Glorious Things of Hayden and Fallersleben (was: Sacred & Profane -
- Matt Weber wrote:
<<"Deutschland über alles" was in fact the Imperial German
anthem. . .>>
Ironically, what MATT Weber asserts was not even true in the lifetime
of MAX Weber (1864-1920)who was born before unification and the
creation the Second Reich (1871-1918) and died shortly after he
helped craft the constitution for the Weimar Republic.
To add briefly (but not as briefly as some might wish) to Pastor
Senn's (and others') useful remarks on this thread, the melody from
Hayden's 1797 "String Quartet in C major (the Kaiser-Quartet)"
appears as "Austria" with the text of John Newton's 1779 "Glorious
Things of the Are Spoken" in _The Chapel Hymnal_ published in 1804 in
London by Heathery. (I have been able to find no information on the
use to which this Hymnal was put.) This, of course, predates the
unification of Germany by 67 years, and I have no reason to assert
that this was the earliest pairing of this tune with this (or some
other) text in a hymnal.
The words to "Das Lied der Deutschen" (better known by the familiar
"Deutschland, Deutschland über alles") were written by Heinrich
Hoffmann von Fallersleben in 1841, which he set to Hayden's melody.
Fallersleben was an advocate of German unification and liberal
republican government. His fervor for a progressive vision was
perceived as disloyalty by several princes. As a result,
Fallersleben fled to Heligoland, an island in the North Sea, where he
wrote "Das Lied der Deutschen."
The Empire never had a national anthem and I have never seen any
reference to the use of this liberal republican song for Imperial
state occasions, not surprisingly. Indeed, Fallersleben/Hayden seems
to have suffered from neglect until World War I, when it was sung by
soldiers in the battlefield. It was not until 1922 that "Das Lied
der Deutschen", set to Hayden's tune, was declared the official
national anthem by Friedrich Ebert, President of the new Weimar
This is perhaps more trivia than anyone wants to know, but I do have
a trivial mind (though I teach mostly quadrivial courses).
Pax et curmudgeum,
Gregory Holmes Singleton, Ph.D.
Professor, Chair and Resident Old Curmudgeon
Department of History, Northeastern Illinois University
Chicago, IL 60625 (773)442-5606 fax (773)442-5620
G-Singleton@... or gregory.singleton@...
- To "the musical Jesus" you may add this information
30 And when they had sung an hymn, they went out into the mount of Olives.
----- Original Message -----
From: "Douglas Cowling" <dcowling@...>
Sent: Friday, December 05, 2003 11:19 PM
Subject: [liturgy-l] The Musical Jesus
> on 12/5/03 12:08 PM, Kenneth Doll at kenneth.doll@... wrote:
> > To what do you refer when you speak of "cantillation"?
> Cantillation generally refers to any musical presentation of a sacred text.
> There is a spectrum which runs from the notated formulas of the Gregorian
> repertoire for chanting the Scriptural readings to the half-sung,
> half-spoken way in which orthodox Jews or Muslims pray in the Middle east.
> Jesus would have sung the passage of Isaiah in the synagogue to a more
> "musical" set of chant formulas than he would have used for the more
> sing-songy blessings over the bread and wine at the Last Supper. Other
> instances of cantillation by Jesus might include the Lord's Prayer and the
> Beatitudes with their psalmodic structure.
> Doug Cowling
> Director of Music & Liturgical Arts
> Church of the Messiah
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