REMEMBRANCE OF THE FIFTIETH ANNIVERSARY OF THE

DEDICATION OF THE MORAVIAN CHURCH AT

LITITZ, PENNSYLVANIA, 13 AUGUST 1837;

AN EDITION OF MORAVIAN MUSIC

THESIS

Presented to the Graduate Council of the

University of North Texas in Partial

Fulfillment of the Requirements

For the Degree of

MASTER OF ARTS

By

Richard T. Green, B.A.

Denton, Texas

August, 1988

NP k

Green, Richard T., Remembrance on the Fiftieth

Anniversary of the Dedication of the Moravian Church at

Lititz, Pennsylvania, 13 August 1837; an edition of

NorAvian Musk.

Master of Arts (Music-Voice),, August, 1988, 199pp. 2

tables, 10 Figures, bibliography, 53 titles.

This thesis is a musical reconstruction of the primary

services held on 13 August 1837, for the fiftieth

anniversary of the dedication of the Moravian church at

Lititz, Pennsylvania. The work includes general background

on the Moravians and interprets information from

contemporary sources to place the music in its accurate

historical context. The edition of music comprises more

than one half of the paper, and is taken from the original

manuscript scores used. Included in the edition are five

concerted anthems for choir and orchestra, and eighteen

hymns from eighteenth- and early nineteenth-century

Moravian tunebooks. The special texts come from an

original set of orders of service.

Copyright by

Richard Thurmond Green

1988

iii

ACKNOWLEDGMENTS

Without the gracious assistance of the Moravian Music

Foundation in Winston-Salem, North Carolina, the Moravian

Archive at Bethlehem, Pennsylvania, and the Moravian

Congregation at Lititz, Pennsylvania, this paper would have

been only an unrealized desire. Director of the Moravian

Music Foundation, Kiroly K6pe, granted permission for access

to the manuscripts in Bethlehem. James Bates of the

Foundation, Vernon Nelson of the Moravian Archive and Dr.

Byron K. Horne, retired pastor at Lititz and former curator

of the Lititz Moravian Museum and Archive were especially

accommodating and supportive. Lastly, a debt of appreciation

is owed to Marilyn Gombosi for her permission to use her

book, A Solemn Day of Thanksgiving, as a model for this

paper.

iv

TABLE OF CONTENTS

Page

ACKNOWLEDGMENTS ................................... iv

LIST OF TABLES ......................... .-.. Vii

TABLE OF FIGURES. ...................... ...... Viii

Chapter

I. INTRODUCTION.......................1

PART I. BACKGROUND

II. BRIEF HISTORY OF THE MORAVIAN CHURCH ... 4

The Ancient Unitas Fratrum, 1457-1625 .. 4The Renewed Unitas Fratrum, 1722-1741 .. 9

III. THE IMPORTANCE OF MUSIC IN THEMORAVIAN CHURCH.................... 13

Music in the Moravian Tradition ........ 13The Lovefeast and Singstunde ............ 18

IV. LITITZ, PENNSYLVANIA TO 1837: A STUDY IN

MORAVIAN COMMUNITY......................28

Beginnings, 1749 - 1818. ................ 28Changing Times, 1818 - 1837. ............ 36

PART II. RESTORATION

V. INVESTIGATION, SOURCES AND COMPOSERS ...... 40

In Search of a Lovefeast................. 40Sources and Composers. ................... 43

V

VI. THE REMEMBRANCE OF A HOLY DEDICATION.. .... 57

VII. MUSIC FOR 13 AUGUST 1837, IN LITITZ;AN EDITION............................67

Lovefeast 13 August 1837... . ......... 69

Singstunde 13 August 1837.................160

APPENDICES

A. LITIZ GEMEIN DIARIUM TRANSCRIPTION ...... 181

B. LOVEFEAST AND SINGSTUNDE TRANSLATIONS 183

BIBLIOGRAPHY................................ ....... 195

vi

LIST OF TABLES

Table Page

1. Anthems for 13 August 1837 in the LititzCongregation Collection .................... 54

2. Hymn Tunes for 13 August 1837................... 56

vii

TABLE OF FIGURES

Figure Page

1. Facsimile of the Lovefeast from 13 August 1837 24

2. Facsimile of the Singstunde from 13 August 1837 26

3. Facsimile of Lithograph of Lititz MoravianChurch from Twelve Views of Churches, Schoolsand Other Buildings Erected by the UnitedBrthren in America, published in 1836 30

4. Original Floorplan of the new Lititz Gemeinhaus,1787........................ ...... 32

5. Original copies of the Lovefeast and Singstundefrom 13 August 1837. ......................... 41

6. Redrawing of the Pyramid from the Diarium derGemein zu Litiz........................ ....... 61

7. Plan of the Lititz Kirchen - Saal 1837...........63

8. Diarium der Gemein zu Litiz, 1837. ........... 64

9. Manuscript folios for anthems Head of thy Churchand Der Herr trostet Zion. ................... 65

10. Manuscript score of Der Herr trostet Zion . 66

viii

CHAPTER I

INTRODUCTION

"I was born two centuries too late." One often hears

this lament from musicians who believe that the golden age of

their favorite music has long since passed them by. Reliving

a day sometimes very far back in the past and recreating the

events of that day is an attempt musicians make nearly every

time they sing or play. The goal of this paper to recreate a

musical event with historical integrity in context.

The rich musical heritage of the Moravian church in

America, which dates from the early eighteenth century, is a

fertile ground for such a project of restoration.

After selection of the musical event to be restored,several steps would be required to complete the project,including: (1) the location of the manuscripts in useat the time of the event, (2) the preparation of anedition of that music that would preserve its historicalintegrity while making it accessible to modern readers,(3) the assembling of the documentary material from theMoravian records that describes the particular event andplaces it within its historical context, and (4) thepresentation of the musical restoration and itsinterpretation in a complimentary fashion.

1

The determination of a date for restoration, the

location of the manuscripts and the assembling of the

1 Marilyn Gombosi, A Solemn Day of Thanksgiving, Moravian Musicfor the Fourth of July, 1783, in Salem, North Carolina (Chapel Hill,North Carolina: The University of North Carolina Press, 1977), ix. Forthe concept of this paper, the author is deeply indebted to MarilynGombosi who granted him the permission to adapt this approach from herbook.

1

2

documents related to the date was completed by the author

between the dates 4 - 15 January 1988, at the Moravian

Archive at Bethlehem, Pennsylvania, and at the Moravian

Church in Lititz, Pennsylvania.

In order to put the music in context, this paper deals

initially with the history of the Moravians. The second part

of the paper is the actual restoration of the Remembrance on

the Fiftieth Anniversary of the Dedication of the Moravian

Church at Lititz, Pennsylvania, 13 August 1837.

PART I. BACKGROUND

3

CHAPTER II

BRIEF HISTORY OF THE MORAVIAN CHURCH

The Ancient Unitas Fratrum, 1457 - 1625

In 1419, four short years after the fires cooled around

the charred remains of John Hus in Constance, Switzerland,

his followers in Bohemia had grown into a unity of reformers

prepared to revolt against the Roman Church. A century

before Martin Luther nailed his ninety-five theses to the

famous door in Wittenberg, similar principles, for which

Antipope John XXIII tried and burned Master Hus, ignited a

flame in others that spread throughout Bohemia and Moravia,

and eventually lit a lamp, which burns to this day as the

Unitas Fratrum.1 Like Wycliff before him and Luther after

him, Hus was a Roman Catholic priest appalled by the

corruption in the church, preaching vehemently against it.

Although Hus had died, his writings continued to

circulate, creating an ardent following that grew into a

formidable group called the Hussites, who held firmly to the

conviction that Christ alone was the true Head of the Church.

This stance was not, of course, popular with the Pope. So in

1 Unitas Fratrum is the official title of the church known in theUnited States as the Moravians. It translates into English as "Unity ofBrethren." Formerly, they have gone under the name of United Brethrenand in Europe, Herrnhutter, after the location where the Renewed UnitasFratrum organized in 1722. The title Moravians is historicallyinaccurate, although the Unitas Fratrum accepts the name willfully. Itsuse comes from the days at the beginning of the Renewed Unitas Fratrum,whose renewers were refugees from Moravia.

4

5

1420 Pope Martin V ordered the first of many attempts to

stamp out the heretical Hussites. In determining those

salient points for which they would die, the Hussites

formalized basic principles set forth in the Articles of

Prague in 1420 (the Articles are reprinted here due to their

significance in forming the doctrine of the original Unitas

Fratrum thirty-seven years later) :

I. The Word of God is to be preached, in a properway, by priests of the Lord, without let orhindrance throughout the Kingdom of Bohemia.

II. The saraments of the Holy Eucharist are to beadministered under each kind, of both bread andwine, according to the institution of the Saviuor,to all believers not disqualified to receive it byreason of mortal sin.

III. The secular dominion exercised by the clergyover worldly goods and possessions, to theprejudice of their spiritual office and the damageof civil authority, is to be taken away from them,and the clergy are to be brought back to theevangelical rule and apostolic practice of Christand His disciples.

IV. All mortal sins, especially those such as arepublic, as also all other irregularities contraryto the divine law, in whatsoever estate they mayappear, are to be punished by those to whom itpertains.2

No full agreement on all points of doctrine could be

reached and the Hussites found themselves split into two

groups, the more conservative Calixtines or Utraquists and

2 Edmund de Schweinitz, The History of the Church Known as the

Unitas Fratrum, 2nd ed. (Bethlehem, Pennsylvania: The MoravianPublication Concern, 1901), 84.

6

the radical Taborites.3 Yet, in defense of these Four

Articles, the Utraquists and the Taborites fought together

during the Hussite Wars (1419-1434), driving the Catholics

from Bohemia and effectively establishing a national

Utraquist church. The more dominant Calixtines continued to

hope for peace with Rome and in 1433, at the Council of

Basel, reached an agreement with which the Taborites wanted

no part. The Taborites accepted the Bible as the only source

of faith and practice, recognizing Christ as the only head of

the Church and acknowledging only Baptism and the Eucharist

as sacraments. They had never been satisfied with their

brother Hussites and continued to seek for the complete

eradication of all opposition through warfare. The Taborites

maintained such conviction for their views that after the

Compactata of Basel they enjoined both the Utraquists and the

Catholics in the Battle of Lipan in 1434, but were

overwhelmed and totally defeated.

While this inglorious defeat did not bring a complete

end to the Taborites, two events occurred which significantly

influenced the history of the Unitas Fratrum. The first was

the official recognition of the Utraquists as the national

church in Bohemia and Moravia. This created sympathy for

pacifists, who were loyal to Taborite doctrines. Second was

the eventual organization of a pacifist group, who, because

of their unwillingness to relinquish their beliefs, sought to

establish themselves apart from the Utraquists. For this

cause they were granted asylum at the castle Litiz, by order

3 The conservative wing drew their name from the Latin calix,

meaning "chalice," and also from sub utraque, meaning "under both

(kinds) ." These titles denoting their desire to serve both cup and

bread in the Eucharist, which was not the custom of the Catholic church

at that time. The name Taborites comes from the town of Tabor, a

stronghold of the radicals.

7

of King Ladislaus of Bohemia in 1457. There they founded

the Jednota bratrsk6, as it is in Czech, or in Latin Unitas

Fratrum.

The following year, 1458, George Podiebrad was elected

to the throne of Bohemia. He was well acquainted with the

Brethren through the Utraquist preacher, Rokycana, for whose

sake they had been granted sanctuary and free worship at

Litiz. This sympathy with the King created a fertile climate

for the Brethren and their message. Because they did not

actually secede from the Utraquist church they found

thousands of converts from all over Bohemia and Moravia,

setting up preaching stations all about the land. In time

this period of prosperity gave way to persecution when in

1461, King George began to seek ascendancy to Imperial throne

of the Holy Roman Empire. In order to become Emperor, George

would need the support of Rome. Yet Rome might be reluctant

to lend its aid to a monarch who was unable to quell the

rebellions in his own country, and rumors flourished about

the Brethren and their non-Catholic practices. In response

King George proclaimed an edict against the Brethren, under

which they were persecuted for two years until it became

obvious George would not win the Empire. The persecution of

the Brethren actually worked against him due to the

popularity of the Unitas Fratrum. Many Bohemians supposed

that their King was becoming German in his quest for the

crown, and the unrest created was not insignificant.5

For the Brethren the persecution only succeeded in

causing growth and prompted them to make a final and complete

4 It is this Castle of Litiz, which still stands to this day,

after which was named the town, Lititz, Pennsylvania.

5 King George eventually realigned himself with his countrymen and

the Jednota bratrskA. For this reason he was excommunicated by the Pope

in 1466.

S

break from the Utraquists. At the Synod of Reichenau, in

1464, the Unitas Fratrum declared themselves, "not a

fraternal union within the Utraquist church, but an

independent church on the model of the apostolic. Great and

glorious was this mission."6

Clearly the Unitas Fratrum was a reformed church before

the Reformation. The Brethren were independent, and in so

being, not willing for the sake of expediency to consort with

political or religious authorities. For the next one hundred

years, in spite of this sometimes fierce independence, the

Brethren rode the tide of the Reformation and in so doing

enjoyed the fruits of Protestantism, experiencing tremendous

growth. Growth and the persecution they suffered afforded

the Brethren opportunities to expand their influence and

membership into Lusatia, Prussia, and Poland in the north and

Hungary in the south.

In 1609 the Bohemian Charter or Majest6t under the rule

of the Emperor Rudolph II granted the Protestants in Bohemia

religious liberty including the right to erect new churches,

build new schools, and perhaps most significantly, take over

the University of Prague. While this inflamed the Catholics,

the "Evangelicals," as all of the Protestants in Bohemia were

officially called, practiced their religion with a freedom

previously unknown.7 This period of freedom and prosperity

lasted only a short time. Upon the death of Rudolph II in

1612 the Vatican began using the edicts of the Council of

6 de Schweinitz, 131.

7 de Schweinitz, 462. The title "Evangelicals" referred

specifically to the Unitas Fratrum, the Lutherans, and the Reformed, and

the few remaining from the old National Church, the Utraquists. Each of

these bodies, except for the Utraquists, maintained significant

autonomy, but were united in the Charter under the Bohemian Confession

of 1575. This created a sometimes difficult but workable climate for

the independent groups. As a whole the groups also went under the

appellation of "Utraquist Christians."

9

Trent to ignite the Counter-Reformation in Bohemia, having

already made significant progress against the Protestants in

Bavaria and Silesia. The Emperor Matthias was able to hold

off the Catholics for a time, but his death and the

subsequent succession of Ferdinand II to the Crown of both

Bohemia and the Holy Roman Empire in 1619 caused a schism

between the whole of Bohemia and the ruling government. This

schism brought about the Thirty Years War.

At the Battle of White Mountain in 1620 the Protestants

were defeated, certain leaders captured and beheaded,

churches burned and many fled for their lives.8 Eventually,

even the most prominent leaders of the Brethren were forced

to flee. Among these was John Amos Comenius, an important

bishop of the Brethren, who prayed that God might preserve a

"Hidden Seed" of the faithful. 9 Finding refuge in Silesia,

Lusatia, Prussia and Poland, a hidden seed was preserved

through the next one hundred years until the rebirth of the

Unitas Fratrum in 1722.

The Renewed Unitas Fratrum, 1722 - 1741

Nicholas von Zinzendorf was a charismatic nobleman of

Saxony. He was raised a Lutheran and had he not been of

genteel birth most certainly this Count of Lusatia would have

8 de Schweinitz, 469. It is significant to note the numbers of

people who were displaced by the Thirty Years War, and the Counter-Reformation. De Schweinitz estimates that in the early 1600's, of3,000,000 inhabitants of Bohemia, 2,750,000 were Protestant, themajority of whom were members of the Unitas Fratrum, and only 250,000were Catholic. While, of course, not all were forced to flee, thenumbers are remarkable.

9 J.E. Hutton, A History of the Moravian Church, 2nd ed. (London:Moravian Publication Office, 1909), 159.

10

become a member of the clergy very early in life. He was the

hub on which the Renewed Unitas Fratrum turned.

Shortly after completing his education at the famous

University of Wittenberg in 1719, Zinzendorf was compelled by

his nobility to enter the service of August the Strong, King

of Saxony, as a legal counsellor to the court. His position

required he live mostly in Dresden, but because of a desire

to spend his life among peasants and win their souls for

Christ, 1 0 the Count acquired an estate, Berthelsdorf, east of

Dresden near L6bau. It was near there, at the foot of the

Hutberg on 17 June 1722, that certain 6migr6s of the "Hidden

Seed" first built the village Zinzendorf would later name

Herrnhut. 11 Initially, Zinzendorf hoped to convert the

Bohemian refugees to Lutheranism, but their stalwart faith

and rich history in pietism, an idea very much in religious

vogue at the time and one for which the Count had a

particular zeal, made a Brother of Zinzendorf rather than

Lutherans of the Brethren. Herrnhut grew as word spread to

other exiles of the generosity of the Count and the new life

to be found for the Brethren.

In a few years the ancient Unitas Fratrum evolved into

the Renewed or Reorganized Unitas Fratrum. While the

historians of the Unity are unable to point to a specific day

on which the Unitas Fratrum was officially resuscitated, two

10 Hutton, 190. Hutton makes a free translation of Zinzendorf's

missionary intent.

11 J. Taylor and Kenneth G. Hamilton, History of the MoravianChurch, the Renewed Unitas Fratrum, 1722 - 1957 (Bethlehem,Pennsylvania: Interprovincial Board of Christian Education, MoravianChurch in America, 1967), 24. The name comes from the German phrases,unter des Herrn Hut, "under the Lord's watch care"; and from, auf desHerrn Hut, "on watch for the Lord."

11

dates are important, 12 May, and 13 August 1727.12 On 12 May,

Zinzendorf called together a meeting of the residents of

Herrnhut to declare they were to adopt the teachings of

Comenius, in his Ratio Disciplinae,1 3 in order to attain to a

better Christian community. Of this date J.T. Hamilton says,

"For the first time Zinzendorf began seriously to consider

whether the Unity of Brethren might not be providentially

resuscitated through the Moravians at Herrnhut. "1 4 The date

of 13 August is celebrated today as the Renewal of the Unitas

Fratrum by the congregations of the Unity under the title,

"'Manifestation of the unity of the Spirit,' Berthelsdorf,

1727.,"15 Regarding these events Langton quotes the important

eighteenth-century German historian of the Brethren, David

Cranz:

On the 12th of May, agreeable to the Prophet Ezekiel'svision (chap. 37), the dry bones having been, as itwere, brought together, they were, in the followingdays, by various useful regulations, covered with sinewsand flesh, and, on the 13th August, animated by theSpirit of the Lord; and so gradually qualified . . . for

the service of the kingdom of God . . . .16

12 Edward Langton, History of the Moravian Church (London: George

Allen and Unwin, Ltd., 1956), 75.

