Concerning Church Orders

Innumerable church orders of the sixteenth and seventeenth centuries illustrate the widespread popularity of the Leisen in connection with the celebration of the high church festivals. The most prominent are the two that are allied to Easter and Pentecost, Christ ist erstanden and Nun bitten wir den heiligen Geist. The Leisen were sung during the liturgical services, alternated with other German hymns. They were performed preferably after the sermon and during the Communion. On common Sundays the hymn selected, along with others, was the Pentecost Leise, Nun bitten wir den Heiligen Geist.^[2]

In the seventeenth century it became the customary procedure to include specific hymns in accordance with the seasons of the church year. For example, the Noerdlingen church orders of 1538 and 1650 directed Berthold of Regensburg’s Nun bitten wir den heiligen Geist from Purificationis to Easter, Christ ist erstanden from Easter to Pentecost, and again, Nun bitten wir den Heiligen Geist from Dominica III to Christmas.^[3]

The Prussian church order presented by Duke Albrecht V on July 6, 1525, suggested that the congregation and the choir sing the Communion Leise, Jesus Christus, unser Heiland and Gott sey gelobet.^[4]The church order from Annaberg, 1579, indicates the following recommendations regarding use of church hymns: at Christmas, Christum wir sollen loben schon, or the Christmas Leise, Gelobet seist du, Jesu Christ; at Easter, Christ lag in Todesbanden and Christ ist erstanden; for Jubilate Sunday, Froehlich wollen wir Alleluja singen or Christ Lag in Todesbanden; for Ascension Sunday, Christ fuhr gen Himmel (variant of Christ ist erstanden);for Exaudi Sunday, the same as for Ascension; for Pentecost, Nun bitten wir den Heiligen Geist; for the 1st, 5th, 6th, 17th, and 22nd Sundays after Trinity, the Ten Commandments Leise, Dies sind die heil’gen zehn Gebot; for the 16th Sunday after Trinity, the burial Leise, Mitten wir im Leben sind; for the 15th Sunday after Trinity, the abridged Commandment Leise, Mensch, willst du leben seliglich.^[5]

The church orders from Halle in 1543 and the revised edition in 1660 present interesting data because the great composer of the Tabu1atura nova, Samuel Scheidt, was active at the corresponding churches.^[6] These orders issued the following directives: from Advent to Christmas Eve, from Purificationis to Easter, and from Pentecost to Advent, the afore-mentioned Leise, Nun bitten wir den Heiligen Geist, was to be sung. The venerable Christ ist erstanden was to be performed from Easter to Rogate and at Philippi-Jacobi, also. The variant, Christ fuhr gen Himmel, was to be intoned from Ascension to Exaudi.

In the Nicolai and the Thomas church at Leipzig around 1694, this order was followed: after the Epistle at Christmas, Gelobet seist du, Jesu Christ; after the Epistle at Easter, Christ ist erstanden, and before the sermon, Christ lag in Todesbanden; before the sermon at Whitsuntide, Nun bitten wir den Heiligen Geist.^[7]

Concerning Performers

These Leisen were to be sung during the services by various groups either with the congregation or with the choir or with a combination of the two. The superintendent, Lucas Backmeister, states in the preface to Joachim Burmeister’s four-part psalm book from 1601, that the upper voice of the four-part compositions can be sung by the choir. According to Lucas Lossius’ Psalmodia sacra, 1553 and 1597, the whole congregation or the choir could be used during the Communion.^[8]The church orders of Brandenburg and Nuremberg direct the pupils’ choir to intone. The Noerdlingen church order directs the choir and the Vorsaenger to perform in alternis vocibus. The Prussian order (1563) suggests that the choir and congregation alternate. The Officiae missae from Hof in 1605 prefers the participation of three different choirs, one to be a Jungfrauenchor. At Easter, the various stanzas of the Leise Erstanden is der heilige Christ were sung in Latin and German. Boy soloists sang each stanza in Latin, and the choir repeated the same stanza in German.^[9]A similar practice is followed at Halle: the choir sang the Latin text, and the congregation sang the German text in alternation.^[10]Staden, in the preface to Hassler’s Kirchengesang, 1636, says in regard to organ accompaniment to congregational singing:^[11]

I wanted to dedicate this work of mine particularly to my dear colleagues who through their organ playing keep the congregation at the right pitch.

The Kantional Style

There are, above all, two terms used to describe the aforementioned practices: the choraliter practice signifying congregational singing and figural practice indicating the use of the choir. According to Adlung, choraliter singing is performed by the entire congregation in unison or in octaves.^[12]For example, the Psalmodia nova simplex et harmonica, Schlecht und Recht by the music pedagog from Goettingen, Otto Siegfried Harnisch, 1621, is arranged for four voices in such a manner that it may be sung by the congregation while the boys sing the melody in their range, the men an octave lower. This melody is written in the tenor clef, between the bass and the tenor voices.^[13]

The so-called Kantional style reflects the importance and interest in choraliter singing. It is usually conceived for four or more voices, an exclusively homophonic, homorhythmic, and homosyllabic style, in contrapuncto simplici nota contra notam.^[14]With the melody in the soprano, all Kantional composers insist that the congregation be able to recognize the tune and sing it with the choir. The beginners’ choir is to sing with the school and not with the professional choir. Thus we read in the preface to the Schott Gesangbuch, Frankfurt, 1604:^[15]

For the advantage of the beloved youth I have maintained the choral in the descant in all psalms and hymns, to enable the schoolmasters to train the students in learning the Musica by singing the divine psalms and hymns. This strengthens the choir in the church and edifies the common people as well, who follow youth rather than pedagogs. Do not become confused when you hear the tenor part sung an octave lower by men singing in their own familiar manner. This procedure, although it may hinder the contrapunctus, increases the volume of the choir to such an extent that the melodic line is easily heard and learned by the congregation.

Since Kantional settings have been written for the pleasure of the congregation and the training and participation of the school youth, we may distinguish two types: the first, the congregational Kantional style, in which note-against-note writing predominates; the second, the choir Kantional style, in which contrapuntal lines or other devices occur in the inner voices.

