#godakah khamohen) ASUU TRAINING A གས བ པ ་བ དམཅུག དབཀདུག་ 200 B 1,369,413 { dam Music of Chr Ephrata Cloister SACHSE tho **** J FRAGRA ľ 1837 ARTES LIBRARY UNIVERSITY OF MICHIGAN PARA VERITAS E-PLURIBUS UNUM SCIENTIA TUEDOR OF THE SI-QUAERIS PENINSULAM AMOENAM CIRCUMSPICE *** UTOG SZULETEASCADIN THATS PTll. AWASIOID PHOTO. BY J. F. SACHSE. MUSIC OF THE EPHRATA CLOISTER. GENERAL VIEW OF THE KLOSTER GROUNDS AT EPHRATA. A-VIEW FROM MEADOW TOWARDS ZION HILL. B-VIEW FROM ZION HILL. Music of The Ephrata Cloister The Conrad Beissel's Treatise on Music ++ ALSO AS SET FORTH IN A PREFACE TO THE *Turtel Taube" of 1747 AMPLIFIED WITH FAC-SIMILE REPRODUCTIONS OF PARTS OF THE TEXT AND SOME ORIGINAL EPHRATA MUSIC OF THE Weyrauchs Hügel, 1739; Rosen und Lilien, 1745; Turtel Taube, 1747; Choral Buch, 1754, etc. PENNS AN JULIUS FRIEDRICH SACHSE, LITT.D. Member American Philosophical Society-Historical Society of Pennsylvania-Pennsylvania- German Society—American Historical Association-XIII International Congress of Orientalists, etc., etc. Reprinted from Volume XII., Proceedings of the Pennsylvania-German Society VINY BY GERMAN WHN SOCIET Y LANCASTER PRINTED FOR THE AUTHOR 1903 COPYRIGHT, 1902, BY J. F. SACHSE. All rights reserved. Of this Edition two hundred and fifty copies have been printed of which this is No. JULIUS FRIEDRICH SACHSE. PRESS OF THE NEW ERA PRINTING COMPANY, LANCASTER, PA. 02 7 ***** PREFACE. Wa ITHOUT doubt the music of the Ephrata Cloister, as evolved in the Settlement on the Cocalico, during the first half of the XVIII. century, and based on Beissel's peculiar system of harmony, exercised a far greater influence upon the community at large than is generally supposed. It not only had its effect upon the social life and development of the German settlers of Lancaster and adjoining counties who had fallen away from the orthodox faith of their fathers, by guiding their thoughts and minds into a spiritual channel; but it grad- ually extended its influence beyond its original bounds, across the Susquehanna; and in the course of a few years we find it installed in the valleys of the Antietam and Shenandoah where it found a lodgment until long after the parent community had passed out of existence. It was even carried west of the Alleghanies, and into far-off New England, by these pious celibates, and it is not altogether improbable that one of the Ephrata tune books was largely instrumental in shaping the musical work of the Yankee tanner. For many years this native Pennsylvania-German music (3) I 273464 Preface. "" was a sealed book to the student and historian, but the recent discovery of the original score and tune books of the Cloister, together with Beissel's "Dissertation on Har- mony, as set forth in the preface of the hymnal known as the Turtel Taube, enables us now for the first time to give the English reader a clear insight into this peculiar product. For the translation of the "Dissertation" and for the trans- position of several musical numbers into modern notation, we are indebted to the Rev. J. F. Ohl, Mus. D., of Phila- delphia. 4. Thanks are also due to General John F. Roller, of Har- risonberg, Va., for valuable aid rendered the writer in tracing the history of the German sectarians in Virginia ; to Mr. W. H. Richardson, of Norristown, Pa., for two valuable illustrations; and to J. F. Mentzer, M.D., of Ephrata, and other fellow-members of the Pennsylvania- German Society who have so generously aided the writer in his researches during the past years. JULIUS FRIEDRICH SACHSE. PHILADELPHIA, December, 1902. 1 387 TABLE OF CONTENTS. CHAPTER I. THE MUSIC OF THE CLOISTER. Unique Notation, Quaint Melodies - Earliest Ephrata Music - Contemporary Accounts, decline of the Community - Music Fos- tered at Snowhill Nunnery - Manuscript Music Books-Published Accounts - Beissel's Knowledge of Music — History of the Klos- Dr. Wm. M. Fahnestock-Dr. Oswald Seidensticker - First Issue of the Ephrata Press - Title Pages-The Turtel Taube Inadvertent Mistake - Score Book of the Cloister. ter CHAPTER II. BEISSEL'S APOLOGY FOR SACRED SONG. Scripture Texts-Song of the Godless-Song of the Early Christians at the Table - Psaltery of Ten Strings - The Holy Spirit, the True Singing Master.. J CHAPTER III. THE MUSIC OF THE KLOSTER. New Material — Correct Transposition, Beissel's System of Har- mony - Ludwig Blum, Alleged Portrait — Curious Features of the Music-Movable C Clef - Seven-part Motet - Choral Songs, an Ephrata Sister • CHAPTER IV. HYMN-BOOKS OF THE COMMUNITY. Early Efforts at Hymnology - Franklin Imprints, Manuscript Hymnal — Wyrauchs Hügel — Song of the Solitary Turtel Taube Wunderspiel-Rare and Interesting Titles Great Hymnal— Sub-Titles - Various Editions-Prior Jaebez . CHAPTER V. THE TURTEL TAUBE OF 1747. Foreword-Original English Version - Power of the Church Hymns and Music Adapted to Worship of God - Spirit of Singing, Mysteries of God - Conclusion of Foreword 5 • 6-23 24-26 27-31 32-52 53-58 6 Table of Contents. CHAPTER VI. FATHER FRIEDSAM'S DISSERTATION. Facsimile of Prologue CHAPTER VII. Beissel's Unique Instructions on the Voice Relations of Pupil and Master - Demands of the Spirit - Kinds of Food - Effects of Milk, Cheese, Butter, Eggs, Honey-Cooked Dishes Common Vegetables - Concerning Drink — Enochian Life CHAPTER VIII. BEISSEL'S DISSERTATION ON HARMONY. Translator's Note - Qualification of Teacher-the Voices- What Constitutes a Four-part Tune- Barrir and Toener - Beissel's Explanation — Major and Minor Keys-Four-part Key for Melo- dies in C.-Key Diagram. I CHAPTER IX. M ORIGINAL AND MODERN NOTATION. Conclusion Original Four-part Score on Single Staff — Ren- dition - Illustrations, Wohl auf in Four-part- Seven-part Motet - Five-part Melody - Six-part Choral Rendition by Mrs. Frank Binnix - Sister Anna Thomen. APPENDIX. A PAGE OF EPHRATA THEOSOPHY. An Old Manuscript-German Proverb- Brother Obed - His Primer― A Newly-discovered Ephrata Imprint — Credit Due Penn- sylvania-Germans - Appearance of Guardian Spirit- Various Transmigrations Man's Cruelty-Woman's Frailty - Moral and Conclusions. 193 • 59-65 66-69 70-79 80-92 93-106 The Ephrata Kloster, General View Portrait Late Professor Oswald Seidensticker. Specimen Page from Choral Buch, Interior Views of Sister Saal or Chapel An Old Ephrata Hand Press. Vignette, Wisdom. Head Piece, Music Initial E Negatives and Reproductions by JULIUS F. Sachse. ses Snowhill Main Building Ephrata Pen Work Ephrata Sampler Bethania 4 LIST OF PLATES. • • • ILLUSTRATIONS. • Sister House and Chapel Wm. M. Fahnestock Head Piece, Delicæ Ephraten- Ornate I Tail Piece, "Laus Deo" Head Piece, Doves Ephrata T Silhouette Beissel Ephrata Lily Ephrata Sister Head Piece, Books and Pens. Ornate T.. • PAGE. • • • · ་ • 3 Peter Miller Portrait 9 Head Piece, Cupid • 12 Ephrata Water Mark 14 Head Piece, Lilies . frontispiece facing page 17 (6 "C 40 9 Script I. II Tail Piece, Passion Cross 14 Vignette 15 Script Alphabet . 16 Head Piece, Beaux Art Initial T. • (7) (C << 24 Watermark, 1744 24 Head Piece and Initial . 26 Tail Piece ciety. 31 Head Piece, Knowledge 32 Vignette, Wisdom . 33 Schwenkfelder Inital 33 Tail Piece, "Finis" • (( (( 27 Ephrata Symbol 27 Seal Pennsylvania-German So- 28 • PAGE. 51 53 53 58 65 66 52 • 96 * * * * * Loaaaaa 66 69 70 70 79 80 86 92 93 95 95 99 106 17 8 Title Pages and Music. TITLE PAGES AND MUSIC. PAGE. 17 Music, Earliest Ephrata, 1735 . 10 Neuer Nachklang der Turtel Arndt's Gebethe, Ephrata. Taube Wunderschrift, Ephrata, 1745 Dissertatian on Man's fall, 1765. 19 Chronicon Ephratense, 1786. Leben eines Herzogs, Ephrata, 18 Prologue, fac-simile. 20 • • 1790 21 30 34 Music, Gott ein Herscher Göttliche Liebes gethöne, 1730. Vorspiel der Neuen-welt, 1732. 35 Paradisische Nachts Tropffen, 1734 36 37 Jacobs Kampf u. Ritter-Platz, 1736 Zionitischer Weyrauchs Hügel, 1739. 38 Gesäng der Turtel Taube, 1747. 39 Paradisisches Wunderspiel, 1754 40 Turtel Taube Nachklang, 1755. 41 Turtel Taube Neuvermehrtes, 1762 . Rosen u. Lilien. "Saron," 1756. Rosen u. Lilien. “Bethania,” 1756 Wunderspiel, 1766 . Ausbund geistreicher Lieder, 1785 Gilfende Hertzens-Bewegungen 1749 • 41 42 41 42 PAGE. 44 Turtel Taube, sub-titles 46-48 Zionitischer Rosen Garten, 1754. 49 52 59-65 Barrir and Toener, fac-simile, 72 Music, four-part, key for Melo- dies in C, original and trans- position. Music, Key Diagrams. Music, original scores. Music, Die Braut ist Erwachet (original) . Music, Die Braut ist Erwachet (modern) .. • • 74 . . 76, 77 81 • 85 Music, four-part anthem. Music, Wie ist doch der Herr, five-part (original). . . Music, Gott wir Kommen dir, five-part (original) .. 85 Music, Gedencke Herr an David, six-part (original) . Music, Wohlauf und Schmücke, four-part (original) Music, four-part (modern) Music, Gott ein Herrscher aller Heiden 7-part Motet, Mod- ern Notation 90, 91 43 Title, Ephrata Primer, 1786. 94 Title, Geistliche Briefe eines Friedsamen Pilgers Eph- rata, 1794. 82 • 83 84 87 88 89 98 GATION 1 ? $ ……………………un²) បងជាអង្គបពេលបងម CHOFI Anne huning CHAPTER I. THE MUSIC OF THE CLOister. MUUNAONANIMOU SurraN Sæmunœpivium,ama PARETİL DISTAN VEN more interesting than the high-gabled cloister buildings at Ephrata, with their curious history and associations, or the issues of the print- ing office and writing room, with its ornate specimens of calig- raphy, is the music of the Ephrata Klo- ster, with its distinc- tive system of har- mony, unique nota- & tion and quaint melodies, with a peculiar method of vocal rendition, all of which were an outgrowth of the the- osophy taught by Conrad Beissel and his followers on the Cocalico. That this singular system of harmony (if strictly speak- ing it can be called a system), was an original evolution (9) DorM C 10 The Pennsylvania-German Society. EL 797 9 77 ich M frin nm Ein Bert das ins und Heiner Zuld und Freundlig Keill, ganten Leben bleibel din Jeden Winch ber mit hot ſchon alfin auch of an mif, wer is mir wünſchet. begehrt, und wird stetz seiner Bitt Verehrt. m 2 Mon Kön nicht sagen waß ein Leben daselbst wirdendlig Offenbahr, th mit allem sich ergeben. Man m TM) $300 Bot Beiligthum འ Zu Dinen Imerdar, no mon gilt Wühm, and Vreiß ihm Als dem Grohen Bott, der endlig hilft auß aller Noth. 3 m Wer solte sonst was anders lieben Als ihm allein getreu Zusein Wern Fund und Trüspel. Welt mich fiebe so schenkt er doch daneben ein } " EARLIEST EPHRATA MUSIC-FROM MS. HYMN-BOOK USED AT AMWELL, N. J., ABOUT 1735. Ephrata Music. II 1 from the brain of the Magus on the Cocalico cannot be denied, and it has the