweetest and most evangelical hymn of the Middle Ages."1 Jesu dulcis memoria Dans vera cordis gaudia, Sed super mel et omnia Eius dulcis praesentia.

1il canitur suvfts, Auditur nil incundius, Nil cogitatur dulcius Quam Jesus, Dei filius.20

Bernard of Cluny was a contemporary of Bernard of Clair- vaux, From a long poem titled "Laus Patria Coelestis" these lines are quoted. They were translated by John Neale into the failiar "Jerusalem the Golden."

Urbs Syon aurea, patria lactea, cive decor, Omne cor obrius, omnibus obstruis et cor et ora. iescio, nescio, quae iubilatio, lux tibi qua s, uam socialia gaudia, gloria quam specialis.

There is a certain point in the celebration of High bass where the Gradual is sung; this short anthem ends with the word "alleluia." For a long period of time the last syllable of the word was prolonged over many notes in order Lo give the deacon who was to sing the gospel for the day time to get to his place. A Swiss monk named Notker had

19 20 Ibid., notes, p. 278. Ibid., p. 122. 21 Ibid., p. 128. 27

the inspiration to compose words to be sung instead of the repetitious a, a, . And so was evolved the, "Sequence" (!sequens - following): the song tha t follows the Gradual, sometimes called the Prose because the sequence was first written in prose. These sequences became vry popular in he tciddle Ages and soon came to be written in verses? Robert, King of France at the beginning of the eleventh century wrote this sequence:

Veni, Sancte Spiritus, Et emitte coelitus Lucis tuae radium. .eni,ater pauperum, Veni-, .dator munerum Veni, lumen dordium. 23

Perhaps the most notable of all Latin sequences is Dies Irae. Its authorthip has been a matter of question; various scholars have attributed it to Gregory the Great, Bernard of Clairvaux, and Thomas of Celano. It appeared in church services in Italy in the thirteenth century; coies of it dating back to the fifteenth century have been wound in Germany, ASfter Mozart used it in his Requiem it vas recognized everywhere. Its theme is the Last Judgment.24 Dies irae, dies illa Solvet saeclum in favilla, Teste David cur Sybilla.

FKn, p. inloch, An istorisal Account ji-n-rzy, p. 9. of the. Gurch 23- 24 Jarcih, nP.cit., p.92. -- 9 - 24p29bLpd., notes,p.2. 28

Quantus tremor est futurus Quando index est venturus, Cuncta stricte discussurus!

Tuba, mirum spargens sonum Per sepulcra regionum, uoget omnes ante thronum.

0 Rex tremendae maiestatis, Qui salvandos salvas, grat s Salva me, fons pietatis, 26" Another sequence, the pathetic Stabat Mater, was written by Franciscan lay brother named Jacopone da Todi who lived in the thirteenth century. It represents the simple Mariolatry of his day. Palestrina, Pergolesi, and Haydn have used it in their works.

Stabat mater dolorosa Iuxta crucem lacrymosa, Dum pendebat filius, Cuius animam gementem, Contristantem et dolentem Pertransivet gladius.

o quam tristis et afflicta Fuit illa benedicta Mater unigeniti, Quae moerebat et dolebat Et tremebat, dum videb5 Nati poenas inclyti. The lasting worth of the Latin hymns and sequences is attested by the fact that hundreds of them have survived

25 Lbi.,p. 154. 26 27 Ibd., notes, P. 300. Ibid., P. 171. 29

translation; the hymnals of Protestant churches as well as Catholic carry them. Julian, in his Dictionary of HyaMnoj lists 458 Latin hymns with their translated titles and the season of the Church year with which they 28 are associated.

28 Julian, P.. Ct., p. 656. CHAPTER V

PRE-REFORMATION HYMNS

Because the carol of the thesis is of German origin, the field of this study is narrowed from here on to the Germans and their wealth of hymnody. No other literature surpasses theirs, and their hymns are found in the hymn- books of every land,

Along with the early missionaries who went out from Rome to Christianize the barbarians in western and northern Europe, there went singers who had been trained in Gregory's seminaries. These musicians tried heroically to drill their rough converts to sing the Gregorian chant but their efforts were sadly inadequate. The guttural speech of the Teutonic tribes had little in common with the flowing, liquid syllables of the Latin tongue; even more to the point was the fact that these simple laymen were not equipped, intellectually or spiritually, to grasp the subjective beauty of the Latin hymn. Yet they must have vocal outlet for their intense religious feeling for they had been accustomed, before con- version, to singing hymns to their deities. The missionary musician faced the problem of solving this need of his converts.

30 31

The first practice allowed to the congregation by the Church was the ejaculation of the words jy~rie &leison, Christe e.leison. These phrases, which had come originally

from the Eastern Church, and which are found in the most

ancient manuscripts of the Church, were sung or shouted by

the Christians on all possible occasions. Social events of every kind, religious meetings, national events, battles;

in any of these the people uttered the sacred phrases over

and over, sometimes hundreds of timesin succession. The words were often abbreviated into .yyi4es, Kyytie Eleis,

ki , _Kerleis and Kles. Sometimes, they became mere inarticulate cries.

'hen the phrase was formally sung, the Gregorian tones

proper to it in the church service were used. Sometimes these were elaborated into successions of notes, many to a syllable. Then came the custom, similar to that which

produced the Sequences from the Alleluia, of setting words

to these florid passages; out of this grew the tropes or

"farced" Kyries. These tropes ranged from a few amplify-

ing words to long sentences and sometimes even to entire

poems; they were interpolated between two words of an authentic text. Examples are: _Kyie fons bonitatis eleison- Kje hlux et o2rio eleison. Some of the tropes were adapted to pre-existing melismas; the new text was underlaid to the single notes of the melisma, resulting in a syllabic setting. 32

Other tropes were sung to new melodies and came to be a kind of hymn in which the yerig gljisgon became a refrain at the end of each stanza. These songs were called Kirleison, or Leisen; they represent the German congregational hymn in its first form. The Council of Trent abolished the tropes, retaining only four sequences: ictmae paschali .a~udes,Veni sancte spirts Luda , and Dies irae. Later, Stabat. Mater was adopted for use. However, traces of the tropes survive, as for example in the two Ky;s cited above. When the Roman Church began to discourage congregational singing in its service because of its fear that heresy and unchurchly ideas might creep in through the use of the vernacular, it found that the musical instinct of the people could not be entirely repressed. The hymn was a natural expression of religious fervor; if the people could not sing inside the church, they would sing outside. Poets from among them translated the old Latin hymns into the vernacular; original poems were added, and all of these were enthusiastically sung on festive occasions and pilgrimages.