The choir Kantional style is cultivated by composers who are related (by profession) with the large Kantoreien which are prominent from the middle of the sixteenth to the middle of the seventeenth century in North and South Germany. Daser at Stuttgart (ca. 1680) Osiander at Regensburg (1588), Weber at Weissenfels (1588), Rogier at Dresden (1593), Calvisius at Leipzig (1597), Eccard at Koenigsberg (1597), Vulpius at Weimar (1604), Hieronymus Praetorius at Hamburg (1604), Michael Praetorius at Wolfenbuettel ( 1607–10), Samuel Besler at Breslau (1618), Samuel Scheidt at Halle (l624) J. H. Schein at Leipzig (1627), Melchoir Franck at Coburg (1631) etc.^[16]

The Osiander settings, for example, are truly congregational Kantional settings. The four voices proceed in equal tone progressions. Rests and fermata signs are inserted after each phrase in all voices, thus enabling the congregation and the choir to make their next phrase simultaneously. In the preface of his Fünfzig geistliche Lieder, Osiander mentions that the Mensur im Takt should be given by the congregation, and the choir members should adapt themselves to the Mensur or Takt of the congregation.^[17]

Monometric and congregational Kantional writing is very much present in the Leisen settings of Hans Leo Hassler’s Kirchengesang 1608, his Gott sei gelobet und gebenedeiet, Nun bitten wir den Heiligen Geist, Jesus Christus, unser Heiland, Erstanden ist der heilige Christ, Christ fuhr gen Himmel.^[18] Only the final Kyrie eleison formulae show from time to time figural activities.

A direct continuation of the renaissance and early baroque Kantional practices are the note-against-note four-part settings of the great Berlin composer and publisher of the famous Praxis pietatis melica, Johann Crueger. These middle-baroque settings are accompanied by supplementary obbligato violin duet parts. They are written in note values twice or four times smaller than the hymn tune proper, with emphasis on third and sixth parallels with dotted rhythmic patterns in eighth-note and sixteenth-note fashion. The Gelobet seist du, Jesu Christ setting, for instance, is above all enjoyable because of the triplet figuration in the violins which occurs at the last verse line “des freuet sich der Engel Schar.”^[19] In this connection do not forget the innumerable hymn-books of the middle and late baroque period which contain hymns as written out for soprano and figured bass alone. The most representative hymnbook of this kind is Freylinghausen’s Geistreiches Gesangbuch, 1741, to which Zachow, Handel’s teacher, contributed.

Michael Praetorius

The Kantional style of writing is best represented in Michael Praetorius’ six hundred chorale settings of his Musae Sioniae, Vols. VI–VIII. The greatest merit of these settings is (according to Blume) the preservation of a great many variants of the different tunes that have been in use in the different Kantoreien in North and South Germany during the sixteenth and early seventeenth centuries.^[20]

In addition to the elaborate use of baroque devices, Michael Praetorius’ contribution to Protestant music lies in the preservation of musical traditions, composition techniques, and repertory of the Reformation era. These renaissance and baroque devices are, according to the composer: (1) settings for eight voices, (2) for two and three voices, (3) for five voices ad imitationem Lucae Maurentii and other Halonum in the fashion of a madrigal, (4) for five voices in the manner of Ludovici da Victoria, (5) with five voices ad imitationem Orlando di Lasso in the fashion of motet writing, (6) with four-voice fugues for equal voices.^[21]

These and more techniques are present in the complete edition of Michael Praetorius ’ works in the following manner:

It is characteristic for the Lutheran composer Praetorius , that he begin the first volume of his Musae Sioniae with the same Leise with which Johann Walter opens his Wittenberg Geystlich Gesangk-Buchleyn from 1524: Nun bitten wir den Heiligen Geist. It is an eight-part setting for two choirs of four voices (SATB). Typical procedures of Venetian antiphonal and bichoral writing are applied. In the eight-part burial Leise Mitten wir im Leben sind (Vol. I, p. 73) a dynamic and contrapuntal crescendo becomes evident through the superimposition of the phrase entrances of both choirs, the intervals of each choir entrance becoming more and more abridged, e.g., from four to half a measure.

Contrapuntal crescendo: (a—first verse line; b—second verse line)

	Choir I
	Choir II

In Vol. II four polychoral Leisen settings are available. The Christmas Leise Gelobet seist du, Jesu Christ (Vol. II, No. III, pp. 13 ff.) displays the familiar Gabrieli style. A Christmas lullaby meter is used in ritornello fashion at the words “praised be Thou” and “this rejoiceth.” While in No, IX, a Christ lag in Todesbanden setting, antiphonal writing predominates, a Jesus Christus, unser Heiland setting shows the three stanzas through-composed with a long elaboration of the section “alle die zu ihm treten er kann erretten.” For No. XV, a chordal arrangement of Erstanden ist der heilig Christ (pp. 55 ff.) the composer suggests “in organo, voce una atque altera et instrumentis.” The prescribed simultaneous use of organ, soloists. chorus, and instruments is illustrated by the differentiation between many-voiced sections (eight voices, stanzas 1, 2, 12, 13, and 4, 6, 8, 10 respectively) and a few-voiced section of three voices for stanzas 3, 7, and 11. Of the settings of Vol. III, a Gott sei gelobet und gebenedeiet (p. 27) uses concertato practices, while a Mensch, willst du leben seliglich setting is a four-part setting, the eight voices being used only toward the end.

While Vols. I–IV present double-choir and Vols. VI–VIII Kantional materials to be used in alternation with the double-choir settings, i.e., baroque techniques, Vol. V with its motet compositions points toward the Renaissance and Reformation period and its alternatim practices.^[22]

Thus the first stanza can be sung either with two, three, or with four and more voices (As, e.g.: Gelobet seist du . . .) and then the second stanza choraliter with the congregation, the third figural, the fourth chorale, the fifth again figural, and so on: the last stanza must always be sung together figural with the congregation.

The Reformation period is emphasized furthermore by the fact that some of Johann Walter’s Leisen settings are included, such as a four-part Gelobet seist du, Jesus Christ and two Nun bitten wir den Heiligen Geist settings (one for five, and one for six voices respectively).

Composition device No. 2^[23] can be found in an SST setting of Gelobet seist du, Jesus Christ (Vol. V, No. 10, p. 127), in which an imitative echo duet is placed above an unembellished tenor part which sings the Leise proper. Another setting of the same Leise (STT) shows a free, madrigalistic duet on top of a second-tenor part which presents the tune in sustained note values. An SAT setting of Nun bitten wir den Heiligen Geist (Vol. V, No. V) leads the cantus firmus in the uppermost voice against a nonimitative bicinium in the two lower voices. An STB selection (Vol. V, No. VI) of this same Leise has the cantus in the bass part against a concertizing upper-voice duet.