additional distinction of being the first original treatise on harmony to be published in the western world. This was fully a quarter of a century be- fore the Yankee tanner, William Billings, published his "New England Psalm Singer. $12 Preber ات "" 31 寳 ​MAIN BUILDING OF THE SNOWHILL INSTITUTION. Contemporary accounts by visitors to the Ephrata com- munity during the eighteenth century, all bear witness to the peculiar sweetness and weird beauty of the song of the sisterhood, and the impressive cadence of the chorals and hymns of the combined choirs. Some writers even dwell upon the angelic or celestial quality of the vocal music as it floated through the spaces of the large Saal, as the re- sponses were sung and reverberated from gallery to choir. Much of the beauty of the music was no doubt due to the quality of the voices and the way they were used. With the decline of the monastic or celibate feature of the Ephrata community, the music of the Kloster fell into disuse, and gradually became a lost art. The only place where any attempt was made to keep the Ephrata music alive, was at the institution known as the " Nunnery" at Snowhill in Franklin County. Here the music and Beis- The Pennsylvania-German Society. sel's system of harmony were fostered, taught and prac- ticed until a few years ago, when the last of the Snow- hill celibates passed from time into eternity. S I 2 LED BAN -gi/s SOCKETA N SKO TAS Choru SPECIMEN OF EPHRATA PENWORK FROM MS. HYMN-BOOK OF 1745. It may truthfully be said that during the whole of the nineteenth century no effort was made outside of the Snowhill " Nunnery" to practice or keep alive this dis- tinctive Pennsylvania-German music. Penwork of the Celibates. 13 The manuscript music books, frequently embellished with beautiful penwork, became objects for the cupidity of the book collector, and are now scattered. A few have found resting-places in museums and great libraries of the country, but some of the best specimens are in private hands. Unfortunately many of the music books of the Ephrata community deteriorated, by virtue of the peculiar composi- tion of the ink used, which destroyed the fiber of the paper. Others again suffered from careless handling in addition to the ravages of time; then again in many cases copies were thrown aside or destroyed by their ignorant owners as worthless Dutch books. Thus it happens that the orig- inal collection of the Ephrata manuscript music, which was never a very large one, is now scattered, and speci- mens are eagerly sought after and difficult to obtain. . During the past quarter of a century the writer has made a systematic search for such music, scores and books, not passing even fragments. His search has been rewarded to so great an extent that it is now possible again to form a conception of Beissel's remarkable musical productions, and have them rendered once more in their original form. Particular attention has also been devoted to the pub- lished accounts of Beissel's theories on harmony, in both the Chronicon Ephratense and the hymn-book known as the Turtel Taube of 1747. Comparisons have been made between original scores by Beissel and the elementary exercises used in the singing school, as well as with the finished and concerted pieces used at the Kloster services. Thus we are now in a position to form a tolerably clear idea of this system of harmony which had its development on the banks of the Cocalico, as well as of the original manner of rendering the music. 14 THIN The Pennsylvania-German Society. O ES U B. WHI XENIDIGH ** A LATKODEBAS MMA MAEDAZA.EENAZA MY DWUDEREN. KTROT HOLLENTENCIONULU XTE BHASHE FROM AN EPHRATA SAMPLER. Conrad Beissel evidently had but a scant acquaintance with the church music of the Reformation period, and his musical compositions, it now appears, stand in the same category with his theosophical writings. The music of the Ephrata Kloster is entirely unlike the ancient church music, and it has none of the rhythm and swing of either the religious or secular folk-song of the Reformation. Our PAL Ad Veal 197 BETHANIA, THE OLD BROTHER HOUSE. Ephrata music, like the hymns to which they were set, contains many elements of mysticism. It will be remembered that this music, with its peculiar system of harmony, was a native Pennsylvania product- Addr History of the Kloster. 15 the earliest and most original distinctive system of music evolved in the western world during the eighteenth cen- tury. Though crude in many of its progressions and often incorrect in its harmonies, yet from both an historical and a musical standpoint it is unique and valuable. Sung as it was with fervor and feeling, by the enthusi- astic mystic celibates within the confines of the Kloster Saal, the music unquestionably had a charm of its own. The history of the old Kloster has for years been a fruitful subject for writers of varied accomplishments. No matter from what point of view we approach it-whether from a domestic, social, religious, educational or architec- tural one—we are astounded with the wealth of the novel situations which present themselves before us, changing at every turn with kaleidoscopic rapidity, ever presenting new SHEW KOT NIUS, FASH VIEW OF JAAL FA SISTER HOUSE AND CHAPEL. AND SARON. and curious combinations, and offering for consideration themes for study and an incentive for further research and discovery. 16 The Pennsylvania-German Society. During the past quarter of a century, the reading public has been kept tolerably well informed of the history of this mystic community that had its origin in Lancaster County within our own State. In most cases these accounts were mere newspaper sketches, superficially written by the average reporter of the day, who usually has a vivid imagination, without any time or training for research or historic investigation. AMMU Dr. Wm. M. FAHNESTOCK, b. APRIL 10, 1802; d. DEC. 15, 1854. Even worse than these ephemeral stories, we have been afflicted with occasional dissertations and opinions by would-be authorities, who, although totally ignorant of the German tongue, and the habits and customs of our people and their literature, have set themselves up to speak authoritatively of the Ephrata people, their writings and MUSIC OF THE EPHRATA CLOISTER. 25 PROF. OSWALD SEIDENSTICKER. B. MAY 3, 1825; D. JANUARY 10, 1894. 380 33333 23 A Unique Imprint. 17 music. These, in almost every case have been mere idle vaporings, unworthy of notice and valueless for reference, except as to such portions as they have taken bodily from the publications of the Pennsylvania-German Society—or its members. In bold contrast with the above screeds, we have a num- ber of fugitive and fragmentary papers in both German and English-publications of great value by such writers, investigators and scholars as the late Dr. Wm. M. Fahne- stock, Professor Oswald Seidensticker and others. These publications were followed by the "Critical and Legendary History of the Ephrata Cloister and the Dunkers," an exhaustive work by the present wri- ter, forming the basis of his "German Sectarians." This work, representing a research and labor of more than twenty years, was supposed to have been exhaustive, giving the whole history of the move- ment and settlement of the mystic community, as well as a complete list of the issues of the Ephrata press and a bibliography of the Kloster. But since its issue, a number of new imprints, broadsides and manuscripts have come to light, chiefly through the incentive offered by the pub- Johann Arnd's geiflreiche Morgen- und Abend · Gebethe, auf jeden Tag der Woche. aaaaaaa aa aad* Ephrata, Gedruckt und zu ha= ben in Lancaster bey Henrich Dörn in der Donegal-ftraß. TITLE OF ARNDT'S SPIRITUAL PRAYERS. 18 Music of the Ephrata Cloister. lished list in the "German Sectarians," among them being a copy of Arndt's Gebethe, supposed to have been the ear- liest issue of the Ephrata press. So far as the writer has been able to discover in his in- vestigations of the Ephrata press, there are evidences of Das Leben Cines jungen Herzogs, Welhes 300 Jahr im Paradies gewesen, Glänzend wieder zurück in fein Reich kam, Folgende Geschichte erzehlt, beym erſten Biffeo Brods, ſich in Geſtalt eines ſehr alten Mannes verwandelt, und stirbt. Epbrata, Gedruckt im Jahr 1790, A LATELY DISCOVERED EPHRATA IMPRINT. three instances where efforts were made to issue an orig- inal work of the community in both German and English. The first of these was Beissel's Wunderschrift (1745). The English version, "A Dissertation on Man's Fall," was not printed until 1765. Page of an Ephrata Imprint. 泡 ​*) i ( { 19 Jne tiefe Angelegenheit meines Geißtee hat wir Ute fache gegeben diese Wunder-Schrifft aufzusetzen: u. etwas wehniges daven an den Tag zu geben, neme lich: durch welche unbeschreibliche Angelegenheiten ich daran gekommen, bin. Und ob sich schon die Schrifft zur vollzu Grüge folbft aupreißt: ſo will doch, als aur Borrede, etwas anmercken, um einen Eingang zur Sa che_zu machen. Ich habe zwar in den Tagen meiner Göttlichen Jugend. gemeinét, es könte mir nicht fehlen, wann ich mich würde auf das fauberüc üven, um ineinen Wandel im H. Veta licht-fern und Göttlichen Lichte zu führen. Allein dießeß hat so vick harte und schwere Gegensprüche erwecket; daß mich oft Entschen und Graufen ankam: wiewohl ich das neben mein H. Verliebt-ſeyu fortſeßte, in der Meinung ce tm Sieg zu gewinnen. Allein, je mehr Fleiß ich anwandt, desto cine heftigere Rebellion ich in mir erweckte: welches mich freylich so geübet und geficbet, daß oftmal die Steine, wenn sie hätten eine Empfindlichkeit gehabt, init mir háts ten schreyen müſſen, ſondeilich weil der große Fleiß und die allerreinste Brunft der Liebe allezeit das Feuer gefchiert zu einem neuen Allarmı. (1) Dieses hat mich freylich in gar A tiefes (1) Der Einn diefer Reden ist folgender: Je mehr wir uns laffen das Gute angelegen seyn, desto mehr wird das Uebel in uns regt. Es if Dieses eine aus Tanger Erfahrung beflätigte Warheit: dahero, wann wir Gures INITIAL PAGE OF THE GERMAN VERSION OF BEISSEL'S WUNDERSCHRIFT. 20 Music of the Ephrata Cloister. A Differtation on MANS FALL, Tranſlated from the High-German Original. INVENIT RUNDO NIDUM, JEHOVA Majala NAKATANES ZEmpolju JAYA 200U ALTARIA DELICIA EPHRATENSES TUA 4 84 tinted: EPHRATA Anno MDCCLXV. old at Philadelphia by Mottieurs CHRISTOPH MARSHAL and WILLIAM DUNLAP TITLE PAGE OF THE ENGLISH VERSION OF BEISSEL'S WUNDERSCHRIFT. Title Page of the Chronicon Ephratense. Chronicon Ephratenfe, Enthaltend den Lebens-Lauf des ehrwürdigen Vaters in Chrifto Friedfam Gottrecht, Weyland Stiffiers und Vorstehers des geiftl. Ordens der Einsamen to Ephrata in der Grafschaft Lancaster in PENNSYLVANIA. Zusammen getragen von Br. Lamech u. Agrippa Er ist wie das Feuer eines Goldschmieds, und wie die Seiffe der Wäscher: G wird die Kinder Levi reinigen wie Gold and Silber. Malach. 