Wackernagel, in the second volume of his collection of

Will Apel, HarvdDictionar .ard ic~onary...... ,iof p.* 768.sic 33

German hymns from the earliest time to the opening of the seventeenth century, includes fourteen hundred and forty- eight religious 2 lyrics composed between 868 and 1518, The tide of religious song reached a high mark in the twelfth and thirteenth centuries under the intellectual awakening that followed the crusades. The stimulus of hivalry and knightly devotion to womankind started a new trend of adoration to the Virgin Mother. The feminine element in mythology and religion seems to be in response to an elemental human craving. Eve, Astarte, Isis, Demeter, along with others, typify the mother goddess who sympathizes with the weak and needy human soul. The Catholic faith gathers up these dim yearnings and gives them an ideal in the pure and tender Madonna. So this period leads in the worship of the Virgin Mary. Churches were built in her honor; pictures of unearthly beauty were painted; poets rhymed her praises; flowers were named after her: marigold, rosemary; the tiny insect, lady- bird, was honored with her name. 3

2 lbid., p. 228. Wackernagei, von Dajeutsche Kirchenl_id -...... bis zu4nAfan j| VIT, Jahhunderts. 3 P$-aerick John Gillman, _ThevoAQtionof &np. 104. .!he Elish 34

This was the age of the wandering singer; in Germany he was called a Minnesinger (from linne - love). He was usually of knightly rank and his song was of heroic deeds, love, and nature. The art of the Minnesinger declined in the thirteenth century but its influence was carried on by the Mastersinger. The former had been of the aristocratic class; the latter belonged to the trader and craftsman level of society. The Mastersingers sang on biblical themes, and usually held their meetings in churches. They were organized into guilds; admission and promotion were by examina- tion. Wagner's opera, The Mastersingerso f Nuremberg, presents a fair picture of an actual guild; even the names 4 of the characters belong to actual people of the period.

From the ranks of these minstrel singers came the poets

Valther von der Vogelweide, wolfram von Eschenbach and Hans

Sachs. The first two are represented as participating in a Minnesinger contest in Wagner's Tannhauser; while the third is a character in The Mastersingers off NurembMr mentioned above. Other writers of sacred verse were Gott- fried von Strassburg, Hartman von Rue, Reinmar der Zweter, and Kunrad der Marner. Mystics of the fourteenth century -

Eckart, Tauler, and others - wrote hymns of a new quality] 4 Oxford CoManion to Music, p. 582.

5Dickinson, 2R. git., p. 231. 35

One need look no further than the medieval religious poetry to realize that the Reformation was not the restoring of a lost religious feeling but rather an intellectual re-es- tablishing of an hereditary devotion.6 This fourteenth century also produced the custom of adapting secular tunes to religious poems. Along with this came religious paraphrases or contrafacta of secular songs. Mixed songs, partly Latin and party German, were popular; an example is "In Dulci Jubilo," the subject of this writing which begins:

In dulci jubilo Nu singet und seyt fro.

6 i..dd-,p. 239.

1-101 "-, - WOMPON i . I I CHAPTER VI

THE CHORALE

The Reformation brought entirely new concepts of worship. All previous ideas had centered around the altar, where at each observance of -the mass, the priest repeated the sacrifice of the Son of God. Now, Luther had shown that the one sacrifice on Calvary was sufficient for all time;*

.... We are sanctified through the offering of the body of Jesus Christ once for all. And every priest standeth daily ministering and offering oftentimes the same sacrifice which can never take away sins. But this man, after he had offered one sacrifice for sins forever, sat down on the right hand of God....For by one of ring he hath perfected forever them that are sanctified.I

This departure from the familiar order of worship eliminated the altar and the priest. In their places Luther put the pulpit and the pastor. There must be a corresponding change in the music, for little of the liturgical music as it stood, would fit in the new servide.

The motet style was still considered the proper form and the motet was decidedly not adapted to congregational singing. A contemporary example, "Christ is erstanden,

Hebrews 10:10-14.

36 37

(tainz 1513)2 is given in the Appendix, page 82 of this study.

Luther's ideal was this: that "God might speak direct-

ly to the people in his Word and that they night directly 3 answer Him in their songs." So he prepared a translation

of the ible in order that it might be read from the

pulpit in the vernacular and for the homes of the people

he prepared a catechism. Of the music he needed he had a

clear conception. Since he wished to reach the common

people, the Latin language was of no use to him. Because

Gregorian chant was non-metrical, and complex melodically,

it would not do. He wanted something simple and unpre- tentious.

A rich treasury of texts was ready and waiting; German

sacred poetry included the ".kirls It~" which were, as has already been pointed out, a mixture of German verses with certain lines from the liturgy, translated Latin hymns, and a store of spiritual poetry which the religious fervor of the Pre-Reformation poets had prepared.4

For melodies Luther drew from varied sources: he went back to the Ambrosian hymas of the Catholic church; he used

2 Geschichte der Musik in Beispielen, No. 75. 3 Julian, P. &it., p. 414.

See page-32 of this study. 38

medieval sequences from Gregorian chant; there were sacred folk-songs from the religious dramas of the earlier times; and he did not hesitate to use secular tunes associated with popular songs of the day. These melodies were not just copied but were changed and adapted to their new purposes with a depth of insight and skill. Luther himself was an excellent musician, a singer, and a performer on both the lute and the flute. An interesting picture of Luther at work with his associates is quoted by Schweitzer:

While Walther and Rupf sat at the table, bend- ing over the music sheets with pen in hand, Father Luther walked up and down the room, trying on the fife the tunes that poured from his memory and imagination to ally themselves with the poems he had discovered, until he had made the verse- melody a rhythmically finished, well-rounded, strong and compact whole. 0

The first Lutheran chorales were irregular in rhythm, much like the free plain-song. The melodies alone were published by Luther for home use in Erfurt Enchiridion

(1524) . For church use they were set for four voices in simple harmonization with the melody in the tenor. An example of this is given in Appendix B page 32. In 1586

Lucas Osiander published a book of chorales which placed

5Leichtentritt, 22. cit., p. 105. 6 Albert Schweitzer, J.S.Bach, Vol. I, p. 15. 7 Julian, 2p. cit., p. 414. 39

8 the melody in the soprano with supporting parts below. This

homophonic style kept the melody from becoming obscured.

Luther was especially gifted in the writing of paraphrases, being able to express the most profound thought in

the clearest language. He made a loose paraphrase of the forty-sixth Psalm and titled it "Ein Feste Burg" (a tower

of strength is this our God). This is one of the most virile hymns of all time and is found in practically every hymnal.

Other great hymns of his are: "Aus tiefer Noth schrei ich

zu dir" (Out of the depths I cry to Thee), "Ach Gott, vom

Himmel sich darein" (Help, Lord, look down from heaven above),

"Vom Himmel hoch da k6mm ich her" (From heaven high to earth I come).

The chorale differs from the english hymn by its greater

variety in length and stanza structure. It insists upon a

pause at punctuated intervals and its harmony is more com-

plex. The chorale must be sung with breadth and dignity;

the tempo should be slow, but never lazy. It has always

been the custom for the congregation to sing chorales in unison.

The chorale filled an important place in German life. While the music of Italy and France was serving to mirror

3 George Grove, Grove's Ditionay of Music and Musician s, Vol. III, p. 776? 40

the social pleasures of the day, the music of Germany was expressing religious devotion. Church choirs walked about

the streets during the week singing chorales. Trumpets and trombones played them from church towers at certain hours.

They became a kind of religious folk-song for they had come spontaneously from the hearts of the people, and they were rooted in the deepest sentiments of the race. There was such nobility and solid worth in the tunes that a new form of liturgy was created; it was upon these melodies that the organist-composers of the seventeenth century ex- pended the best of their artistic powers. For four centuries the German chorales of Luther have been tremendously important in the history of Protestant music. CHAPTER VII

THE CAROL: ASSOCIATIONS AND EXAMPLES

The carols for Christmas have survived in greater number than those for other festivals, for example, the

May Day carols. All Christian nations have these Christ- mas songs; in France they are called Noels. Through the the Norman influence the word survives iiEZnglaftd as

Nowell, and sometimes occurs as the refrain of a carol.