Composition devices of the Lassus school are in the four-part setting of Nun bitten wir den Heiligen Geist (Vol. V, No. VII, pp. 81 ff.) and in the five-part compositions to Gelobet seist du, Jesu Christ (Vol. V, Nos. 66, 67), Christ ist erstanden (Vol. V, No. 126, pp. 240 ff.), Christ lag in Todesbanden (Vol. V, No. 127, pp. 246 ff.), and Jesus Christus, unser Heiland (Vol. V, No. 129 pp. 258 ff.). Madrigalistic devices, similar to those used by Marenzio (fourth composition device) are present in the five-part Christ fuhr gen Himmel (Vol. V, No. 138, pp. 272 ff.) and the six-part Christ lag in Todesbanden (Vol. V, No. 127, pp. 257 ff.). Traces of Victoria’s style of writing can be detected in a Nun bitten wir den Heiligen Geist (Vol. V, pp. 11 ff.) and a Christ lag in Todesbanden. (Vol. V, No. 125, pp. 244 ff.)

In regard to the contents of Vols. VI–VIII, Vol. VI contains the Leisen settings which are connected with the celebration of the church festivals; so Gelobet seist du, Jesu Christ (Christmas), Ehre sei dir, Christe, O wir armen Suender, Ach wir armen Suender (Holy Week), Christ ist erstanden, Christ lag in Todesbanden, Also heilig ist der Tag, Jesus Christus, unser Heiland, Erstanden ist der heilig Christ (Easter), Nun bitten wir den Heiligen Geist (Pentecost). Vol. VII contains settings to the two Ten Commandments Leisen, Dies sind die heil’gen zehn Gebot and Mensch, willst du leben seliglich, and the Communion Leise Gott sei gelobet und gebenedeiet. Vol. VIII shows settings to the old burial Leise Mitten wir im Leben sind..

Many explicit notes in regard to organ accompaniment introduce Vol. IX, which consists of two- and three-part hymn and psalm settings written “in the fashion of motets, madrigals, and one fashion invented by the author himself.”^[24] The stress on the participation of the organ indicates the author’s intentions to have these bicinia and tricinia performed during the church services. Praetorius goes beyond Caspar Othmayr’s Bicinia Sacra, which were written primarily “for private entertainment.”^[25] These bicinia are not selections of pedagogic meaning only, such as the tricinia of the Newer geistlicher Lieder und Psalmen by the cantor-composer from Hannover, Andreas Crappius.^[26]

In recent years a great many distinct German tricinia have been published by means of which the young music-loving freshmen can be brought and led easily (to the point) that they can participate soon in singing many a song. Therefore, following the requests and desires of many benevolent persons and friends, I have selected these Christian and sacred hymns and psalms which incorporate many God-fearing texts from which one can obtain instruction and comfort. I have composed them in a singlehearted and simple fashion that they can be learned, spoken, prayed, and sung by the young boys at our times so full of distress, for the sake of their piety and religiousness. They are useful against the hereditary archenemy of the very oppressed Christianity, the Turk, and also for any other kinds of need.

Most of the Leisen bicinia are two-part motets. Thus the TB setting of Gelobet seist du, Jesu Christ (Vol. IX, No. 4, p. 3), presents the cantus firmus in the upper voice, while the bass part is an elaborately ornamental countervoice. A similar procedure occurs in the TB setting of the burial Leise Mitten wir im Leben sind (Vol. IX, No. 183, pp. 253 ff.) Motet-like subsections, due to textual subdivisions, are in the TB setting of Gott sei gelobet und gebenedeiet (Vol. IX, Nos. 101 and 102, pp. 129 ff.) and in Christ ist erstanden (Vol. IX, Nos. 18–20, pp. 19–21 ff.) as well. Some settings are through-composed to such a length that the composer allows the performers to omit whole sections (cp. Gelobet seist du, Jesu Christ [Vol. IX, No. 5, pp. 4 ff.] and the Jesus Christus, unser Heiland [Vol. IX, No. 25, pp. 27 ff.]) A pseudo-canonic technique is used in the Nun bitten wir den Heiligen Geist setting (Vol. IX, No. 4, p. 5) to the effect that a rejoicing composition full of concertizing elaborations is produced. This same quality is strikingly apparent in another TB setting of Nun bitten wir den Heiligen Geist (Vol. IX, No. 157, pp. 64 ff.), in a Christ fuhr gen Himmel setting (Vol. IX, No. 43, p. 59) in which no pure cantus firmus exists any more, and in a delightful soprano duet of Christ lag in Todesbanden (Vol. IX, No. 22, 23). The composition technique which Praetorius claims to be his own invention is applied in the bass duet of the Ten Commandments Leise Dies sind die heil’gen zehn Gebot (Vol. IX, No. 55, p. 76), in which the cantus firmus moves from voice to voice.

Greater variety of writing becomes apparent in Praetorius’ tricinia compositions. Actually motet and madrigal devices penetrate one with the other to such an extent that it would be unwise to force the settings into labels of formal explanations. One preferred device seems to be the maintenance of an untouched or at least almost unaltered cantus firmus in one voice against an imitative duet which is provided sometimes with concertizing echo effects. Examples of this kind can be found in an SST Gelobet seist du, Jesu Christ (Vol. V, No. 60, p. 127), in an STB Christ lag in Todesbanden (Vol. IX, No. 23, pp. 25 ff.). Madrigalistic effects are present in the SSB setting of Christ fuhr gen Himmel (Vol. IX, No. 54, pp. 59 ff.), in which coloristic procedures are used for the word Himmel. The SST setting of Jesus Christus, unser Heiland (Vol. IX, No. 27, pp. 29 ff.) and the SAT selection of Erstanden ist der heilig Christ (Vol. IX, No. 29, pp. 33 ff.) are chorale-madrigals, while another Jesus Christus, unser Heiland (AAT, Vol. IX, No. 29, pp. 29 ff.) is a chorale-monody, supplemented by two additive voices. Another  Erstanden ist der heilig Christ (Vol. IX, No. 30, pp. 34 ff.) is a chorale-madrigal-quodlibet, since text and music materials of Erstanden ist der heilig Christ are blended together with Christ ist erstanden. Moving cantus firmus techniques are used in Dies sind die heil’gen zehn Gebot (Vol. IX, No. 56, pp. 71 ff.) and Mensch, willst du leben seliglich. (Vol. IX, No. 58, pp. 79 ff.)

