Das deutsche Kirchenlied: Kritische Gesamtausgabe der Melodien. Abteilung III: Die Melodienaus gedruckten Quellen bis 1680. Band 1: Die Melodien bis 1570, Teil 3: Melodien ausGesangbüchern II by Gesellschaft zur wissenschaftlichen; Joachim Stalmann; Hans-OttoKorth; Daniela Wissemann-GarbeReview by: Robin A. LeaverNotes, Second Series, Vol. 59, No. 3 (Mar., 2003), pp. 664-667Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/901070 .

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NOTES, March 2003 NOTES, March 2003

the visibility of archives and their relevance to today's researchers. The book may not be essential for many music libraries, but should be considered as an addition to any library with archival or manuscript holdings.

JOHN BEWLEY State University of New York, Buffalo

Das deutsche Kirchenlied: Kritische

Gesamtausgabe der Melodien.

Abteilung III: Die Melodien aus

gedruckten Quellen bis 1680. Edited

by the Gesellschaft zur wissenschaft- lichen Edition des deutschen Kirchen- lieds. Band 1: Die Melodien bis 1570, Teil 3: Melodien aus Gesangbiichern II, Edited byJoachim Stalmann, Hans- Otto Korth, Daniela Wissemann- Garbe, and others. Kassel: Barenreiter, 1998. [2 vols. (234.]

The extensive Das deutsche Kirchenlied project (hereafter DKL) will eventually comprise a critical edition of all the hymn and hymn-related melodies associated with German texts published between 1481 and 1680. The background to the whole project -its basic scope, structure, and sigla-is discussed in the review of Band 1/1 in Notes 54, no. 4 (June 1998): 907-11; and the con- tent of Band 1/2 in the review in Notes 56, no. 2 (December 1999): 388-91. The vol- umes under review here complete Band 1, covering the period 1481-1570, and supply extensive indexes and additional informa- tion. The siglum adopted by the editors for the volumes and melodies of Abteilung III is EdK, but the sigla connected with DKL already present a complex picture (see Notes 54, no. 4 [June 1998]: 909; and the "Drucksigel-Konkordanz" accessible through Das deutsche Kirchenlied Web site: www.das-deutsche-kirchenlied.de /index. html [accessed 2 December 2002]). Thus, for most purposes it is simplest to identify the melodies by their alpha-numeric code, given after the DKL abbreviation, e.g., DKL A23, and the sources cited similarly but us- ing the RISM (Repertoire international des sources musicales) format, e.g., DKL 15500l.

Band 1/3, comprising the melodies in the Notenband and the critical commen- taries in the Textband, continues the cover-

the visibility of archives and their relevance to today's researchers. The book may not be essential for many music libraries, but should be considered as an addition to any library with archival or manuscript holdings.

JOHN BEWLEY State University of New York, Buffalo

Das deutsche Kirchenlied: Kritische

Gesamtausgabe der Melodien.

Abteilung III: Die Melodien aus

gedruckten Quellen bis 1680. Edited

by the Gesellschaft zur wissenschaft- lichen Edition des deutschen Kirchen- lieds. Band 1: Die Melodien bis 1570, Teil 3: Melodien aus Gesangbiichern II, Edited byJoachim Stalmann, Hans- Otto Korth, Daniela Wissemann- Garbe, and others. Kassel: Barenreiter, 1998. [2 vols. (234.]

The extensive Das deutsche Kirchenlied project (hereafter DKL) will eventually comprise a critical edition of all the hymn and hymn-related melodies associated with German texts published between 1481 and 1680. The background to the whole project -its basic scope, structure, and sigla-is discussed in the review of Band 1/1 in Notes 54, no. 4 (June 1998): 907-11; and the con- tent of Band 1/2 in the review in Notes 56, no. 2 (December 1999): 388-91. The vol- umes under review here complete Band 1, covering the period 1481-1570, and supply extensive indexes and additional informa- tion. The siglum adopted by the editors for the volumes and melodies of Abteilung III is EdK, but the sigla connected with DKL already present a complex picture (see Notes 54, no. 4 [June 1998]: 909; and the "Drucksigel-Konkordanz" accessible through Das deutsche Kirchenlied Web site: www.das-deutsche-kirchenlied.de /index. html [accessed 2 December 2002]). Thus, for most purposes it is simplest to identify the melodies by their alpha-numeric code, given after the DKL abbreviation, e.g., DKL A23, and the sources cited similarly but us- ing the RISM (Repertoire international des sources musicales) format, e.g., DKL 15500l.