An example is the familiar:

The first Nowell the angels did say Was to certain poor shepherds in fields as they lay, In fields as they lay, watching their sheep, On a cold winter's night when snow was so deep. Nowell, Nowell, Novell, Nowell- Born is the King of Israel. In Germany the carols are called "Weihnachtslieder," that is, "Christmas songs."

The custom of celebrating the seasons of the year in

song was ancient and universal. Clement, a Church Father

of the first century A. D. said, "Brethren, keep diligent-

ly Feast Days, and truly in the first place the day of 1 Christ's birth." This appears to be one of the earliest

Edmondstoune Duncan, The Story of the Carol, p. 10.

41 42

references to the nativity celebration. Since songs always accompanied a festival, it is easy to believe that Clement's

brethren raised their voices in joyful praise as they observed the birthday of the Saviour.

In the ninth century the clergy turned actors and

presented episodes from sacred books and the Bible, act-

ing them in the churches. These spectacles were well

suited to the use of carols and they became very popular.

Some of the monks went so far as to travesty the per-

formance of the sacred legends; because of this the church

interdicted all plays, concerts of music, and buffooneries such as were practiced under the names of La Fete de Foux, de lane, and d Inngons. But these so-called Mystery

Plays continued throughout Europe, especially in times of festival. Some of the pilgrims returning from Jerusalem composed songs about their adventures, interpolating also bits of material from the Bible on the life of Christ, or about the Judgment Day. These pilgrims traveled in groups as a sort of strolling actor troupe. They decorated their hats and mantles with fantastic emblems; carrying their pilgrim staves, they would take their station in a public 2 street and sing their tales.

In Beauvais and Gens, two French villages not far from Paris, a quaint custom was observed. A young girl holding a child in her arms and riding an ass was led through the 2 Duncan, U a e . .31. 43

town to the cathedral. A crowd followed, chanting this very old carol, the Prose de lanee 3

Cp-

Fig. l.--Prose de l'Ane4

The fourteenth century brought a definite trend toward more perfect rhythm and expression in all forms of secular music. "In Dulci Jubilo" belongs to this century and is discussed in detail later. Two other fourteenth century carols are given below; one in English from a manuscript in the

British Museum, the other in German.

A fiaz -r S See- rs.IS - T

-- 'W

< & - ye oI-k a

3 4 Ibid., p. 40. Duncan, 22p.. &it., pp.5 6-7. 44

_ _ _ _ II-7--T

V 404 ap - - -

Fig. 2.--Lullaby

- - -,______

t t

oAd_- ++ A -1c tA- -

; ad + ! V%

L--' j . Von WS

6 Fig. 3. -Susani, Susani

It is in part, at least, to St. Francis of Assisi that

Ibid. 6 Ibid., p. 61. we owe the stimulating influence which brought forth these carols of medieval times. This gentle soul wished to teach

the doctrine of the Incarnation in pictorial fashion. In

the little village of Greccio near Assisi he prepared a

stable, having borrowed an ox, an ass, and a bundle of hay.

He and his brother monks sang simple hymns that told the

Christmas story as the villagers flocked in to see the

drama. The custom spread rapidly and the Baby Jesus became a real person to the people. Curious customs arose;

in Germany, the priests impersonated Mary and Joseph, tak-

ing turns at rocking the cradle. Singing and dancing around

the crib were apparently common. It has been said by Sir

John Stainer that the universal singing of carols grew out of the medieval mysteries and the habit of the priests of placing in the chancels of churches a crib containing 8 either a living baby or a clay doll. The following carol is plainly a part of a mystery play acted around the crib. There are singing roles for

Joseph, Mary, and four different servants with a chorus for the whole group. There are versions in German and Latin found in Johann Walther's Gesangbuch, 1544. One verse is 1~~~g h -4. On .ver.s-e. .-.-s

7, Oxford Book off Carols, Preface, p. vi. 8 Duncan, .22. j;., p. 113, 46

quoted here in German, Latin, and English:

Joseph, lieber Joseph mein, hilf' mir wiegen mein Kindelein, Gott der wird dein Lohner sein im Himmelreich, der Jungfrau Sohn Maria Er ist ersehienen am heutigen Tag, am heutigen Tag in Israel, der Marien verkundigt ist durch Gabriel, Eia, Eia9 Jesum Christ hat uns geborn Maria.

Resonet in laudibus Cum jucundis plausibus Sion cum fidelibus; Apparuit quem genuit Maria Ones unc concinite, Nato regi psallite Voce pia dicite; Sit gloria.Christo nostro Infantial Eia, Eia, Eia. Virgo deum paruit Quem divina voluit potentia. Hodie apparuit in Israel, Quem praedixit Gabriel.

Is 0 0 Joseph dearest, Joseph mine, Help me cradle the child divine; God reward thee and all that's thine In Paradise, 10 So prays the Mother Mary.

9 Ibid., p. 60. 10 Oxford Book of Carol. p. 165% 47

Fig. 4.--Resonet in Laudibus

The association of shepherd life with the Nativity was observed especially in France and Italy in this century.

In Naples, shepherds from the surrounding hills camd down at

Christmas time and played in the streets before images of

the Madonna and Child. Their instruments were like bag- 12 pipes. According to Percy Scholes, Handel has mentioned

this as the source of his inspiration for the "Pastoral

Symphony" in the Messiah.

11 Duncan, _9p_.. cit_., P.60.

12 Percy A. Schools, The Oxford _oManion to Music, p. 140. 48

The fifteenth century brought a great store of carols.

The lyrics of these show more polish, for the influence of Chaucer was spreading. An example showing particular charm is "I Sing of a Maiden." I sing of a maiden That is makeless (matchless); King of all kings io her son she ches (chose).

He came all so still Here his mother was, As dew in April That falleth on the grass.

He came all so still To his mother's bower, As dew in April That falleth on the flower. He came all so still Where his mother lay, As dew in April That falleth on the spray. Mother and maiden Was never none but she; Well may such a 144y Godes mother be.

An example of the macaronic carol which came from the fifteenth century is "Make We Joy."

Make we joy now in this feast In quo Christus natus est: Eya.

A Patre unigenitus Through a maiden is come to us: Sing we of him and say, 'Welcome, Veni Redemptor gentium.'

13 Oxford Book of Carols, p. 401. 49

Agnoscat omne seculum: A bright star made three Kinges come, For to seek with their presents Verbum supernum prodiens:

0 lux beata, Trinitas. He lay between an ox and ass, And by his mother, maiden free. Gloria tibi, Domine 14

The following carol is more familiar because of the setting by Y1. Praetorius (1609). The words and melody are found in the eierschen Gesgbuch, Cologne, 1600.l Es ist ein' Ros' entsprungen Aus einer Wirzel zart, Als uns die Alten sungen: Aus Jesse Kam die Art Und hat ein Blumlein bracht, Mitten im kalten Winter, Wohl zu der halben Nacht.

Lo, how a rose e'er blooming From tender stem hath sprung. Of Jesse's lineage coming, As men of old have sung. It came a flow'ret bright, Amid the cold of winter, When half-spent was the night.