3, 2. 3. Es ist die Zeit, daß anfahe das Gericht am Hauße Gottes, ſo aber zuerst an ans, was will vor ein Ende werden mit denen, die dem Evangelio Gottes nicht glauben. Und so der Gerechte kümmerlich erhalten wird, wie with des Gottlose und Sünder erscheinen 1. Petr. 47 17. 18. JEHOVA INVENIT HIRUNDO NIDUM. WON OMNIAW'S ALTARIA DELICIÆ EPHRATENSES EPHRATA: Gedruckt Anne 21 TUA MDCCLXXXV I. TITLE PAGE OF CHRONICON EPHRATENSE. 22 Music of the Ephrata Cloister. ¡ The next venture was the Chronicon Ephratense. This was translated by Brother Jaebez, and the MS. sent to Christopher Marshall for correction and revision. The out- break of the American Revolution prevented its publication. The third work, and to us at present the most important one, was Beissel's Dissertation on Harmony as it appears in the preface of the Turtel Taube of 1747. The writer has never been able to find a complete copy of this trac- tate in English. A fragment, however, has come down to us, proving the fact that it was translated and printed in English; but it unfortunately lacks the title and con- cluding pages. Such portions as we have are printed verbatim et literatim, the missing parts being translated and supplied by the present writer. The attention of the writer has been repeatedly called, by musicians and other competent musical judges, to cer- tain glaring errors in the music as printed in the musical chapter of his work, and supposed to have been a correct translation of the Ephrata scores into modern notation. The writer greatly regrets the inadvertent introduction of this erroneous matter into his work-mistakes for which he can hardly be held responsible. In compiling the chapter on the Ephrata music¹ the writer, not being an expert skilled in the rules of harmony, nor proficient in instrumental music, entrusted the transposition of several specimen pieces into modern notation to the hands of a per- son whom he believed to be a competent and practical musician-one who claimed to have some knowledge of this kind of music. Fortunately for the writer, only three of the transpositions were used. The many criticisms which they brought forth led to a closer and more general examination and study of such Ephrata scores, manuscript music books and sheets as were 1 "German Sectarians," Vol. II., Chapter VI., pp. 127-160. { An Ephrata Score Book. available, and a comparison of them with such descriptive and explanatory matter as appears in the Chronicon, the Turtel Taube and other books of the Ephrata institution. Since the issue of the final volume of the "German Sectarians," quite opportunely several new and heretofore unknown music books and manuscripts were found and brought forth from their resting-places, and were kindly sent, by their various inheritors, owners or legatees of some of the old Sabbatarians, to the writer. Two of these books deserve special mention, as they give to us the key to the whole system or manner of the rendition of the music, and how it was originally written or composed by the versatile genius on the Cocalico. These books, in fact, bear the same relation to Beissel's musical hiero- glyphics that the Rosetta stone does to the Egyptian ones. One of these books appears to have been the score book of either Beissel or some other leader of the choirs. It also differs from any of the other known music books, as it contains some of the music as originally written by the composer, Conrad Beissel. In some places the entire four parts are written consecutively upon a single staff, the clef being shifted to suit the voice or part. In many cases the words of the hymns are also divided, showing the num- ber of words sung respectively to each bar, which in many cases is an arbitrary selection. The other book shows how the above four-part music, as originally written on a single staff, was written out when used in actual practice. 23 Another interesting bit of information that has come to light in this connection is "Beissel's Apology for Sacred Song," a colloquial tractate consisting of eleven questions and answers whereby Beissel justifies the introduction of sacred song. This tractate is now for the first time ren- dered into English and here follows. ALLO EM DUM, JEHOVA ALTARIA FUL προτεινων KUVUUN INVENIT HIRUNDO ISV5. OFORTH UP agat DELICIA EPHRATENSES TUA 84 CHAPTER II. BEISSEL'S APOLOGY FOR SACRED SONG. ntin Yes, as we find in both Old and New Testaments commands and examples. Psalm 1xviii. 5, 33; Matthew xxvi. 30; Eph. v. 19; James v.13. Who shall then sing? All the saints of God, whose hearts and mouths are full of praise, thanks- giving and prayer. Cannot the godless sing a hymn in a manner acceptable to God? S it consistent with the Word of God that we sing? Oh, no, for, like unto the prayer of the wicked, so also is their song abhorrent unto God. The bawling of their hymns pleaseth Him not. Amos v. Why cannot such people sing rightly? Because they have not the spirit of Christ, who alone can intone the true tone and song. (24) The Song of the Early Christians. 25 How sang the early Christians? One of the old chroniclers speaks thereof as follows: "The husbandman sings behind the plow a joyful hallelujah; the tired reaper enlivens himself with psalms, and the vinedresser sings portions of David's hymns, and so forth." At their meetings did they sing together? Yes. For as they met together before break of day they read some selections, offered prayer, and in the sim- plicity of Christ sang hymns of praise as heathen writers have testified of them. Did they sing at the table? Yes. In place of disgraceful laughter and unnecessary conversation at the table, they, with wife, children and guests, intoned hymns of praise and thanksgiving. How shall the heart be qualified when we want to sing? As it has been crushed under the law and made pensive after God, then comes the Holy Ghost and brings peace and joy into the heart, that the mouth overflows to the praise of God. What is meant by the psaltery with ten strings, of which David speaks? As the tenth number is a perfect number (when one has counted ten, one begins again and commences with one), therefore is Christ our psaltery with ten strings, whose per- fection is continually in our hearts and to be sung with our lips. Who therefore teaches us to sing aright? The Holy Spirit, as the true singing-master, can turn the heart into a celestial harp and divine instrument, so that it can be used without outward instrument and sound, and often also without any audible voice. 26 Music of the Ephrata Cloister. Is it not sufficient when one outwardly listens to a beauti- ful melody? 1 Oh, no. Paul speaks: "Sing unto the Lord in or with your hearts." Even the lips of the godless can carry a fine voice. Intone then ye saints to the Lord, intone a hymn unto the Lord, with the celestial choirs of the upper and lower Jerusalem; yea, let everything that hath breath praise the Lord. Hallelujah. LAUS DEO STALAIAKE ALLELUIA R CHAPTER III. THE MUSIC OF THE KLOSTER. HE finding of this new material and the discovery of other interesting features of mys- tical Pennsylvania music, to- gether with an earnest desire of the writer to correct the evident errors in the musi- cal transcriptions in his chap- ter on the Ephrata music, have been among the incen- tives to write this paper, and thereby to perfect his account of the Kloster music. For this purpose he has secured the coöperation of the Rev. J. F. Ohl, Mus. Doc., well known as a musical editor and writer on musical subjects. This authority has made correct transpositions of the native Pennsylvania-German music into modern notation, enabling us to present in its proper light the peculiar system of harmony evolved in the versatile brain of Conrad Beissel in his seclusion on the Cocalico. A number of illustrations, sufficient for our purpose, are given both in the original and in modern form. The system of harmony here brought to our notice, it must be remembered, was the original outgrowth of the (27) 28 Music of the Ephrata Cloister. mind of a comparatively uneducated man, whose practical knowledge of music was limited to a few scrapings of dance music when he was yet a journeyman baker in the Fatherland. How much instruction he may have received in theoretical or practical notation from Ludwig Blum during the latter's short sojourn on the Cocalico it is difficult to surmise. But, judging from the tenor of the Ephrata ALLEGED PORTRAIT OF CONRAD BEISSEL. records, Beissel evidently received no information from Blum, except such as was carried to him by Sister Anas- tasia and her associates. Yet here we find Conrad Beissel, we may say almost at a moment's notice, without previous 29 Curious Features. preparation, teaching and publishing novel rules on har- mony, composition and vocal music—taking for his guide, the records inform us, the Æolian harp-in other words, the music of nature; and in less than twenty years he com- poses, it is stated, over a thousand different melodies and tunes, set in two, four, five, six and even seven parts, to as many different hymns, most of which were also of his composition. A curious feature of this Ephrata music is that it was chiefly sung by female voices; thus the four-part pieces were rendered by a female tenor, alto and soprano, the music being written in the movable C clef, while the bass appears in the F clef. In the five-part scores, a second bass is added, making three female and two male parts. The six-part compositions have the same arrangement, with the addition of another female tenor. An additional high female voice completes the seven-part music, which I believe stands unique in musical literature. This had five female parts and two male: viz., two sopranos or high female voices, one alto or counter tenor, two female tenors, and first and second bass. The peculiar arrangement of the voices prevailed in all the Ephrata music, a peculiarity which is distinctly men- tioned in different contemporary MSS., which state that all the parts save the bass, which is set in two parts, are led and sung exclusively by the females. Thus, in the seven-part music, counting from below, the first part is lower bass; second, upper bass; third, female tenor; fourth, female treble; fifth, counter, high female voice; sixth, leading voice; seventh, second leading voice. Our illustration of Beissel's seven-part music, Gott der Herscher aller Heiden, is taken from the Paradisisches Wunderspiel of 1754, which was his last musical work, 30 Music of the Ephrata Cloister. du Herzſcher aller Heyden, der ſein Volck bald wird herzlich leiten, und ihr Recht laſſen hoch hergehn: wenn ER Zion söödn_wird Föynücken, ihr Hell wird laſſen näher rücken, ſo wird man Freud und Bonne seht GO * AKE U 4 பு Goo 1919 # in #s 192 ongatio 19 an Seinem Eigenthum, das nun giebt Preiß und Rußm GOLL dein König, der sie erhöht, ihr Völcker ſehti wie GOttes Braut nun einhergeht. 