Band 1/3, comprising the melodies in the Notenband and the critical commen- taries in the Textband, continues the cover-

age of hymnals that was begun in Band 1/2 (melodies prefixed E). As with Band 1/2, most of the hymnals are classified accord- ing to their geographical place of publica- tion or use: Ehl-21-Swiss = Zurich (for Constance, 1538-40 and Zurich, 1552-60); Eil-2, Ekl-23-Leipzig (1539 and 1545- 63, respectively); Ell-6-Bonn (1550); Em 1-6-Frankfurt am Main (1565-69); Enl-6-Augsburg (1557); and Epl- Palatinate (1567). But the majority of the melodies in Band 1/3 are classified accord- ing to confession rather than geographical area: Egl-239-Bohemian Brethren (1531- 66), published in Jungbunzlau, Strasbourg, Ulm, Nuremberg, and Ivancice. Until now much of the available literature on Bohe- mian Brethren hymnody was somewhat dated, such as Rudolf Wolkan, Das deutsche Kirchenlied der bohmischen Bruder im XVI. Jahrhunderts (Prague: Haase, 1891; reprint, Hildesheim: Olms, 1968); Johannes Zahn, Die Melodien der deutscher evangelischen Kirchenlieder (6 vols., Giitersloh: Bertels- mann, 1889-93; reprint, Hildesheim: Olms, 1963); and Joseph Theodor Muller, Hymnologisches Handbuch zum Gesangbuch der Brudergemeine (Herrnhut: Verlag des Vereins fur Brudergeschichte, 1916; reprint, Hildesheim: Olms, 1977), which is primarily concerned with texts rather than melodies. The extensive study and anthol- ogy of the texts and melodies by Zdenek Nejedly, Dejiny husitskeho zpevu (6 vols., Prague: Nakl. Ceskoslovenske akademie ved, 1954-56)-one of the important sources cross-referenced in the Textband of Band 1/3-is primarily confined to the manuscript repertories compiled prior to the sixteenth century. The more recent critical anthology, Christian Meyer, Les melodies des eglises protestantes de langue alle- mande: catalogue descriptif des sources et edition critique des melodies (Baden-Baden: Koerner, 1987), does include some melodies in- cluded in Band 1/3, but only those pub- lished in Strasbourg (see the discussion below). Thus these two volumes, the Noten- band and Textband, of Band 1/3 contain a wealth of concentrated information that has not been readily available hitherto.

The Bohemian Brethren, Czech follow- ers of Jan Hus, active in and around Prague, developed their distinctive vernac- ular hymnody during the fifteenth century. Their hymns were largely adaptations of