U41t OU 1 l>0l-j,

16 Fig. 5.--Es ist ein' Ros' entsprungen

14 15 Ibid., p. 49. Ibid., p. 162. 16 Ox) ford Book of Carols, p. 162. 50

The seventeenth century with its puritanism brought a suppression of the carol. Christmas Day in 1644 happened

to fall on the last Wednesday of the month, a day which

the Long Parliament had ordered to be kept as a monthly fast. This meant real disappointment to the people of Eng- land, but it was just a hint of what was coming. In 1647 the Puritan Parliament abolished Christmas altogether. A spokesman of the period, Hezekiah Woodward, called Christ- mas Day "the old Heathen's Feasting Day, in honour to Saturn Idol- God, the Papist's Massing Day, the Profane fan's Ranting Day, the Superstitious Man's Idol Day, the multitude's Idle Day, Satan's - that Adversary's - Work- ing Day, the True Christian Man's Fasting Day....We are persuaded, no one thing more hindereth the Gospel work all the year long, than doth the observation of that Idol Day once in a year, having so many days of cursed observation with it." 1 7 It was some time after the Restoration before the carol began to recover. A very few sacred carols came out of the static period - "While Shepherds Watched Their Flocks by Night," (1698) was so like a hymn that it could brave the puritan influence which was still very strong. The formality of eighteenth century society rather ignored the

17 preface, p. xii. carol, and the Romantic period which succeeded failed to notice its worth. had not the poorer people kept the

memory of the carols and Preserved th.e i folk-song, all the treasure of medieval dais might have been lost. Goldsilith tells in The Vicar of akefiel (1766) that the parishioners "ket up the Christias Carol." In his &eicn Book (1820), Washington 5 irving wrote about a Christmas night in Yorkshire when he heard beautiful muic beneath his winaoW. Trough the eighteenth and up into the nineteenth century there were frequent appearances of broadshees which carried texts of the traditional carols, and occasionally a small collection wit some indication of editing was printed, but these were mostly didactic in character rather than spontaneously joyful. About the middle of the nineteenth century two song editors, the Revernd J. X1. Neale and the Reverend T. Jelmore came into possesion oC a rare Swedish book caled Piae Qatiornes. This book had been compiled by Theodoricus Petrus in 1582 when he was a student at Rostock near Lubeck. The son,,s spread in the reformed Church of Sweden -and Oinland. The British 4inistor at Stockholn secured a copy o -, a Cantiones and brought it to J. M. Neale in En4and The songs in the collection wTere these:

18 12id., pre -ce, p. xiii. 52

Ecce novum gaudium Omnis mundus jocundetur Angelus emittitur Resonet in laudibus Ave, Maris StellaDeitatis cella In dulci jubilo Congaudeat turba fidelium In hoc anno circulo Dies est laetitiae In vernal tempore Tempus adest floridum 19 Psallat Schollarum concjo

From it Neale translated some of the carols and, using the music from the old book, he and Helmore published "Carols for Christmastide."20 In 1871, the Reverend H. R.Bramley and Dr. John Stainer, two scholars of Magdalen College, Oxford, published "Christmas Carols New and Old." 2 1 These two collections gave the best of the traditional carols for general use and brought the idea of systematic preserva- tion squarely before the public.

Because its essential quality is joy, the carol fills a vital place in the lives of all people. Nothing can do more to enhance the value of religion than to increase its element of joy and greater use of carols should mean more attractive religious services and a more helpful ministry of music.

19 Duncan, 91.. cit., p. 241. 20 Ibid., preface, p. xvi. 21 Qbid. CHAPTER VIII

IN DULCI JUBILO: ITS ORIGIN AND HISTO IC REFERENCES

This carol was. composed by a Dominican mystic, Blessed

Renry Suso, who lived in the first half of the fourteenth

century. living been a pupil of both Eckhart and Thuler, the most celebrated mystics of the Viddle Ages, he natural-

ly turned toward tie emotional and ecstatic qualities in

Christianity. His influence was great and his writings are still regarded with reverence by the Catholic Church. 2 According to Winfred Douglas, Suso composed this carol

one night during the Christmas season when he dreamed that

he was dra.n into a circle of dancing angels. Both the

Latin and the German lines of the macaronic verse voice a

joyous love for the Redeemer and a -yearning to be with Him in glory.

The carol has clways been a favorite in Germany. Luther included it in his collection of hymns prepared especially for home use. This reference will be enlarged upon later in

khe .atholic ncclo-e|ia ol. VII, p. 238 2 winfred Douglas, _ 3rief Co-mentary on Selec t ed hymns and Carols, Vol. V, No. 11. the chapter. The introduction of Ia dulci ju1bilo to the

music circles of England and Scotland is attributed to John

Wedderburn, a refugee from Dundee, who had found sanctuary

in Wittenberg about the year 1539; here he enjoyed the

friendship of Luther and Melancthon. Attracted by the

powerful influence of song in carrying the Reformation for- ward, Vedderburn decided to make a collection of German

songs and ballads. When he returned to Scotland he and his

two brothers compiled a book, calling it "Compendious Book

of Gude and Godlie Ballates." (1540). This included the German collection along with native English and Scottish

songs. The pious brothers commended their work to the

young people of Scotland as a replacement of Latin hymns which

could not be understood. John Wedderburn hoped also that his

"godlie ballates" might displace the singing of ribald and 3 unclean songs. Among the songs brought over from Germany was "In dulci jubilo."

The first recorded performance of the carol-in America

was under such novel circumstances that a paragraph of

church history is needed for a clear understanding and proper appreciation.

The first hymn-book to be published among Protestants was compiled in 1505 by a sect called the Unitas Fratrum 3 Frederick John Gillman, The Evolution of the English .yn, p. 142. 5.5

of Moravia and Bohemia.4 The descendants of this group took the nae of the Koravian Church. Fusic was important to

them; they insisted upon high standards in the Collegium Musicum, which was the musical giild of the Moravian Brethren.

In 1741 a group of them came to America, settling in eastern Pennsylvania. One log-house had been completed by Christ- mas Eve, so they gathered there for a service. One of the songs which they sang was an Epiphany Hymn which included these words:

Not Jerusalem, Rather Bthlehem, Gave us that which Maketh life rich. The words impressed the immigrants and the name of Bethle- hem was chosen for their settlement. 5The Moravian Church records in Bethlehem begin with a "Diary" written in those early days, and its pages are full of colorful details. The people gathered frequently for a Singstunde, or service of song, and their singing uas accompanied by various musical instruments. The entry for Christmas Day, 1743 says that the instruments "played for the first time in the house of God," included the violin, viola da braccio, viola da gamba, flutes and French horns. In 1744 they

4 Raymond Walters, _The Bethlehem Bach Choir, p. 5. Ibid. 56

used for the first time a small spinet which had been sent them from London and in 1751 a large organ was installed.

In 1754 trombones were brought over from Europe; immediately their use became a peculiar feature of Moravian life, and this custom is still in force. The death of a member of the congregation, the hour of Holy Communion, the observance of the "love *east"- all these are announced by the playing of a trombone choir. A cherished tradition tells of a night in

1755 when Indians came to attack the settlement; they heard the trombone choir playing chorales and were afraid to strike. They slipped away declaring that the Great Spirit was guard- 6 ing the White settlers. The Moravians were zealous to con- vert the Indians and their missionaries taught the new Christians to sing. The "Diary" dated September 14, 1745, tells of a "love feast" gathering where "In dulci jubilo" was sung in thirteen languages, to the accompaniment of wind and string instruments. These languages included many different European tongues and various Indian dialects. Such poly- glot singing would hardly seem musical to the world today, but one can surely reverence the zeal and sincerity manifest. It is refreshing to follow this qgravian culture to

6 LUid p. 7. 7IbiQd., p. 13. 57

the modern day and see the inspiring Bach festivals held at Bethlehem, Pennsylvania, the site of the Moravian settlement. CHAPTER IX