The variatio per choros technique finds outstanding examples beginning with Vol. XVI, which contains Praetorius’ Urania or Uranochorodia. This is: Musica per choros caelestia canens or “celestial Choir Music.” This technique consists of two types:

1. Each stanza of a hymn is performed by a different chorus. (The term “chorus” is used in the sense of any vocal or instrument ensemble.)^[27]
2. Each verse line is performed by a different chorus. In the Introductio pro cantore, the first variatio per choros technique is explained in detail:^[28]

The first manner with two choirs:

Very common in most of the places in Germany where a psalm is sung choraliter with the whole congregation in the church. . . . One could arrange any psalm in such a fashion that the first stanza be sung figuraliter and by the congregation at the same time. . . . The second stanza be played by an organist with a pleasing registration and be sung by one or two good discant singers. . . . The fourth stanza again like the second stanza to be played on the organ. The fifth could be played together by both choirs, namely, the singers and the organ. The sixth stanza again like the first, the seventh like the second, and so on until the last stanza, which could be performed again by both choirs, provided the congregation intone the chorale in the church at the same time.

The Christmas Leise Gelobet seist du, Jesu Christ  (Vol. XVI, No. 3, p. 5) is composed in such a way that

stanza 1 is sung figuraliter by four singers;
stanza 2 is accompanied by the organ (organ prelude);
stanza 3 is performed like stanza 1;
stanza 4 is performed like stanza 2;
stanza 5 is performed by choirs 1 and 2;
stanza 6 is performed by choir 1;
stanza 7 is performed by choir 2.

The 12-voice setting of Erstanden ist der heilig Christ (Vol. XVI, No. 15, pp. 57 ff.) is an example for the first type of three-choir writing as indicated in the preface of this volume: choir 1 consists of vocales musicos, choir 2 of organ plus one discant or one tenor, choir 3 or vocales or trombones and zincs, two viols and one violin, plus one discant or one tenor, the first stanza to be executed choraliter together with the congregation, the second stanza figuraliter, the third stanza by organ and/or other instruments. Actually:

stanzas 1, 8, 18, 19 are performed by three choirs and congregation
stanzas 2, 5, 9, 13 are performed by choir 1
stanzas 3, 6, 10, 14 are performed by choir 2
stanzas 4. 7, 1l, 15 are performed by choir 3
stanza 12 is performed by choirs 1 and 2
stanza 16 is performed by choirs 2 and 3

The second type of variatio per choros is present in:

Polyhymnia caduceatrix et panegyria (Vol. XVII, 2, Vol. XVIII)
Puericinium (Vol. XIX)
Polyhymnia exercicatrix, seu Tyrocinium musicum harmonicum (Vol. XVII, 1)

According to the subtitle of the Polyhymnia caduceatrix, its settings have been composed for noncongregational activities such as festive gatherings of political authorities. It is imperial baroque music written for instruments and voices in which new devices such as the basso continuo, sinfonias, ritornellos are tested. Most of the 40 Polyhymnia settings are accompanied by elaborate performance indications as shown by the preface to a Gelabet seist du, Jesu Christ (No. XXXII in Vol. XVII, 2, p. 505):

1. The fifth chorus can be performed by soloists and choir singers, or it can be omitted; then, the instrumental bass of the fifth, and the second bass of the other, choir are to be written together in one score. Then the second choir must add to the lute part a regal, positif; if this is not possible, the organ must play simultaneously.
2. Or one can form one chorus out of the third and the fifth or the third and the fourth chorus, establishing thus a capella fidicinum, which can be done easily by any diligent cantor or organist. If the third and the fourth chorus are put together, for the sake of variety, one can use different instruments in the manner as it is applied in the Te Deum laudamus, in Polyhymnia I and III, while the fourth is placed underneath the third.
3. In the third choir the middle parts can be omitted, and the bass part can be played by one bassoon alone. Then, however, four violins with inserted flutes are to be provided for the fifth choir.
4. If lutes and instruments are present in the second and the fifth chorus respectively, it is not necessary that the second bass of the fifth chorus be played at the same time unless there is a surplus of instruments.
5. The third chorus is, figuratively, a cappella instrumentalisfor the first. The fourth chorus is, figuratively, a cappella instrumentalis for the first and second.
6. If three tenors are not available, the tenor of the second chorus and the cantus part of the fourth chorus can be merged into one tenor part and be performed by a single person.
7. Lastly, the fifth instrumental chorus, as well as the other missing instruments, can be omitted. But then the concertato or vocal parts from which the instruments had been subtracted should be placed close by the organ or the regal (to the effect) that the voces humanae can be found proceeding from close by the fundament.
8. The bass part of the second chorus is arranged in octave for an instrument such as a bassoon, a trombone, or bass viol, but in such a way that the text which is printed in German letters be sung; that the text printed in Latin cursiv letters be played by the bassoon or trombone; but that the text printed with Latin antiqua letters, in the ripieni sections, be sung and played likewise by the instruments. Lacking these instruments, it can be sung throughout.

The complex monodic-polychoral-instrumental setting of this Christmas Leise is subdivided into three parts. The first shows three sections. Section A is written for two vocal choruses, to the middle of which a viol chorus is added. It is abundant with diminutions in all ensembles. Section B (the second line) is a tenor monody which is accompanied by or incorporated into the trombone chorus and its basso continuo companion. Section C presents in ripieno fashion (five choruses together) once more the first line.

The second part is composed of two sections, the latter of which is a five-chorus ripieno part similar to section C of the first part. The music to the third line makes out the first half of section A as performed by parts of two choruses and of the viol chorus. The first two verse lines of the fourth stanza make out the initial measures of the second half of section A, and one tenor part of the first vocal chorus, and one tenor part of the second vocal chorus, the viol ensemble and the complete fifth chorus (voices and instruments) and basso continuo participate. The third line Es leucht’t wohl mitten in der Nacht is performed by a tenor solo and chorus No. 4 (trombone), a reminiscence of the before-related performance practice as applied to line two in the first part. The fourth line “und des Lichtes Kinder macht” by the tenor part of chorus two (voices) and the complete chorus five and basso continuo. The final Kyrieleis reunifies all participating voices. An excellent example of the Verhackungstechnik,^[29] which consists of distributing the different choral stanzas or choral lines to different choruses or single members of the choruses.