age of hymnals that was begun in Band 1/2 (melodies prefixed E). As with Band 1/2, most of the hymnals are classified accord- ing to their geographical place of publica- tion or use: Ehl-21-Swiss = Zurich (for Constance, 1538-40 and Zurich, 1552-60); Eil-2, Ekl-23-Leipzig (1539 and 1545- 63, respectively); Ell-6-Bonn (1550); Em 1-6-Frankfurt am Main (1565-69); Enl-6-Augsburg (1557); and Epl- Palatinate (1567). But the majority of the melodies in Band 1/3 are classified accord- ing to confession rather than geographical area: Egl-239-Bohemian Brethren (1531- 66), published in Jungbunzlau, Strasbourg, Ulm, Nuremberg, and Ivancice. Until now much of the available literature on Bohe- mian Brethren hymnody was somewhat dated, such as Rudolf Wolkan, Das deutsche Kirchenlied der bohmischen Bruder im XVI. Jahrhunderts (Prague: Haase, 1891; reprint, Hildesheim: Olms, 1968); Johannes Zahn, Die Melodien der deutscher evangelischen Kirchenlieder (6 vols., Giitersloh: Bertels- mann, 1889-93; reprint, Hildesheim: Olms, 1963); and Joseph Theodor Muller, Hymnologisches Handbuch zum Gesangbuch der Brudergemeine (Herrnhut: Verlag des Vereins fur Brudergeschichte, 1916; reprint, Hildesheim: Olms, 1977), which is primarily concerned with texts rather than melodies. The extensive study and anthol- ogy of the texts and melodies by Zdenek Nejedly, Dejiny husitskeho zpevu (6 vols., Prague: Nakl. Ceskoslovenske akademie ved, 1954-56)-one of the important sources cross-referenced in the Textband of Band 1/3-is primarily confined to the manuscript repertories compiled prior to the sixteenth century. The more recent critical anthology, Christian Meyer, Les melodies des eglises protestantes de langue alle- mande: catalogue descriptif des sources et edition critique des melodies (Baden-Baden: Koerner, 1987), does include some melodies in- cluded in Band 1/3, but only those pub- lished in Strasbourg (see the discussion below). Thus these two volumes, the Noten- band and Textband, of Band 1/3 contain a wealth of concentrated information that has not been readily available hitherto.

The Bohemian Brethren, Czech follow- ers of Jan Hus, active in and around Prague, developed their distinctive vernac- ular hymnody during the fifteenth century. Their hymns were largely adaptations of

664 664

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Book Reviews

Latin liturgical models-hymns, sequences, antiphons, and the like-and circulated in

manuscripts (see Nejedly's study, cited above). An early edition of these Czech hymns was published in Prague in 1501, but without their associated melodies. Two further editions followed in 1505 and 1519 that did include melodies. Eventually these Czech hymns were translated for the use of German-speaking Brethren and published in Ein new Gesengbuchlen (Jungbunzlau, 1531; DKL 153102), edited by Michael Weisse. The first group of Bohemian Brethren melodies in Bd. 1/3, Egl-80, are from this source. This hymnal proved to be particularly influential on the Lutheran chorale tradition that was then developing from Wittenberg under the leadership of Martin Luther. The hymn by Weisse, Nun laflt uns den Leib begraben, assigned to the melody Nun loben wir mit innigkeit (Eg71) in the 1531 hymnal, was rewritten by Luther and appears in his Christliche Geseng Lateinisch vnd Deutsch (Wittenberg, 1542; DKL 15421') with another melody (Ee20), a variant associated with the Latin hymn by Prudentius, lam moesta quiesce querela, appearing in the same 1542 collection (Eel9). Conversely, Luther's hymn based on the Lord's Prayer, Vater unser im Himmel- reich, was set to a melody (Eb35) that was an adaptation of Begehren wir mit innigkeit (Eg49) in Weisse's 1531 hymnal, which it- self is based on a melody associated with an earlier Czech hymn. Other melodies from the 1531 Bohemian Brethren hymnal may have influenced Wittenberg, or Wittenberg- connected, hymnals in those melodies that have a common Latin chant origin, such as Kyriefons bonitatis that appears as O Vater der barmherzigkeit (Eg7) in the 1531 Weisse hymnal and Kyrie Gott Vater in ewigkeit (Eg7A) in a Leipzig imprint of 1542/43 (DKL 1543°1), or Dies est laeticiae that ap- pears as Als Jesus geboren war (Egl7) in the 1531 Weisse hymnal and associated with both Latin and German texts-Dies est laeti- ciae and Der Tag, der ist so freudenreich (Egl7A and Egl7B)-in Geistliche lieder (Wittenberg, 1533; DKL 153302). In the Bapst Gesangbuch (Leipzig, 1545; DKL 1545"') there are several corresponding melodies. Both 0 Gottlich dreifaltigkeit (Eg40, 1531) and Der du bist drei in einigkeit (Eg40A, 1545) are variants of O lux beata Trinitas, so the Wittenberg form may not

have been directly influenced by that of the 1531 Weisse hymnal. In two other cases, Es wird scheier der letzte Tag herkommon (Eg73) and Sehrgrofl ist Gottes Giitigkeit (Eg76), both versions of lesser known Latin cantios, the 1545 Bapst versions were almost certainly based on the 1531 Weisse forms, since the same basic German texts were taken over with the melodies in the later hymnal. The 1531 melody Der Tag bricht und zeiget sich (Eg65) was more likely the source for 1545 Kehr um, kehr um, du junger Sohn (Eg65A) since it is based on a Czech rather than a Latin original.