13 de Schweinitz, 478, footnote 25, and 602. Ratio Disciplinaewas written by Comenius in 1632, then revised in 1660. It wastranslated into German in 1702, under the title, "Kirchen Ordnung. . .B6hmischen Brtder-schafft. . . ," It was this copy which Zinzendorfdiscovered at the library in Zittau.

14 Hamilton, 32.

15 Robert Steelman, Catalog of the Lititz Congregation Collection(Chapel Hill, North Carolina: The University of North Carolina Press,1981), 5. Also, on this day fell the dedication of the new church atLititz, Pennsylvania; no doubt the dedication day was chosen for itssignificance to the Unity as a whole, as will be seen in a Chapter VI.

16 Langton, 75.

12

In the same year Zinzendorf led the new Unity into

worldwide missions. International missions had been his

desire since his student days at Wittenberg. On 21 August

1732, the Brethren sent their first missionaries to the

island of St. Thomas in the Caribbean. 1 7 The following year

the Moravians sent missionaries to Greenland. Then, in

February of 1735 the Brethren arrived in the English Colony

of Georgia. 18 This mission in Georgia lasted five difficult

years; poor land conditions, illness and the Spanish War

drove the Moravians northward. In Pennsylvania, with the

assistance of the famous Methodist George Whitefield, they

acquired a tract of land and on Christmas Eve, 1741,

Zinzendorf named the new community Bethlehem.

17 Langton, 46.

18 Georg Neisser, A History of the Beginnings of Moravian Work inAmerica, Samuel H. Gapp and William Schwarze, trans. (Bethlehem,Pennsylvania: The Archives of the Moravian Church, 1955), 6-7.

CHAPTER III

THE IMPORTANCE OF MUSIC IN THE MORAVIAN CHURCH

Music in the Moravian Tradition

The musical heritage of the Moravian church is deep and

rich, dating back to the ancient Unitas Fratrum. 1 The

Brethren printed what is believed to be the first hymnal in

the vernacular; a Czech-language hymnal dated 1501.2 And

before 1618 the Brethren published ten other monophonic

hymnals in Czech.3

In reality the music of the different time periods of

the Brethren have little if any connection, only "the gift of

song with which the Czechs, in all periods of their history,

have been endowed, to the edification of the Church, to the

awakening of the religious consciousness of the nation, to

1 The term "ancient Unitas Fratrum, " is used to denote the Unitybefore the renewal in 1722, including the "hidden seed"; those Polish,Moravian and Bohemian refugees who founded Herrnhut, being the linkbetween the ancient Brethren and the Renewed Brethren.

2 Walter Blankenburg, "Musik der Briidergemeine in Europa," UnitasFratrum, Herrnhutter Studien, ed. by Mari P. van Buijenen, et al.(Utrecht: Rijksarchief, 1975), 351.

3 Thomas Paul Sovik, Music Theorists of the Bohemian Reformation(Ph.D. dissertation, Ohio State University, 1985; Ann Arbor, Michigan:University Microfilms, 8526255), 9. The Unitas Fratrum also published aCzech-language Bible, as well as two treatises on music theory.

13

14

the glory of God." 4 West German historian Walter Blankenburg

writes of this new chapter in the music history of the

Brethren, "Dieser Neuanfang ist durch die Person des Grafen

Zinzendorf und zwar sowohl durch sein Musikverstdndnis als

auch durch seine praktisch musikalischen Ziele bestimmt

worden."5 Zinzendorf's pious psychology developed into a

musical life unequalled by other groups of. similar outlook.

Most groups that were as fervently insistent upon extreme

piety rejected the role of music to the extent the Moravians

developed it.6

Zinzendorf made music a part of nearly every activity of

the communal life at Herrnhut and, by dispersion, all other

Moravian communities around the globe. The Liebesmahl or

"Lovefeast" and Singstunde or "Singinghour" were both

practices instituted in the church by the Count. The

performance of orchestrated cantatas or odes7 evidences a

more sophisticated musical appreciation than the singing of

hymns. This advanced appreciation for and extensive use of

music can be traced to three primary elements. First, the

Moravians associated with the gentry, due to their

relationship with Zinzendorf. Having the benefit of the

highest possible education and having served at the court in

Dresden, Zinzendorf had reason to appreciate and understand

4 de Schweinitz, 405.

5 Blankenburg, 360. "This new beginning came through the personof Count Zinzendorf and indeed, both thru his musical understanding aswell as his practical musical goals." All translations by the author.

6 A common example would be the Amish who settled in this

country in the same period as the Moravians.

7 The term "ode" is used to distinguish the unique arrangements ofhymn tunes and concerted choral and/or solo anthems composed andcompiled by Moravians of the eighteenth and nineteenth centuries. Mostoften these works were written for Lovefeasts, see page 17.

15

the value of music. Being a nobleman, he was able to attract

other nobility to the community at Herrnhut. While in

Herrnhut ministering to peasants and winning their souls to

Christ, 8 Zinzendorf welcomed many personages of finer birth

to the community. The aristocracy held an estimated eighty-

five percent of the positions on the Board of Directors of

the community in the period from its inception in 1754 to the

end of the eighteenth century. 9 This connection with the

gentry explains not only the diversity of the population in

Herrnhut, but also the exceptional appreciation of music

among the Moravians. A second reason for the further

development of such an extensive musical life is the

connection of the Moravians with the Lutheran church.

Zinzendorf's Singstunde was a product of his education under

a pietistic Lutheran schoolmaster in Halle. 1 0 Third, the

Moravians brought with them to Herrnhut a long history of

singing that complemented well Zinzendor f's ideals.

These factors contributed to the composition of a

remarkable amount of music in the pre-classic tradition. In

the Lititz Congregation Collection alone, from where the

music discussed in this study comes, there exists a total of

approximately 1200 pieces of music. 1 1 Most of the music the

Moravians used was written by Moravians. Only forty-six of

the 114 composers listed in the Lititz Congregation

8 Hutton, 190. See page 7.

9 Gillian Lindt Gollin, Moravians in Two Worlds (New York:Columbia University Press, 1967), 34, note 44.

10 Blankenburg, 361.

11 Steelman, 6.

16

Collection Catalog are Moravian, yet they are responsible for

about seventy percent (almost 900) of the compositions.1 2

As a rule all the Moravians who wrote music were in one

way or another professional Moravian clergy. They were

usually bi-vocational pastors or church leaders who wrote

music as a part of their church-related duties. They

regarded themselves not as musicians as much as ministers.

The music they wrote is mostly functional, and intended

almost exclusively for the worship services of the church.

While some music for secular purposes exists, it is the

exception and not the rule.

The Moravians did not compose for publication, but

rather for use in their community and other Moravian

communities around the world. Traveling Moravians would

bring scores from the Continent to be copied here and

returned later. In this way not only Moravian music, but the

music of European masters such as Bach, Graun, Hasse, Haydn,

Mozart, Reichardt, Schulz, Stamitz and Zumsteeg made its way

to America in great quanities - some as early as the 1760's.

Mostly the composers of stile galant and Empfindsamer stile

influenced the Moravians. 1 3 Some of the more significant

Moravian composers, John Antes, Johann Christian Bechler,

Jeremias Dencke, Johann Christian Geisler, Christian Gregor,

Johannes Herbst, David Moritz Michael and Johann Friedrich

Peter studied and synthesized these composers and their works

into their own.

Composing for services was not the only musical activity

of the Moravians. They were prolific copiers and librarians

of music. Other than their composing, their most

12 Steelman, 447-455.

13 Donald McCorkle, Moravian Music in Salem, A German-AmericanHeritage (Ph.D. dissertation, Indiana University, 1958; Ann Arbor,Michigan: University Microfilms), 43.

17

significant activity in this country was instrument building.

Certainly the most important and active organ builder of the

Colonial and early National period in North America was

Moravian David Tannenberg. 1 4 The first American-born

composer, John Antes, also a Moravian, constructed the first

violin built in North America. 15 There also exists in the

museum at Lititz, Pennsylvania, a viola made by Antes in

1764, possibly used in the services described later in this

paper on 13 August 1837. Moravians also brought many

instruments to this country. In the Lititz Museum are other

instruments (strings, woodwinds and brass) dating from as

early as 1744 and 1745, which were made in Pfaffendorf,

Germany, and Breslau, Germany (now in Poland).16

The trombone choir came to America as an export of the

Renewed Unitas Fratrum. Collegia Musica were first started

in this country in Moravian communities. Collegia Musica were

amateur, usually instrumental, organizations popular in

Europe in the early part of the eighteenth century. These

are evidence of the well grounded foundation music had in the

Moravian church.

14 McCorkle, 52. Tannenberg, or Tannenberger as he was knowncolloquially, had his organ workshop in Lititz during the period of hisgreatest productivity.

15 Hans T. David, Musical Life in the Pennsylvania Settlements ofthe Unitas Fratrum, Moravian Music Foundation Publication No.6 (Winston-Salem, North Carolina: The Moravian Music Foundation, 1959), 32.

16 James Boeringer,ed., "Lititz Congregation Musical Instruments,A Catalogue," Moravian Music Journal XXVI/4 (Winter 1981), 88-89.

18

The Lovefeast and Singstunde

The Singstunde and Liebesmahl or Lovefeast are two

distinctive Moravian contributions to Christian worship, each

having been initiated by Zinzendorf in the early days of the

Renewed church. While many groups have used and adapted the

Lovefeast, the Singstunde remains uniquely Moravian.17

Zinzendorf shared with Martin Luther an astute

appreciation for the place of music in the church. Of the

hymnbook (das Gesangbuch) Zinzendorf said, "Aus der Bibel

sieht man, wie Gott mit den Menschen redet, und aus dem

Gesangbuch, wie die Menschen mit Gott reden."1 8 It is from

this point of view that the Moravians derive their intense

appreciation for, and extensive use of hymns. The

Singstunde, then, becomes a form of communication with God

equal, in theory at least, to prayer. The Singstunde

(literally, singing hour) is a designated time for the

singing of hymns. The truth to be taught or meditated upon

was developed simply in the selection of the hymn verses.

Subjects, on which the Singstunden were based often came from

the daily watchword (Scripture verses) assigned for many

years by the lot. Zinzendorf initiated the selection of a

Losung, or watchword for each day in 1728. By 1731, Losungen

17 Frank Baker, Methodism and the Love-Feast2l (New York: TheMacmillan Company, 1957), 9. The founder of Methodism, John Wesley,first learned of the Lovefeast from the Moravians. On 8 August 1737,while staying with some Moravians in Savannah, Georgia, during his firstvisit to America Wesley wrote in his diary: "After evening prayers wejoined the Germans in one of their love-feasts. It was begun and endedwith thanksgiving and prayer, and celebrated in so decent and solemn amanner as Christians of the apostolic age would have allowed to beworthy of Christ" (Baker, 10).

18 Blankenburg, 360. "Out of the Bible one sees how God speakswith men, and out of the hymnbook, how men speak with God."

19

were selected for the entire ensuing year and published in a

single volume. 1 9 If the subject of the Singstunde was not

the scriptural watchword, most likely some special occasion

would dictate the day's topic. Such was the case on 13

August 1837, when the Singstunde participants rejoiced over

the anniversary of the dedication of their church.

Zinzendorf was first acquainted with such an event in

his young student days at the Pdagogium in Halle, where

Singstunden were used for the teaching of music and

theology.2 0 When the community of Moravian refugees began in

Herrnhut, Zinzendorf used the Singstunde as a type of musical

preaching service. The first report of such a service exists

from 12 May 1724, three years before the official renewal of

the Unitas Fratrum. 2 1 Singstunden occurred nightly in most

all Moravian communities until at least 1800. Zinzendorf

described a Singstunde in a letter to King Friederich Wilhelm

I of Prussia:

Der Cantor nimmt die Materie der Reden, die ebengehalten worden, und setzet unterm Singen aus 20, 30Liedern gantze und halbe Verse zusammen, welche dieMaterie ordentlich und deutlich vortragen: und darinnenist Cantor, Organist, Lehrer und Zuhbrer so geUbt, daBkeins innehalten, keins ein Buch aufschlagen darf. . .22

19 Hamilton, 38. The annual publishing of the daily watchwordscontinues to the present.

20 Blankenburg, 361.

21 Joan Ormsby Falconer, Bishop Johannes Herbst (1735-1812), anAmerican-Moravian Musician, Collector, and Composer (Ph.D. dissertation,Columbia University, 1969; Ann Arbor, Michigan: University Microfilms,72-15,571), 34.

22 Blankenburg, 361. "The choirmaster takes the subject of thesermon that has just been given and puts together during the singing 20to 30 hymns, whole and half verses together, which properly and clearlyexpresses the subject: and in this the choirmaster, organist, teacher

20

The obvious extraordinary familiarity with the numerous

hymns used by the Moravians was obtained through the constant

use of the hymn in every part of daily life. "The

congregation regularly memorized hymns as a devotional

exercise and sang them daily in many kinds of informal, as

well as formal, circumstances, thus becoming familiar with a

vast number of hymns." 2 3 In general, the Moravians used

individual verses of hymns to a greater degree than churches

today. Early Moravian hymnals were indexed to each stanza,

rather than only by first lines. Eventually, the preaching

of a sermon was left out of the Singstunde entirely. Once

the singing began it continued without stopping, led by the

organist and officiant until the completion of all the hymns

to be sung. The Singstunde were usually enjoined

extemporaneously by the participants, while only the organist

and Liturgus, or leader of the service, knew the order of the

selected hymns. The Singstunde for 13 August 1837 is unique

because a choral anthem, Kommt laBet uns singen, by J.F.

Peter, is included.

For a Moravian in the eighteenth and even early

nineteenth centuries, the Liebesmahl or Lovefeast was a

regular part of life. The simple service, a revival of the

apostolic Agap6, occurred often. The Lovefeast is simply and

only the sharing of a meal for the demonstration of Christian

unity. It is not the Eucharist. Often the Lovefeast is

and listener are so experienced that not any pausing, not any opening of

a book is allowed. . ."

23 Frances Cumnock, "The Lovefeast Psalm: Questions and a Few

Answers,," The Moravian Music Foundation Bulletin, XXIII/1 (Spring-Summer, 1978), 3.

21

associated with the Emmaus meal, as described in Luke 24.13-

25, which Jesus shared with two of his disciples.2 4 -

While it was not a regularly scheduled event, many

occasions were sure to be celebrated with a Lovefeast,

including Christian liturgical days, church or community

memorials, ground breakings, birthdays, funerals, the

visitation of a distinguished guest and other similar events.

This service began with a short address, a prayer, the

reading of a letter or some combination of the like. After

this a token meal was served - bread and a simple beverage -

while the Lovefeast psalm or ode was sung. The Lovefeast

psalm was made up of hymns and anthems sung by the choir and

the congregation alternatively. Only occasionally a soloist

would sing. A Liturgus led the congregation, while the

organist provided continual accompaniment and progressed, as

necessary, from hymn to hymn to anthem, etc.. The fellowship

meal was eaten while the choir sang.

Hymns included in the lovefeast were chosen in a similar

manner to those in the Singstunde. The subject selected for

the Lovefeast determined all of the texts. If an appropriate

text was not found, a text was composed. Frances Cumnock

points out the pragmatism of the Moravians in their selection

and composition of hymns:

Indeed, a strong impression emerges that the ministers,steeped as they were in the idioms of hymnody, oftencompiled at least parts of the psalms by drawing onmemory, experience and their own creative powers. Theythemselves might have had trouble pinpointing sources ordistinguishing which lines they had newly composed.

24 Ian Thomas, An Experiment in Worship (London: SCM Press Ltd,1951), 8. Scholars also refer to Jude 12 and Acts 20:11 for biblicalsupport. In the 4th Century Chrysostom in his Homily on 1 Cor. 11discusses the Lovefeast of the early church.

22

Probably they would have considered the whole matter

irrelevant. "25

Anthems were also selected for textual considerations.

Like the hymn text, an anthem might be composed for a

particular occasion, if a fitting text was unavailable. The

Altesten Collegium, or Elder's Conference (the ruling

spiritual body in each Moravian community) had the

responsibilty of constructing the ode. Often a single member

would compose the ode and then submit it to the Conference

for approval. The community's music director was not

necessarily consulted. In certain cases the music director

was also a member of the Conference and might have

responsibilty for constructing the psalm, but this was not

essential.2 6 For the celebration on 13 August 1837, the

Elder's Conference diary is unclear about who composed the

Jubel-Psalm for that Lovefeast.

"Music's position in the hierarchy of values made it a

desirable, but not indispensible, factor."2 7 While the

Lovefeast was principally shaped around hymns and choral

anthems it was only incidentally a musical event. This

approach explains the simplicity of the music and the

importance of the texts, thus, also, the lack of extended

instrumental music. Moravians composed when the occasion

demanded, rather than by inspiration. The Lovefeast for 13

August 1837, contained no new anthems. Most all of the

thousands of surviving anthems in Moravian collections were

composed originally for the Lovefeast. A Lovefeast ode was

25 cumnock, "Lovefeast," 3.

26 Cumnock, "Lovefeast," 5.

27 Cumnock, "Lovefeast," 8.

23

primarily, then, a text set to music regarding some specific

event.

The figures on the following pages are the Lovefeast and

Singstunde from 13 August 1837.

24

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for 13 August 1837

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26

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CHAPTER IV

LITITZ, PENNSYLVANIA TO 1837:

A STUDY IN MORAVIAN COMMUNITY

Beginnings, 1749 - 1,81

Lititz, Pennsylvania, 1 was intended as a hybrid Moravian

settlement.2 The goal was to create a combination of the

rigorous communal life of Bethlehem and Nazareth,

Pennsylvania, with the more independent life of the Moravian

communities in Europe, like Herrnhut.

For the purpose of effectively spreading the Gospel in

foreign lands Zinzendorf initiated a communal concept of

remarkable organization, called the Economy.3 Bethlehem,

Pennsylvania, was a prime example of this plan. Two groups

were identified; the first as missionaries, the second as

supporters. The first group, under the support of the

second, dispersed into the surrounding area converting the

heathen (i.e., in the case of the Pennsylvania communities,

1 Mary Augusta Huebener, History of the Moravian Congregation ofLititz, Pennsylvania (Bethlehem, Pennsylvania: Times PublishingCompany, 1949), 253. The different spellings, "Litiz" and "Lititz," areGerman and English equivalents, respectively. The English spellingbegan to be used in the early nineteenth century, but the Germanspelling remained official for the Congregation until 1887.

2 Huebener, 207.

3 Hamilton, 137.

28

29

the Indians). The second group remained in the closed,

private community set up on land owned by the Church.