The third part, being the most extensive one, consists of the music to the fifth through seventh stanzas. Chorus 4 (trombones) and chorus 2 (voices) and b. c. (basso continuo) are in charge of the interpretation of the fifth stanza. All five ensembles are utilized for stanza 6, although at the beginning only chorus 3 (viols), chorus 1 (voices), and a complete set of solo voices of chorus 5 are presented. The first two lines of stanza 7 show the ripieno style used in parts I and II; line 3 consists of a contrasting interlude, one voice and 3 viols, soprano and bass of chorus 1 in diminished fashion, soprano and bass of chorus 2 in diminished fashion. Line 4 and the Kyrieleis appendix resume once more the familiar ripieno style.

Less organizational magnitude, however great concertizing paschal glamor, is present in the setting of Halleluja! Christ ist erstanden (Vol. XVII, 2, No. XXXV, pp. 559 ff.). It is written for five ensembles, i.e., chorus 1 (viols) , chorus 2 (trombones), chorus vocalis, capella 1 in pleno choro, cappella 2 in pleno choro. A full-sounding Halleluja ripieno with all ensembles participating is used at the beginning and end and after each stanza respectively.

The first stanza of the Christ ist erstanden Leise is sung by a soprano of the chorus vocalis against a vocal bass part and the complete viol ensemble. Only for the Kyrieleis statement the complete trombone chorus is added. The style of writing is highly ornate, imitative, and of instrumental vivacity.

Stanza two is sung by alto and tenor of the chorus vocalis against a vocal bass and the complete trombone ensemble. For the Kyrieleis statement the viol ensemble is added.

While stanzas one and two are rather thinly orchestrated, stanza three forms a sonorous and dynamic climax. It begins with all five voices of the chorus vocalis. The complete trombone and later the complete viol ensembles are added.

The seven- or nine-part setting of Gelobet seist du, Jesu Christ from the Polyhymnia exercitatrix (Vol. XIX, No. 9, p. 32) is less complex than the variatio per choro setting of Vol. XVIII, 2. It is subdivided into three parts in which two to four solo voices compete against an instrumental quartet and figured bass part. In the short preface the composer stresses the participation of the congregation in singing the second, third, fifth, and sixth stanzas. The presence of the simplex and the diminutus version of the same solo parts is explained in the first paragraph of the notes to the reader:

I have composed originally, these Alleluias and German hymns in this Polyhymnia V. Exercitatrix in order to encourage my cappella boys to practice and to accustom them to a frame of mind for, and a way of, singing. Underneath the difficult spots [in the score] I have put a cantum simplicem so that other students who bear desires for such a way of singing can practice and be not deterred and horrified at the beginning because of the amount of fusae and semifusae.

No. X (p. 44) is written similarly. In the short Ubi Rex est gloriarum—Surrexit Christus hodie (Vol. XIX, No. 7, pp. 64 ff.) polychoral devices of the Urania collection are applied.

The Stylus motecticus

For the discussion of baroque compositions other than those written by Michael Praetorius, I use the terms stylus motecticus and stylus madrigalescus as they are explained by Johann Gottfried Walther, by the great German music encyclopedist Johann Mattheson,^[30] and others. The stylus motecticus includes “fugues, allabreves, double counterpoint, canons, etc.,” and is used for the expression of “astonishment, consternation, pains,” etc. The stylus incorporates musical baroque forms such as the aria, recitative, cantata, passion, and oratorio; and it lends itself to the expression of love, tenderness, and compassion.

Strong contrapuntal devices characteristic for the stylus motecticus appear in Hans Leo Hassler’s four-part Gott sei gelobet und gebenedeiet from his Psalmen und christlich Gesaenge . . . auf die Melodeien fugweis komponiert. In its lied-motet style of through-imitation it combines characteristics of the Lassus school with devices typical of the Baroque era. Thus, for instance, the first three bass statements produce the effect of an ostinato rather than an anticipation of the cantus firmus.^[31]

Michael Altenburg’s five-part Christ lag in Todesbanden from his Kirchen- und Haus Gesaenge (1620) displays in its first part a motetlike contrapuntalism which is expressed in free figurations in the different voices with the aid of dotted rhythms, eighth- and sixteenth-note progressions.

Christoph Thomas Walliser’s four-part setting of Mensch, willst du leben seliglich, his five-part setting of Nun bitten wir den Heiligen Geist, Mitten wir im Leben sind, Gott sei gelobet und gebenedeiet, Dies sind die heil’gen zehn Gebot (3 settings), his six-part settings of the latter, of Nun bitten wir den heiligen Geist, Gott sei gelobet und gebenedeiet—all taken from his Ecclesiodiae ander Theil (1625)—are arranged, according to the composer, “in a somewhat madrigalesque manner.” They should be performed at “a pretty slow speed,” and the repetition should “be embellished with soft register.”^[32] They are thought to be performed viva voce as well as by instruments. This statement agrees with what Mattheson mentions about motet writing:^[33]

And the motets of past periods consisted of such fugues or fuguelike settings, without any instruments, without any bassus generalis; in recent times one had not only admitted the figured bass but strengthened also the vocal parts by all kinds of instruments. Nevertheless, the players are not supposed to make any more, other, or fewer notes than the singers, the latter being a basic characteristic of the motets.

These facts about instrumental activities refer directly to church music practices at the Strassburg Muenster, where the city council, Walliser’s employer, favored a certain cultivation of figural music.^[34] His chorale arrangements are written as figural interludes between the unison chorale performances of the congregation, accompanied by the organ and/or instruments. Although written in figural and madrigalistic fashion, the composer says about his settings that they are written in such a fashion that the local chorale tunes and texts are observed as much as possible so that the same can be heard and understood correctly by the congregation.

To mention a characteristic setting, the five-part setting of Christ lag in Todesbanden presents the Leise tune with its original phrases mostly in the soprano and tenor voices. Each phrase material is repeated, varied, and extended in all voices for a certain time. A short unison canon of a motif with dotted dancelike rhythm is used for the madrigalistic interpretation of the words “praising our God.” An ostinato pattern to the words “with hearty glee” follows immediately in the alto part. Almost careless use of accidentals indicates great movability of voice leading on the one hand, and on the other, the subordination of certain voices to filler and harmonic functions only.