The Weisse hymnal was substantially reprinted in four booklets in Strasbourg be- tween 1534 and 1536: VonJesu Christo . . . etlich Christliche vnd trostliche Lobgsdng (DKL 153404), Das ander Byechlin der Geystlichen gsang (DKL 153505), Das dritt Byechlin der Geystlichen gsdng, and Das vierde Byechlin d' Geystlichen gsang (DKL 153601). This Strasbourg edition has several unique fea- tures and until recently had not received much scholarly attention. The collection was edited by Katharina Schiitz Zell, who married the pioneer reformer in Stras- bourg, Matthias Zell. The hymnal was is- sued for lay use by evangelical Christians in and around the city and not for specific use by Bohemian Brethren. Further, Katharina Zell did not take over all the music of the 1531 Weisse hymnal but included different melodies, some adapted or modeled on preexisting tunes, others apparently newly composed, presumably by Katharina (Eg81-96; for the background see Elsie Anne McKee, Reforming Popular Piety in Sixteenth-century Strasbourg: Katharina Schiitz Zell and her Hymnbook [Princeton: Princeton Theological Seminary, 1994], and Katharina Schiitz Zell: Works, 2 vols., ed. Elsie Anne McKee [Leiden: Brill, 1999]). The Zell edition is therefore something of an anomaly. Although it is based on the Weisse hymnal it was intended to have a broader use by not being confined to Bohemian Brethren communities. Also the fact that it introduces new non-Brethren melodies makes it a singular source. This must have created a dilemma for the edi- tors of DKL. To be strictly consistent with the schema adopted for DKL, the melodies of the Zell hymnal should have been in- cluded with those of other Strasbourg hym- nals, that is, in section Eb in Band 1/2. On

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NOTES, March 2003

the other hand, it is a variant form of the 1531 Weisse hymnal and thus has a justifi- able place with the other Bohemian Brethren hymnals, which was the decision of the DKL editors, though their designa- tion of the hymnal as "B" (confessionally Brethren) rather than "E" (Evangelical) re- mains problematic. This does create diffi- culties for the new researcher who would logically look for the Zell melodies among other Strasbourg melodies: there is no cross-reference to the Zell source in the El section. Thus, the new researcher is only able to find this material by some circuitous route, such as locating the Weisse/Zell hymnal in Miriam Usher Chrisman, Bibliog- raphy of Strasbourg Imprints, 1480-1599 (New Haven: Yale University Press, 1982), cross- referencing with the DKL bibliography (RISM B/VIII/1) to find the appropriate BBr-Zell siglum, and then using this as the key to locate these Strasbourg melodies in DKL Band 1/3.

The Weisse hymnal was reprinted four times, complete with its melodies, in Ulm between 1538 and 1541 (DKL 153804, 1539'2, 153903, 154103), and was clearly a factor in the Lutheran use of its hymnody. Another Bohemian Brethren German hvm- nal was published in Nuremberg a few years later (DKL 154401) which expanded the repertory of hymn melodies (Eg97- 119), and at least one of them, Allmdchtiger, giitiger Gott (Egll7) appeared in a variant form in the Lutheran Bapst hymnal of 1545 (Egll7A). The remainder of the melodies in this Bohemian Brethren section first ap- peared in the two-part hymnal published in Ivancice: (1) Kirchengesang .. (2) Geistliche lieder ... (DKL 156604-05; melodies Egl20- 239), edited by Petrus Herbert and others. In the second half of the sixteenth century, as congregational song was expanded within different confessions, interconnec- tions between these various traditions be- came an intricate pattern of influence. Thus, instead of influencing Lutheran hymnodic tradition, as was done in the past, this Bohemian Brethren hymnal incorporated a variant of at least one Lutheran melody: Wohlauf, ihr Christen, freuet euch (Egl51) is modeled on Johann Walter's Es wollt uns Gott genddig sein/Christ, unser Hen; zum Jordan kam (Ec4). But other melodies in the 1566 Ivancice hymnal were based on Calvinist models of the Genevan