Basic to the Economy was a community of labor rather

than of property and an extreme application of

segregated choirs. Any member who owned property was

permitted to retain it if he chose, but all were

required to place their time, talents, and labor at the

disposal of the Church.4

The segregated choirs were not musical organizations,

rather they were groups of peers. Zinzendorf instituted the

Choir5 system along the following lines:

Widows, Widowers.

Married People.

Single Brethren, Single Sisters: from age 17.

Older Boys, Older Girls: ages 12 to 17.

Younger Boys, Younger Girls: ages 6 to 12.

Children: from weaning to age 6.6

The members of each Choir spent most of their daily lives

together, working, eating, sleeping, recreating. Each Choir

had its own annual festival day celebrated with a Lovefeast,

and often Singstunden were enjoined within separate Choirs,

rather than the entire Congregation. The Choir system was

maintained among the unmarried and often the older children

in every Moravian community, but communities like Bethlehem

participated in the Choir system for every age group. In the

planned communities on the mission field the different Choirs

4 Hamilton, 137.

5 The capitilization of Choir refers to the segregated groups in

the Moravian Congregation, lower case refers to singers.

6 Frances Cumnock, Catalog of the Salem Congregation Music (Chapel

Hill, North Carolina: The University of North Carolina Press, 1980), 5.

30

Figure 3.Facsimile of Lithograph of

Lititz Moravian Church From

Twelve Views fo Churches, Schools and

Other Buildings Erected by

the United Brethren in America,

published in 1836

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31

each supported a separate business, furniture making, sewing,

etc., all overseen by the Aufseher Collegium. The Aufseher

Collegium was a select group of men with responsibility for

overseeing the temporal affairs of the community. In this

way, not only was the community maintained, but also the

missionaries.

The community at Lititz was not missionary supporting,

but the communal concept was employed to a limited degree.

In 1754, the Moravians were given property at the Warwick

Township, seven miles north of Lancaster, Pennsylvania.

George Klein, on whose land a Gemeinhaus7 had been built in

1748, gave 491 acres to the Brethren. Zinzendorf christened

the community "Lititz" in 1756.8 By 1762 houses for the

Single Brethren and the Single Sisters had been established

with their independent Economies. The Congregation held the

proprietorship of at least an inn, a general store, a smithy,

and a mill. Property was owned and administered by the

Church. After 1759, permission to live in the community was

granted by the Aufseher Collegium, upon admission for

application.9 In August of 1763, a new Gemeinhaus was

completed and occupied. 10

7 A Gemeinhaus (literally, public house) was a building for the

use of the Congregation, as a church, a local meeting place, a

schoolhouse and, if necessary, a parsonage. In Donald McCorckle'sseminal dissertation Moravian Music in Salem. . ., 1958 (refer to

footnote 14 in this chapter), he has an important and valuable

discussion about the difference between the modern German terms gemeindeand archaic gemeine used by the Moravians.

8 Huebener, 209.

9 Huebener, 214.

10 This building stands today as the eastward portion of the

Gemeinhaus built in 1787, between the Sisters' and Brethren's Houses

(see Figure 3).

32

Figure 4.

Original Floorplan of the newLititz Gemeinhaus, 1787

33

As the American Colonies of Great Britain began efforts to

"form a more perfect Union," the Lititz Congregation sent a

delegate to Lancaster to elect a representative to Congress.

Despite their desire to remain neutral the Brethren often

found themselves in a position of having to take sides. The

Brethren paid taxes above and beyond normal to avoid

enlistment in the Continental Army. 1 1 And from December 1777

to August 1778, by order of General George Washington, the

House of the Single Brethren was commandeered for service as

a military hospital. When the war ended in 1783, the

Moravians celebrated the National Day of Thanksgiving

appointed for 11 December.

Although, apparently, Lititz settled back into its oldway of life after the close of the conflict, the contactthe people had had with the soldiers and greaterintercourse with the outside world, because of the war,brought about the beginning of a deep-seated change ofthinking.12

The drop in church attendance because of the war

reversed itself in the years of peace that followed, and the

need arose for the building of a new Gemeinhaus. In 1785,

the decision was made to proceed with the plans for building.

After an original plan for building an entirely new

Gemeinhaus was decided against (see Figure 4),13 it was

proposed to adjoin a new, much larger Kirchen-Saal (church-

hall) to the old Gemeinhaus for -a cost of E1000; E200 to be

11 By personal conscientious objection and an order from the

Church Elders in Herrnhut dating back to the Ancient Unitas Fratrum, theMoravians were pacifists.

12 Huebener, 214.

13 The plan in Figure 4 seems to have been adapted in order to use

the old Gemeinhaus as a parsonage and chapel. The Saal or meeting roomon the plan was built nearly to specifications, and is typicallyMoravian.

34

collected from the Moravian churches in Europe and America,

and E800 to be borrowed. The interest was to be paid by

raising the rent on the land; "for it was all - even the

house-lots - owned by the Church. "14 David Tannenberg was

contracted to build the steeple and an organ for the new

church. The price of the organ was E350.15

The deep-seated change in thinking that occurred as a

result of the war began to cause some significant problems in

the American Moravian Church as a whole. In 1801 a General

Synod was held in Herrnhut, the authority of the whole Church

still being centered there, where attempts at giving freedom

to individual congregations were defeated. As a result, the

American Moravian Congregation began to chaff under the

seemingly dictatorial leadership coming from thousands of

miles away across the ocean. Further action by the 1801

Synod insisted that Moravian settlements remained closed to

non-Moravians, or those not willing to become Moravians by

subjection to the lot.1 6 This measure obviously restricted

the growth of communities like Lititz, who were on the edge

of a frontier.

The change in attitude toward the Church, the inability

for much expansion, and the poor financial conditions

especially prevalent in the fledgling United States at that

time, all contributed to difficult days at the outset of the

nineteenth century. This was a trend that would not begin to

reverse itself until 1818.

14 Huebener, 237.

15 Huebener, 238.

16 Hamilton, 177.

35

Bernard Adam Grub6 came from Bethlehem as pastor to the

Lititz Moravians in May 1765.17 Grub6, like many Moravian

ministers, was an outstanding musician, and under his

leadership a choir and orchestra were begun which led in the

services of the church. The Collegia Musicum in Lititz was

also begun by Grub6.18 The Lititz Congregation Collection

suggests, however, that no substantial music collection was

begun until 1772 at the earliest; "it was not until 1788 or

1789 that the idea of a formal library of church music seems

to have been conceived." 1 9 Thus, the early choir and

orchestra probably had limited musical resources until that

time. As early as 1766 the Congregation diary does mention a

Dankpsalm (Thank-Psalm) as being performed by the choir.

During a short seven months in 1779 - 1780 J.F. Peter, the

most notable of American-Moravian composers, lived in Lititz.

However, his effect on the music scene there is

undeterminable. On 4 December 1771, a trombone choir was

organized, and ". . . made its first public appearance at the

Christmas Eve vigils. . . .,"20 In 1791, the orchestra, under

the leadership of the Moravian violinist Georg Gottfried

MUller, played a command performance concert for John

Randolph, Attorney General of the United States, at the inn

in Lititz. Reportedly, the prominent Mr. Randolph had heard

of the Lititz orchestra and expressed a desire to hear it

perform.2 1

17 Huebener, 223.

18 McCorkle, 161.

19 Steelman, 5.

20 Huebener, 223.

21 Huebener, 245.

36

One of the most important of Moravian composers and

music librarians, Johannes Herbst, came to Lititz as

assistant pastor in 1791, and was called as head pastor in

1801.22 Herbst began the first catalog of music in Lititz.

Hans David propounds, "Surely he composed his most fluent and

accomplished music in his last years at Lititz." 2 3 Herbst

left Lititz for Salem in 1811, and died there in January

1812.24 Johann Friedrich Friiauff, a lesser-known Moravian

musician, came to Lititz to assist Herbst in 1805.25 One of

these men certainly was instrumental in beginning a band in

1810. In 1811 this band performed " . . .the first of a

practically unbroken series of annual Fourth-of-July

celebrations in our [Lititz] park, a record that is probably

not exceeded anywhere in the country. "2 6

Changing Times, 1818 - 1837

The early part of the nineteenth century saw many

changes; in many respects, it was a period of retrogression.

A number of small communities that had been established by

the Moravians in North America closed down and either merged

with the larger settlements or simply ceased to exist.

Recurring deficits in both the Brethren's and Sisters' Houses

22 Falconer, 17.

23 David, Musical Life, 27.

24 Falconer, 17.

25 Richard D. Claypool, "Johann Friedrich Friauff," Moravian Music

Journal XXVI/4 (Winter 1981), 76.

26 Huebener, 245.

37

at Lititz caused great concern. Due to the difficulty in

obtaining entrance into a Moravian community such as Lititz,

the population began to decline.

"At long last signs of a new era appeared. In 1817

conferences convened . . . to discuss changes needed to bring

new vitality to the American Congregations. "2 7 The outcome of

these meetings had a decided effect on the 1818 General Synod

held in Herrnhut. For the Lititz congregation the Synod of

1818 breathed some new life into the community. The

abrogation of the use of the lot for entrance into the

settlement probably had the most significant effect. While

the Lititz Congregation did not completely break with the

Lease system with regard to the property held by the Church

until 1855, the community began to open up. The Brethren's

House Economy closed in 1818, due to financial difficulty.28

This major step undoubtedly had a significant influence on

the community, as many men who were a part of the Economy

would have been leaders in the community. The 1818 Synod,

for the first time, allowed Moravians to join the army.2 9 The

problem of military service had been consistent for the

Lititz young men since before the Revolutionary War.

The church-owned businesses experienced change in the

period just prior to 1837. The inn and the store were sold

to outside interests in 1826 and 1831, respectively. In 1837

the store continued to operate on a deficit after six years,

due to poor management.30

27 Hamilton, 233.

28 Huebener, 246.

29 Hamilton, 233.

30 Huebener, 250.

38

A "Philharmonic Society" 3 1 had been started in Lititz in

1815, probably by MUller, who retired there. Hans David also

attributes the success of the Collegia Musica in Lititz to

Miller. 3 2 The Lititz Collegia Musica or Philharmonic

Society33 no doubt played an important role in the

celebrations of 13 August 1837, since the secular and sacred

music of Moravian communities was participated in by all the

capable musicians.

31 Huebener, 251.

32 David, 31.

33 What Huebener calls the Philharmonic Society and what Davidcalls the Collegia Musica are possibly the same basic organization, theone being the nineteenth century son of the other. It seems that aPhilharmonic Society played a more important civic role than the moreinformal Collegia Musica.

PART II. RESTORATION

39

CHAPTER V

INVESTIGATION, SOURCES AND COMPOSERS

In Search of a Lovefeast

Realizing for the present a wonder of the past is the

intent of recreating a Lovefeast. In the context of Moravian

life a Lovefeast was a regular occasion. Many smaller

Lovefeasts were simply written out, but special Lovefeasts,

those commemorating auspicious days for the celebration of

the whole local congregation, were printed. Reconstructing a

Lovefeast is like hunting for buried treasure. Extant odes

must be consulted and compared with various libraries and

collections of music in order to determine the music used on

the day in question. Thousands of Lovefeast Odes from

Moravian communities around the world are preserved in the

Archive at Bethlehem, Pennsylvania (see Figure 1 and 5).

Many of the odes are dated and the printing location is

indicated or, at least, traceable by comparison with other

odes or through analysis of paper types. The ode for 13

August 1837 was discovered by the author in a large box of

odes in January, 1988, at the Bethlehem Archive. It was a

serendipity to find for the same date a printed Abendfeier

(Evening Celebration) or Singstunde (see Figures 2 and 5).

The printing of a Singstunde was a rare occasion; testimony

to the important and singular nature of the celebration of

40

41

Figure 5.Original copies of the Lovefeast and

Singstunde from 13 August 1837

42

the Andenken an die Einweihung der Kirche zu Lititz vor 50

Jahren.1

The discovery of these printed orders of service is only

the beginning of the effort to reconstruct either the

Lovefeast or the Singstunde, since only the texts are printed

in the ode. To determine the music sung in conjunction with

the texts is another matter altogether. Using the music

manuscript collections of the Bethlehem, Nazareth, and Lititz

Congregations, housed at the Bethlehem Archive, seven odes

from seven different dates were examined to determine the

feasibilty for their use. Only one of these had a

corresponding Singstunde. The principal question to be

answered was whether or not the anthems existed to complete a

reasonable reconstruction. Although it might have been

possible to rebuild a Lovefeast from any Moravian settlement

in the world the search was restricted to the locales of the

Pennsylvania Moravian settlements.

Keeping in mind the location of the Lovefeast,2 the date

and state of the music library in that settlement pose the

next problems. For example, a Lovefeast from Lititz in the

1760's would be difficult to track down with a great deal of

accuracy because the library of anthems in Lititz at that

time was not extensive. If an anthem used in the Lovefeast

were missing in the collection it could possibly be the

version of the anthem at Bethlehem, or Nazareth or even

1 "Remembrance of the Dedication of the Church at Lititz 50 yearsago.11

2 Determining the original location of the occurrence of aparticular Lovefeast for many of the preserved odes is often difficultand sometimes impossible. A locale is not always a part of the title ofa Lovefeast. A paper's watermarking might provide a clue, or the nameof a printer in some small corner is helpful, but not necessarilyconclusive. All of these factors make just this first determination asignificant piece of detective work in many cases.

43

Salem, North Carolina. In the 1760's the instruments

available might have been limited, and an anthem calling for

strings and winds might have been played only on the organ.

For the sake of simplification the odes with dates prior to

1780 were discarded, the collections of the Pennsylvania

settlements being in a somewhat stable condition by this

date. The 1837 date from the Lititz Congregation yielded the

most definitive location of anthems in its library. This

criterion alone eventually determined the ode to be used, all

other odes leaving some question as to the location or

existence of their anthems. Discovering the hymns in the

Lovefeast was at this point a simple task. At that time all

Moravian tune books in use were based upon Christian Gregor's

Choral-Buch printed in 1784 by Breitkopf.3 In the

Singstunde all the hymns had corresponding tune numbers

printed in the ode (see Figure 2)

Sources and Composers

The Lititz collection of scores is well documented in

Robert Steelman's Catalog of the Lititz Congregation

Collection. Steelman's Catalog provided a timetable and

background information by which to determine the origins of

the anthems used on 13 August 1837. All of the four anthems

used in the Lovefeast, and the one in the Singstunde were

present in the Lititz Collection at that time. Research

indicates that of these five anthems, two entered the

collection as early as 1791, while one may not have come into

3 Christian Gregor, Choral-Buch enthaltend alle zu dem Gesangbucheder Evangelischen Brider-Gemeinen vom Jahre 1778/ gehorige Melodien(Leipzig, 1784), facsimile ed., James Boeringer, ed.

44

the collection until forty-five years later, 1837. In the

following paragraphs, headed by anthem title, each anthem is

discussed with regard to composer, origin of text, date of

composition and addition to the Lititz Collection; and

musical factors regarding voicing, instrumentation, key,

form, and related musically salient points. The first four

anthems are presented in their order in the Lovefeast, the

fifth is from the Singstunde. Table 1 outlines the basic

information regarding the origins of the anthems and their

existence in Lititz.

Brider,.Schwestern die ihr still

This anthem was composed by Johann Rudolph Zumsteeg

(1760-1802). Zumsteeg was not a Moravian, but was a

prominent musician in Stuttgart. He became the Director of

the court theatre there in 1792.4 The text in the

manuscript of the anthem is somewhat different than in the

printed ode used on 13 August 1837, but it was not unusual

for the text to be altered slightly for specific occasions.

The original texts differ in the second line. The original

text is: Gott, den Wonnegeber, gepreist. The text for 13

August 1837 read: Unsers Bundes Fzrsten preist.

Robert Steelman suggests understandably that the anthem

comes from Zumsteeg's Cantata No. 12., of the same title, and

appeared in the Lititz Collection before 1791. However, the

Grove Dictionary of Music and Musicians, fourth edition , Die

Musik in Geschichte und Gegenwart and musicologist Landshoff

(a noted Zumsteeg scholar) agree Cantata No.12 was written in

1795. The discrepancy can best be explained by the

suggestion the Moravians received a copy of this anthem

4 Ludwig Landshoff, Johann Rudolph Zumsteeg (Minchen: Ludwig-Maximilians-Universitut, 1900), 76.

45

before it was published as a part of the whole cantata in

1803 (how this was possible is not determinable at this

time). It is also possible that the anthem was added after

1795 or before 1810. This latter solution is rather

unlikely, however, due to the numbering of the anthem in the

Catalog. George Mller would have been the librarian of the

Lititz collection until January of 1791, when Johannes Herbst

came to Lititz. One of these men, probably MUller, entered

the anthem in the collection as copied by Johann Till.

Johann Christian Till was the copyist for four of the five

anthems used on 13 August 1837. Till lived in Bethlehem, but

copied a significant number of anthems in the Lititz

Collection.

The anthem is written for four voices, with parts for

two violins, viola, cello, two oboes or flutes, and two corni

or French horns in D and organ. The manuscript gives these

parts, designating the oboe and adding an extra and identical

bass part, as well as additional parts for Sopranos I and II

designated for Coro II. The designated parts for a second

choir (Coro II ) are fairly usual in Moravian music

collections. Often the choir II parts are identical to those

of choir I, or have only slight differences. Many

explanations for the second choir are possible but one bears

scrutiny best.

In the absence of definitive evidence, the best approachto the problem might consider the European orientationof the Moravian musicians and the Moravians' own needs.The peculiar difficulty lay in keeping the singlebrothers and sisters separated. If the second choirsang unison chorales or merely doubled choir I in anordinary anthem, the single women might get alongwithout male voices. But when harmonized sections ofliturgies alternated between choirs or when polychoralanthems were sung, married men could sing in choir II.

46

Thus, choir II parts, even for anthems scored for asingle choir, would need bass and sometimes tenor.5

All anthems studied by the author bear out this

hypothesis. However the women's parts are the only parts

duplicated, except when there is different music when all

different parts are scored separately.

The key of Brtder, Schwestern is D major, and the piece

fulfills all the typical grand expectations of that key.

Although the piece is not by a Moravian composer it reflects

the general requisites Moravians had for music to be used in

their services; simple, rather straight-forward harmonies,

with basic voice leading. The other principal key areas are

A major and 1) minor. The work utilizes basic rhythms; any

show of virtuosity, always limited, is reserved for the

instruments. This simplicity is understandable in light of

the amateur proficiency of most Moravian musicians, and also

with regard to the often short rehearsal time their communal

lives afforded. The form of the anthem is basically ABA with

a coda. An unsophisticated motive used twice in the four

measure introduction announces the simple opening phrase.