In Johann Hermann Schein’s five-part Christ lag in Todesbanden, written in contrapunto composito, arbitrary harmonization causes frequent tritone relationships. The flexibility of accidental treatment for the purpose of expressiveness in exchange is an outstanding quality of the final four-part chorus of Heinrich Schütz’s St. Matthew Passion, in which the composer uses the old passion Leise, O du armer Judas to Hermann Bonus’ O wir armen Sünder.^[35]

A four-part setting of Gelobet seist du, Jesu Christ by Adam Gumpeltzhaimer has the Leise melody in the upper voice in equal half-note values, while the remaining voices exercise pseudopolyphonic activities, the bass part excelling itself in giving baroque support to the cantus firmus. Similar to the Walliser settings, alto and tenor fulfill the function of beautifully designed filler voices. The composer follows a technique which had been made famous by Johannes Eccard’s Geistlich Lieder auf den Choral gerichtet from 1597. The melody is presented in one voice in a simple fashion with the intention that the congregation can perceive and even sing it.^[36]

A near canonic treatment, similar to many Michael Praetorius tricinia, appears in Johann Staden’s SSB setting of Nun bitten wir den Heiligen Geist in the two upper voices, while the bass presents an extended elaboration of the chorale proper.^[37]

Strict motectus five-part writing appears in a Quodlibet by Johann Gödel,^[38] in which the five main sections of the Catechism are presented in five different voices with five different hymn texts and tunes, the bass part singing the brief Commandment Leise Mensch, willst du leben seliglich.

Like in cantor Stephan Hoepner’s six-part setting of Nun bitten wir den Heiligen Geist, the stylus motecticus is preserved purely in the missa brevis on the Leise Christ lag in Todesbanden for four voices and basso continuo by Handel’s teacher, Friedrich Wilhelm Zachow.^[39] With the basso continuo being optional, continuous imitation and moving cantus firmus techniques are the media which use the whole chorale, phrase by phrase, in the Kyrie as well as the Gloria.

The stylus motecticus as adapted to polychoral writing is present in Samuel Scheidt’s eight-part Gelobet seist du, Jesu Christ (No. 11), Puer natus est—Surrexit (No. 18), and Christ lag in Todesbanden (No. 22). All three numbers are contained in Scheidt’s first published work, the Cantiones sacrae from 1620. Thirty-eight hymns are written in the style of Venetian polychorality. The three Leisen settings begin in a contrapuntal and imitative fashion concluding with two concertato echo choirs full of homophonic block chords.

Nuremberg’s Johann Staden’s eight-part setting of Christ fuhr gen Himmel from 1625 is based on a constant process of shifting antiphonal effects between two choirs together with frequent meter changes. The latter is written with the purpose of emphasizing the occasion of the Ascension.

The cantor from Weimar, Melchior Vulpius, shows in his eight-part setting of Erstanden ist der heilig Christ^[40] purely antiphonal singing which agrees with the Easter spirit and the popular melodicism characteristic for this composer.

The young Heinrich Schütz becomes acquainted first with polychoral writing through the bichoral hymn and psalm compositions of the Weissenfels cantor Georg Weber. Weber’s complete Leisen repertoire shows an expanded Kantional technique rather than Venetian concertato devices. Taking for example the eight-part setting of Christ lag in Todesbanden, the chorale is presented by both choirs in such a fashion that it easily can be recognized by the congregation. Each phrase is presented by each choir separately, i.e., choir 1 sings phrase 1 first, choir 2 answers with phrase 2 while choir 1 is silent, choir 1 follows with phrase 2, which is taken up by choir 2 and so on. Dissections, expansions, or alterations of the melodic material occur only at the very end of the corresponding phrase cadences. A full eight-part writing occurs only toward the very end.

What a difference, then, in Schütz’s eleven-part Christ ist erstanden (Vol. XIV, pp. 167 ff.),^[41] in which the original Leise melody is playfully abandoned and in which the instrumental choruses of viols, trombones, and organ double the vocal parts in a pompous Venetian manner.^[42]

The Stylus madrigalescus

Instrumental writing in conjunction with polychorality can be found in Johann Rudolph Ahle’s Fuerchtet euch nicht, which is written per choros cum fundamento et instrumentis.^[43]A mediocre type of unsophisticated, sacred “music for pleasure” is characteristic of this composer from Thuringia. A short sinfonia for four bassoons, trombones, and viols with basso continuo precedes a Lied-like monody. A homophonic chorus angelorum is followed by an imitative four-part chorus pastorum. A short sinfonia written for four bassoons introduces the final number, in which the first and last stanzas of the Christmas Leise Gelobet seist du, Jesu Christ are written for eight voices with bassoon accompaniment. The verbatim presentation of the chorale forms the climax of this middle-baroque Leisen cantata.

The prototype of few-voiced popular cantata music can be found in the compositions of Andreas Hammerschmidt. His Kirchen- und Tafelmusik from 1662 has a Christ lag in Todesbanden (No. 5), which is written for two voices and three trombones, while his Gelobet seist du, Jesu Christ (No. 21) is set for alto, two trumpets, and trombone quartet. Following in his footsteps are certain Thuringian composers of the first half of the eighteenth century, such as Johann Topf, E. F. Niedt, and Liebhold.

In Johann Topf’s Das Wort ward Fleisch for six voices,^[44]the interpretation of the first two verse lines uses five imitative voices with concertizing effect. For the next two lines all six voices participate in the presentation of a syllabic and homophonic section. Only then the first stanza of the Christmas Leise Gelobet seist du, Jesu Christ is presented in unison and in long note values by soprano I and II. They concertize against a vocal four-part accompaniment which derives its motivic material from the Kyrie eleison cadence of the Leise proper. Another setting to the same text (No. 19, pp. 58 ff.) has the Leise section being followed by a doxology appendix (Ehre sei Gott in der Hoehe). In both settings the liturgy-mindedness and the consideration of the congregation and school youth are evident.

E. F. Niedt’s Es müssen sich freuen und fröhlich sein for four voices (p. 64) is subdivided into two sections. The first deals with a four-part elaboration of the Biblical saying itself, the second section displays the Gelobet seist du, Jesu Christ Leise in long-note values in the upper voice against the three lower voices presenting Leise motives in echo fashion.

Liebhold, too, set the music to Das Wort ward Fleisch (No. 51). The four-part composition shows more madrigalistic tendencies. Sixteenth-note figurations are used for the words “wohnet” (liveth) and “Herrlichkeit” (magnificence). The Leise Gelobet seist du, Jesu Christ is presented again in the uppermost voice.