196. 2 AC t tht M 傘 ​A SEVEN-PART MOTET. C #t عه شنان C вт Lad အင်းစား စားပ Eena H Choral Songs. 31 and the Chronicon says that it was by many masters de- clared the most important. These were the choral songs, and they consist of a folio volume partly written, partly printed. MATE 32 Music of the Ephrata Cloister. O O N AN EPHRATA SISTER FROM ILLUMINATED HYMN-BOOK. A 000090090 Mona CHAPTER IV. Qoo0 мейным THE HYMN-BOOKS OF THE COMMUNITY. HE earliest hymn and music books of the Ephrata com- munity were all laboriously and carefully executed with the pen. These were supplanted by the hymn- books printed for their use by Franklin in 1730, 1732 and 1736, and Sauer in 1739. Shortly after the large printing press was established in the institu- tion on the Cocalico the membership as well as the num- ber of original hymns and tunes having greatly increased, it was proposed to issue a distinctive original hymn-book for the uses of both the solitary and secular organizations, all of the compositions being the work of the inmates of the Kloster and set to tunes of their own. This book was to replace in the Kloster worship those previously printed by Franklin as well as the Weyrauchs Hügel, which bears the imprint of Christopher Sauer of Germantown. (33) 34 Music of the Ephrata Cloister. GOTTLICHE Liebes und Lobes gethőne Welche in den hertzen der kinder der weifzheit zufammen ein. Und von da wieder aufgefloſſen ZUM LOB GOTTES, Und nun denen ſchülern der himliſchen weiſzheit zur erweckung und auf- munterung in ihrem Creutz und leiden aus hertzlicher lie- be mitgetheilet. DANN Mit lieb erfüllet fein, bringt Gott den beften Preffs Und giebt zum fingen uns, die allerſckôrſte weifz. #####++++++++++++|+|+|#@#++ Za Philadelphia: Gedruckt bey Benjamin Franklin in der Marck firaſs. 1730, HYMNALS OF THE EPHRATA COMMUNITY. VORSPIEL DER NEUEN-WELT Hymnals of the Ephrata Kloster. Welches fich in der letzten Abendroethe als ein paradifiſcher Lichtes-glantz unter den Kindern Gottes hervor gethan. IN LIEBES, LOBES, LEIDENS, KRAFFT und Erfahrungs liedern abgebildet, die gedrückte, gebückte und Creutz- tragende Kirche auf Erden. Und wie inzwiſchen' fich Die obere und Triumphirende Kirche als eine Paradiefiſche vorkoft her vor thut und offenbahrer. Und daneben, als Ernftliche und zuruffende wächterſtimmen an alle annoch zerstreuété Kinder Gottes, das fié fich fammlen und bereit machen auf den baldigen; Ja bald herein brechen- den Hochzeit-Tag der braut des Lamins, ==$ ** Gedruckt bey Benjamin Fräncklin, in der Marck-firafs. 1732. Zu Philadelphia HYMNALS OF THE EPHRATA COMMUNITY. 35 36 Music of the Ephrata Cloister. Daradiesische Nadits Tropffen Búracie St Sche die sich in der stille zu zion als ein lieblicher morgen fau über die Kinder Gottes aus gebreitet. und In Sonderheit Jenen zu den Fülsen Jesu sitzenden Kindern Shrer inwendigen eredung und wahren hertzens andacht als Sine redte und Göttliche Strulübung um Jie wahre und geheime ja im Grill hier verborgen liegende Sing-Kunst zu Lernen mitgeteilet und Ans Licht gegeben Im Jahr & 7 3 4 HYMNALS OF THE EPHRATA COMMUNITY. Hymnals of the Ephrata Kloster. JACOBS Kampff- und Ritter-Platz ALLWO Der nach feinem urfprung fich fehnende geift der in Sophiam verliebten feele mit Gott um den neuen namen gerungen, und den Sieg davon getragen. ENTWORFFEN IN UNTERSCHIDLICHEN GLAUBENS- u.leidens-liedern,u. erfahrungs vollen aus- truckungen des gemuths, darinnen fich dar fellet, fo wel auff feiten Gottes feine unermuedete arbeit zur rei nigung folcher feelen, die fich feiner fuerung anvertraut. ALS AUCH Auff feiten des Menfchen der ernft des geiſtes im aus halten unter dem proceſs der läuterung und abfchmeltzung des Menfchen der Sünden famt dem daraus entſpringen. den lobes-gethőn. ZUR Gemüthlichen erweckung derer die das heil Jerufalems lieb haben. VERLEGET Von einem liebhaber der wahrheit die im vera borgenen wobnt. TO COSSE SSE wi§£ •{#ife #50 +05 Zu Philadelphia, gedruckt bey B.F. 1736. HYMNALS OF THE EPHRATA COMMUNITY. 37 38 Music of the Ephrata Cloister. ZIONITISCHER Seyrauchs Sügel Myrrhen Berg, Worinnen allerley liebliches und wohl riechens des nach Apotheker: Kunst zubereitetes Rauch - Werck zu finden. Bestehend Oder: In allerley Liebes-Würckungen der in GOTT geheiligten Seelen, welche sich in vieler und mancherley geiſtlichen und lieblichen Liedern aus gebildet. Als darinnen Der legte Ruff zu dem Abendmahl des groß fen GOttes auf unterschiedliche Weise trefflich aus gedrucker ist; Zum Dienst Der in dem Abend - Ländischen Welt-Theil als bey dem Untergang der Sonnen erweckten Kirche GOttes, und zu ihrer Ermunterung auf die Mitternachtige Zukunfft des Bräutigams ans Licht gegeben. BEC1BER (356) Berimantoms Gedruckt beŋ Chriflovh Saver. 1739 HYMNALS OF THE EPHRATA COMMUNITY, } The Solitary Turtle Dove. Das Sesäng Ser einsamen und verlassenen Surfel-Saube Nemlich der Christlichen Kirche. Oder geistliche u. Erfahrungs-volle Leidens u. Liebes-Gethöne, Als darinnen beydes die Vorkoſt der neuen Welt als auch die darzwischen vorkominende Creußes- und Leidens s Wege nach ihrer Würde dargestellt, und in geistliche Reimen gebracht Bon einem Friedſamen und nach der stillen Ewigkeit wallenden Pilger. 39 Und nun Sim Gebrauch der Einſamen und Verlaſſenen zu Zion gesammlet und ans Licht gegeben QAAAAAAAAAAAKAKAAMA*********AMARJER EPHRATA, Drucks der Brüderſchafft im Jahr 1 7 47, HYMNALS OF THE EPHRATA COMMUNITY. 40 Music of the Ephrata Cloister. Paradissches Su under-Spiel, Weldes sich In diesen leßten Zeiten und Tagen In denen Abend-Ländischen Welt-Theilen als ein Vor ſpiel der neuen Welt hervor gethan. Bestehende In einer ganz neuen und ungemeinen Sing- Art auf Weise der Englischen und himm lischen Chören eingerichtet. Da dann das Lied Moſis und des Lamms, wie auch das hohe Lied Salonios nis famit noch inehrern Zeugnüſſen aus der Bibel und andern Heiligen in_liebliche Melodyen gebracht. Wobey nicht weniger der Zuruf der Braut des Lamme, famint der Zubereitung auf den herzlichen Hochzeit Tag trefflich Præfigurirt wird. Mles nach Englischen Chören Gesangs-Weise mit viel Mühe und großen Fletg ausgefertiget von einem Friedsamen, Der ſouſt in dieſer Welt weder Llamen noch Titul ſuchet. EPHRATÆ Sumptibus Societatis: 1 7 5 4 ; TITLE PAGE OF BEISSEL'S MOST IMPORTANT MUSICAL WORK, THE FOLIO CHORAL BOOK. MUSIC OF THE EPHRATA CLOISTER. Aay Loft eff tus प 33 Kazoka 11º ob er schon gar schön ausblühet, und offenbar in GOttes Reich, daß man auch seine Früchtë siehet, als wie am Paradieses-Zweig, so steht die Wurzel doch im Grunde, annoch in dieser Sterblichkeit, da nichts als Schmerzen alle Stunde die ganze übr'ge Lebens-Zeit. 8% und Blut will so wendet Erden wo nichts als Fluch und Dornenstechen, und Schmerßzen dem verliebten Sinn, weil er nicht weiß, daß ihm sein Leben in einer andern Welt ausgrünt, und wasSich- bar uns nicht kan geben, was zu dem heil'gen Sattſeyn dient. SPECIMEN PAGE FROM CHORAL BOOK. A COMBINATION OF TYPE, PEN AND ARTISTIC COLOR WORK. THE NOTES AND. EMBELLISHMENTS ARE ALL PEN WORK. Hymnals of the Ephrata Kloster. Sachllang Zum Gesäng der einſamen Turfel Taube, Enthaltend eine neue Sammlung Geistlicher Lieder. EPHRATA Drucks der Brüderschafft Im Jahr 1755. Die im Thal der Demuth unter den Dornen hervor gewachsen. Alles aus der Schwesterlichen Gefal schafft in SARON Im Jahr des Heils. 175. 6. New-berikehrtes Gesäng der einsamen Turtel-Taube, Bar gemelas@afftlichen Erbauung gea fainmlet und ans Licht gegeben. INVENIT HIRUNDO JEHOVA NDO NIDUM box ɑɑLIBUS ALTARIA 4I AD DELICIE EPHRATENSES Ein Citt Angenehmer Geruch der- Angenehmer Geruch der RosenundBilien Rosen und Lilien TUA 84 ÉPÍRÁTÆ Typis Societatis Anno 1762. LATER ADDITIONS TO THE TURTEL TAUBE OF 1747. Die im Thal der Demuth unter den Dornen hervor gewachsen. Alles aus der Brüderlichen Gesell ſchafft in BETHANIA. Im Jahr des Heißß 1756. 42 Music of the Ephrata Cloister. Paradisisches Hunder-Spiel, Welches sich In diesen lehten Zeiten und Tagen in denen Abend- ländischen Welt-Theilen, als ein Vorspiel der neuen Welt hervorgethan: Beſtehend in einer neuen Sammlung andachticher und zum Lob des grosen Gottes eingerichteter geiftlicher/mnd ehedeffen zum Theil publicirter Lieder. RUNDO NIDUM, JEHOVA INVENIT ANTED ALTARIA +914 DELICIA EPHRATENSES TUA 4 $8. t EPHRATÆ: Typis & Confenfu Societatis A: D: M D C C L XVI THE GREAT HYMNAL OF THE EPHRATA COMMUNITY. } Hymnals of the Ephrata Kloster. Ausbund Geißtreicher Lieder. RENA BMALOS འ་་་་ར་་་ NA MENE: 1411111 ܝ (JASI{}) Ephrata, - Gedruckt im Jahr 178,5% 43 TITLE PAGE OF LAST HYMN-BOOK PRINTED BY THE EPHRATA COMMUNITY. (Original in collection of the writer.) 44 Music of the Ephrata Cloister. : Gilfende Herzens-Bewegungen Der unter die Fittigen der verlaſſenen Turtel-Taube gesammleten the Sinſamen. Welche das Wunder der hümmlischen Weisheit in eine geiste liche Schule zusammen gebracht: in welcher sie in man- cherley geistlichen Lebungen den Wittwen-und Waysen-Stand erlanget. Und solchen in geistlichen Andachten und Liedern an Tag gegeen. Welche nun, sur gemeinschafftlichen Erbauung, als ein Nach flang dem Gesäng der verlaſſenen Turtels Zaube angehänger find. Maya Tr "PINTANILO IDIDRIOT JAJAHAS HID. SMURALL "NIHIL, BUCJANTAI) ARAMADOLLA ALLTH EPHRATA in Penſylvanien Drucks und Verlags der Brüderschafft. Anno MDCCXLIX. SUB-TITLE OF THE EPHRATA TURTEL TAUBE. A Ser Geistliche Braut-Schmuck Der heiligen Jungfrauen- und Glieder-Sahl Des Lamms. Das KIRREN Der einsamen und verlassenen Surtel-Bauben. (45) Die Chöre des Hummels stimmen_init an, und die Geister, die vor GOTT stehen, schallen mit hernieder. Sie Brauf des Camms, als sie erwecket wird Durch die Stimme ihres Geliebten, überſteiget. un Prophetiſchen Geiſt die Wyrzßen-Berge, und erblicket ihre zukünfftige Verweilung inter Rosen und Lilien. edicional a blog/ab17.alabialog.blara bichofata layanane teramaianaaaaggiao SUB-TITLES OF THE EPHRATA TURTEL TAUBE. 