The concluding sentence of the section ends in the dominant

key. The short B section, in A major is a soprano - tenor

duet to which the choir responds with the transition, by way

of A minor through the V of V, E major. The coda,

approximately one-fourth of the piece, shows a more advanced

harmonic practice than most of the other works used on 13

August 1837. Beginning in D minor, the coda moves into the

far-related key of B-flat major, even employing the E-flat

major tonality before returning to the subdominant of the

original key, G major, in order to use the lowered seventh to

5 Cumnock, Catalog, 39. Most Moravian anthems were scored SSAB.

47

introduce the final, perfect, authentic cadence, IV-V-I, with

a D pedal tone.

The more significant moments in the anthem occur in the

rather extended 16 measure transition from the B section back

to A,. This transition is a three-fold amen, hallelujah,

climaxing with a high ''A for the sopranos in the second

amen, and settling back to 'D.6 The use of E-flat major for

two measures (82-83) on the same syllable in the coda creates

interest, the sopranos leaping the major third from ''E-flat

to ''G.

In comparison to the other anthems BrOder, Schwestern

is one of the more well-devised anthems used in this

Lovefeast.

Head of Thy Church

. Justin Heinrich Knecht (1752-1817) is the one other

composer whose work is represented in this ode who is not

Moravian. Knecht was, from 1771 until 1806, the music

director of the theatre at Biberach, in modern West Germany.

In 1806 he went to Stuttgart to serve in the palace there.

This anthem was composed in 1783 as a part of Der 23ste

Psalm, Gott 1st mein Hirt. The text is traceable to the

original German from Psalm 23, although the English edition

is a rather free translation of the original Scripture. The

anthem could have entered the Lititz Collection as early as

1796. The number 96, inscribed on the inside wrapper but

crossed out, would fit in this date, but this number is

probably the copiest's fee of 96. The fact that the text is

in English makes the later date between 1825-1830 most

6 This pitch notation system figures middle C as 'C, one octavebelow middle C as ,C and one octave above middle C as ''C. Eugene E.Helm and Albert T. Luper, Words and Music, revised edition (Totowa, NewJeresy: European American Music Corporation, 1982), 72.

48

likely. The first mention of the use of English in Lititz

Congregation services is from 18327. Abraham Levering

followed Herbst as director of music in Lititz sometime in

1805. Under Levering, and by the copywork of Till, this

anthem entered the collection.

Head of Thy Church was written for SATB, two violins,

viola, cello, two flutes, two bassons (faggotti ), two G

horns (corni ), and organ. As with all the other four voice

anthems to be discussed, the manuscript parts for this piece

have women's parts for a second choir (Coro II ). There

exists in this folio another organ part, identical to the

first. This second organ score, in another, unidentifiable

hand, is written on different and seemingly newer paper.

There is no date indicated and it has not been traced. The

choir II parts and another identical bass part are in

different hands, respectively. These parts are on the same

or at least similar paper as the rest of the manuscript and

seem to date similarly also.

This anthem is in G major with a tempo marking Andante

pastorale, which is also its appropriate style marking.

Beginning with a canonic entrance soprano and alto follwed by

tenor and bass, each section of this simple binary form

builds upon a set of rhythmic figures (see measures one and

seven in the score in Chapter VII, page 96). The A section

makes its statement cadencing on the dominant. The following

B section exploits the dominant key of D major and moves into

the parallel G minor. Like the preceding piece there are no

surprises of any consequence, the principal interest here

being melodic. The music enhances the Psalm upon which the

7 Alice Haverstick Bricker, An Examination of the Records of theAufseher Collegium of the Community at Litiitz, Pennsylvania from 1802-1844 trans. Blanche de Perrot (typescript, Lititz, Pennsylvania, 1976),69.

49

text is based, and does not in any way obscure the words.

"Although the Moravians did not preclude ornamentation, they

used embellishments with caution, seeking above all to

preserve the text and not to over-emphasize the musical

aspects. . . . [Their] straight-forward style of writing did

much to promote text accessability."8

Der Herr trbstet Zion

Christian David Jdschke (1755-1823) was a European-

Moravian about whom little is known, although his family name

dates back to the ancient Unitas Fratrum. He composed ten

pieces in the Lititz Collection and more than thirty in the

Salem Collection. 9 This is the latest anthem to be entered

in the Lititz Collection of those used on 13 August 1837.

Its text is based on Isaiah 51:3, and was in all probability

adapted by the composer. Charles F. Kluge was responsible

for having this anthem placed in the Lititz Collection while

serving there from 1830-1836. He also officiated in the

services on 13 August 1837.

The manuscript parts are similar to those of Head of Thy

Church., except that this anthem calls only for strings and

organ. A note on the cover of the folio says, "ohne Bias

Instrument " (without wind-instruments). Whether this means

that this particular version of the anthem is without wind-

instruments, or the anthem is intended to be without them is

unclear from the folio. But, checking the same anthem

against other American collections reveals that it seems to

have been written for strings and organ only. The choir II

8 Martha Secrest Asti, The Moravian Music of Christian Gregor(1723-1801) His Anthems, Arias, Duets, and Chorales (Ph.D.dissertation, Univerity of Miami, Coral Gabels, Florida, 1982; AnnArbor, Michigan: University Microfilms, 82-2811), 23.

Cumnock, Catalog, 652.

50

parts are copied in a different hand than the rest of the

parts and this handwriting matches that of the extra voice

parts in the Head of Thy Church folio. The author has been

unable to determine who this other copyist might have been.

Der Herr trbstet Zion is certainly the most pedestrian

anthem in either Lovefeast or Singstunde. The anthem is only

80 measures long, two measures shorter than Brtder,

Schwestern, and is highly repetitive. After a twenty measure

introduction, the voices enter and the next three melodic

ideas are used one after the other, three times in

succession. 1 0 This consecutive trinity of usage continues for

the rest of the piece. A transition returns to the beginning

to what is, for all intents, a repeat written out, making the

form ABA. Harmonic development is very limited, embracing

only closely related keys on the subdominant and dominant.

Once, in measure twelve, a sequential pattern allows for the

employment of the vii0 7 of vi. All of these details lead to

the conclusion that the Moravian penchant for simplicity can

be carried to the point of musical boredom.

Was Othem hat

C.I. Latrobe (1758-1836) was a well-known English

Moravian who lived in London. 1 1 Was Othem hat was composed as

part of a cantata for the opening of a Moravian chapel in

Fairfield, Lancashire, England in July 1785.12 Psalm 150,

10 Compare measures 24, 26, 28 and 28, 29, 30 and 35, 36, 37 and41, 42, 43 in the anthem score in Chapter VII, pages 124-131.

11 David, Musical Life, 11. Latrobe dedicated Anthems for one,Two or more Voices, performed in the Church of the United Brethren,published in 1811, to Joseph Haydn, a personal acquaintence.

12 Marilyn Gombosi, Catalog of the Johannes Herbst Collection(Chapel Hill, North Carolina: The University of North Carolina Press,1970), 236.

51

verses one and six, provide the textual basis for this hymn.

The cantata and a separate copy of the anthem were a part of

Johannes Herbst's personal library, and it was he who added

it to the Lititz Collection. The anthem seems to have come

to this country sometime in the first few years of the

nineteenth century, possibly first to Salem, North Carolina.

It was not added to the Lititz Collection until 1807-1810,

according to its catalog number.

The piece is scored for two choirs, SATB and SSAB,

respectively, with strings and two horns in D. A part for

clarino is added in another hand, similar to the hand of the

extra choir parts in the other anthems. The anthem is found

in a folio with two other seemingly unrelated anthems,

Gelobet sey der Herr, der Gott Israels, by Moravian John

Gambold and Gross sind die Werke des Herrn, was ihrer

achtet, by another Moravian Johann Gottfried Gebhard. The

Gambold piece has an added flute part dated 10 August 1837,

similar in handwriting to the clarino part in Was Othem hat.

Because of the similar handwriting one might deduce the extra

voices and instruments were needed for the special

festivities of 13 August. While the Gambold anthem is not

mentioned specifically in any reference to this celebration,

it is entirely possible it was sung at another service, other

than the Lovefeast or Singstunde on the 13th, or it may have

been performed on 14 August, as a part of the continuing

celebration.

If Der Herr trdstet Zion was the weakest anthem to be a

part of the Remembrance of 13 August, Was Othem hat was the

best. There are 53 measures, twenty of which are

introduction, and all of them valuable to the whole. The

anthem is an excellent example of the Moravian choral ideal,

combining clarity and simplicity with aesthetic pleasure.

The anthem is in D major, making succinct use of the dominant

52

key of A and the related minor, B. In the instrumental

introduction the violins are allowed to show some dexterity,

but not so much as to be overt. The voices state the initial

phrase twice in a repeat, cadencing V of V, V. The B minor

tonality makes its appearance, leading to another half

cadence. 13 A short antiphonal section follows setting

sopranos and tenors from both choirs against basses and altos

from both choirs. A codetta concludes the anthem with strong

Hallelujahs.

Kommt laBet uns sincren wie zur Nacht

Sung at the Singstunde on the evening of 13 August 1837,

this anthem was written by the most well-known of Moravian

composers, Johann Friedrich Peter, sometime during 1790 and

1791. It is impossible to be sure about the text, but it is

likely it was written by the composer. According to the

numbering the anthem entered the catalog while Mller was in

charge of the library. Although it might have been entered

anytime before 1795, the earlier date is the best possibilty.

This anthem requires the largest orchestra, strings,

with an added part for contrabass, two flutes, two clarinets,

two horns in E-flat, bassoon and organ to accompany twomusically distinct choirs of four voices each, SATB and SSAB.

The first flute and first clarinet are copied in that other

hand that has written parts anonymously throughout these

anthems. Why the parts would have been transcribed is not

13 Moravian composers seem to break a number of the "rules" ofform, often ending second phrases on a half cadence, rather than a full.Also, in harmonization, there seems to be a tendency to double thethird, even in first inversion harmonies. While the author has notstudied these peculiarities, they are very often noticeable. Exactlywhat they suggest is unclear, but these things may add to thesignificance of what is a unique sound and musical heritage.

53

clear; possibly these are new parts or simply copies of old

or lost ones.

J. F. Peter is often regarded as the best of all

Moravian composers. If this is true Kommt laBet uns Singen

is not one of his finest works. The anthem suffers from the

same kind of overkill as Der Herr trbstet Zion. Yet it is

well-constructed and has a certain interest. An instrumental

introduction states the first pair of phrases ending in half-

cadences, and concludes with a short codetta to the tonic of

E-flat. Two choirs sing antiphonally in phrasal succession.

The alternating restates the first sentence, and the codetta

of the introduction becomes an interlude before the

restatement of the first phrase, for a third time, leads to a

major tonic cadence (measure 42). The most significant

harmonic moment in the piece comes at this point when the

seventh is lowered to create the V of IV as a transition back

to the first phrase, which is another major cadential point

on the tonic (measure 61). The best part of the work is the

chorale at the end that acts as a coda (measures 65 - 84).

The chorale combines the two choirs in a simple triple meter

hymn tune.

54

Table 1.--Anthems for 13 August 1837 in LititzCongregation Collection

Cat Anthem Title Coxposer Approx. Date Copyist/No Date in Ltz Librarian

53[B] Br~der, Zumsteeg 1795? 1791? Till/Schwestern Miller

180. Head of thy Knecht 1783 1825- Till/[1] Church 1830? Levering

185 Der Herr Jaeschke 1816- 1830-36 Till/[B] tr6stet Zion 17? Kluge

130.3 Was Othem hat Latrobe 1785 1807-10 Herbst/Herbst

Si[B] Kommt laDet Peter 1791? 1791? Till/una sing en Mller 14

The tunes for the hymns used in the Lovefeast and

Singstunde are taken from two sources: The 1799 Choral-Buch

of Christian Gregor, a second edition to the original of

1784, including the tunes used in this music, there is little

difference between the editions. The second source is Hymn

Tunes used in the Church of the United Brethren, Arranged for

Four Voices and the Organ or Piano-forte. This volume was

published in Boston in 1836, and edited by Bishop Peter

Wolle, who was an officiant in the services on 13 August

1837. The texts for the hymns all come from the printed ode

for the Lovefeast and the printed Singstunde. While the

English hymns are traceable to A Collection of Hymns for the

use of the Protestant Church of the United Brethren,

published in Philadelphia, 1832, the German texts were not

traceable to any source. All the German-language hymn books

14 Steelman, 7-11.

55

were consulted that are known to have been in use in Lititz

at that time, especially Gesangbuch, zum Gebrauch der

evangelischen Brddergemeinen, Gnadau, 1824. No sources

revealed the German texts printed in the orders of service

for that day. This is not unusual, as Moravian ministers

customarily wrote texts for their Lovefeasts, and very well

could have composed texts for the Singstunde on such a

special occasion. One might surmise that the English texts

were used as they existed in the hymnbook because of a lack

of sufficient familiarity with the English language to

compose rhymed liturgical texts.

Hymns of the Lovefeast were found in the hymnbooks

indicated above using a metrical index of the Gregor Choral-

Buch. The tunes in the Singstunde are indicated in the

printed edition as numbers in Gregor, although in some cases

a single number may indicate two hymn tunes of like meter.

In both the Lovefeast and the Singstunde the hymns that

presented more than one option for solution were determined

by successive criteria. First, if the hymn tune had more

than one possibility, the tunes for the number designated in

the Gregor Choral-Buch were compared against the Wolle Hymn

Tunes which is numbered identically to the Gregor. If, as in

most cases, there existed only one tune under that number in

the Wolle book, that tune was used. When this procedure did

not succeed, because of multiple tunes in both books, key

relationship with the pieces in context was used to determine

the tune used. For example, the fifth congregational hymn in

the Lovefeast, Thou wilt be our Saviour. . . , figured

metrically to coincide with tune 39 in the Gregor Choral-Buch

There are two tunes under 39 in the Gregor book, and as

many in the Wolle book, but the key of G major in tune 39a

coincides best with the preceding hymns G minor. Table 2

deliniates the options according to the tune books and the

chosen tunes used in the edition in Chapter VII.

Table 2.--Hymn Tunes for 13 August 1837

First Line ofHymn

Tune No.in Gregor

Tune No.in Volle

61 Komt vor den Ft*rst. 1 1 61222 Hoch erschallt ihr 1 0 222520 Praise God for ever 1 0 52022 Zu Zion 14 6 22k75 Wie thust du uns so 2 1 75b39 Thou wilt be our 2 1 39a15 ja, amen unsre 1 1 15101 0 let thy love 1 1 10196 Neuen Bundes Herr. 4 0 96b249 Der Herr behite 1 1 249151 In stiller Abendst. 10 3 151a132 The Lord hath ever 11 3 132d75 Was dem versengten 1 2 75b585 Hallelujah! praise 0 1 58526 Ach zeuch uns naher 1 1 2616 Bis du wirst als 4 4 16a36 0 groller Tag 4 1 36a

p159 Sing Hallelujah! 1 Ip159*Art is the term used in the Gregor Cbhza.2-Buck

To distinguish the tunesThe bold line demarks the Lovef east from the

Sizz sturxde

Art*No.

Tune inEdition

CHAPTER VI

THE REMEMBRANCE OF A HOLY DEDICATION

When the sun rose on Lititz, Pennsylvania, on 13 August

1837 the air was certainly filled with anticipation. This

was not to be an ordinary Sunday, but possibly the best

Sunday of the year. 1 A dual celebration was planned. This

day was the 110th anniversary of the baptism of the Holy

Spirit on the renewers of the Unitas Fratrum in Herrnhut, andit was the fiftieth anniversary of the dedication of theUnitas Fratrum church at Lititz. People had come from all

over Lancaster County, and some from as far away as Bethlehem

and Philadelphia to join in the celebration. Five services

were planned that day at 9:00am, 10:30am, 2:00pm, 4:00pm and

7:30pm. Pastor Peter Wolle, as well as former pastor Bishop

Andrew Benade and Brother Frueauff, both from Bethlehem,

would lead in these services.

The first service of the day, Festversammlung (literally

festive assembly), beginning at nine o'clock in the morning,was led by Bishop Benade. The Diarium records the occasion

in its usually elaborate, ornate language:

O.[rdnung?] T.[ages?] 13. mor[gens) um 9 Uhr die erstesFestversammlung, welche unser 1. [ieber] Br. [uder] Benadehielt. Er erinnerte in seiner Rede, an die 50 Jahrelang in unserm Gotteshause genossenen geistlichen Segen,mit dem Wunsch daB auch in der nun angehenden Periode

1 All the information in this chapter is taken from the LitizGemein Diarium, 1837, the Altesten Conferenz Protocoll and PeterWolle's personal diary. A transcription of the Gemein Diarium is givenin Appendix A.

57

58

die hier gehaltenen Gottesdienste der Gemeine reichlich

gesegnet seyn m6chten.2

Brother Benade went on in his message to recall that

this day was not only important to the Verein Brzder Volk

(United Brethren) 3 gathered in Lititz, but also to the BrOder

Unitbt (Brethren's Unity, i.e. Unitas Fratrum) as a whole.

Although some singing probably occured in this service, which

was customary, there is no mention of such in the Diarium.

The next service began at 10:30am. Presumably, it was a

sort of historical review, einen Aufsatz Ober den

verflossenen Zeitraum.4 The pastor at Lititz at that time,

Peter Wolle, delivered this essay.

At 2:00pm the congregation and invited guests entered

the Saal or auditorium of the church for the Festliebesmahl.

The very special Lovefeast was probably attended by as many

as 500 people, possibly more, although no attendence figure

exists. If one supposes that Moravians from the Lancaster

church, seven miles to the south, might have attended with

the other guests from Bethlehem and possibly Nazareth, it is

probable that a relatively large number of people were in

Lititz that day. The number would increase again given that

a Lovefeast was viewed as a highly ecumenical service. These

2 Order of the day. 13th in the morning at 9 o'clock the firstfestive assembly, which our dear brother Benade led. He remembered inhis address the past 50 years of spiritual blessings of fellowship inour house of God, with the wish that also now in the coming period, theworship of the congregation here would be abundantly blessed.

3 Although the Moravians in early America were called UnitedBrethren, as they are still today in England, they are in no wayconnected to the United Brethren who joined with the Methodists andothers in the 1960's to form the United Methodist Church.

4 The Diarium states that this essay is in an appendix. Theauthor was not able to examine this appendix.

59

guests, added to the membership of the Lititz Congregation of

390, make 500 a fair estimate.5

The building in 1837 was basically the same as it is

today, although there were balconies only on the east and

west, without the added north balcony or the pulpit recess

which now extend out of what was a flush south wall (see

Figure 7)

The two side galleries were reached by insidestairways. The bell rope hung back of the organ on thewest gallery. There were high-backed, movable benches.The windows were of plain glass with white curtains.There was no carpet and the room was heated by twostoves, and lighted by a tin chandelier hung from thecenter of the ceiling and equipped with twelve tallowcandles. There were also candles along the walls andpillars .6

The Liturgus or celebrant, Brother Frueauff from

Bethlehem, stood at the pulpit, according to Heubener, in

front of the east gallery. 7 If the pulpit was in the

eastward position, it would be a little unusual for Moravian

meeting rooms. Usually the pulpit was placed in front of the

congregation which sat across the longer part of the room.