Still more cantatalike subdivisions are in the Gelobet seist du, Jesu Christ setting for five voices and seven instruments by the cantor from Danzig, Balthasar Erben.^[45] The first stanza shows the chorale in an unaltered fashion in unison both in the canto fermo (soprano) and alto primo part, and it is accompanied by two violins, three wind instruments, violetta, and basso continuo. The second stanza is a combination of canto fermo and tenor with the Leise tune, while the full instrumental output, including the bassoon, accompany. Stanza three has the five voices and seven instruments in action, while in stanza four the tenor and bass sing the Leise in unison to a quickly moving two-part violin obbligato which is supported by the basso continuo only. Stanza five is again made up by the tutti, while stanza six shows a solo of the canto fermo against the full instrumental body. Stanza seven represents the twelve-part ensemble. A similar multisectional organization is at hand in the sacred concert music of the cantor from Hamburg, Thomas Selle. Still more than in Erven’s composition Selle’s settings show similarities with the variatio per choros technique of Michael Praetorius, all the more since Selle had been exposed to Praetorius’ compositions while he studied music in Leipzig with the Thomas cantors Seth Calvisius and Johann Hermann Schein.^[46]

Selle’s setting of the Passion Leise Ach wir armen Suender is a huge, multisectional set of per omnes versus Leise variations for ten vocal and instrumental parts. It is introduced by a short, slow sinfonia for two violins, violetta, viola da gamba, bassoon, and basso continuo which has only little connection with the motivic output of the Leise itself. Stanza one is treated for three voices and basso continuo in note against note fashion. Stanza two forms a sharp pitch contrast since the three homophonic voices sing one octave lower than in the previous stanza. A ritornello for two violins playing in unison, viola da gamba, and bassoon shows over the descending hexachord motif of the bassoon part a descending violin and viola da gamba duet which uses the dotted rhythm pattern for almost the entire piece. Stanza three has two soprano parts in concertizing antiphony, using a canzona rhythm ,while the viola da gamba, bassoon, and basso continuo accompany. The ritornello is repeated, stanza four using then a similar concerto technique. In stanza five the Leise is treated in four-part chordal writing against a highly ornate gamba figuration which consists mostly of scale devices, repeated tone patterns, octave skips, etc. Stanza six is done by all ten parts in strict note-against-note fashion so that the congregation can join in singing, although the unusual triple meter is being used.

The five-part Jesus Christ, unser Heiland, der den Tod ueberwand (No. 8) begins in note-against-note fashion with the participation of both vocal parts and lute and bassoon as well. Only the viola da gamba part shows an animated sixteenth- and dotted-note figuration similar to the fifth stanza of the preceding Leise variation. The second stanza is handled by a tenor solo. It introduces the different chorale phrases in sections widely separated by rests and is accompanied by a lute and bassoon continuo which is vividly contrasted by a highly ornamental viola da gamba obbligato. The concluding Kyrieleis pattern is extended by sequences which exploit dynamic contrasts between forte and piano.

His Christ ist aufferstanden (No. 9) is set for two voices with violin, double bass, and basso continuo. It begins with a sinfonia which reveals a varied Leise tune in the double bass and basso continuo part against a concertizing violin part, full of scale passages and thirds sequences, mostly in sixteenth- and eighth-note values. The musical treatment of the first two verse lines shows the cantus firmus in half note values as responded by interludes of descending sequences full of dotted rhythms in the before-mentioned string instruments. The second section changes to a dancelike triple meter, while the last section returns to the duple meter. The second stanza is done in unison by both voices with half-measure rests between each phrase so that the congregation could easily have joined in singing. The violin part begins with dotted rhythms against complementary patterns both in string bass and basso continuo. The third stanza with its three-sectional construction resembles rather an instrumental postlude. In a twenty-two-part setting of Christ lag in Todesbanden (No. 72) the first stanza is a soprano solo which is accompanied by four violins. The second stanza is a tenor solo which is set against four trombones, and the third stanza uses all twenty-two parts. Actually only seven different parts are used, which are doubled correspondingly.

According to Blume,^[47]Friedr. Wilhelm Zachow’s Nativity cantata Es wird eine Rute aufgehen is a contemplative cantata typical of cantata compositions around the turn of the eighteenth century. It is written for thirteen parts, consisting of two violins, viola, two oboes, bassoon, two hunting horns, four voices, and basso continuo. There are nine numbers, some of which are solo, da capo arias with instrumental accompaniment, others which are chorus numbers. Numbers three and five are the second and fourth stanzas of the Christmas Leise Gelobet seist du, Jesu Christ written for four voices in note-against-note fashion to the accompaniment of the full orchestra including an obbligato bass part.

Speaking about cantatas and the Christmas Leise Gelobet seist du, Jesu Christ, we are reminded of Johann Sebastian Bach’s first Christmas cantata No. 91 (cp. BG XXI) of the same name in which the Leise material is elaborated upon freely in the first and second number. The same Leise occurs also in the second number of the cantata No. 64: Sehet, welch eine Liebe. Cantatas 169 and 197 use a Kantional-type setting of the Pentecost Leise Nun bitten wir den Heiligen Geist, while cantata No. 66 uses the Easter Leise Christ ist erstanden; No. 77 the Ten Commandment Leise Dies sind die heil’gen zehn Gebot; and No. 158 the tune of Christ lag in Todesbanden to the text Hier ist das rechte Osterlamm.

The most famous Leise cantata, however, is J. S. Bach’s chorale cantata No. 4, Christ lag in Todesbanden, which uses the Leise material in all sections. It consists of an introductory sinfonia and seven variations on a basic melody.

Christ lag in Todesbanden:

1. Sinfonia      orchestra         lento
   The sinfonia lasts for fourteen measures. Mournful mood is set for stanza interpretations to come.
2. Stanza 1      mixed chorus   allegro moderato
   The soprano presents the original Leise tune in long-note values. The remaining three voices elaborate on its motivic contents in imitative and concertizing fashion. At the concluding Hallelujah speed and volume are increased considerably; the accompanying strings, woodwinds, and brass reach the peak of excitement simultaneously.
3. Stanza 2      duet (sopr. and alto)      andante
   The melody is given first in the woodwinds and low strings, against which the duet is presented. Both voices elaborate very freely on the Leise tune.
4. Stanza 3      solo (tenor)       allegro
   The tenor sings the Leise in a slightly embellished fashion. The vigorous optimism of the text is emphasized by the orchestration: a playful violin motive is put against steady and strong bass progressions.
5. Stanza 4      solo (tenor)       allegro
   Imitative devices are used consistently between the tenors, sopranos, and bass, while the contralto presents the Leise in an unaltered fashion.
6. Stanza 5       solo (bass)        andante con moto
   The bass part indicates the Leisein triple meter. First each line is presented close to the original tune; the music then is very much extended and embellished. In addition, the violins carry further, effective obbligato writing.
7. Stanza 6      duet (sopr. and tenor)    andante maestoso
   Both voices present segments of the original Leise phrases. Then elaborate motivic extensions and embellishments occur. Throughout the setting, the dotted dance rhythm of the instrumental accompaniment is strikingly noticeable.
8. Stanza 7      chorale (mixed chorus)
   The original Leise is presented in four-part harmony.