LITSIC SETTINGS

From an un-named source, C. Hubert Parry, in the Evolution otheAr; ofusic gives this copy of "In dulci jubilo" from a manuscript dated 1305. The e 6 Version I

compilers of the Oxfod Boopf Caol in a discussion of of this carol tell of a fifteenth century manuscript which includes "In dulci jubilo" and which may now be found in

C. Hubert Parry, E-ution _-- heArto s p. 84. 5,9

2 Leipzig University Library. The melody is in Michael

ene's es g2ugch, Leipzi0 , 1537, and is found again in

Babst's Gesangbuch, Leipzig, 1545; the latter work is the

last hymn-book which Martin Luther edited. itzel included the carol in his Paltes Ecclesiasticus, Cologne,

1550, and Didrik Pederson gave it a place in Piae Can- 4 Stinms3, 1582. Few melodies have remained so little changed through

the years. The rocking rhythm of the first rhythmic mode

has never been altered, nor has the essentially triple

rhythm varied, despite differences in metric signatures:

six-two, three-two, three-four, and six-eight. Depending 6 6 3 3 on whether the meter is 2 (8) or 2 (4) the number of measures to the phrase varies. The form is A, two or four 1 measures, A , two or four, 3, four or eight measures, B1, four or eight, C two measures in Version I, four orceight in succeeding settings. The coda-like effect of C strength-

t ens the unity of he whole. Version II, dating c. 1544, is the version followed almost exactly by all the writers quoted. The following is the tenor line fror Se tting II that is described on page 61 of this study.

2 Oxford Boo off arols, p. 182. 3 Compare p. 38 of this study. 4 Oxfo1,rd Book of Carols, p. 182. 60

Example 7, Version II

C2 -0

Version I lacks the auxiliary tone of the sixth between the fifth and sixth notes of the melody in A and Al; likewise, the supersonic which appears in Version II as the thirteenth note of B and B- is missing in B of Version I but appears in B1 of the version as cadence tone, so that the phrase ends on the supertonic instead of proceeding on to the mediant as in Version II. IMreover in Version II th~ sixth nd seventh degrees appear as second and third notes of C, replacing the fifth and sixth degrees of Version I. Finally, Version II shows an extension of C. The usual treatment in all the settings is major rather than modal. Setting I is a harmonized form of the carol from a icrofilr oi a German manuscript collection dated 1544. The melody is in the tenor, the meter three-two. measure one is fulij notated with rests until the carol begins on beat three. The voices move independently with frequent suspensions and syncopations.

Setting is II by Bartholomew Gesius (1555-1621), a Lutheranl. cantor who rote a great deal of music covering the viol. liturgical field of song in the older Lutheran hurcih. His arrangements and settings fhow a mixture of Latin and German texts with a combination of :lain-song 7 and polyphony. his setting of the carol is one of the

See Appendix B of this study, p. 84. 6 See Appendix B of this study, p. it 7 George Grove, rve's Diction~ar of Music and Rusicians, edited by 7. C. Colles, Vol.~II . 372. 62

two selected for inclusion in the Oxford Book of Qarols. It is in the key of G, in three-four meter. The chords are simple triads, and the rhythm is simultaneous except for one suspension in the alto part in the fifth measure from the close. By leading-tone progression modulations are made into the dominant imiajor and the igelative minor keys, but they are left immediately.

Bach's treatment of the carol in choral form is quite different from the two settings just given.8 Each part has a melodic line, yet the carol melody is never obscured. The bass part is most active - its range covers one and one half octaves, and its counter melody in quarter and eighth notes moves more quickly than the smooth chords of the other parts. The alto and tenor parts have frequent suspensions.

Robert Lucas de Pearsall (1795-1866) is best known as a writer of part-songs and madrigals, but his sacred compositions comprise works for both the Roman Catholic and the Anglican Churches.9 His setting of "In dulci jubilo" is simple and, considering his dates, archaic; the meter is 10 three-two.lThe musical score resembles the daily exercise of a first-year harmony class, yet it 8seppeni 13,p.66. 9 jbid., Vol. 10 IV, p. 92. Appendix B, P. 67* 63

produces a strangely satisfying effect. In the repetition

of the phrases, de Pearsall varies the chords, surprising

the hearer and providing an element of wonder about the

next progression. His harmony is widely-spaced. The setting preserves the Latin lines and presents a true macaronic character.

John Stainer, (1840-1901) organist and composer, wrote the setting which is probably the most familiar to- 11 day. With its text beginning'"Good Christian men, rejoice, it is found in the hymnals of most Protestant churches.

The six-eicht meter insures the triple rhythm of the

original inspiration. The harmonization is of the simplest

form. A distinctive feature of this setting is an inserted

measure, following measure ten. It contains two chords, a unison tonic and a sub-mediant triad. The chords voice a dramatic announcement: "Nevsl NewsP" These words occur

in the Neale translation of the macaronic text which Stainer used for his setting.

Organ Chorales

Any study of polyphonic compositions for the organ

based upon chorale melodies must go farther back than the

German Protestant chorales and include the organ set- tins of hymns oL the Catholic hurch. Around the year 1500 ortan pieces began to be used in certain places.

1Se Appendix B, p. 88. 64

in the service instead of the plaiA-song of traditional chant, In addition to these hymns, parts of the mass were also treated. Paumann in 1452 gave some primitive examples,

then ofhairer (1459-1537) gave the organ hymn in full

development. Arnolt Schlick in 1512 prepared a tablature

that was particularly worthy. Their settings all be-

longed to the cantus-firmus type, that is, with the hymn melody in long notes, usually in the tenor, as the basis of a contrapuntal figure. This treatment dated back to

the q.-a~usi Qt and motets of the thirteenth century. The

cantus-firmus treatment with Vorimitation and examples of the cantus-firmus in canon occur in Buchner (Ms tablature from c. 1525). Apel in the Harvard Dictionary of usic refers to an anonymous "In dulci jubilo" from Sicher's tablature which has a canonic treatment+

The Flemish motet-style, imitation of the hymn melody in all the voices, was alternated with the cantus- firmas treatment. In these Catholic settings there was an element of the mysticism which pervades the whole ritual of that Church.

The Protestant Church made the singing of the chorale the privilege of the congregation, and it was the duty of the organist to play the chorale melody which was about tIng 2 _o 533.Unfortunately, ting Ivs not beenavalable thisset- for the present study. tIN.d 65

to be sung, elaborating it with all the art he could com- mand. Besides the two forms of development just mentioned, the Ohorale cantus-finus and the Chorale motet, there were several other ways of doing this: the Chorale fuug in which the first line or phrase of the, chorale might be treated as a fugue; the Me.dx l dgchorale, the chorale ap- pearing as a continuous melody in the soprano with accompanying contrapuntal parts in definite figures; r- QnafQntd qprl~e, the melody in the soprano with elaborate ornamentations; Qfhorale canon; Chorale fantasia;

Choalct.varia~tio~ns (partitas)V Jhatever style, the prelude was supposed to define and establish the sentiment appropriate to the chorale being treated. The earliest example obtainable for this study is a setting by Dietrich t Bux ehude (1637-1705), an organist at Lubeck. He had been so successful with church performances of vocal and instrumental music called Abendmusik that his fame had spread and people came from distant cities to hear his programs. One of these visitors was J.6.Bach who was eager to learn from so great an organist. 5BuxtehUde was an innovator, bringing a number of interesting new

14 Ibid.

C. F.Abdy Williams, &he.otoLr of U.an lui_, p. 106. 66

features into organ music. Two of these are pertinent to this subject and require mention. I th handling of a Ugue, Buxtehude developed each nev subject out of the first, giving unity to the composition. C. F.Abdy Williams in Ii2e Story o2 Orcan iLusic states his belief that Bux- tehude was the first to use an occasional recitative with- 16 out xeasuredrhytnhm . or ctheorgan.