The separation of the sexes was maintained by men and women

entering separately from the doors in the rear of the

auditorium, in this case from the north. Arranging the

chairs in such a manner that the pulpit would be eastward

negates such use of the doors in Lititz. Also, the east

gallery would be behind the pulpit, as would a great deal of

5 Twelve Views of Churches, Schools and Other Buildings Erected bythe United Brethren in America (New York: Lithography of Endicott,Fanshaw Printer, 1836), 11.

6 Heubener, 248.

7 Heubener cites unmentioned "circumstantial evidence."

60

wasted seating space, approximately 400 square feet.

Finally, the present seating in Lititz is arranged in the

traditional Moravian fashion, with the pulpit to the south.

This evidence, then, provides another, possibly better,

hypothesis placing the pulpit against the south wall. The

choir and orchestra would fill the west gallery and perhaps

the east. It is quite possible, and seemingly desirable,

that the choirs I and II may have been split between the

galleries. There is, however, no conclusive evidence of this

possiblity.

Exactly how the service began is unknown. A prayer

preceding the singing is a possibilty. The text of the

opening hymn sung by the Lit urgus does suggest, however,

that these lines were the opening lines of the service, Kommt

vor den Firsten des Bundes, erldsete Menge! Brtder und

Schwestern! ergiest euch in Jubelges&nge! 8 And because the

service ends with the traditional blessing from the book of

Numbers 6:24-26, it is probable that the entire service was

simply and only the Lovefeast music included in Chapter VII.

The Lord's Supper was conducted at 4:00pm, again under

the leadership of Pastor Wolle. Historically, the Eucharist

follows the Lovefeast.

Abends um 1/2 8 Uhr wurde elne musikalische Singstunde

auf dem Plat.z vor der Kirche gehalten.9 The square had been

decorated with flowers and ornate pyramids. An example of

one of these pyramids was drawn in the margin of the Diarium

(see Figure 6 and 8). The Diarium goes on to describe the

square:

8 "Come before the Prince of the Covenant, redeemed multitude!

Brothers and sisters, pour yourselves forth in jubilant songs!"

9 Diarium der Gemein in Lititz, "In the evening at 7:30 o'clock a

musical Singstunde on the square in front of the church was held."

61

Der wie ein Lustgarten ausgelegte Platz, dessenzahlreiche verschiedenartige Blumen und Bume in ihremsch6nsten Flor standen, war mit einer grolen MengeLampen und eine Anzahl erleuchten Pyramiden aufssch6nste erschallt und geschmUckt.10

Figure 6.A redrawing of the Pyramid from the

DiAariux der Geein Jin Litit

r1

On the east side of the church building the number fifty

was displayed in candles. This festive atmosphere was the

environment of the special Singstunde. Probably the most

significant musical implication of this outdoor sing is the

question of the organ. It is possible the hymns were sung a

capella, but the orchestra was certainly present for the

anthem Kommt laiet uns singen. Does this mean the orchestra

accompanied the hymns or is it possible a portative organ was

carried outside for the event. It would seem the Diarium, or

10 There the square, layed out as a pleasure-garden, its numerous,varied flowers and trees stood as a riot of bloom, [the square] wasilluminated most beautifully with a large mass of lamps and a number ofilluminated pyramids.

62

one of the other sources might make some mention of anything

unusual, but the problem is insoluable from the information

examined.

The diarist concludes the day was a memorable success,

. ein Geist reiner Freude herrschte und der Herr uns Sein

gnadiges Wohlgefallen gab. 1 1

11 a spirit of pure joy reigned and the Lord gave us hismerciful pleasure."

63

Figure 7.Plan of the Lititz Kirchen-Saal

1837

North

~5'[j uuuIIIIIIIuI I IStairs

Choir II

IBalcony or Gallery

Pulpit

- --- - -Li

jl -- -~ ~Balcony or

Orchestra?

i 1-iw1v11i iiiIm OrgiStairs111,11 i i

41

G~allery-

Choir Ianr

66'

- -- -

This diagram is not to scale, but is based oninformation from Figures 3 and 4, original accountsof size, and personal observation.

A#

64

Figure 8.Diarium der Gemein zu Litiz, 1837

65

Figure 9.Manuscript folios for anthems

Head of thy Church and Der Herr trbstet Zion

66

Figure 10.Manuscript score of

Der Herr trbstet Zion

CHAPTER VII

MUSIC FOR 13 AUGUST 1837, IN LITITZ; AN EDITION

Preparing a musical restoration that maintains

historical integrity to the specific date of performance is

the sole intent of this edition of.music. It is in no way an

attempt to make a critical edition of the anthems or hymns

included. Other manuscripts and the printed editions of

these anthems that exist were not consulted. It is the hope

of the author to recreate as nearly as possible that single

musical entity that was presented in Lititz on 13 August

1837. The manuscripts, from which this edition comes, are as

best as can be determined the music read by the performers

that day. Hopefully, the pages that follow are a faithful

reproduction of those manuscripts in a more easily accessible

form.

The manuscript parts pose a number of problems that must

be solved in order to perform the works. No attempt has been

made to solve these problems in this edition. Repeated

accidentals, or those left out of the parts and all such

notational idiosyncrasies have been faithfully reproduced.

The intention is for the reader to see what the musician saw

150 years ago. Different rhythms occur at the same point in

different parts; no corrections of these have been offered.

Playing articulation, especially those in the strings, are

often not uniform; they remain as they are in the

manuscripts. Conflicting dynamics occur from part to part

and have been left as they are. All markings are as they

67

68

appear in the scores. The only change is that modern clefs

have been substituted for soprano, alto and tenor clefs.

Coincidentally, all the hymns from the Lovefeast come

from the 1784 Gregor Choral-Buch, and all those belonging to

the Singstunde from the Wolle Hymn Tunes. This was not

intentional, although it would make some sense that the

organist would more easily use one book at a time, especially

considering the notational differences. Wolle's Hymn Tunes

arranges its hymns in four-parts, and the hymns taken from

there are given as such. The hymns from the Gregor are in

two parts with figured base. For this book soprano clefs

were replaced with standard G clefs.

Did the instruments accompany the hymns with the

orchestra? It is altogether possible that the trombone

choir, commonplace in every Moravian community, played from

tunebooks, as did the organist. There is no evidence in the

manuscripts, however, to suggest that the rest of the

orchestra aided in accompanying the congregational singing,

thus there is no indication of such parts in the edition.

The Lovefeast and Singstunde are presented in the order

they occurred on that day; translations of the German are

provided in Appendix B.

Lovefeast13 August 1837

69

Lovefeast One

Kommt vor den Fr-sten des Bun- des er - 16 - se te Men -Bril- der und Schwest-ern er - gieSt euch in Ju - bel- ge - san

6 3 4 6 6 4 32 5

ge!ge! Op-fert woh - In Ihm,wie ein ei- ni- ger

6 65 5 7 6 6

6

Mann Hei-li- ge, Fest-li - che Kln -ge.

4 6 6 6 4 3

11 I -&

70

Hymn One

I I

Hymn Two Lovefeast Two

ii I I i

I IA

I I I

Hoch er-schallt,ihr Jib -el-tdn- e Fei - ert Sei -nes Hei lig- thum-es Wei-Er, der kei- ne Lieb -es-thrA-ne Kei - nen Dank-laut un be - merkt vor-u-

5 6 6 C A 5

14

he- fest! Ist zu ge- gen: Str~mt vom Haupt aus in die Glei-der:Klingt,i-ber-laJBt, Kraft und Se- gen

6 6 6 4606

6

-- dihr Sa i- ten! Thdn- et Ihm, ihr Freu - den- lie- der!

40

I j I '

71

f~ IAI

11

I

Lovefeast ThreeAnthem One Brider, Schwestern die ihr stille J.R.. Zumsteeg

Larghettoj - 60

A .4IOboe 1

1

pfCboe 2~

AICorno 1

Corno 2 ~

A a

Violin i

PIP

Cello [

SopranoBrI - der

Alto

-Vi ol"i n 1 1 & 0 yi u iisili ae namlL smpa

P

ViBrO - der,

Bass _

Soran A

72

Lovefeast ThreeBriider, Schwestern die ihr stille J.R. Zumsteeg

Ob.

Crn.

Crn.

VLn.

Vln.

Via.

VcJ.

Sop.

Alt.

Ten.

Bass

Org.

Schwest ern die ihr -Im Ge

"I F

73

Anthem One

r1 "

4ki L

A

W rI

IO

II A

-pw Q --A it imlarii 1 lilsliutiimppseimmei

Im e

Anthem On

cb. 1

Ob. 2

Crn.

Crn.

Vln.

Vin.

Vla.

Vcl.

Scp.

Alt.

Ten.

Bass

Org.

Lovefeast ThreeBruder, Schwestern die ihr stillee J.R. Zumsteeg

10

10 I F

Aff e-4

F - -LI L +

bett

r~t9J~f~2RYIw-4Z 3

74

Lovefeast ThreeBr-der, Schwestern die ihr stille

Ob. 1

Ob. 2

Crn.

Crn.

Vln.

Vln.

Vla.

Vc.

Sop.

Alt.

Ten.

Bass

org .

75

Anthem One J.R. Zumsteeg

20

A1 1

I J,

F T

FUrat-en preist. La~t in

3f l ii i f F

ft_ rW att -

MII .F F F --

palialst

Lovefeast ThreeBrUder, Schwestern die ihr stillem One J.R. ZumsteegAnther

Ob. I

Ob. 2

Crm.

Crm.

Vin.

Vin.

Vla.

Vcl.

Sop.

Alt.

Ten.

Bass

Org.

76

A J

2V

II

II~A f

LFFSein - es Ter - peils hal - len,lau-te Ryn - en

- - - --

A . - 1 I

ff 0% , I . M! I I

Lovefeast ThreeBrUder, Schwestern die ihr still J.R. Zumsteeg

I"A Li-

Ob. 1

ob. 2

Crn.

Crn.

Vln.

Vln.

Vla.

Vcl.

Sop.

Alt.

Ten.

Bass

Org.

77

Anthem Or

A Ap

Ihu or - schal-len, Weib et lhm Leib,

w.1 f LA

tj

WeI--Ih etILeIb

rA

~F--

-T-

2d

ie

-1

Anthem

Ob. I

Ob. 2

Crn.

Crn.

Vin,.

Vln.

Vla.

Vcl.

Sop.

Alt.

Ten.

Bass

Org.

Lovefeast Threem One BrUder, Schwestern die ihr stille J.R. Zumsteeg

3d

A 44.

f

I

rIII

AP

.1

-1 1 9 o

Seel und Geiste.

Seel und Geist.

78

Anthei

Ob. 3

Crn.

Crn.

Vln.

Vln.

Vla.

Vcl.

Sop.

Alt.

Ten.

Bass

org.

Lovefeast Threem One Bruder, Schwestern die ihr stille J.R. Zumsteeg

II

III

Ruhni und Eli-re, T~n -e ieut durelh al 1.l

a - miens Ruhm und Eh-re, T~n - e )ieut durelh a1l-1e

Arr*AS~f

79

Lovefeast ThreeBrider, Schwestern die ihr stille J.R. ZumsteegAnther

Ob. 1

Ob. 2

Cm.

Crn.

Vn.

Vln.

Vla.

Vcl.

Sop.

Alt.

Ten.

Bass

Org.-

80

m One,

IfI

F I

40

Am., I[fpr

I Ef 9

AuL

TttNIX 11 U

R IF IF I

:7 lLi -

Lovefeast ThreeBrUder, Schwestern die ihr stillem One

2

J.R. Zumsteeg

"5

Anthem

Ob. 1

Ob. 2

Ctm.

Crn.

Vn.

Vln.

Vla.

Vol.

Sop.

Alt.

Ten.

Bass

81

If - d__ U %- le- %lI wjahi

I 5 4.0; IF

A.0 Aun haw-u -ja- I .WI.It +A

A JI"4 + [if

org.

Lovefeast ThreeBrider, Schwestern die ihr stilleOne J.R. Zumsteeg

so

Anthemn

Ob. 1

cb. 2

Crn.

Crn.

Vln.

Vln.

Vla.

VCi.

Sop.

Alt.

Ten.

Bass

org.

F W

82

W,-P ak 9 1 1 i ) i I

F F

1 I1i F

zii Wrt 2UW % 2 l

Lovefeast ThreeBriider, Schwestern die ihr stille

Ob. 1

Ob. 2

Crn.

Crn.

yin.

Vin.

Via.

Vci.

Sop.

Alt.

Ten.

Bass

Org.

83

Anthem One J.R. Zumsteeg

55

2

Ai-

F T f* 0

'Ii II

AAv- e

V, tJ - J a

A T~ Lr' OP

Lovefeast ThreeBruder, Schwestern die ihr stilleOne J.R. ZumsteegAnthen

Cb. 1

Ob. 2

Crn.

Cm.

Vln.

Vln.

Via.

Vcl.

Sop.

Alt.

Ten.

Bass

org.

84

A Af

F I W qp

60A J4 rmq

-M__M a W- iAM 11

EJEtj

A

A

11 F=;i 7'99'L4)

A iOIf --- ffll - - -'- 1 1 r ; I

PAA I 'I w

qj

A jJFI==IlIjfx , 44 .1 1 t " , " I Pi

4c w 7-qp 0

...........i Alt 10 .1 A go

jC71L #-W--31 M= . I

'F Fr-

A JJw " LL T

F

und ha- le lu- 3ah!

-A a

gift .9

A ifv --w p 17

U4

und ha- le lu- ;ah!

-4- F9L

-.A A;1 .1

;m4

fA F -4:; F

Lovefeast ThreeBrUder, Schwestern die ihr stillm One

z

A J

J.R. ZumsteegAnthc

Ob. 1

Cb. 2

Crn.

Crn.

Vln.

Vln.

Vla.

Vci.

Sop.

Alt.

Ten.

Bass

Org.

Orf gl Lag uI

A A;'

A I

85

65

Lovefeast ThreeBrUder, Schwestern die ihr stilleOne J.R. Zumsteeg

70

Ob. 1

Ct). 2

Crn.

Cn.

Vln.

yin.

Vla.

Vcl.

Sop.

Alt.

Ten.

Bass

Org.

86

Anthem

2 - -A

I II.

Deni Er - schaf - for, deiu Er - halt-er'

A .1

aca - chaf - for, dern Er - halt-er

rffrI, o

Dam Er -s Schafor,,,Er- halt-er

A &I~~! A

If ff 2--;sc

. I -10 1 " U I . . ... -T . opw

A 0

Anthem

Ob. 1

Ob. 2

Crn.

Crn.

Vln.I

Vln.

Vla.

VCl.

Sop.

Alt.

Ten.

Bass

Org.

Lovefeast Three-n One Brilder, Schwestern die ihr stille J.R. Zumsteeg

A J-

4.71

-- 4Lip en ank- e, Hrr~en l 10

LiA e ak e, Hn -e llt

IF _j [

87

Lovefeast ThreeBruder, Schwestern die ihr stille J.R. Zumsteeg

CA.Ob. 2

Crn.

Crn.

Vln.

Vln.

Vla.

Vcl.

Sop.

Alt.

Ten.

Bass

Org.

88

Anthem One

W --- AM Lk -1I K14

r I

j F INI

'41Iw w F

I L" 4 II

Ilk

Lovefeast ThreeBruder, Schwestern die ihr stillAnthem One J.R. Zumsteeg

Ob. 2

Crn.

Crn.

vin.

Vln.

Vla.

Vcl.

Sop.

Alt.

Ten.

Bass

Org.

89

Al ii bI jjj E 2S d

IL1)tI J,- .LI

40T4J

A~

nie drAchwie 0 er__

A.vr e

A~e ~ c ~i 4irvr e _

Lovefeast ThreeBrUder, Schwestern die ihr stilleOne J.R. ZumsteegAnthemr

ob. 1

ob. 2

Crn.

Crn.

Vln.

Vln.

Vla.

Vci.

Alta

Ten.

Bass

Org.

90

8S

11 -4

I

p I

wd A h4 1-- -0G6

UflB wie-der Jo - nlea he - . go Go -

'w1w ~

I4.

v m

Lovefeast ThreeBrider, Schwestern die ihr still J.R. Zumsteeg

ob. 3.

ob. 2

Crn.

Crn.

Vln.

Vln.

vla.

Vcl.

Sop.

Alt.

Ten.

Bass

Org.

-A .9Er iw LX

4L 4r-

"A aw 4w-10 lp

91

Anthem One

90

A

.7--

iff

22

A 14

biet,

Wole1 F FFWil F AfG bt I

Lovefeast ThreeBorder, Schwestern die ihr stilleAnthem One J.R. Zumsteeg

Ob. I

cb. 2

Crn.

Crn.

Vin.

Vln.

Vla.

Vol.

Sop.

Alt.

Ten.

Bass

Org.I SM 4 fo

92

95 100

2

I A

II-

- e bluht, Wa des Glau- benis Palm - e blthtI

S.IblNht, Ww des Glau- bens Palm e bl ht

Lovefeast ThreeBruder, Schwestern die ihr stilleOne

1 9- -

v2 f

J.R. Zumsteeg

IL

Anthem

Ob. 1

Cb. 2

Crn. I

Crn. Id

Vn.

Vin.3

Via.

Vcl.

Sop.

Alt.

Ten.

Bass

Org.

93

E

-A -&I.4

bf 'MI

- Rom,

Lovefeast Four

Praise God for e - ver! Bound-less in his fa - vour To his Church and cho-senHis al-migh-ty Son, On fair mountZi - on By his spir- it,grace and

6 6 5 4 3

Flock,found-ed o Christ the Rock Thou,in spite of ev'-ry pow'r-ful foe, Shalt un-word:Blest ci- t of the Lord!

6 6 65 43 A

shak-en stand,and pros-p'ring grow, Midst dis-grac To God's prais Both in love and

6 65 43

12

u - ni-ty:Praise God e- ter- nal- ly

A 6

17 1:t

94

Hymn ThreE.

f) I I

i

Hymn Four

. I I I I

Lovefeast Five

I I I I I

1 Zu Zi- on hat Er Sei-nen Heerd, Un zu Jer- u- sa- lem sein Feu -2 Wa- rum? was ha- ben wir ge- than, Das Ihn er-freu- en mag, wir Ar-

SII 1 A^.6 6 f6

C% J4 --er, Wir fiOh- len's Sei- nen Herz-en Theu- er;Sind wir,vor Sei-nen Au-gen werth.

men! Wer sind doch wir? ach, aus Er bar- men Na Er sich uns-rer herz-lich an.