tradition: for example, Eg152 is derived from the melody for Psalm 138 in the

psalter published in Lyon in 1543, and Eg172, Eg206, and Eg235 from Psalms 118, 50, and 37, respectively, in the Genevan psalter of 1551. Similarly, in the next sec- tion of melodies, those published in Zurich (Ehl-21), at least two of these Reformed melodies were adapted for use by the Bohemian Brethren (Eh9 and Eh9A, Ehll and Eh 1B).

The remaining sections deal with the thirty-eight melodies introduced in hym- nals published in Leipzig, Bonn, Frankfurt am Main, Augsburg, and Kurpfalz between 1539 and 1569. Two sections are assigned to hymnals published in Leipzig, one for each of the two publishers Valentin Schu- mann and Valentin Bapst. The first section (Schumann) has just two melodies: Luther's familiar Vom Himmel hoch (Eil), and Decius's ubiquitous Allein Gott in der Hoh sei Ehr (Ei2), an adaptation of the Gloria paschali chant. Although it had been sung in 1522 and 1523, the earliest known German printing of the Decius melody is in the Schumann hymnal of 1539. But this is a case where the information in DKL can be somewhat misleading. Certainly, according to the parameters of DKL-to include all melodies associated with German texts within the respective time periods-the in- formation is correct: the Schumann hvm- nal of 1539 is the first appearance of the melody in a known German imprint. Never- theless, it is not the earliest occurrence of the melody in print. It was included in an earlier Swedish hymnal in which only the staves were printed and the notation was added in manuscript, though the single extant copy of the hymnal never had the notation written in, so there is no way of knowing the form of the melody. There is also the pre-Schumann appearance of a variant form of the melody in an English publication: Miles Coverdale's Goostly Psalmes and Spirituall Songes (London, ca. 1535). Although there are references to the present author's study in which the melody is discussed (Robin A. Leaver, 'Goostly Psalmes and Spirituall Songes': English and Dutch Metrical Psalms from Coverdale to Utenhove 1535-1566 [Oxford: Oxford Uni- versity Press, 1991], 2:34,77), neither the earlier date of Coverdale's hymnal nor the variant form of the Allein Gott melody is

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Book Reviews

mentioned in the critical data on Ei2 in the Textband of Band 1/3 (the earlier date of the

publication of Coverdale's Goostly Psalmes was first established in Robin A. Leaver, "The Date of Coverdale's Goostly Psalmes," IAH Bulletin 9 [May 1981]: 58-63; also trans- lated into German as, "Die Datierung von Coverdale's Goostly Psalmes," Musik und Kirche 51 [1981]: 165-71). Of course, there must be other melodies associated with German hymnody that made earlier ap- pearances in other European language sources, and to track them all down would have greatly increased the already lengthy process of getting this material into print. But this particular melody, that had funda- mental and widespread use, could perhaps have been treated as an exception and the additional Coverdale material could have been included.

The second Leipzig section (Bapst) pre- sents the twenty-three melodies the 1545

hymnal introduced (Ekl-23). Again there is Bohemian Brethren influence to be de- tected. In addition to the variant forms of Bohemian Brethren melodies noted above, five of the tunes in the 1545 Bapst hymnal are associated with German texts written by Michael Weisse (Ek9, EklO, Ekl3, Ekl4, and Ekl6).

The kinds of issues that I have drawn at- tention to here are not, of course, new. But in the past one has had to range over a wide variety of literature to establish basic data, interconnections, influences, and so forth. Now all this kind of material- together with a sometimes quite astonish- ing wealth of detailed information-is ac- cessible in this magnificent source of the now complete Band 1 of Abteilung III of the DKL project.

ROBIN A. LEAVER Westminster Choir College of Rider University

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667

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