His setting of "In dulci jubilo," example of the

Melody Chorale type, with occasional participation of the lower voices in the chorale places the upper voice part, thich carries the melody, on one manual, two middle voices on another manual, and the bass on the pedals. The melody line (chorale tones are marked) is frequently embellished with bravura passages and shakes. Leginning with the eleventh measure the melody passes to the bass pedals for two and one-third measures. Fragments of the chorale appear in first one voice, then another, but are lost in the free treatment that follows. In measure thirty-thiree a canon begins in the soprano followed by the pedals an octave below and two measures distant; this lasts six measures and leads the soprano nart to its close, a tonic, tied through four measures. One of the middle voices picks

16 IS p x. 17 See appendix B, p. 89. 67

up the melody from the bass, carrying it through three

measures of chordal progression with a modal seventh oc-

curring in the other middle voice, then the three parts ending on the tonic chord.

Friedrich wilhelm Zachau (Zachow) (1663-1712), is

rewerbered chiefly as Handel's teacher, but a large col-

lection of manuscript church cantatas and organ pieces

prom his pen is found in the Berlin Library. Grove speaks of Zachau's style as marked by good taste and earnestness of Purpose.

The chorale prelude by Zachau is written for three parts and is interesting from the contrapuntal point of 18 view. The meter is three-two; the spirit of the composition light. This is treated in the Mvel2d Qgrale style. The soprano has the melody intact throughout in whole and half notes while the counter point in the two lower parts keeps a constant movement in quarter notes. The bass ranges through two octaves; the middle voice, now as the alto, now in the tenor ranges between the two outer parts holding them together.

Johann Gottfried ;azther (1684-1748),is said by Grove to stand next to Bach as a skilled arranger of organ 19 chorales in variation style. Besides being famed as

17 Grove, fP_.git., Vol.Vp.-754-. bid., p. 621. 18 See Appendix B3, p.* 92. 68

a contrapuntist, ialther is known as a lexicographer, having compiled a dictionary which was the first work to combine biography and musical subjects, 0 Valther's setting is a combined Qoramotet and antIus-firmus treatment, in the key of F, three-two meter, and written for three parus, all of which derive 21 their material from the chorale. The middle part opens with a measure alone, the melody beginning without the usual anacrusis. Two half-notes and two quarters, the last one moving diatonically upward announce the theme. An octave downward and one measure distant, the pedal begins a second presentation of the theme while the middle voice is executing a slow trill-like figure through the melody of its second measure. The third measure brings in the topmost part, two octaves above the pedal part, repeat- ing the first measure with its two half-notes and two quarters. The chorale theme extends for four measures in each successive part, with the middle part moving freely all the vhile. The second imitation begins with the repetition of the A phrase, this time on the anacrusi , going down to the tonic on the first beat. This figure begins with the pedal part; the middle part hurries in on the

20I 2fbid.0 A 21 See Appendix BI, p. 93. 69

second half of the first beat ith accelerated melody, using quarter notes instead of half and gains its measure- lead in the next measure. Meanwhile the upper part has come in on beat three of the same measure, two octaves above the pedal as before, and proceeds with its own canon. Throughout the forty measures the canon appears bet een the upper part and the organ point; sometimes one leads and sometimes the other. The middle part often suggests the melody, then leaves it - it is continually moving. Shakes ornament both middle and upper parts at frequent intervals.

The chorale preludes of Bach represent the full force of his emotional nature aud reveal the full sweep of his technical powers. Perhaps more clearly than much of his work do they show his response to objective features presented in the words of the chorale. In addition to his vocal setting, Bach has employed "In dulci jubilo" three times as a chorale prelude. These preludes differ as widely as though written by different composers, yet each is un- mistakably Bach.

The first one to be analyzed is a simple chorale with ornamental interludes but it later becomes more like the Ornamented Chorale. It is written in A with three-two

J.S. Bach, "In dulci jubilo," Twelv Chorale Preludes .L4 Organ_, edited by Franklin Glynn. 70

meter. It opens with four measures of firm chords, five- voiced, the melody in the soprano, the pedal tones moving diatonically downward as the melody rises. There is an

interlude in the melody and a rest in supporting parts while the soprano part returns through four measures of

downward sequence to begin once more with the other parts

a chordal announcement of the theme. A second florid in-

terlude is begun by an inner voice though the soprano is holding to the chorale. Measures eighteen through twenty-

two show pedal activity, then there is no pedal at all until measure forty-six. Here Bach gathers up his five voices, resumes the full chords, allows nine measures of beautiful counterpoint, finally resolving into a mag- nificent seven-voiced chord.

Another of the 12elo chorale type of prelude and one which is quietly pastoral in its simplicity, this prelude offers a striking contrast to the others built 24 around the carol. It comprises two complete settings of the melody for three parts (two manuals and pedal), with the melody in the soprano in both settings. The first setting is in G without signature, but with both Mixolydian and Major VII degree (that is, F and F). The soprano

Clarence Dickinson, "In dulci jubilo," The Tech- niue and Art of . Also: Apendis,~p.~~U2. 71

melody is given in whole and half notes while the middle part presents a non-thematic counterpoint which begins in a continuous line in half and quarter notes, breaking up into short figures at the repetition of the second melodic phrase. The pedal sustains throughout the first setting up to the last phrase which it takes in canon with the

topmost voice, two octaves below at two-measure distance.

In order to allow the pedal to finish its canon there is an extension of about two measures in the upper parts. Thereafter there is a four-measure xree episode modulat- ing to D in which tonality the chorale is again presented in exact transposition of all parts, harmonized with both

C and C# up to the beginning of the canon figure. Here there is an abrupt return, without modulation, to the original G tonality, the canon proceeding as before. At its close there is a four-measure phrase in quarter notes bringing the soprano voice to an octave-higher close, The cadencing measure includes both the modal and the major VII: irs.

An alternative ending places the chorale on a third manual with one hand playing the sustained tonic on the Great through four measures, at the same time playing the contra- pgntal phrase on the Swell. The harmonization is the same. 72

The .gelbchlein (c. 1710) of Bach contains forty- five preludes. They seem to have been selected and developed from chorales of particularly strong pictorial quality. From the collection a third- setting of "In dulci jubilo" is taken. This is. one of the best of all

Bach's chorale preludes from the point of view of both

skill and effectiveness. It is a Chorale cantus-firmus combined with Chorale Fantasia. The composition is for four parts with a doable canon moving simultaneously during the first half of the movement; the melody is in canon between the treble or soprano and bass (pedal) an octaVe below and a measure later. A second canon of running triplet figures is heard at the same time between alto and tenor. These parts are an octave apart and a measure distant.

A notation problem rises in this setting - there are frequent occurrences of three notes against two. Whether

Bach intended this exact proportion is a matter of question since notation in his day was more or less an approximate affair. Naumann, in the Breitkopf and Hartel edition of the Orgelbuchlein puts the repeated two notes into triplet 'Lori, coinciding with the triplet figure in the other part.

"In dulci jubilo," The Chorale Preludes of J.S.Bach. (Novello). Also: Appendix B, p. 106. 73

ihis is easier to play and adds to the brightness of the

rhythm.