6 _6_

w I I I -Z- I I -d-

95

i

I6 i

Lovefeast SixHead of thy Church J.H. Knecht

Andante pastorale

Anthem Tw

Flute I

Flute II

Corno I

Corno II

Bassoon I

Bassoon I

Violin I

Violin II

Viola

Cello

Soprano

Alto

Tenor

Bass

Organ

96

0

1rnr

lip.

F4 444 F44 4F

I

ILi I

r [41r

Lovefeast SixHead of thy ChurchTwo J.H. Knecht

_ _ _ _ r F]

ILJ

Anther

Fl.I

Fl.II

Crn. I

Cm. I

Bssn.

Bssn.

Vln.

Vln.

Vla.

Vcl.

Sop.

Alt.

Ten.

Bass

A J4 tr

r I.

F L.........

OWAiF

97

m

I

I

IJ

I

I I

Org.

p 8

Lovefeast SixAnthem Two Head of thy Church J.H. Knecht

FL.I

Fl.II

Crn. I LM

C=n.II

Bssn. I g

p

Bssn. II

p

Vin. I

Vla. 0

VCl.

Sop.blest, who thy kind leading fol low, How blest,who

Alt. Z

blest who thy blest lead ingA a ind)

Ten.kdfol - low, How

BassHow blest who thy kind lead ing

Org.

0 Fb J

98

Anthem Two

Fl.I

Fl. II

Crn. XIP

Crn. II

Lovefeast SixHead of thy Church

10

J.H. Knecht

It

Bssn.I

Bssn. II-

A .v9

Via.

Vcl.

Sop.

1 Ff

thy_ kind_ lead-ing fol-low, thy rod and staff how

A-lt.

fol low thy lead-ing fol-low,

Ten.i? blest, who thy kind lead-ing fol-low, Row F

Bassfol - low, who thy kind lead-ing foi-low, thy rod an'st~T how

Org.

99

Lovefeast SixHead of thy Churchm Two J.H. KnechtAnther

Fl.I

Fl.II

Cm.I

Cm.I

Bssn.

Bssn.

Vln.

Vln.

Vla.

VC1.

SOP.

Alt.

Ten.

Bass

100

A a - 0 1&- a _fL, 4L 4LLF ) I i F 1 1

1 1 -F F 1 ;r j F 11 ___, p F F0, 6mm4

A

.. ................. .... .......... ............... .. .... ......

Q....000004"ON 4Lrv 30IL. &T

6.1 J

F F F#

bmmd

A jJ a *0- o-W wl i -- 1, 0F

A A;W--- XE Im T -1

im 40 W 0it

c.

Pon" Pow" PM" -Pow"

bomunkmood

P__4q PMO"bF M j j '. 0 1 - 1 11 - ! ! 1 , d uoOK mt P9,

4- A

com for-ting, how COM for tinge how COM forA 9 f

1 -4-a OIL1L, LT

rod and staff how com for-ting, how CO-M for-A pow=" Wo" own=* SOMAW Pm" *van*

ANR.M FILI LY ;A! mw 39 PC

bmw

com for-ting, thy rod and staff how om for-ting, how COM for-

_00. eC---% rt F - 1i F I

com for-ting, how com for-tinghow COM for-

Pon" PWXN"hr at

air

L INr W./ f

Org.

Lovefeast SixHead of thy ChurchTwo J.H. KnechtAnthem

F]..I

Fl. II

Crn. I

Crn. II

Bssn. I

Bssn. II__1___

I I......

ting. Head of- thy Church

ting. Head of- ty hurch all wise and faith

'tn.Head of thy Church all wise and

Ung.

r r

101

I IF

p i

pN

Vln. I

Vln. IJ

Vla.

Vcl.

Sop.

Alt.

Ten.

Bass

Org.

p

F==q fqw

L L9

99 I

Lovefeast SixHead of thy ChurchTwo J.H. KnechtAnthem

Fl.I

Fl. II

Crn.I

Crn. II

Bssn. I

Bss n. II

A) A . 4' MI L D .

.......... r

__ NJ

102

fw~ I-- I20f

I LJi__ f

Vin. I

Vin. 1I

Vla.

VC1.

Sop.

Alt.

Ten.

Bass

Org.

I

Lovefeast SixHead of thy Church

25

J.H. KnechtAnthem

Fl. I

Fl.II

Crn.I

Crn. I I

Bssn.I

Bssn.I1

Vin. I

Vln. 1I

Vla.

Vol.

Sop.

Alt.

Ten.

Bass

Org.

L41L -

p

i F ' v

~ ~ LJ[ Tf LJ[O4j o h h id la- n h edig fl o

Iotow wo h i led-.n tyled-ng fo-7o

do J

fl lw who thy kind led n thy lead-ing fol- low th

od lwad h- thykind lea- iow thy lead-ing fol- low th

7jdiuilJF

103

Two

n m rmm--*I_ i-I

-I " - .1 i p FF F F 1,. . r

lo[ if

Ip

Lovefeast SixHead of thy ChurchTwo J.H. KnechtAnthem

Fl. I

Fl.II

Crn.I

Crn.II

Bssn.I

Bssn.ii

104

tr

pn

iFF

thydrodnndtataffhow corn - for -

4u

f

F, 1

41 n s a~hw on- fr

roAn tf

IfW

E

Vln. I

Vln. 13

Vla.

Vci.

Sop.

Alt.

Ten.

Bass

Org.

Lovefeast SixHead of thy ChurchTwo J.H. Knecht

30

Anthem

Fl. I

Fl.II

Crn.I

Crn.1

Bssn.

Bssn.

Vln.

Vln..

Vla.

Vcl.

Sop.

Alt.

Ten.

Bass

II

F p

tlng.Thou guId'st thy flock. Thou quldsat thy

m4Fting.Thou vuid st thy flock.

t pnT.hhuu g u d s t t y t h y

Thou qholdsti thythy flock

p

A ng.

Org.

105

W AL 1.-mrFr

IJLw~~ E~xN%.i~ ~ mm .tAMk

A

Lovefeast SixHead of thy Church J.H. Knecht

35

(T~

Bssn.II

I

lokThou quld st thy flock to pas- tures e - ver

4~- -

r

o a y O.

+;ui 7t0 thy ftIcj.

A 1;u

,1TA 1

106

TwoAnthem

Fl. I

Fl.II

Crn.I

Crn.II

Bssn.I

yin.

Vin.

Vla.

Vl.

Sop.

Alt.

Ten.

Bass

Org.

Lovefeast SixHead of thy Church J.H. KnechtAnthem

Fl. I

Fl II

Crn.I

Crn. II

Bssn.I

Bssn.II

4 4 4F= ==

k... IV

Ij Ii. 'r ]PN" * F M

107

Two

-A-

-Z

VJln.

vin.

Vla.

Vci.

Sop.

Alt.

Ten.

Bass

Org.

Lovefeast SixTwo Head of thy Church J.H. Knecht

41 40lpp

-Met-i

Anther

Fl.I

Fl.II

Crn.I

Crn.I

Bssn.

Bssn.

Vln.

Vln.

Vla.

V1l.

Sop.

Alt.

Ten.

Bass

Org.

ff IIf AW

It Aft t 9 F - AF f f i- I F!I I Jim a 01k:=[

Pump" on" Pon" rnE2

3N,

A jS

m 0% Tc

where plen teous grows

A A;

W

qj

A aV Af W

No(:A

ver-dant where plen- teouls "garow:'" a

41L

where plen teous grows that

A a rti I I I I!4 m -L 'M N ---- --- _;; i - i; I -A

A. Q Q M; 4, 9

~I.

108

mn

I

I

I:

I

i ip F0, 41NJ

Anthem

Fl.I

Fl.II

Crn.I

Crn.11

Bssn.I

Lovefeast SixHead of thy ChurchTwo J.H. Knecht

i 7

Bssn.I l

Vln. I **L 1 JI

A4.. I IVn II I pj? LJ-J==9 ~ 4

Vla.

Vcl. I

Sop.food ce - lest-ial which quick-ens

Alt. "

Ten.1CStood lest-ial'which quick-ens us

Bassfood ce - lest-ial

Org.

109

Lovefeast SixTwo Head of thy Church J.H. Knecht

cresc.

lP

cresc.fp

A_ _ _- ~ ~ .

Ax ~I -F 1II

IiI

A.I I~Crosc.

LXJ

#j usto Li fe di.- vine

toLie i-vine, thou lead- est

whihC qickten ustifife di- vinethula s

KVIA %A Op[

110

Anthem

Fl.I

Fl.II

Crn.I

Crn.lI

Bssn.I

Dc. T

Vssn.

Vln.

Vln.

Vla.

Vol.

Sop.

Alt.

Ten.

Bass

Org.

I Lj

Lovefeast SixHead of thy Church J.H. KnechtAnthem

Fl. I

Fl.II

Crn.I

Crn. I

Bssn.

Bssn.

Vln.

Vln.

Vla.

Vcl.

Sop.

Alt.

Ten.

Bass

II

I EI I ' K 14 I

U I 4us

thou lead -est was-toers in

A aI

r -l I I r ~ I'

111

Two

I

ly Aw 10 : f 0 PEAK i F lo lAf

Org.

lI

Ah

-T---v

Lovefeast SixHead of thy Churchn Two J.H. Knecht

4~L

:)

Anthem

Fl.I

Fl.II

Crn.I

CM. I

Bssn.

Bssn.

Vln.

Vln.

Vla.

Vol.

Sop.

Alt.

Ten.

Bass

I U LLJ V I r

112

I L

r r

II

III

streams of heav n-iy vir-tue where liv - ing streams of

11

41 T a

t ~ iv - ing streamns of

to liv- i d4-M

fi .--

.5 OA

Org.

I

- Yl-" Iw

Anthem

Fl.I

Fl.II

Crn.I

Crn. .

Bssn.I

Lovefeast SixHead of thy ChurchTwo

J.H. Knecht

60

i BfLJ.PA 4

pF

rr4 1 1

Bssn.II

Vln. I F L.1

........Vln.lII

Vla.

~eav'ri- ly vir- tue where each may drink to thirst no more to

Ten. t ~ 1rVbeav'n- ly vir- tue to~ thirst no more where

Bass[where each 'Ny i nk to thirst no more

Org .

Obogm

113

. ..........

Two

I

I

II

Lovefeast SixHead of thy Church

cresc.

J.M. Knecht

dim.

Anthem

Fl.1

Fl. II

Crn. I

Crn.I

Bssn.

Bssn.

Vln.

Vln.

Vla.

Vol.

Sop-.

Alt.

Ten.

Bass

__________ . -~-----$.-~-do

I m

II

~zm ~.......dim.

creic.

thirstno more.

each may drink to thirst no more to thirst no more.

eahmydrink to thirst no more to thirst no more.

- I ~ =F- 7-7_-1 rK A

114

'Idim.dim.

.1 r

Org. crest.

1'. r [r

9E

9E

I

Lovefeast Seven

Wie thust Du ans so wohl, O Herr! wie gna- den- voll Er geist Du Dich den

6 4 564 6 6

ro I

1i

Dei - nen! Wie labt sie Dein Er - schei - nen! Es trankt als warm- er

54 6 7 7 6 6 5

U I I

Re - gen Der Herz - en Flur mit Se - gen

5 87

I I I - - I

115

10

Hymn Five

T

I

V -- '-

Lovefeast Eight

1- L

Thou wilt be our Sav- iour, Re- deem- er and Friend;0Grant thai: we may a - bide in thy love to the end;

6 6 6 7

A

1I-

ren - der us tru - ly o - bed- ient to Thee, That

7 674 -

6 3 6 5 6

7

we thy dear child- ren for - ev - er may be.

6 5 6 6 7

116

II

Hymn Six

I I I

Lovefeast NineDer Herr tro-stet ZionAnthem Three Jaeschke

Moderate

Violin I

Violin IIcrasc.

Viola m iWlP P fmf cresc.

Cellorf cresc.

Soprano

~Ato

Tenor

Bass IJ

OrganI i iI I IT I If

117

Lovefeast NineDer Herr tr6stet ZionAnthem Three Jaeschke

5. LLJ 4

II

I 11

AA

fir &i

3h, lot

118

Vln.

Vln.

Vla.

Vol.

Sop.

Alt.

Ten.

Bass

Org.

Lovefeast NineDer Herr tr6stet ZionAnthem Three Jaeschke

F ' I I 1 11 If'i ii I- I - 'a I- I Fl 'f r I [

I~ I-- Ium

F., 4 IF I F 1 F !F-

lo

u*~UF. -j 2

Ale

ri r

4 OfflT rr.ii

119

VIn. I

Vin. I

Vla.

Vci.

Sop.

Alt.

Ten.

Bass

Org.

I

Lovefeast Nine

Anthem Three Der Herr tr6stet Zion

Vln. I

Vln. I]

Vla.

Vcl.

Sop.

Alt.

Ten.

Bass

Org.

10

F: I-' I.I

1 IIF

120

Jaeschke

I

Lovefeast NineDer Herr tro-stet ZionAnthem Three Jaeschke

V AFn. I

Vln. II

Vci.

Sop.

Alt._

Ten.

Bass II1

Org.

rVra rfA 1t ____

121

Lovefeast NineDer Herr tr6stet ZionAnthem Three

Vrrn. Ivin. FIJ

Sop.

FAtt.

Ten.

Bass

Org.

-C d_

122

Jaeschke

Lovefeast NineDer Herr tr6stet ZionAnthem Three Jaeschke

Vln. I

20

Vln.IIE i

4-%, it w ME-M

Vla. Z- z Z w

VC1wr4L

Sop.Der Herr tr6-stet Zi- on Der

Alt. AW _j

Ten.

Der

Bass

Org. , - 'Il 1-1 --r-- I-1 1 1

123

Lovefeast Nine

Anthem Three Der Herr trstet Zion Jaeschke

F 1 rfiFV, iff

f p F

v lop

Hertr65-stet Zi on und macht ih- re Ge-

I ROWF I L~

Awp

A ~ 2 2 --f t-------

124

Vln.

Vln.

Vla.

Vci.

Sop.

Alt.

Ten.

Bass

Org.

Lovefeast Nine

Anthem Three Der Herr tr6stet Zion Jaeschke

A II II1 l A

fi-enah h- r G iFd i me

FF

jA I-N 11 3I

125

Vln.

Vln.

Vla.

Vci.

Sop.

Alt.

Ten.

Bass

Org.

Lovefeast NineDer Herr trostet ZionAnthem Three Jaeschke

3b- I

Gar-ten, wie emn-en Gar-ten wie ein-en Gar ten des

if .1

A ~J 1or!1. - F ! FLc AIcmmJK

126

Vln.

Vln.

Vla.

VcJ.

Sop.

Alt.

Ten.

Bass

Org.

Lovefeast Nine

Anthem Three Der Herr tr6stet Zion Jaeschke

Hern we m-n Ga1-tn7es Hrr, a3Ia

lei ti 4rL 11. II I uIi.,

c1e -.

127

u. I

Vln.

Vla.

VCl.

Sop.

Alt.

Ten.

Bass

Org.

Lovefeast Nine

Anthem Three Der Herr tr6stet Zion Jaeschke

_ _ _ _ _ _ _ _ _ _R- 4

;t:14 ;.

Ina F iI F

oppI IAr

128

Vln.

Vln.

Vla.

VC1.

Sop.

Alt.

Ten.

Bass

Org.

Lovefeast Nine

Anthem Three Der Herr tr6stet Zion Jaeschke

Vln. I

Vln. I b

Vla.

____ ___ ___ ____ ___ __FVC1 .-

Sop. ' 'JJmo

find- et, Dank und Lob- ge-sang, dab man

Alit.

Alt. - -.'.,Vr r r

Ten.find- et Dank und Lob- ge-sang, dab man

Bass

Org.

129

Lovefeast Nine

Anthem Three per Herr tr6stet Zion

Vln.I40

Vln .II

Vla.

VCi.

Sop.Won - ne und Freud- e da- rin- nen find - et

Alt. PII. [

Ten. FWon-ne und Freud- e da- rin- nen find - et

Bass

Irg

Org.

130

Jaeschke

Lovefeast Nine

Anthem Three Der Herr tristet Zion Jaeschke

tr

IiI I

D kDank, nd Lob ge- sang, Dankud

DkDank, und Lob ge - sang, Dank und

tr rIn

131

Vln.

Vln.

Vla.

VcJ.

Sop.

Alt.

Ten.

Bass

Org.

Lovefeast Nine

Anthem Three Der Herr tristet Zion Jaeschke

I

N[I

rr fil-

Lob -ge- sang

f

132

Vln.

Vin.

Vla.

Vci.

Sop.

hAt.

Ten.

Bass

Org.

Lovefeast NineDer Herr tr6stet ZionAnthem Three Jaeschke

iF OP I

F 4

A: - F F,-F~

Der Herr trd-stet Zi- on Der

w - -I Fl r0Y IF

133

Vln.

Vln.

Vla.

VCl.

Sop.

Alt.

Ten.

Bass

Org.

Lovefeast NineDer Herr tr~stet ZionAnthem Three Jaeschke

JR IK - I.LWUhL~

F 1O -F

OpF FF F,[ 1'19

1 F F 0[P

C~FHerr trd-stet Zi- on und macht ih-re Ge-

F F i

~F F FT r

134

Vln. I

Vln. I]

Vla.

Sop.

Alt.

Ten.

Bass

Org.

I

Lovefeast NineDer Herr trbstet ZionAnthem Three Jaeschke

I PE -a- I

IIF , IF

i I F ifi e ah h- eG iid i

A:'

LII IF 01P

FI ~~ZIZ

AX 11~

135

Vln.

Vln.

Vla.

VCl.

Sop.

Alt.

Ten.

Bass

Org.

Lovefeast NineDer Herr tr6stet ZionAnthem Three Jaeschke

60

IFF

X' ?f Ic

ein-en Gar-ten des Herrn wie emn- en Gar-~ ten des

I

ein-'en Gar-ten des Rerrn wie emn- en Gar-~ ten des

w 17F iW '

"_ _ _ _ FiI

w ow -40

136

Vln.

Vln.

Vla.

VCl.

Sop.

Alt.

Ten.

Bass

Org.

Lovefeast NineDer Herr trstet ZionAnthem Three Jaeschke

-..

I1 IIV

Herrn, daB man Won - ne und

A~

Herrn, daO man Won - ne und

M "

137

Vln.

Vln.

Vla.

VC.

Sop.

Alt.

Ten.

Bass

Org.

Anthem Three

Vln.

Vln.

Via.

VCi.

Sop.

Alt.

Ten.

Bass

Org.