46 Music of the Ephrata Cloister. This movement resulted in the issue in 1747 of a small quarto of 360 pages, seven and one half inches by six inches, known as the Turtel Taube, which contains some 277 hymns. This book, so far as we know, was the first original hymn-book printed at Ephrata, and the first to be printed in the western world, wherein all of the hymns were original compositions. This collection is divided into six parts, viz: (1) Der geistliche Brautschmuck der heiligen Jung- frauen, 60 hymns. (2) Das Kirren der Einsamen und Verlassenen Turtel- tauben, 62 hymns. (3) Die Braut des Lamms, als sie erwecket wird, an- them and choral. (4) Abend-ländische Morgen-Röthe, 88 hymns. (5) Gilfende Hertzens-Bewegungen, 35 hymns. (6) No special title, but ornamental head piece, 31 hymns. 202 pepeccacacacacgeneregenegenene Nun folger die Abend-ländische Morgen-Röthe, die sich am Abend der Zeiten ausgebreitet über die Christliche Kirche ! Darinnen beydes der bald heran-brechende Tag ihrer Erlösung, als auch ihre nächtliche Verweilung unter dem Ereutz erblicket wird: vorgeſtelt in geistlichen Sesängen. The Turtel Taube. 47 About two-thirds of these hymns were contributed by Conrad Beissel. The collection of hymns, 277 in number, is prefaced by a foreword of five pages, and a prologue of fourteen pages, the whole really forming, as before stated, a treatise on harmony. At the end of the volume there is an epilogue and conclusion of "the song of the solitary and deserted turtle dove," an invocation of three pages in bold display type, followed by the usual index. Two other editions of the Turtel Taube of 1747 were issued subsequently without change of date, but differing Von der Zerfallenen Hütte Davids, Und ihrer Wiederaufrichtung Durch den, der da ist das Panier der Völcker. Aus der Prophetischen Wurzel aufgesucht/ und zur Kirchlichen Uebung mitgetheilet von einem nach der stillen Ewigkeit wallenden Friedsamen. somewhat in the arrangement after page 294, together with the addition of a large number of hymns, and an elimination of a few of the original edition. Thus, in the second edition 1749 the part known as the Gilfende Her- tzens-Bewegungen consists of 114 hymns all of which are the work of the solitary brothers and sisters. Most of the hymns of the sixth part of the original edition are rele- 48 Music of the Ephrata Cloister. gated to the fifth part, and an entire new part containing 47 hymns by Beissel is added under the title "Von der Zerfallenen Hütte Davids, und ihrer Wiederaufrichtung,' etc. The collation of this edition is the same as above 99 Ein Geistliches Dendmahl und Lobspruch Aufgerichtet Zur Bekrönnng des Priester Ordens der Einsamen in EPHRATA Von einer Streiterin JEsu Chrifti, Welche viele Jahre im geistlichen Marterthum zugebracht. except that it contains 372 hymns, pp. 495; no epilogue but seven pages of index. The last and complete edition of the Turtel Taube of 1747, issued during the next decade without change of Nachrede. Der Geist schlieset_mit_einem Freuden- reichen Lob und Danck, und einem Prophetischen Geruch der Lilien. date, is virtually the same as the one just described except that a page of hymns is added in brevier. Then follows: "A spiritual monument and Eulogy Erected for the crowning of the priestly order of the solitary in EPH- + Music of the Ephrata Kloster. 49 RATA, by a female Warrior of Jesus Christ who for many years has suffered spiritual Martyrdom ;" this is fol- lowed by an epilogue, "The spirit closes with an abundance of Praise and gratitude, and a prophetic fragrancy of Lilies,” the last page of this epilogue being the same as the one in the original edition, except that it is printed in the regular type. The additional matter forms eight pages and the usual index is also included in the book. It is in the pro- logue of this hymn-book that our interest centers at the present time, as it contains Conrad Beissel's dissertation on harmony, setting forth his peculiar system of music. As has been previously stated there was an English ver- sion of both foreword and prologue. A fragment, how- ever, of the former alone is known to the present writer. A complete translation of the foreword is here pre- sented, such parts of the original English version being presented verbatim. The whole matter as now given in its entirety, amplified by fac-similes of original scores, text and Beissel's apology for the introduction of sacred song into the curriculum of the Kloster, will enable the student of the future to form a better conception of this peculiar out- growth of the mystical Kloster theosophy on the Cocalico than was heretofore possible, while to the would-be critic, who is non-conversant with the German tongue and the history of the mystical speculations of the Ephrata Com- munity, it will offer an insight into Conrad Beissel's strictly Pennsylvania-German musical structure. Before passing too strict a judgment on this music for its constant violation of the accepted rules of harmony, let us consider how both hymns and music originated. These hymns and tunes were virtually the outpourings of religious enthusiasts, whose nervous systems had been wrought up to a high pitch by incessant vigils, fast- 50 Music of the Ephrata Cloister. & tom fiber che motors Carlen Von Sex riftlichen Kitler Schaft in der Küchen Softes gepflanket and er bayef in Ephrata im 17 5 4 ORNATE TITLE OF MANUSCRIPT TUNE BOOK, THE TURTEL TAUBE. Ra Pas Hymnals of the Ephrata Kloster. ings and an abstemious mode of life. Then, again, it must be considered that neither Beissel nor his musical co-laborers seemed to understand anything about harmony beyond the rules governing the common chord and its inversions. So far as known no one connected with the community was a skilled musician. ---- * * - • ❤ Re THE ONLY KNOWN PORTRAIT OF PRIOR JAEBEZ (REV. JOHN PETER MILLER). 51 Just who the author was of the foreword and prologue cannot be definitely stated; it is usually credited wholly to Beissel. The dissertation on harmony is undoubtedly 52 Music of the Ephrata Cloister. solely his own composition. The literary portion, how- ever, shows the evident pruning of Prior Jaebez (Rev. Peter Miller) who was without question the translator of the original English version. A page of the most important part of the system of har- mony is reproduced in fac-simile the better to enable the reader who does not have access to an original copy to compare the present translation with the original. The utility of presenting a complete translation of this matter prefixed to the Turtel Taube may be questioned by some. In the writer's chapter on the Ephrata music in his German Sectarians, only the vital parts bearing on Beissel's system of harmony were presented. The desire having been expressed in some quarters that it were well to have the matter in its entirety, regardless of its mystical and vague phraseology, the whole matter is here presented, together with fac-similes of the subtitles, and illustrations of the "Spiritual Monument" and Epilogue, which are to be found in only a very few of the known specimens of the Turtel Taube of 1747. Neuer Nachklang des Gesängs der einsamen Furtel Haube. doch mich hat nial auf meinen großen so väterlich geriffen aus der Schmerzen, u. wie der Kum- Welt, da ich vor vielem Leid mer mir das Leben saugt und efft war von Scuffzen müde, nagt: ich hab ja allen Fleißu. um alſo nur allein zu thun,was Trew von ganhem Herhen,da- dir gefällt. Wie freudig kon- zu mein Leben ſelbſt, aufs du-te ich_bald alles fahren laffen, ferft hin gewagt: kauft du dañ weil ſich dein große Güt so häufs sehen zu Fich muß ja faft ver- fig sehen lassen. gehen von großem Hertenleid, 4. U. ob es gleichwohl scheint, well du nicht hörst mein Flehen als wäre ich vergessen, so hor 2. Warum bift di ſo hart ich doch nicht auf zu flehen dels dem armen Thon und Leimen? neTreu; und ob ſchon manchen ich bin ja nicht ein Felf, der Tag und Jahr betrübt gesels solches tragen kan; wit mich sen, so weiß ich doch, mein dann deine Güt im Herßenleid GOtt wird mir noch stehen bey. aufräumen, daß muß seyrwie Obgleich der Jammer groß in verirrt auf deiner Lebens-Bahu den betrübten Tagen, so werde ich habe ja um dich mein Alles ich doch noch von Gottes Güs hingeben, und hab doch allmein se sagen. Tag em kümetliches Leben: 5. Doch ist annoch zür Zeit ; 3. Ist dann vergeſſen gar derfelbe Troft verborgen, weil [ X HYMNALS OF THE EPHRATA COMMUNITY. • MUSIC OF THE EPHRATA CLOISTER. J. F. SACHSE, PHOTO. A COMMUNITY ROOM IN THE SISTER HOUSE AT EPHRATA. CHAPTER V. THE TURTEL TAUBE OF 1747.2 FOREWORD. T IS written, "Behold a Tabernacle of God With men." Rev 21. There is a dam broken of the heavenly ocean, through the forth- coming of the Church. Which from eternal ages remained concealed in God, as between Father and Son: but in due time appeared among men, and has now as in the last days, shown forth herself anew, with vigor and strength as in the early ages. This holy Church, having through the heavenly dove; which in the early days decended upon our high head Christ, at his baptism; appeared in the world, and from time to time drawn souls unto herself, who under her pro- tection, remained steadfast unto the end in their calling, we believe the Church to possess, a renewing, reviving, and sanctifying power. And that all, spoken of by the prophets and apostles, which should come to pass in future ages, finds its beginning in the Church; in which all the wonders and powers of future glory are found concealed. Whosoever therefore, honoreth the Church, honoreth God: for God is in the Church; and he that abideth in the Church, abideth in God, and has his free city, where he 2 Original English version. (53) 54 Music of the Ephrata Cloister. may find protection when pursued by the blood-avenger of the powers of darkness. Deut. 19. After the same manner in which God, reveals forward into eternity through the Church, all his mysteries: it also remains for him to receive from the Church, praise, and the glorifying of his name, unto everlasting ages. In ac- cordance with this, it was ordained by the spirit of the Church, or heavenly dove, that the talent of singing should be added unto spiritual services, and be employed in outspreading the praise of God unto endless ages. By the use of this talent the holy angels, made known the near approach of the Church, when they at the incar- nation of him, who was the heart of the Church; entered within her borders, and by singing gave honor unto his appearance in the flesh. We who were lying at the hedges, having by the good- ness of God, been brought unto the Church, that we might become heirs to the kingdom prepared for the righteous, through the sanctification of the blood of Christ, he, who is the heart of the CHURCH. We have in this Church found a strong support in setting forward our spiritual labors; and greatly find ourselves indebted unto her for the many privileges bestowed upon us, from which we have derived so much profit. For untill the present, she has been unto us, when forsaken, our spiritual mother; when comfortless, our nurse; in cold, our garment; in heat, our shadow; in shame, our crown; in loss, our gain; and in want, our abundance: yea, she has outspread her- self over us, with her wings, like a hen over her little ones, and protected us from the robbing hawks of the regions of despair. We nevertheless found, upon entering into the Church, a contrariness of things, between ourselves and the spirit, Hymnals of the Ephrata Kloster. 