The last setting is written by the modern French or-

ganist and composer, Marcel Dupre (1886- ). This chorale prelude on "In dulci jubilo" is a

XeloQ chorale. The key is A, the meter three-four.

The setting is in five parts with the melody in the soprano;

the dominant E truly dominates the composition, sounding

as a tied note in the next to lowest part through eleven measures. At the same ttie the pedal is sounding E on-the

second beat of the measure. A curious syncopation in the

third voice and the pedal tone suggests the rocking cradle

ith its instant of stopping at the end of each swing. The soprano and alto are played by the right hand and comprise

har onic intervals of modern tonality. The atmosphere of

the prelude is more like a lullaby than most of the settings.

iiarcel Duore,"In dulci jubilo, "SeventL-nine Chorals, op. 28. Also: Appendix B, p. 106. CHAPTER X

SUMMARY AND CONCLUSION Summary In bringing to a close this stud; of the carol "In dulc& jubilo" a brief resume will be given of the points brought out in each chapter in order to obtain a concise picture of hymn and carol development. The Hebrew race contributed hymn texts of lasting vorth; they recognized the value of music in various situations of life. The early Christians used the hymn as a proselytirg agent as well as for their own inspiration. The Catholic Church preserve the best of the early hymns; the Gregorian chant and the Latin hymn prepared the way for the Protestant chorale. Medieval times with their lviracle Plays, Minnesingers and Meistersingers, provided a realism which moderated the aloofness of liturgical music. The Lutheran chorale gathered together much of the best from all earlier sources and gave back a hymn-form that appealed to all. The carol was originally a ring-dance and a certain gaiety has always been its main characteristic. "In dulci jubilo," one of the earliest carols, dates from the fourteenth century, and has since enjoyed continuous

74 popularity. The various settings given which represent the musical ideas of many different generations snow that it has always been a loved carol. The chorale preludes show its possibilities in artistic development.

Conclusion

The tracing of the development of the hymn and the carol has been of great value to the writer. It is hoped that more professional church musicians may become in- terested in the rich resources of the earlier music of the Church. APPEDIX A

The original macaronic lines of the carol were these: In dulci jubilo Nu singet undcseyt fro; Unsers herzens wonne Leyt: Lieght in praesepio; Und leuchtet als die sonne Matris in gremio. Alpha es et 01 Alpha es et 0

0 Jesu parvule Nach dir ist mir so we: Trost mir myn genilte, 0 puer optime: TDurch aller Juncfrowen gute, o princeps gloriae! Trahe me post te! Trahe me post te!

(Third stanza missing)

Ubi sunt gaudia? Nirgend mer denn da, Da die engel singen Nova cantica. Und die schellen klingen In regis curia. Eya, wrn wir da 1 Eya, warn wir dal

From this original text many and varying versions were made. Jui ian's Dictionay of Hymnol refers to ackernagel as giving eight versions, varying from three to four stanzas of eight lines. The first lines in English translations as given by Julian are:

Oxford Booo f Carols, p.182. Julian, op..citp.564W

76 77

"In dulci jubilo, now let us sing with mirth and jo

(sic) - " in three stanzas. Fund in the Psaltes Ec- clesiasticus, (Mainz, 1550), and in the QuQe and Godly Ballates referred previously.

"Let Jubil trumpets blow, and hearts in rapture

flow- " in four stanzas. Found in Klug's Gesang-Buch,

(Wittenberg, 1529), and in Lyra Davidica, (1708).

"In dulci jubilo - to the house of God we'll go"- by Sir J. Bowing in his Hymns (1825).

"In dulci jubilo, sing and shout all below"-"

in four stanzas (as in a Breslau fifteenth century manu-

script) by Miss Winkworth, (1869).

A recast of the original German begins "Nun siAget

und seid froh." This is in four stanzas and was first

published in the Hannover Gesan-Buch, (1646). It has been

repeated in many later collections, as in the Berlin G. L. S. Edition, 1863.

The Moravian Hymn _Book published in 1754, has a trans-

lation beginning "We all indeed were perished," a line from stanza three.

The melody and words are found in a fifteenth century manuscript at Leipzig University Library. The developed form of the melody is in Michael Vehe's G.sang-Buch, (Leipzig, 1537), and in Witzel's fslits ErC1.jsiasticus, (Cologne,1550). 78

In Ba-st's Gesang-Buck, (Leipzig, 1545), the last hymn-book

produced for Luther and representing his final text editor-

ship, the third stanza was changed to its present form.

Originally it had stressed the place of the Virgin Mary in

the plan of salvation; this was objectionable to Luther, 3 and he wrote the stanza. From this origin comes the

translation made in 1851 by Arthur Tozer Russell, a hymn

writer of note in England. Quoted are the German lines

and their English translation:

Nun singet und seid froh, Jaucht all und saget so; Unsers Herzens Wonne Leight in der Krippe bloss, Leuchtet als die Sonne In seiner Mutter Schoss. Du bist A und 01 Du bist A und 0!

Sohn Gottes in der Hoh Nach dir ist mir so wehU Troste mein GemUte, O Kindlein zart und rein, Und durch deine Gute, o liebstes Jesulein, Zeuch mich hin nach dir, Zeuch mich hin nach dir. Gross ist des Vaters Huld, Der Sohn tilgt unsre Schuld; Da wir ganz verdorben Durch Sund und Eitelkeit, Hat er uns erworben Die ew'ge Himmelsfreud' Eia, warn wir da. Eia, warn wir daJ

3 TheHHandbook to the Lutheran _1mna, compiled by W. G. Polack, p. 197. 79

Wo ist der Freudenort? Sonst nirgend mehr denn dort, Da die Engel singen Dem lieben Jesulein Und die Psalmen klingen In Himmel hell und rein. Eia, warn wir da, Eia, warn }ir da! Now sing we, now rejoice, Now raise to heaven our voice; He from whom joy streameth Poor in a manger lies; Not so brightly beameth The sun in yonder skies. Thou my Saviour art: Thou my Saviour art.

Come from on high to me; I cannot rise to Thee; Cheer my wearied spirit, 0 pure and holy Child. Through Thy grace and merit, Blest Jesus, Lord most mild, 0 raw me unto Thee! Draw me unto Thee!

No through His Son doth shine The Father's grace divine; Death o'er us had reigned Through sin and vanity; He for us obtained Eternal joy on high. May we praise Him there! 1day we praise Him there:

O where shall joy be found? Where but on heavenly ground? (here the angels singing With all His saints unite. Sweetest praises bringing In heavenly joy and light. O that we were there! 4, 0 that we were there:

Lutheran Hymna-, No. 83. So

Another translation, less true to the original German text, but far more widely used was made in 1861

by John M. Neale, a contemporary of Russell. This begins "Good Christian men, rejoice," and is found in presentdagy

hymnals of both Methodist and Presbyterian churches.

Good Christian men, rejoice With heart and soul and voice; Give ye heed to what we say: News! News! Jesus Christ is born today; Ox and ass before Him bow, And He is in the manger now. Christ is born today! Christ is born today!