Lovefeast NineDer Herr tr*stet Zion Jaeschke

65

fp

Freu de da-rin-nen find- et Won-ne und

h 7 7 7 7-F-F

Freu - de da-rin-nen find et Won-ne undA V FF

ALL

F I

Imf

138

I I I -I-

HEIm

- - , .10- -10- 4 t- #r- .01- 1,-,- .0- i

Lovefeast NineDer Herr trbstet ZionAnthem Three Jaeschke

Vln.

Vln .

Vla.

Vci.

Sop.

Alt.

Ten.

Bass

Org.

139

I

-w- -

Freu-de, Won-ne und Freu-de, Dank und Lob-ge-sang, Dank und

Freu-de, Won-ne und Freu-de, Dank und Lob-ge-sang,Dank und

FFf tf

ff Iii 1

Freu de, W-neud Fe- -n nd Lbg-agDn n

-A,

Anthem Three

Vin.

Vin.

Vla.

VCl.

Sop.

Alt.

Ten.

Bass

Org.

Lovefeast NineDer Herr tr6stet Zion Jaeschke

70

rnf

Lob-ge-,sang, Dank und Lob- ge-sang, dal3 man

r r

140

Lovefeast NineDer Herr tr6stet ZionAnthem Three Jaeschke

Vln.

Vln.

Vla.

Vci.

SOP.-

Alt.

Ten.

Bass

Org.

141

_ _ __- F _ _ _ _ _ _ _ _ _ _ _ _ _

III

-I

4 -F

Won ne und Freud e da- rin nen find et

--- A

ppWon- ne und Freud - e da- rin -nen f ind - et

1 '1pr

Lovefeast NineDer Herr tro-stet ZionAnthem Three

tr~EF fT71.~T~~iVV F .Y

w IIA o. a.

tr

Vln.

Vln.

Vla.

Vcl.

Sop.

Alt.

Ten.

Bass

Org.

142

I

Jaeschke

I ! j;' F Ij::

I 1 L

l~k I.p, I1

Dank, Dank, Dank und Lob- ge -

A~VV ~ '

"db- -AL -AL -AL JL 12-

75

Lovefeast NineDer Herr trdstet ZionAnthem Three

Vln.

Vln.

Vla.

VCi.

Sop.

Alt.

Ten.

Bass

Org.

143

Jaeschke

A -,F- -ft- -F-- -p- 41-- -P--v TIM44 -1 -q -1. F-4 iIra% IF 1 .1V Ly F 1 F

qj80

AUF

Al t. I r- w r-e-F 1 11 F -, F,- F- f- P- F-

i K

K* Ur --Y r tV 00

Aw .0 P- F

sang.Dank und Lob ge- sang.

A-

I PX, LF 1 F

Aw Lur

sang.Dank und Lob ge- sang.

L--,% it Fm a ly F

Ai A 6d Im F 1

FIfj md

Lovefeast NineAnthem Three Der Herr tr6stet Zion

vf1.n. I

Vln. .3

Via.

Sop.

Alt.

Ten.

Bass

Jaeschke

If UVV ': :

p _ _ _ _ 1

) I.F" I _ _ __4_ _ _

1;4

Org.

............. MR.""

144

Lovefeast NineAnthem Three Der Herr tr6stet Zion Jaeschke

A'

F .1

A i I

zo I oiz, " t- mi

It 34

IM-I 1 1 1' F- II II

TO -"r'_- .- ~7TTI

145

Vln.

Vln.

Vla.

VC1.

Sop.

Alt.

Ten.

Bass

Org.

Lovefeast Ten

I I A

1.Ja, A men,uns - re Sel-lig- keit War ein-zig Dein4 Er bar men; Wir2.Wie oft seit je - nem er-sten GruZ,Hat durch Dein Blut ge rein - igt, Des

6$ 6 4 7A 6

r-% A AL

la - gen sanft, in Freud' und Leid, In Dei-nen Lieb - es Arm - en.Mahls der Lie - be Fest - ge - nuB unc neu mit Dir ver - ein - igt.

76 66181

146

b

Hymn Seven

Lovefeast Eleven

0 let thy love our hearts con- strain, that in one cov - e -The bond of peace we may main- tain, and- be to mu - tual

6 6 6 6

nant ux- ni - ted, To God and to the Lamb be prais- eslove ex- ci - tedLab e ri-s

64 6 766

5

giv'n By sin - ners here be - low, and by the saints in hea ven.

4 46 3 2 6 7 7

147

Hymn Eight

i i i I

I wI

I I

Lovefeast TwelveWas Othem hat

Clarino

Corno I

Corno II

Violin I

Violin II

Viola

Cello

Soprano/Choir l&II

Soprano II/Choir i:

Alto/Choir I

Tenor/Choir I&II

Bass/Choir I&II

Organ

Al) "O

JLl

A S

a i)1

40

I. II

148

Anthem Four

Allegretto

C.I. Latrobe

Lovefeast TwelveWas Othem hatAnthem Fo

Clo.

Crn. I

Crn.II

vin. I

yin. II

Vla.

VC1.

Sops.

sop.IV:

Alto/I

Tens.

Bass

Org.

149

ur C.I. Latrobe

- --hm. il m IA -r4

1 0

||~~~ ~~ jo|| 1-A I d *

if

Ii . .,,.d. .

1iAiltiit-

Anthem Fo

CJlo.

Crn. I

Crn.II

Vin. I

Vini. Ii

Vla.

Vci

Sops.

sop. II/A

Alto/I

Tens.

Bass

org.

Lovefeast TwelveWas Othem hatur C.I. Latrobe

1 71

[lml 1OF 1W

-A

150

Lovefeast TwelveWas Othem hatAnthem Fo

Clo.

Crn. I

Crn. II

Vln. I

Vin. II

Vla.

VCl.

Sops.

sop. 11/3

Alto/I

Tens.

Bass

Org.

I I

Was 0-them

bm~mmmTuId r-hale~_ ver- kOn-dlge Seim-en

L K 1~P"

hat ver- kOn-dlge Sein-en

9 PEI AWid rA UI I I I F

"fl them hat v;r- n-d e Sein-enIMMMUM7

N F

I IL

I is MF. I

151

in

LW4 U;A2

J L.LV- L~i~J

A i r~

1 F, 1 F

ur CI. Latrobe

Was 0-themI i -a

a,-

A i

I ,-4) --,

A A

tJ

Af

,or -

"OWN-* to- 1 9 i 11j 9 siv-. 00.0 1 , Ole

in a#-LI do lA -W-OP"A.1

Lovefeast Twelve

Anthem Four Was Othem hat C.I. Latrobe

awn

190 1 --.a 1_40440

25

F FEE

i

L

P== TH 4 4 - &OWN""4) rqgl

A IW I W' w N_

1 1 r 3 w . T,I

ow 1qj

-it At ut A ItI V J.-

1 FI 4F F

be

A, A010

10

Clo.

Crn.I

Crn.II

Vin. I

Vin. II

V1ia.

Sops.

sop. ii/

AltO/I

Tens.

Bass

Org.

Sein - en Ruhm-

III

Ruhm Sein- en Ruhm sein o n Ruhm vor- kun-d ge Sein-en

44 L5. . .... . .r --

152

Sein - en RuhRuhm- ver- kOn dlge Sein-en

Lovefeast Twelve

Anthem Four Was Othem hat

07, 7

40 so 35

it 00F I Pill

_& # - . 0 , -. W.-- r ' I - - - I -t

bWAWNWMd

IF IFit

A 4IF I IFI I ILA

IL 17 INS N ff I AA

39 F F 1

do11 0 , . w I jw

PM I 'jIs I

CJlo.

Crn. I

Crn. II

Vin. I

V1/n. II

Vla.

VC1.

Sops .

Sep.ii/:

Alto/I

Tens.

Bass

Org.

I

Ruhm- Ruhm- und hale- lu jah, ha le- lu-jah schall

I II~ lI

7;j

A A - __ 11 - 11, t t -A k t , kv 4q 11 -I I I i. - - 3 .43 1

A4j

Ruhm- Ruhm- und ha-le- lu jah, ha lo- lu-Jah schall'

A 14CHI q W., 10 F% Op W.. fL, 3f;@is 1 4 1.

V 9

r

1 F, F .7 i OpA I I AFF

Rubm- Ruhm- und ha-le- u& Jah, ha 1 - lu-J;h schall'

A .9 r-T-1 I h I I IW 1 -1 F -i I

: i i i dq I U w I 'K

NE F "F F 1 1

1 1 F.ja I L_

Md

153

C.I. Latrobe

-- -

1 9 r r

i.4

-2

Anthem Fo

Clo.

Crn.I

Crxn.III

VJin. I

Vin. II

Via.

VC1.

Sops.

sop.II/

Alto/I

Tons.

Bass

Lovefeast TwelveWas Othem hatur

Im ii l flum.

im Hei-lig- thumb.

Was 0- them

thum.

I

Org.

154

C.I. Latrobe

140

A-

Zas - th 3fa

Was 0- them hat

F9 Was 0- them

Was 0- them

Was 0- them

as them

t=:i q . .

im He - -

0

AIL . t

w

r-- 72

I ! -P9

IW

ILA

.t

14' #if 1 F

nab %J- 4B4A %.

Lovefeast TwelveWas Othem hatur

45

.11I1 I I

1 1 F F F i

A A

- . f,, F

-h j- -_ _ _ _

~2KT1: VN' I I 1r Ir

Clo.

Crn.I

Crn.II

vin. I

Vin. II

Via.

VCl.

Sops.

sop.II/:

Alto/I

Tens.

Bass

Org.

Ruhm. und ha- le-

I

lu - jah

und ha - le-

ha- le-

lu-jah

lu-jah

ha- le- lu-jah

U

-F-1 1

hat ver-ktn-dge Sein-en Ruhin. und ha- Lu*-jab ha 1. lu-jab

f~ V~ I tY i FN

und ha le1- lu-jab ha- 1e- lu-jab

hat ver-kon-d'ge seiti-en Ruhrn.IF

A .9

155

Anthem FoC.L Latrobe

ver-kUn-dlge Sein-en

lill| Illiij i - -

4I

-

Lovefeast TwelveWas Othem hat

. I . 7

tl 11 -ArL-

jw

j9

i

tr

WIN

Ll1

At itF i

9;JF

lijr IA

Clo.

Crn.I

Crn.I

vin. I

Vin. II

Vla.

vel.

Sops.

Sop.II/

hAto/i

Tens.

Bass

org.-

und ha-le-lu-jah schall'

'~ 'r r r 'F .,.i, R -.i , .1

schall' im Hel-lig- thum,

[ A'[irund ha-le-lu-jah schall

156

Anthem FourC.I. Latrobe

schalI' m ee-lig- thum,tj -,-- - -

A 14 -zm-if.a-,Z-rue"

A bl

schall

schall

schall

schall

schall' im

schall' im

mmmm

-- I it - 0- 1 F., .I44

III

EEJ

IT

wig 0

hall' im Hei-lig- d &-ie-lu-jah all' hall, im

A if- -- -- ii -i ,A-V- 0 - r-,40 1

dp go

I F-19 F 1- i i i F 1 1

5

Lovefeast Twelve

Anthem Four Was Othem hat

Clo.

Crn.I

Crn.II

Vin. I

vin. II

Vla.

VC1.

Sops.

He i-

AMto/I

Tens.

Bass

Org.

.g- thum!

He i-- I ig. thum!

g;- an 4u

-

157

C.I Latrobe

Lf 4-

11 9SFALM; -------- -

lp mp 41P

144 F &"OWN"

A

I _/ W

-ij--

Sop.

Lovefeast Thirteen

Neu - en Bund-es Herr- lich-keit-en Wird man in Dir durch al-le Zeit'n, Du

V I

Haus des Hbch- sten! pre- di- gen: tUnd mit fried-ens vol- ler Lip- pe, Die

66

Kraft des Worts von Kreuz und Krippe An Tau-sen- den be- 3t8 ti gen.

63 6

s -f ---1--F 0 , ?1 -F1 Mi

S4__

10

158

Hymn Nine

A

I 1 6 w

Hymn Ten Lovefeast Fourteen

Der Herr be- hut - e dich! Es leuch- te gnad-ig-lich Dir Sein Au -

*4 7

6 6 46 6 6 f

N11

ge! Sein An - ge - sicht, das Se - gen spricht,Er- fLl- le dich mit Fried' und

44 4A 2 6 2 6

6

Licht' A-men, Ha- le - lu jah! Ha- le- lu- jah! A-men, Ha le- lu- jah!

6A766 A 6 6 A

10'

19

159

1)41%r 47hly ff

jpb

Singstunde13 August 1837

160

Hymn ElevenA I A

In stil-ler A- bend- stun- de, In fest-lich fro-her Ruh UmVer- ein- en sich zum Bun - de, Herz oh- ne glei-chen Du!

76 6 6:0 6

1~

dich her-urn die Dei - nen: Sie schau- en him- mel an, und Herz und

6 98

I f

A1- -Au - ge wei - nen, Herr nimm ihr Op- fer an!

9t 676 6 A6A

MF.-j - I I I I

161

A I I I

11

Singstunde One

I 1 9 17I I boom I

1 6

I

Singstunde Two J.F. PeterKommt aet uns singen

Anthcon FiveLoblhvaft

Flute I

Flute II

:larinet I

.1l2rinet I

Como I-

zorno I4

Bassoon

ViolinI -

Soprano

TenoF

iolnII

Soprano I

Soprano II

&to

-a-Tern-..o-rr___r_____________________A_______________'_____________-_

Organ

162

I

I

J=zi i - .% -i

ALnthem

I'.II

Clax.I

Singstunde Two

Kornt l Wet uns singenFiveJ.F. Psier

Clear. Ii l ' ~

.1 A

P .-

LC f

innu1 qn

IIs. .,* i,1-- - - -

41!,

IIson*u

A- 4%- f-- --

v 'I . &

9; F I

qj jdWA*WAMW v~k% N almoa-io

163

Crn.

Siasn.

Vin.

Vl1n.

Sop.

Sop.

Alt.

"as.

Org.

LEx

""P

Singstunde TwoKonmt utie uns singen J.F. Petr

20

- -w

=ar.I

I

IU

II

laS-ct Un. sing-en Koammt la~t aans sing-on vie zur Nacht c n-es hci - i-gen

1.5-t uns sing-en Kout la~t uns sing-co vie zur Machi cmn-es bet li-gen

-~~~~- .j k 1 -kL --

p- ap

Kouut lag-*t uns sing-on, kosut laft uns sing-en

Sop.IIak

Um 1g#IIP I L

Koant laS-*t uns sing-en, kotmt labt uns sing-on

.-I "0 L

164

FiveAnthem

rl. I

Fl. ii

Clar.I

Vrn.I

Bssn.

Vln.

Sop.

hit.

SXa

Sop.

Lit.

Baas

a-

Singstunde TwoKommt Wet uns singen

Five

IK

23F F oks

f, EE=

=lar. II

I

4L 44-

m..

"I

Lam, I F 1 F1 F 6 . -

A-bend

116

A -bend

vie cur achi ein-es hei - ien Fe aeI

m ia*ur IN&cht *in-a hei - 1-gAn rest-a- -------- -

, .b. .k r||

165

Anthem

Fl.I

F1.11

Clar.I

-F. Peter

-rn.r

Basn.

Vln.

Vin.

Vla.

Sop.

&it.

Trn.

8"ss

Sop.

Sop.

Lit.

Bass

Dzg.-

-- ;4 09

Singstunde Two jp Pet

,knthem Five Kommt I&Ut uns singen

Pthe FivFl. IIH

.C rar..f

p4

I

I

Laa

1-10

M W II~ h FAi I

-1. - - - ---, ... -.'-iKott At uns sing-en iwinannmm he I-Igon A-beend

Koat last Uns sing-en

Komnt lW-t uns sing-en ie an in- em beo- I-gen

F--T.T! 1"-

6~ ~r II] AfEgg

166

-Zn. A

T'en.

Bass

Sop.

kit.

8"s

OLg.L AK A Id

I

Singstunde Two

&nthem Five Kommt laSiet uns singen

40A3

Fl. A1

Mlar.I

Crn.I

PIP-

crn.II

Been.

lin. I

Vla.

Voli.

s.tI

Sop.4- -1- rt-l f -ro', Ib IA 1

und uns von Here-en von Herz- en re enL.

j'I,-k

Ten. 4 1Jdund uns von Here-en von rx- en fs * n. Left (roh snd sIng-en

:!k

-I ssm -!I

Sop. - iaA-bend und Uns von Herz-en von Her- en Creu- en. loawt

org.

167

Singstunde TwoKommt lagetuns singen J.F. Pewir

FS50p

iip

I f,

I4Clar. III '

Crn. II

frn.II

Basn.

Vin. I

Vin. II~

Vla. ______

A.l

;-.ZI I I o=

t: IP t!P jA0

Sop.-LaSt tcoh tans ulnq-en,vie :ur Mactat emn- es bel - it-gen rout-es

Pat. - ___....___ _.

Koat las-et mns sing-en

Sop.

sA-st tans oinq-enkoaot us t tans sing-en uee

Sop.UI

itoh ans sinq-en laSt froh uns sing-en

Alt.

irob tans sing-ont t iro nas sing-en vie n

Bass __________

Drg.

Lat fch us suwnwezr Nav I-* o.l-e et*

168

FiveAnthem

61.I1

61.II

:uar.I

Anthem

Fl. .I

OClar. I

Singstunde TwoKotnmt laBet uns singe

FiveJ.F. Peter

::n.IA

424

Vrn Jr.-VrF

Vin. XL A Ii

4

Vla. 6i

SOP.-und uns von Herz-en f rcu-en und uns von Herz on freu

&It or Opl k. C'il F l. i w

und uns von Herz-en reu-en und une von Berog an ru

cm c m hel - -qn A-bend. und one von Bert-en treu-cn,and one von Her: - en tzcu -

Sop.I

Altt

F' I R t

- F 4 1 1 1~1

In- am he - i-qen A-bend,und uns von Her-en fru-en und uns von Heo- en reu -

Base

.rg

So..r11A r..

0LjP;I ;IH UJ ' L I

169

tr

M - -

4L o

Singstunde TwoKommt aet uns singen

63-

]I~iL~

J.F. Peter

~ ~- b ~ LA

F' ii II 1 1f

f

F 1 A4

I

v-- a I A AI p

.1. L INO'T 1 1q

.1' I

en Ii. Chriat-nacht und die lam - stun hier Cu' qe-

4

.11 a

e Bis Christ-nacht und die Pas - son hier &us - ge-

en. Ris Christ-nacht und die Pax - son hiet aue - e-

7!.:. * 1.

.116 L

4 v-

ILI

170

Anthem Five

F1.II

Clar.I

-1 II.TTE

B6t

zrn. I

ftan.

Vin.

Vln.

Vla.

Sop.

kit.

Ten.

Bass

Sop.

lit.

Bass

Org.