55 preparing the way to a newness of life. For as said be- fore, God having ordained, that through the church his name should be glorified; there were required, voices, hymns and music written for the use of the singers. After the manner of heavenly things,there was found in the Church an outflowing fountain of good. On the con- trary, our state of being brought this with itself that the good which flowed from the Church, was continually con- sumed by our selfishness: through which such a loss might have fallen upon the Church, as would have exhausted the original fountain of good; had there not remained in the mystery of the Church, causes, through which her losses. could be restored. Now as such a selection of hymns and music adapted to the worship of God; was not to be sought in our own abilities, nor in the power of the unsanctified mind: (for by the unsanctified mind, heaven is constantly being locked up,) but in the abilities which God bestows: so we found it necessary constantly to renew our diligence in practicing selfdenial, if at all heaven should again be unlocked at our natural state, and the praise of God from thence brought out. So much then, as we made it our object to gain a knowledge of church music, and to improve the talent of singing; so much was the toil and labor to be overcome. In this way we were brought to see the loftiness of heavenly things, the little value of our own works, and at the same time were placed in a state of poorness of spirit wherein alone the highway of holiness is found. Isa 55. For the Church does not allow us to suppose that we of ourselves can accomplish any good; and he that has with all his works become subject unto the Church; the same has indeed attained a deep state of spiritual poverty. On the contrary, so far as consolation is sought in the 56 Music of the Ephrata Cloister. amusements of the visible world, so far we lose com- munion with the Church: the spirit of singing, as the heavenly dove, retreats: and the praise of God is no more heard. It is therefore of the greatest importance to be al- ways engaged in laboring for the prosperity of the church; and it cannot well be expressed in few words, what atten- tion must be paid to a careful walk of life, and what acquirements are necessary, to establish excellent church music. In this course of life, there is learned, the constant coming off from one's self; which is by all means necessary, if an agreement of understanding, and a unity of spirit is to be brought forth and established in our midst. Therefore, as all this is found in the Church, we may expect; that therein trials without any cessation will continue to arise; through which our human nature may be so far subdued as to allow the praise of God constantly to flow from the heart. We also have in the Church, a sure prospect, with respect to the salvation, which shall in due time, be revealed unto all those who did not flee at the approach of trials, but have sought to remain faithful in the service of their divine Master. Here it nevertheless at length followed, after we had long silent remained, that our spirits aroused under the pressure, and coming to a state of heavenly meditation gave God the glory who called us to such a work which far exceeds anything which the natural mind is able to comprehend. We therefore feel inclined to bestow the highest praise upon the Church, for having brought us under her control and government that we without her consent, are not allowed to determine upon some particular course of our own. Which, in like manner as it brought trials upon human nature it also had the tendency to bring to light an abundant supply of hymns, and that for the Hymnals of the Ephrata Kloster. 57 most part in those directions where the ice was first broken. In a general sense, the hymns contained in this selection, may be looked upon as roses which have grown forth from among the piercing thorns of the cross, and consequently are not without some beauty of color and pleasantness of fragrance. And so far as the greater portion of them is concerned, were brought to light in the rigid school of the cross, within a period of many years, and for the most part by persons who labored much for the edification of the Church. The spirit of the Church, having taught us in the course of our spiritual labors, to place a high estimation upon the hymns of the followers of Christ, brought forth in their trials under the cross; and believing them to be instruc- tive, we have concluded to secure them as treasures, and have in the compilation as well as in the print of this work, applied our utmost care that no errors might occur through which occasion might be taken to give our labors a low estimation. But to speak yet further of the compilation of this spir- itual work; it is a field of flowers, grown forth of many different colors, and of various fragrance: as they were produced by the spirit of the Church, out of the Mysterio of God. In some the spirit of prophecy, soared above all mountains of the cross; bidding defiance to his enemies; setting forth as present, the future glory of the Church. In others, the spirit trod into the inner court, and exalted his voice in the holiest of all. Again, others, have the pleasant odor of roses; others, on the contrary, sprung up upon the myrrh mountains. [Here ends the fragment of the original English version in my possession, J. F. S.] 58 Music of the Ephrata Cloister. [Now as the Church hath extended herself, so also have the voices increased in our own spiritual school, in which our hearts were the praise of the great God. And any one who has had only a limited experience in this, our spiritual school, can readily perceive that in this entire work can be found naught that reminds one of human effort or wild fancy, but that the words of the spiritual songs herein contained, sprang from many and varied emotions. Here we would conclude our foreword, did not an impor- tant matter still remain. For after having come into pos- session of so rich a treasure for the praise of God, it became a question in our spiritual school how our voices could be cultivated for spiritual song; hence such a matter of spirit- ual practice became imperatively necessary as would bring the voices into spiritual harmony and at the same time make our sacrifice of praise conformable to good common Therefore we will now impart the preliminary treatise on singing, which we esteem necessary to give completeness to the work.] sense. [As the first part of the German Prologue does not bear directly on the subject under discussion, we give this only in facsimile.] i Prologue of the Turtel Taube. CHAPTER VI. Eine Sehr deutliche 59 Beschreibung, Hfe sich das hohe und wichtige Werck unserer geistlichen Sing-Wrbeit Irboren, und was der Nußen von der Ganzen Sach sey. Gegeben Von einem Friedſamen und nach Der ſtillen Ewigkeit wällenden Pilget. S wird durch diese kleine Beschreibung ein Bericht ertheiler von els nem nicht geringen Preiß beydes der Weißheit und Güte¸ unfèrs Gottes, wie nemlich selbe uns entfegler das Geheimnus des Creus kef, wodurch das inGOtt verlehrn, Gui wieder gefunden, da die ewige Weißhcie des Batters als der Sohn Gettes feinen Trohn- Sig verlassen, und aus seiner Kammer zu uns heraus in diese Welt ging, und die Botschafft des Frica dens an nns gebracht, und die Erlösung durch sich selbst am Creus entſiegles und offenbaret, und nach ausgeführim Proceſs, wiederum ¡um Vatter gefchrer, und in ſeive, Kammer eingegangen, und fein beruffnce Volek, Kirche, oder Gemeine, mit derfelbigen Hoffnung und Vertröftung das Er wieder kems Men Fund fèm jich nehmen welle Camick in dieſer Breubarct. Welt geleſſen】 daben 60 Music of the Ephrata Cloister. Vorrede über die Sing-Arbeit. dabey den Göttlichen Brief der Bottschafft des Friedens mit dem Siegel des Creuges, Leidens u. Sterbens in ihren Händen gelaſſen, mit dem Befehl, ſolche Bottſchafft aus zu tragen biß an die Ende der Erden, doch so, daß sie solters warten, biß sie angethan würden mit Krafft aus der Höhe, welches alles ers füller u. geschehen, daß der Aufgang aus der Höhe von da an sich über diegan's ge Erde ausgebreitet, und die Bottschafft des Friedens mit GOtt fast allen Bölckern fund worden, samt dem Geheimniß des Ereitges, worauf der Friedens Contract beruhere. Dahero es auch auf einie gar wunderbare Weiß bald au ein seltsames Würgen und Schlachten ging, u wels cher Zeit sich der Saame von dem Wort des Lebens und des Erenges ges fået, auch fort gewachſen und bis auf uns kommen. Und weilen er gar nachdrücklich mit derselbigen Hoffnung. verknüpfft : so hat sichs auch zus getragen, daß wir neben denen mühsamen Ereuges s und Leidens : Ståns Den, womit wir beladen, als das Wort des Lebens und des Ereuges an uns tam, auch so gleich_mit_demſelbigen Hoffnungs - Kleid begaber wurden, und ward uns ſo gleich im heiligen Schauen gegeben, den Tag der völligen Erlösung mit vollen Augen des Geiftes einzusehen. Und of wir wol neben dem in den aller schmerzhaffeesten und bittersten Leidens Probers funden: so jog uns doch unser Hoffnungs-Kleid immer dort hinein, wo auf den Tag der Erlösung die Krönung mit vollen Freuden følgen wird, welches dann, viele Ursachen an die Hand gab, daß Geiſter offt angesogers wurden mit Krafft aus der Höhe; alſo daß wir offt neben unſern, unablājis gen Leidenschafften in Gleichheit der Englischen und Himmlischen Chören aufs gezogen wurden, welches uns nicht allein bey dem freudigen Auf und Abs Heigen der Geister nicht konte lassen stille seyn, ohn daß wote nich hätten follers in Worten ans brechen, um die Wunder unfers Gottes zu verherrlichen fondern wurden so gleich nach Art der Englischen Chören und Thrones Herrschafften und Gewaltenasgetrieben, den Allmächtigen mit Lieb»uni Lobes - Gesängen zu verehren. Und ob zwar wol zu Zetten die Englis schen Chöre ihre Lieder mit uns anstimmeren: so wurden wir doch gewahr, daßi unsere Stimmen die wenigste Zeiten mit ihnen ein traffen wegen Der annoch an uns tragenden Grobheit in der noch nicht ganglicy getrennigten Natur, welches bey uns ein genaues Aufmercken verursachete. Nebert dem allemvertieſen unſere unabläſige Leidenſchafften aine nicht, ſondern wurs * (ふか​) Prologue Continued. Vorrede den. mehr gehäuffet,, weilen wir eine Untüchtigkeit bey uns spüreten, daß wir GOTTnicht konten, nach dem vollen Eindruck, des Geistes verherrlis chen.. Wiewol wir erkennen, daß die Natur nicht. gang unter dem Ereug aufgericben und vernichtet sondern unter demselben geheiliget und in eine Englische Klarheit aufgelöser "müſſte werden. Neben dem dachten wir: iſt unsere Natur nicht einmal, bequäm einen deutlichen Thon zu einem Englis schen Gesang von sich zu geben: wie wollen wir dann tüchtig seyn zu wichy- rigern, und höheren. Dingch, nemlich wo man GQrim Geiſt ohn Unterlaß Lagund Macht dienet in seinem heiligen. Tempel. Daneben sollen unses re Leiber und Geißter seyn Tempel und Wohnungen des heiligen Geiftes: dann der hellige Geist nicht wohnet. in einem unreinen Gefäße, sondern nur in saubern Geistern.Hergen und Naturen. 