Good Christian men, rejoice lith heart, and soul, and voice; Now ye hear of endless bliss; Joy! Joy! Jesud Christ was born for this! He has oped the heavenly door, And man is blessed evermore. Christ was born for this! Christ was born for this. Good Christian men, rejoice With heart, and soul, and voice; Now ye need not fear the grave, Peace! Peace! Jesus Christ was born to save! Calls you one, and calls you all To gain His everlasting hall. Christ was born to save! Christ was born to save In 1887 R. L. de Pearsall published a macaronic version first in the Musical Times, then in Jovello's Part

LBook, (Second Series, Volume X, 1887), In dulci jubilo Let us our horiage shot! Our heart's joy reclineth In praesepio, 01

And like a bright star shineth, Iatris in gremio. Alpha es et 0! Alpha es et oI 0 Patris caritas - 0 lati lenitas! Deeply were we stained Per nostra criminal; But Thou for us has gained Coelorun gaudia. o that we were there o that we were there25

Through the kindness of Professor E. S.Clifton of the

English Departrment of the North Texas State Teachers'College, the following early text has been -lassifie s a rnacaronic Latin, GermanScandinavian translation. In dulci jubilo, sneij 1 '1O Then all tingh for oss formo Ligger in praesepio. Och som solen skijner atris in gre.mio Alpha es et w Alpha es et w.

In the second line the word "wij" is Dutch; "io" is merely a phonetic rendering of an earlier word for "joy." The rest of the text is Latin and $wedish. A free translation would read, !Now let us sing with joy, because all our joys lie in the manger; also the sun of the sky is in the lap of the Loter."

Kenneth S.Clark, editor, L egp oo nSinLing, No. 13. Appendix B Page "Christ is erstanden", 16th. century, Anonymous 82

'Vocal Setting I , anonymous 84

Vocal Setting II by Gesius 85

Vocal Setting7 III by iaci 86

Vocal Setting IV by de Pearsall 87 Vocal Setting V Chorale by Stainer 88

Chorale Prelude by Buxtehude o9

horale Prelude by Zachow 92 Chorale Prelude bV Walther 93

Chorale Prelude by Bach 97 Chorale Prelude by Bach 102

Chorale Prelude by acb 106

Chorale Prelude by Dupre 109

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_ Wozzdo C>~__ BIBLIOGRAPHY

General

Books

Adams, Mrs. Crosby, Studies iHymnolog, Nashville, Tennessee, Nhitmore and Smith, 1938. Apel, Willi, Harvard Dictionar of usic, Cambridge, Massachusetts, Harvard University Press, 1944.

Bible, EghElish, King James Version.

Breed, David R., Th Histr ad Use of Hyrns and Hyma- Tunes, Chicago, Fleming H. Revell Company, 1903. Catholic Encyclopediah, edited by Charles G. Herber- mann, New York, The Universal Knowledge Foundation, 1913.

Dickinson, Edward, Music in jhe History of the JWestern Church, New York, Charles Scribner's Sons, 1902.

Douglas,Winfred, A Brif Commenary 2n Setlecgte4 Hymnn and CarolsChicago, Northwestern University Informa- tion, V, No. 11, 1936.

Duncan Edmondstoune, h Stor f the Carol, New York, Charles Scribner's Sons, 1911.

Encyclopedia of Relig*on and E thicsedited by James Hastings, New York, Charles Scribner's Sons, 1928. Gillman, Frederick John, he Evolution of the English ismy, New York, The MacMillan Company, 1927. Grace, Harvey, The Organ Works of Bach, London, Novello and Company, 1922.

Gray, Cecil, The Histo MusicNew York Alfred A. Knopf, 1928.

ill 112

Grove, Sir George, Grov0s Dictionary of Music and Musicians, edited by H. C. Colles, New York, The MacMillan Company, 1938.

Handbook to the Lutheran Hymnal, 1he, edited by W.G. Polack, St. Loul7 Missouri, Concordia Publishing House, 1942.

Julian, John, A Dictionary of Hmnoloay, London, John Murray, Albemarle Street, 1925.

Kinloch, T. F., An Historical Account of the Church $mnar, Cambridge, England, I. Heffer and Sons, Ltd., 1926

Leichtentritt, Hugo, Music, History, 4 Ideas, Cambridge, Mass., Harvard University Press, 1944.

Marcd, F. A., Latin Hymns with English Notes, New York, Harper and Bros., Publishers, 191.

Newman, ErnestAn Introduction to the Chorale Preludes of j. .B , Longon, Novello and Company (no date). Ninde, Edward S., Nineteen Centuries of Christian .S.ng, New York, Fleming H.Revell Co., 1938.

Phillips, William I., Carols: Their Origin, Music, ad Connection ith Mystery lays, New York, E. P. Dutton and Co., 1921.

Reese, Gustave, Music in the Middle Ages, New York, W. I. Norton and Co., 1940.

Sachs, Curt, TheRise ofjMusi c in th Ancient World, New York, W2M. Norton and Co., 1943.

Scholes, Percy A., The Oxford Companion to Mus, New York, Oxford University Press, 1935.

Schweitzer, Albert, L .J agh, New York, MacMillan Co., 1938.

Smith, Leo, Music of the Seventeenth and Eighteenth Centuries, London, J. M. Dent and Sons, Ltd, 1931.

Spitta, Philipp Johann Sebastian Bagj, New York, H. W. Gray Co., 1899. 113

Taylor, Stainton De B. The Chorale Preludes _. _ New York, Oxford university Press, 1942.

Walters, Raymond, ST Bethlehe Bac h Choir, A Histor and a Critical compendium Boston, Houghton, Mifflin Co., 1923. Williams, C. F. Abdy, TheaStory ofgZan Music, New York, Charles Scribner's Sons, 1905.

Music Sources

Bach, Johann Sebastian, Four-Part Chorals, edited by Charles S. Terry, New York, Oxford University Press, 1929.

Bach, Johann Sebastian,Tlwlg Chorale Preludes for Organ, selected and edited by Franklin Glynn, New York, 0. Schirmer, Inc. , 1931. Bach, Johann Sebastian, The Chorale Preludes, London, Novello and Company, (No date). Buxtehude, Dietrich, Orgelcompositionen, herausgege ben von Philip Spitta, Vol. II, Leipzig Breitkopf and H1rtel, Publication No. 14208, 14361, lH88.

Dickinson, Clarence, Thea Te&hnjue nQ t "In dulci jubilo," Chorale Prelude by J.S.Bach, New York, H.W.Gray, Agent for Novello and Co., Ltd., 1922. Dupre, :arcel, Seventy-nine Chorales, op. 28, New York, U.. Gray and Company, 1924.

jyqnal for Christian Worship, Richmond, Virginia, John Knox pressT, m V i h

Kee non Sjnging, edited by Kenneth S.Clark, New York, Paull- Pioneer Music Corporation., 1938.

Manuscript , W._JD 30, found in The Evolution of the Art of Music, C. Hubert Parry, New York, D. Appleton-Century Co., Inc. , 1932.

Oxford Book of Carols, New York, Oxford University Press, 1938. 114

Rhau, Georg, Newe. hdeudscleistlghe es, :ittenmberg, ,5 4 4 , Denkmailer deutscher tonkunst I, Folge...Bd XIV, Leipzig, Breitkopf and Hartel, 1908. Schering, Arnold, sihte der ilusik in BeIs4L, Leipzig, Breitkop> and Hirtel 1931 Waiter, Jolinn Gottfried, Gesrmre1tQjQWkgfur _r4gl, herausgegeben von Maax eiffert, Leipzig, Breit- kopf h art, 19o6. Zachow, Friedrich ;ilheLm, Ggesa, rk Ke r u .rQrcr_ her.aus r7 geDen von Miax 3eif ert. DenkmIfnler tonkunst, Folg e...Ld 21/22, Leipzig, Breitkopf deutscher and,