1

"iar. LL -T --

Singstunde Two

Anthem Five Kommt laet uns singen

F1. I

Fl.II

=lar.I

IF. Pewr

LA Fr I C

70 7_

P

Ca.3,I.

Vn.

Vln.Vin.

Via.

Sop.

hit.

Ton.

Bass

sop.

Sop.I

Llt.

Bass

3mg.

171

- '

--- w

I

II

I A.

4L A w I I I Ifh O

4 44I

I 2i

ung - n seyn.

ySi Chriat-nacht und die -si - ion dier sua - g -

un - n sy.aS Christ-nacht und die Faa - uion hier sue - go-

9L" .

A a

IFF 10 id pm nF-Z. A Ad- P-

Singstunde TwoKommt aet uns singenAnthem Five

GO

tr p*

lota

mar.IIIN

Zrn.II,1 I

II

sung~ en seyn.

I1 Id 1 l

b L I

aung- en seyn.

A wF10

VP

172

Fl. I

Fl."

Miar. I

I.F. Peter

866n.

vin.

Fin.

Vla.

ltd.

Sop.

kit.

Tn.

Bass

SOP-

Sop.1

hit.

Bus&

:org.

Hymn Twelve Singstunde Three

II I ~I 1 ft 2

The Lord hath e- ver to his flock,Kep with-out sep-ar - a- tionHe doth a- bide ou Shield and Rock Our Peace and our Sal- va- tion

566 6 43 6 6 6 8 7

--% A

- d I I j

h I) .il. li1--1 fi1T1 ^0 -:4'

He leads us with a moth-er's care Pr tects from dan-ge gaurds from fear give

56 6 6 6

6

h)

11 1

173

T TP

to our God the glo - ry

6

II . I

1 9 1 6MIJ I

I . ... I I

9

f I ri I

I I ,%*.Woor i

Singstunde Four and Five

1) 1 a I I I I I I ii19

Chor.- Was em ver- seng- ten and Nach hei- Bem Son-nen-brand Des Thau- es kuh- leGemein - 0 reund!was thun wi dir Zur Dank- bar keit da-fir? Kein Op- fer kei- ne

6 69 8 A6

Wol- kelas bist du dei - nem Vol- ke: Von dir weht A- befdGa - ben, Nur Lie- be willst du ha- ben, Lieb, 0 - ber-trifft's Er

f A5

,r I,% I 1 1 I I I I

mil - de, Und lieb-lich grunts Ge- f ilde.ken - nen; Woh - lan! die Herz - en bren - nen!

9 -610 I I

174

I Ij

Hymn Thirteen

i | | 0

i I

Hymn Fourteen

1)

Singstunde Six

Hal- le- lu- jah! praise be giv - en Un - to Je - sus who or usLeft his glo-riuos throne in heav- en And was of-fer'd on the cross:

6 6 87 A6

That his suf-f'rings, that his suf-f'rings might re-trieve our dread-ful loss.

6 7 6

5 I -

175

II

Hymn Fifteen Singstunde Seven

Ach zeuch uns n, h-er Jahr fdr Jahr, An dich hin-an,,du Fiirst der Herz-

7,4 6 6 76 6

I I - I I

I I

I I I

I Li

I I I I I I

I I I I

176

1

A

6 1

en! LaB jhr-lich hel-ler uns-re Kerz-en Er gluh'n an dei-nem Kreuz-al-tar

~6666 6 6 76

Li-1

Hymn Sixteen Singstunde Eight

21i frlu

Bis du wirst als BrAut'gam kom men, Da der Sab-bath bricht her ein, Wo wir

6 6 6 6 7 7 6

wer-den mit ge - nom - men, Da3 wir e - wig bey dir sein.

4 62 6 5 9 8 6 6

r- S

I I

177

6 1 I I

Hymn Seventeen Singstunde Nine

A

0 grol-er Tag, Tag fro-her Herr-lich- keit,_Wann glo-reich im Ge-

6 56; 6

leit Von Him-mels- heer- en Der Herr wird wie - der- keh- ren! Sein Reich

6 6 /6

6A

f) I

10 I I

I I I

Ole. o --f- . d

178

ist nah. Ha- le- lu - jah!

7 6 8 76

rvA

6 9 IF I I

I I

Singstunde Ten

Lively

I .Sing ha-le- lu- jah, praise the Lord,Sing with a cheer-ful voice, Ex-2.There we to all e- ter - ni- ty Shall join tht an-ge-lic lays, And

1~nIit A I I I 18

AR~ I

alt our God with one ac-cord, And in his name re- joice; Ne'ersing in per-fect harm -0- ny To God our Sav-iour's praise; He

6

cease to sing thou ran-som'd host, Prais Fa-ther Son and Ho- ly Ghost, Un-hath re-deem'd us by his blood, And made us kings and priests to God; For,

00

til in realms of end- less light your prais-es shall u nite.us, for us, the Lamb was slain praise ye the Lord A - men!

14 V I ILLILJ-

179

Hymn Eighteen

I I I I 1 1 1 1 1 1 1 1

Iw

APPENDIX A

180

APPENDIX A

Litiz Gemien Diarium Transcriptionfrom 13 August 1837

0. T. 13. mor um 9 uhr die erstes Festversammlung, welche

unser

1. Br. Benade hielt. Er erinnerte in seiner Rede,

an die 50 Jahr lang in unserm Gotteshause genossenen

geistlicher Segen, mit dem Wunsh daB auf in der

nun angehenden Periode die hier gehaltenen Gottes-

(new page)

dienste der Gemeine reichlich gesegnet seyn mnchten

er gedachte (fer??? als) an dem heutigem Gemeinfest der

Gnade,

daB sich der Herr an diesem Orte ein Hauslein

gesammelt habe, in Verbindung mit (Merein Bruder) Volk

- u. erwahnte noch das allgemeine wichtigen Gedenktages

der heute in der ganzen Brtider Unitat gefeiert wird.

Darauf brachsten wir unserm Hr Bitte u. Gebet

mit danksagung, u. konnten uns aufs neue

dessen getrosten daB Er noch unter uns wohne.

Um 1/2 11 Uhr verlas Br Wolle einen Aufsatz

uber der verflossenen Zeitraum. / ?. Beilag?. /Nachm. um 2 Uhr war das Festliebesmahl, bey

welchem ein dazu verfertiger gedruckten Psalm

gesungen wurde. Br Frueauff von Bethlehem

hielt daselben.

Um 4 Uhr beging der Gemeine das H. Amtes (unter Br Wolles

Liturgus) u.

181

182

es waltete daby ein ganz besonders beseligendes

Gefilhl der Nahe u. das friedens Jesu.

Abends um 1/2 8 Uhr wurde eine musikalishe Sing-

stunde auf dem Platz vor dem Kirche gehalten, u. daby

ein fur diese Gelegenheit gedrucken Psalm ge-

braucht. Der wir ein Lustgarten ausgelegte Platz,

dessen zahlreiche- vershiedenartige Blumen

(u. Baume) in ihrem schdnsten Flor standen, war mit einer

grosen Menge Lampen, u. eine Anzahl

erla'ucheten Pyramiden aufs schonste er-

hallt u. geschmickt u. am Eingang auf der Seite nachs zur

Kirche das war die Zahl 50 durch Lichter dargestellt.

Der Abend war ganz still (u. hecter) u. (ungewohlich)

angenehm.

(new page)

Diesem tag -der Jubelfeier, an welchem durch ganzig

ein Geist reiner Freude herrschte u. der Herr uns Sein

gnadiges WohLgefallen auf eine ermuntende Weihe zu erkennern

gab. folgte

APPENDIX B

183

APPENDIX B

Lovefeast Text

Jubel - Psalm

zum Andenken an die

on the Remembrance of the

Einweihung der Kirche zu Litiz vor 50 Jahren

Dedication of the Church at Lititz 50 years ago

Den 13. August, 1837

Liturgus.

(Hymn One)

Kommt vor den Firsten des Bundes, erlbsete Menge!

Come before the Prince of the Covenant, redeemed people!

Brider und Schwestern! ergieBt euch in Jubelgesange!

Brothers and sisters! pour forth yourselves in jubilant

songs!

Opfert - wohlan, Ihm, wie ein einiger Mann,

Offer now to Him, as one man [voice],

Heilige, festliche Klnge.

Holy, festive tones.

(Hymn Two)

Gemeine.

Hoch erschallt, ihr Jubeltbne!

High resound, you jubilant tones!

Feiert Seines Heiligthumes Weihefest!

Celebrate His sanctuary dedication!

Er, der keine Liebesthrane,

He, (who no love-tear [s],

Keinen Danklaut unbemerkt vorUberlBt,

No gratitude allows to pass by unnoticed)

184

185

Ist zugegen: Kraft und Segen

[Hells present: power and blessing

Str6mt vom Haupt aus in die Glieder:

Stream from the head out to the limbs:

Klingt, ihr Saiten! T6net Ihm, ihr Freudenlieder!

Ring you chords! Sound to him you joyous songs!

(Anthem One)

Chor.

Brtider, Schwestern! die ihr stille,

Brothers, sisters! who quietly

Im Gebet aus Herzensfille,

in prayer out of full hearts,

Unsers Bundes Firsten preist,

Our Covenant Prince praise,

Lalt in Seines Tempels hallen

let in His temple halls

Laute Hymnen Ihm erschallen,

loud hymns ring out to Him.

Weihet Ihm Leib, Seel und Geist.

Consecrate to him, body soul and spirit.

Seines Namens Ruhm und Ehre

His name's glory and honor

T6ne heut durch alle Ch5re:

intone today through all the choirs [congregation]

Singet Ihm als stind' Er da,

sing to Him as though He stood here

Ave und Hallelujah!

Hail and hallelujah!

T6net Orgelklang und Psalter

Intone sounds of organ and songs

Dem Erschaffer, dem Erhalter;

to the Creator, to the Sustainer;

Lippen, danket! Herzen, glijht!

186

Lips, thank! Hearts, glow!

Brider, Schwestern, sinket nieder!

Brothers, Sisters, sink down! [on your knees]

Ach! wie hier, verein' uns wieder

Oh! may we be united again

Jenes heilige Gebiet,

by that sacred sphere,

Wo des Glaubens Palme bliht.

Where the Palm of Faith blooms.

(Hymn Three)

CONGREGATION.

Praise God for ever! Boundless in his favour

To his Church and chosen Flock,

Founded on Christ the Rock,

His almighty Son, On fair mount Zion,

By his spirit, grace and word:

Blest city of the Lord!

Thou, in spite of ev'ry powerful foe,

Shalt unshaken stand, and prospering grow,

Midst disgrace - To God's praise,

Both in love and unity: Praise God eternally!

(Hymn Four)

Zu Zion hat Er Seinen Heerd,

In Zion has He His hearth,

Und zu Jerusalem Sein Feuer;

and in Jerusalem His fire;

Wir fthlen's - Seinem Herzen Theuer

We feel it - dear to His heart

Sind wir, vor Seinen Augen werth.

We are worthy before Him.

Warum? was haben wir gethan,

Why? What have we done,

187

Das Ihn erfreuen mag, wir Armen!

that would delight him, we the poor!

Wer sind doch wir? ach, aus Erbarmen

Who are we then? Oh, out of mercy

Nahm Er sich unsrer herzlich an.

He lovingly took care of us.

(Anthem Two)

CHORUS.

Head of thy Church, allwise and faithful Shepherd!

how blest, who thy kind leading follow; thy rod and

staff how comforting! thou guid'st thy flock to

pastures, where plenteous grows that food celestial,

which quickens us to life divine us to life divine.

Thou leadest us beside the silent waters, the living

streams of heavenly virtue, where each may drink to

thirst no more.

(Hymn Five)

Gemeine.

Wie thust Du uns so wohl,

How good you are to us,

O Herr! wie gnadenvoll

O Lord! How merciful

Erzeigst Du Dich den Deinen!

You show yourself to your own!

Wie.labt sie Dein Erscheinen!

How your appearance comforts them!

Es trankt als warmer Regen

It quenches as a warm rain

Der Herzen Flur mit Segen.

The hearts pasture with blessings.

188

(Hymn Six)

CHILDREN

Thou wilt be our Saviour, Redeemer and Friend;

Grant we may abide in thy love to the end;

0 render us truly obedient to Thee,

That we thy dear children for ever may be.

(Anthem Three)

Chor.

Der Herr trbstet Zion, und macht ihre Gefild

The Lord comforts Zion and makes her fields

wie einen Garten des Herrn, daB man Wonne und

as a garden of the Lord, so that one finds

Freude darinnen findet, Dank und Lobgesang.

Bliss and peace therein, thanks and praise-songs.

(Hymn Seven)

Gemeine.

Ja, Amen unsre Seligkeit,

Yes, Amen our Salvation

War einzig Dein Erbarmen;

was only your mercy;

Wir lagen sanft, in Freud' und Leid,

We lay softly, in joy and pain,

In Deinen Liebesarmen.

in your loving arms.

Wie oft seit jenem ersten GruB,

How often (since that first greeting),

Hat, durch Dein Blut gereinigt,

has, (through your blood pruified),

Des Mahls der Liebe FestgenuB

the feast of loves pleasure

Uns neu mit Dir vereinigt.

united us with you anew.

189

(Hymn Eight)

0 let thy love our hearts constrain,

That, in one covenant united,

The bond of peace we may maintain,

And be to mutual love excited.

To God and to the Lamb be praises giv'n

By sinners here below, and by the saints

in heaven.

(Anthem Four)

Chor.

Was Othem hat, verkand'ge Seinen Ruhm,

Whatever has breath, proclaim His glory,

Und Hallelujah schall' im Heiligthum!

and hallelujah resound in the sanctuary!

(Hymn Nine)

Gemeine.

Neuen Bundes Herrlichkeiten

Splendors of the New Covenant

Wird man in Dir durch alle Zeiten,

Will one preach in you through all time,

Du Haus des hbchsten! predigen:

You Highest house!

Und mit friedensvoller Lippe

and with peaceful lips

Die Kraft des Worts von Kreuz und Krippe

the power of the word of cross and crib

An Tausenden bestatigen.

confirms to thousands.

(Hymn Ten)

Liturgus.

Der Herr behfite dich!

May the Lord protect you !

Es leuchte gnddiglich Dir Sein Auge!

190

May he shine mercifully His eyes on you!

Sein Angesicht, das Segen spricht,

May his countenance, that speaks blessing,

ErfUlle dich mit Fried' und Licht!

fill you with peace and light!

Alle.

Amen, Hallelujah!

Hallelujah!

Amen, Hallelujah!

Singstunde Text

Zur Abendfeier

On the Evening Celebration

des

of the

Jubel-Kirchweih--Festes

Church Dedication-Jubilee

in Litiz,

den 13ten August 1837.

(Hymn Eleven)

Gemeine.

Congregation

In stiller Abendstunde, In festlich froher ruh',

In a quiet evening hour, In festive cheerful peace,

Vereinen sich zum Bunde, Herz ohne Gleichen Du!

We unite ourselves together in Covenant, hearts without

equal!

Um dich herum die Deinen: Sie schauen himmelan,

around you: They look heavenward,

191

Und Herz und Auge weinen - Herr, nimm ihr Opfer an!

and hearts and eyes cry - Lord, accept their offering!

(Anthem Five)

Chor.

Kommt laBet uns singen wie zur Nacht eines heiligen

Festes,

Come let us sing as on the eve of a sacred celebration,

wie an einem heiligen Abend, und uns von Herzen freuen.

as in a holy evening and rejoice in our hearts.

Bis Christnacht und die Passion hier ausgesungen

seyn

Until Christ 's birth and passion be recited here.

(Hymn Twelve)

Congregation.

The Lord hath ever to His flock/ Kept without

separation;

He doth abide our Shield and Rock,/Our Peace and our

Salvation

He leads us with a mother's care,/Protects from danger,

gaurds from fear:

Give to our God the glory!

As long as I have breath in me/I will sound forth his

praises;

His precious, saving name shall be/ Exalted in all

places;

My heart, with all thy strength adore/The God of Grace,

the God of Pow'r,

And give him all the glory!

(Hymn Thirteen)

Chor.

Was dem versengten Land/ Nach heilem sonnenbrand

What the cool cloud of dew is to a parched land

Des Thaues kbhle Wolke,/ Das bist du deinem Volke:

192

After a scorched land. That you are to your people:

Von dir weht Abendmilde,/ Und lieblich grUnt's

Gefilde.

From you emanates the balminess of evening and the land

grows green

Gemeine.

o Freund! was thun wir dir/ Zur Dankbarkeit daftr?

O friend, what can we do to show our gratitude?

Kein Opfer, keine Gaben,/ Nur Liebe willst du haben, -

No sacrifice, no offering , only love will you have, -

Lieb' Ubertrifft's Erkennen:/ Wohlan! die Herzen

brennen!

Love surpasses knowledge:/ Now then! Our hearts burn!

(Hymn Fourteen)

Hallelujah! Praise be given/ Unto Jesus, who for us

Left his glorious throne in heaven, /And was offered on

the cross:/ That his suff'rings :1

Might retrieve our dreadful loss.

We behold in Him our Brother,! Unto us by blood allied:

He's our strength, we need no other,/ For our wants He

will provide;/ Soul and body:I

May through Him be sanctified.

(Hymn Fifteen)

Ach zeuch uns naher Jahr fUr Jahr,/ An dich hinan, du

First der Herzen!

O draw us nearer year by year to thee, thou Prince of

hearts!

LaB jdhrlich heller unsre Kerzen/ Erglh'n an deinem

Kreuzaltar!

Let yearly brighter our candles burn, glowing on thy

cross-altar!

193

(Hymn Sixteen)

Bis du wirst als Bruut'gam Kommen./ Da der Sabbath

bricht herein,

Until you will come as a Bridegroom, when the

Sabbath breaks,

Wo wir werden mitgenommen,/ DaB wir ewig bey dir

seyn.

When we will be taken,!/ that we will be with you

forever

(Hymn Seventeen)

Chor.

o groBer Tag, Tag froher herrlichekeit,/ Wann glorreich

im Geleit

o great day, day of happy splendour,! When surrounded by

glory in the [celestial] convoy

Vom Himmelsheeren/ Der Herr wird wiederkehren!

Of the heavenly host! the Lord will return!

Sein reich ist nah. Hallelujah!

His kingdom is near. Hallelujah!

(Hymn Eightteen)

Congregtaion

Sing hallelujah! praise the Lord!

Sing with acherrful voice;

Exalt our God with one accord,

And in His name rejoice;

Ne'er cease to sing thou ransom'd host,

Praise Father, Son and Holy Ghost!

Until in realms of endless light

Your praises shall unite.

There we to all Eternity

Shall join th'angelic lays;

And sing in perfect harmony

194

To God our Saviour's praise:

"He hath redeem'd us by his blood,

And made us kings and priests to God;

For us, for us the Lamb was slain."

Praise ye the Lord! Amen!

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