1 + 4 61 • Dieses hat uns Ursach gegeben GOTT auch von ausén: auf die allèr- fauberste Weise zu dienen: weilen wir wusten, daß Er keinen Gefáls • len an dem Geplårr der Böcke und: Geschrey der wilden Tiere; aber wol * 1 • an: dem Lob- ſeiner Heiligen hat. Und weilen wir dann merckten, daß der Geist des Singens so gar. säuberlich will bedienet seyn: so gab es: uns: mehr Ursach mit demselben in Freundschafft uns einzulassen, als zu gedencken, daß etwas bey der Sach zu verlieren wäre, wie wir es auch erfäh- ren. Dann so bald. wir uns einliesen: so fanden wir nicht allein feine Ursachs sur leichtsinnigen, Freude und Luft, sondern wurden so gleich mit der allerbittersten und wehmütigsten Leidenschafft beladen, daß auck› unfere, gange. Menschheit daran gecrengiget war. Und weilen man michs: gefinner, war, denen Leidenschafften aus dem Wege zu gehen; sondern blicb: stehen, und hielt an am Werck: so ists geschehen, daß unsere gans Be Menschheit nach eben demselben Grad der Leiden in eine gewiffe Geschlacht-machung und Dinnheit gebracht/ wordurch allerdings der reine und saubere Geift der Göttlichen Weißheit, als der ein Meister dieser hohen und Göttlichen Kunst ist, eine offene Tühr gefunden, und uns nach allen und jeden. Graden der Leiden diese Englische Sings Runft aufgefiegelt, welches sich endlich so weit ausgebreitet, daß allers dings weder Maas noch Ziel mehr darinnen zu finden war. Wes wea gen man auch genöthiget war dieses hoch theure Geschenck nicht für sich als Itin sy. behalten, ſondern auch anderen Liebhabern des Göttlichen und Himms 1 " myasem 62 Music of the Ephrata Cloister. Į Ueber die Sing-Arbeit. · lischen Eustspiels mit zu begünstigen, und die Sach so an Tag zu legen, wis fie gegeben, und unter viel Gedult und Langmuth nacheinander auf gefies gelt. Und ob wir auch solten von denen Meistern und Künstlern der irdischen und unteren Weißheit getadelt werden, weilen wir annoch mit dieser unserer edlen Sabe__in dieſem untern Theil der Welt zür Herber- ge sind, und doch nicht nach derselben Gleichheit mit unsrer hohen Gabe auftreten so vergeringert solches unsern edlen Schäß nicht allein nicht fondern bewahret uns mit demselben, daß sich nicht etwas Fremdes allzu sehe in uns verliebe. Dann so wir mit dieser hohen Gabe nicht anderst ers ſcheinen könten als- nach Art der Künstler dieser sichtbaren Welt - Weißheit. fo wäre ja tein Unterscheid zu sehen, ob diese unsere Sach von unten her, oder ob sie von oben her, ob sie aus-dieſer Welt, oder von jener Welt Wyfe heit entstanden; doch wollen wir uns nicht länger mit dieſer Sach aufs halten; sondern weiter fortfahren. Und wiewol wir allerdings mit dieser unferer Vorstellung am End find: so ist uns doch das nöihigste und nüglichs ste noch übrig, worinnen beschrieben soll werden, was zu allererst nöthig bey einem recht artigen Lehr-Meister si obferviren bey denen anfahenden Uhr - Jüngern dieser hohen Kimist, und was hernach die Sach in ihrem Wesen und Adel seye, wann nemlich bey der Sach geblieben, und sie niche mit fremder Materie vermenget wird. Hernach soll auch selbst denen ges übten Schülern in unserer Schul ein-gründlicher Bericht von dem Geheims ›nuß der ganzen Sache ertheilet werden: wie zu erst alle ´Arten der Melodis en in sich selbst ihre eigene Manier und Art haben: wie und auf was Wels se die andern Stimmen zu passen, und was vor Buchstaben auf eine jebe Weise nach ihrer Art eintreffen, daß sie nicht disharmoniren, und einans der entgegen lauffen. Und das wollen wir than ſo wie gegeben. Der Himmel/ der sich schon vor langen Zeiten auf uns bere nieder gelaffen/ bleibe auf uns beruhen mit der Heiligen Taiss be die bisherò unsere Vorsteherin und Rathgeberin gewesen in allen unfern Wegen / da fie uns dann unter viel Gedult und Leidenschafft tein Geheimnuß der Liebe unfers Gottes vers helet / sondern die Pforten der heimlichen und verborgenen Weißheit aufgefiegelt/ und zu uns heraus getreten uns ing Vorblick das Geheimnuß des Paradieſes geöffnet/ und ſo gle (1+2) + · Ar ! Prologue Continued. 63 Vorrede im 4. Schauen uns angereiget/ um mit dergleichen Sachen beſchäfftigt zu seyn/ welche audorten in jener Welt werden vorkommen/ von dem reden wir. J SSS ANN wir solten beschreiben den Nugen, so wir ben Gelegenheit dieser Sache erfahren: fo folten wir uns wol ins Unendliche aus breiten müſſen, weilen wir in Erfins dung dieser hohen Gabe gar ungemeine hohe Studien erlers net. Da wir dann nicht allein unfern Gewinn aus dem Nugen der Sache selbst holeten: ſondern wurden das neben des gangen Menschen Abfall von GOtt kundig/ wie nemlich demselben so gar nichts Cörperliches über geblieben von dem wahren Guten/ oder auch nur eine blinde Gestalt, daß nur ein Bild fönte von dem wahren Wesen dargestellet werden; ſondern ein pures und lediges Nichtssseyn, das weder Gestalt noch Farben von etwas Wahrhafftiges darzustellen vermag, welches alles uns sehr klein und ges ring in unsern eigenen Augen machte. Daben wir also demnach in diesen unfern Schulen mehr Erfahrungen erlernet als zuvor in vielen und langs Jährigen Leidenss und Glaubens - Wegen, wellen ´uns diese hohe Schule allen unsern gehabten Reichthum und Schönheit hinweg nahm, also daß wir nun zum voraus gar tühnlich sagen dörffen, wie auch allerdings nés thig zu wissen, sonderlich in Ansehung dieser hohen Göttlichen Gabe und Schule, daß wir gefunden, welches wir allerdings wollen an die Spire gefellt haben; wie daß nemlich kein einiger Menſch von Adam #. Kva geboren vermöge einen deütlichen Thon von ſich zu ges ben/ der in dieser Schule zu paſſen wäre/ noch weniger einen rechtartigen Gesang helffen zu zieren. Wobey sich am meiſten zuf værfoundern, daß sich der Fehl des Thons allemal darinnew findet, nemlich daß er die rechtartige Höhe nicht erreichet/ bie in dem Geſang dieſer hohen Kunst vorkomt/ woraus ju mercken daß der natürliche Mensch von unten her u. von der Erden, diese hohe Kun inter von oben her und vom Himmel. Dahero auch das keständige S ofen 64 Music of the Ephrata Cloister. Ueber die Sing - Arbeit. en und Fallen im Singen vorkommt, da in allen Umständen niemas len sich einiger Fehl zeiget, der im hohen Aufsteigen über den rechtars tigen Thon vorkommt, welches wir alles in vielem und wichtigem Nache dencken behergiget, was nemlich der abgefallene Mensch seye, und wie uns tüchtigs er fen zu Göttlichen Sachen, wes wegen wir allerdings an diesem Ort wollen den Anfang machen, weil ſolches zu allererst vorkommt. Doch che wir weiter schreiten, wollen wir einen Schritt zurück gehen, und zus erst noch ein wenig betrachten, was neben dem allem su diefer hohen Kunst gehöre, die weil unser Sinn nicht darauf aus ist, dieser hohen Gabe der von GOtt hoch-gradirten Sing-Kunst viel Schmuck und Ehre in Worten anzulegen, weilen sie schon zuvor alles deſſen voll, und genugsam ist, sich selber anzupreifen. Darumn wir uns auch nicht viel mit dergleichen Sachen wollen aufhalten, fondern zur Sach selbst schreiten; doch ein We niges im Vorbeygehen melden, welches dieses hohen Geißtes Are und Wesen seye, und durch was Mittel wir uns bey Ihm können beliebt mas chen, daß wir in seine Gleichheit kommen. 1 Die Weißheit von oben/ die bishero unſere geheime Raths geberin / Führerin und 4. Unterricht gewesen in allen unserm Wegen/ und uns dieses hochtheure Geschenck entſiegele” und aufgelöset; die gebe fernerhin ein:m jeglichen / daß er in seinem Thun GOtt gefällig und den Menschen werth/ ſo wird. ſich auch wol die Gabe/ so zu dieser Runst gehöret/ mit finden. Ob zwar wol bey vielen Unwiſſenden viele unbedächtliche Urtheile gefäßles werden, gleich als ob man mit dieſer von GOtt hochgeadelten und gradi ten Kunft mit dem Geiste dieser Welt in Gleichheit stünde; so könnë wir doch folches gang und gar nicht geſtehen; ſondern vielmehr das Gegentheil zur erweisen haben, weilen wir zu dieser wichtigen Sache weder fremde Farber noch grause Haar gebraucht; sondern blieben alleine bey den menschlichen Stimmen, als die durch das Bewegen der Hergen und Geiſter angetṛies ben zu Lob und Ehre dem Allmächtigen. Denn fo die geheime und verborgene Weißheit nicht wäre zu uns heraus aus ihrer Kammer ges treten; es solte uns wol diese Göttliche Kunst ein geheimes Rågel und vers Fegelter Brief geblieben feyn. Sintemal wir gestehen schlechter dirigs dem Geift dieſer Welt keine Kunſt zu, die zum Gebrauch himmlischer Dingende (tta) thig 1 End of Prologue. μnn W Vorrede. this; fondern wir legen vielmehr ihren Urstand dem Paradies bey; aber doch ſa, daß es in denselben erstorben, wie auch der Mensch am Himmels reich erftorben, und doch, wann er durch den rechten Geift erwecker wird, wieder tüchtig wird ins Himmelreich) einzugehen. Also ist auch in dieser Sas che zu verstehen, wenn sie durd) den rechten. Geist credet wird.: so gehet fie wieder mit ins Paradies cin, weilen daselbst ihr rechter Urstand und Heimat ift. 5 ZION X 65 p EFRATA WATERMARK OF THE ZIONITIC BROTHERHOOD, IN THE TWO FIRST PARTS OF THE TURTEL TAUBE, SIG. A TO M, PP. I TO 90. These were evidently printed