Cited References and Notes

1. For further information see Johannes Riedel, Leisen Formulae: Their Polyphonic Settings in the Renaissance and Reformation (Ph. D. dissertation, University of Southern California, 1953). By the same author: Christ ist erstanden in The Hymn, Vol. 8, No. 1 (Jan. 1957), pp. 15 to 22.
2. Ludwig Schöberlein, Schatz des liturgischen Chor- und Gemeindegesangs (Göttingen: Vandenhoeck und Ruprecht, 1865), I, 294.
3. Julius Smend, Die deutschen evangelischen Messen bis zu Luthers Deutscher Messe. (Göttingen, 1896), p. 9.
4. Ernst Schmidt, Führer durch das Gesangbuch der Evangelischen Lutherischen Kirche in Bayern rechts des Rheines (Erlangen: Martin Luther Verlag, 1936), p. 18.
5. Schmidt, p. 18.
6. Christhard Mahrenholz, Scheidt, sein Leben und sein Werk (Leipzig, 1924), pp. 48 ff.
7. Arnold Schering, Musikgeschichte Leipzigs 1650–1723 (Leipzig), II, 19.
   Rochus von Lilencron, Liturgisch-musikalische Geschichte der evangelischen Gottesdienste von 1523 bis 1700 (Schleswig, 1893), pp. 157 ff.
8. Schöberlein, I, 407 ff.
9. Schöberlein, I, 710.
10. Mahrenholz, p. 50.
11. Arno Werner, Vier Jahrhunderte im Dienste der Kirchenmusik (Leipzig, 1933), p. 85.
12. Jacob Adlung, Anleitung zu der musikalischen Gelahrtheit (1758), ed. Hans Joachim Moser. Facsimile reprint (Kassel: Bärenreiter, 1953), p.658.
13. Johannes Zahn, Die Melodieen der deutschen evangelischen Kirchenlieder (Guetersloh, 1893), Vol. VI, No. 462, p. 134.
14. This term is taken from the eighth part of the Musae Sioniae by Michael Praetorius.
15. Von Liliencron, p. 95/96.
16. For additional information concerning Kantional-style composers read in Hans Joachim Moser, Die evangelische Kirchenmusik in Deutschland (Berlin: Merseburger, 1954), pp. 96 ff.
17. Eduard Emil Koch, Geschichte des Kirchenlieds und Kirchengesangs (Stuttgart, 1869), III, 359.
18. All these settings are in the Winterfeld MS 97 of the Oeffentliche wissenschaftliche Bibliothek, Berlin. Also available in the Bärenreiter series.
19. Compare Kleine Bärenreiter Ausgabe No. 594.
20. Friedrich Blume, Die evangelische Kirchenmusik (Potsdam, 1931), p. 104.
21. Complete Works of Michael Praetorius, ed. Friedrich Blume (Wolfenbuettel and Berlin: 20 volumes, 1928–1940).
22. Complete Works of Michael Praetorius, Vol. V, p. xi.
23. Cp. p. 112 of this paper.
24. See title page and section V of Nota Autoris ad Lectorum Musicum of Vol. IX of Michael Praetorius ’ Complete Works.
25. Hans Albrecht, Bicinium in Musik in Geschichte und Gegenwart, ed. Friedrich Blume, I, 1842.
26. Selected Works by Andreas Crappius, ed. Th. W. Werner (Wolfenbuettel: Kallmeyer, 1942), p. xiii.
27. For a listing of the different types of chorus see Syntagma musicum, Vol. III.
28. Volume XVI, p. 8/9.
29. Robert Unger, Die mehrchörige Aufführungspraxis bei Michael Praetorius (Wolfenbüttel: Kallmeyer, 1949), p. 52.
30. Johann Mattheson, Der vollkommene Kapellmeister, ed. Margarete Reimann (Hamburg, 1739. Kassel: Bärenreiter, 1954), pp. 73 ff.
    Johann Gottfried Walther, Musikalisches Lexikon (Leipzig, 1732), p. 584.
31. Riedel, Leisen Formulae, pp. 484 ff.
32. Martin Vogeleis, Quellen und Bausteine zu einer Geschichte der Musik und des Theaters im Elsass 500–1800 (Strassburg, 1911), p. 395.
33. Mattheson, p.75.
34. Vogeleis, p. 394.
35. Moser, pp. 146 ff.
36. Der Altargesang. Das Kirchenjahr. Lieferung 14, p. 14.
37. Compare Denkmäler der Tonkunst in Bayern, Vol. 7 (Leipzig: Breitkopf und Haertel, 1906), No. 16, p. 72. Selected works of the Nuremberg organist Johann Staden.
38. See Praetorius, Syntagma musicum, III, 238.
39. Complete Works of F. W. Zachow, ed. Max Seiffert (Leipzig: Breitkopf und Haertel, 1905).
40. Schöberlein, II, 562 ff.
41. Complete Works of Heinrich Schütz, ed. Philipp Spitta, XIV, 167 ff.
42. Hans Joachim Moser, Heinrich Schütz (Kassel: Bärenreiter, 1954), p. 244.
43. Johann Rudolph Ahle’s Selected Vocal Works, ed. Johannes Wolf, DdT. Vol. V, p.92 ff.
44. Thuringian Motets from the First Half of the Eighteenth Century, ed. Max Seiffert, DdT. Vol. 49, p. 30 ff.
45. Compare organ tablature from Uppsala Library.
46. Siegfried Guenther, Die geistliche Konzertmusik von Thomas Selle (Giessen, 1935), p. 2.
47. P. 144.

University of Minnesota
Minneapolis, Minn.

From The Musical Heritage of the Church, Volume V (St. Louis, Mo.: Concordia Publishing House, 1959). Copyright Concordia Publishing House. Printed by permission. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Concordia Publishing House.