several years prior to date on the title page. The con- tinuation is printed upon a somewhat lighter paper. Two editions of the Turtel Taube were printed, one for general use, 534 X 7% inches; the other one, on larger and much heavier paper, 6½ X 8 inches, for church use. The copy of the latter in the writer's collection also bears the watermark 1744. CHAPTER VII. BEISSEL'S UNIQUE INSTRUCTIONS ON THE VOICE. S I ET us now proceed directly to the subject, and show, as briefly as possible, by what means and opportunities we may, both spiritually and physically, attain to this art of high degree, and then consider further what- soever things the circumstances of the case may require. In the first place, be it observed, that divine virtue must be viewed from the summit of perfection, and occupy the first place, if one would become the right kind of pupil and thereafter a master of this exalted and divine art. “Furthermore, both pupil and master ought to know how necessary it is, in addition to all other circumstances, to embrace every opportunity to make oneself agreeable and acceptable to the spirit of this exalted and divine vir- tue, inasmuch as according to our experience and knowl- edge it has within itself the purest and chastest spirit of eternal and celestial virginity. "This naturally requires compliance with the demands ( 66 ) 67 Food to Make the Spirit Teachable. of an angelic and heavenly life. Care must be taken of the body, and its requirements reduced to a minimum, so that the voice may become angelic, heavenly, pure and clear, and not rough and harsh through the use of coarse food, and therefore unfit to produce the proper quality of tone, but on the contrary, in place of genuine song, only an unseemly grunting and gasping. "At the same time it is especially necessary to know what kinds of food will make the spirit teachable, and the voice flexible and clear; as also what kinds make it coarse, dull, lazy and heavy. For it is certain that all meat dishes, by whatever name known, quite discommode us, and bring no small injury to the pilgrim on his way to the silent be- yond. Then there are those other articles of food which we improperly derive from animals, e. g., milk, which causes heaviness and uneasiness; cheese, which produces heat and begets desire for other and forbidden things; butter, which makes indolent and dull, and satiates to such an extent that one no longer feels the need of sing- ing or praying; eggs, which arouse numerous capricious cravings; honey, which brings bright eyes and a cheerful spirit, but not a clear voice. "Of bread and cooked dishes none are better for pro- ducing cheerfulness of disposition and buoyancy of spirit than wheat and after this buckwheat, which, though ex- ternally different, have the same virtues in their uses, whether used in bread or in cooked dishes. - "As regards the other common vegetables, none are more useful than the ordinary potato, the beet, and other tubers. Beans are too heavy, satiate too much, and are liable to arouse impure desires. Above all must it be remembered that the spirit of this exalted art, because it is a pure, chaste and virtuous spirit, suffers no unclean, pol- 68 Music of the Ephrata Cloister. luted and sinful love for woman, which so inflames and agitates the blood of the young as completely to undo them in mind, heart, voice and soul; whilst in the more mature it awakens excessive desire after the dark things of this world, and consequently closes heart, mind and voice to this pure spirit as its haven. "As concerns drink, it has long been settled that noth- ing is better than pure, clear water, just as it comes from the well, or as made into soup to which a little bread is added. Every other manner of cooking, however, whereby the water is deprived of its healthgiving properties and turned into an unnatural sort of delicacy, is to be consid- ered as a vain and sinful abuse; just as other articles of diet, which we do not deem worthy of mention in this place, have, through many and diverse lusts, been turned from their natural and harmless use into delicacies. Of those who gormandize we cannot here speak, for we are concerned only with those who are already engaged in the spiritual warfare, and who in all respects strive lawfully. With those who walk disorderly and unlawfully we, therefore, have nothing to do. It of course stands to rea- son that the power to exercise divine virtue is not to be sought in the selection of this or that particular diet; for, were this the case, we would wish, if it were possible, to be entirely relieved of eating, so that we might lead an Enochian, supernatural and supersensual life. Then this heavenly wonder-song would of itself break forth, without the addition of any of those things that are only transient and never reach eternity. "And now, not to dwell upon this matter too long, let us take up the next part of our subject. Let us first say, however, that if we were to undertake as complete an ex- position as the subject demands, we would fail to reach the - 1 Unique Instructions. 69 end. Nevertheless, we will spare no pains to make it as clear as possible; but, let it be borne in mind that we will still leave something for the educated and practical (musi- cian) to study and think over." VÁLÁB IÐ EIS SOM CM&OD ORGE W BW 93 ALPHABET USED IN THE MANUSCRIPT TUNE BOOKS OF THE EPHRATA COMMUNITY. 23 83 3 Die Sing-Arbeit. SP t 23 (( H CHAPTER VIII. BEISSEL'S DISSERTATION ON HARMONY. Translation by the Rev. J. F. Ohl, Mus. D. TRANSLATOR'S NOTE. It will be evident to any musician who reads this Dissertation," or who examines any of Beissel's compositions, that beyond the most rudimentary knowledge of the common chord and its inversions, he had little under- standing of the laws of harmony, and none whatever of meter and rhythm. The work done by him and his associates is therefore correspondingly crude and inaccurate, and it becomes interesting only from the fact that it belongs to the first attempts made on American soil to compose sacred music. The translator has aimed to reproduce the evident thought of the writer rather than his exact language, which is often very obscure, and most difficult to ren- der into idiomatic English. a HE all-important and most use- ful qualification in a teacher of new pupils is first to know that he must not teach them merely to sing the A, B, C, or the seven letters, and then at once introduce them to thirds and intervals before they have learned the characteristics of each letter, or, indeed, under- stand what they have learned. Special care must be (70) Harmony of the Ephrata Cloister. taken to bring out the distinguishing quality of each letter (¿. e., note or sound); and this requires such diligence and costs so much labor that we cannot here describe it. The voices may either be harsh and unsympathetic, or false notes, that do not reach the required pitch, may be sung. In such cases efforts must not be relaxed until it is learned and seen how much remains to be overcome; but if one seems to be totally incapable, let him desist for a time, in order that he may not become entirely dis- couraged. "When the characteristic quality of each letter (note) has been taught, diligent efforts must be made to train the voice; and such directions must be given regarding tone- production as will enable the singer himself to correct mistakes. For at this stage of the instruction everything that is needed for ultimate success may be imparted, whilst at the same time so much may be overlooked as thereafter to require years to make good the loss. "And now let us proceed to show what constitutes a four-part tune, and what letters (notes) in the other parts must accompany the melody in the different keys; then also to give a diagram of the keys, and to indicate how the pitch may be raised when it has fallen. "Let it be known that not more than three letters (notes) can be used for the four parts. Consequently the fourth part is always the octave. The three letters (notes), how- ever, always appear at the beginning of each tune. Thus we obtain the four parts. The three letters (notes) which appear at the beginning must be regarded as the masters and lords that dominate everything from beginning to end, inasmuch as the tune must close with the same letters (notes) with which it began. "If the melody is in the key of C, E is the note in the : 71 72 Music of the Ephrata Cloister. Ueber die Sing Arbeit. bis man merɗet und fichet, wie welt es einer dem Düncken nach zubringen hat. Scheinet etwa eine gångliche Unfähigkeit zu seyn, so gebe man es ets ne Zeitlang mit solchem auf, damit man ſetn Gemüt nicht gar verſtürge mas che. Wann aber eines jeden Buchstabens Art heraus gebracht ist: so muß hernach aller Fleiß angewandt werden, daß man die Stimme lerne brechen, und was eines jeden Buchstabens Art seye, anweije, auf daß er ſie lerne verſtes hen, damit, wann hernach soll weiter gegangen werden, man sich bey Feha lern und Mißschlägen zu helffen wisse. Dann es fan allerdings an diesent Plag alles geholet werden, was hernach in der ganzen Sache nöthig, und lan auch) so viel versehen werden, daß es hernach kaum in viel Jahr kan hers um geholet werden. Das ist nun dieses: Nun werden wir an diesem Pfos fen nicht weiter gehen, sondern wollen den graden Weg darlegen, was cis nen 4. Stimmigen Gefang ausmacher, und was bey allen und jeden Wets fen nach ihrer Art vor Buchstaben in einer jeden Stimm auf den Choral pafs fen, wie auch den Schlüffel einer jeden Weiß in 4. Stimmen auf einer Tas fel sehen lassen, und wann ein Gesang gefallen, wie er wieder zu hes ben, daß er nicht aufer ſeiner Art und Manier geſegt werde. Es ist zu wiſſen, daß nicht mehr als 3. Buchstaben ſeyn können, ſo die 4. Stimmen aus machen, weswegen die 4te Stimm allemal mit der Octav geschieden wird, welche 3. Buchstaben dann allemal bey einer jeden Melos die gleich von Anfang aufgetreten kommen, daß sie uns die 4. Stimmen ges ben, woben dann su mercken, daß diese 3. Buchstaben, die im Anfang vors kommen, die Maßter und Herrn ſind, wo alles von Anfang bis zu Ende muß auf beruhen bleiben, weilen der Geſang allemal am End wieder mit eben deno felben 3. Buchstaben aushalten muß, womit er angefangen. Ist es eine C-Weiß, so ist und folger ſein Anderer, als der e. und macht den Schlüfs fel zu dem Barrir, der g. tfl fein Dritter, da dann der obere den Tæner,. der untere Choral g. den Bafs anfängt; doch fans tommen, daß sie verwechs ſelt werden, wenn nemlich der Choral nicht juſt mit dem C. anfängt, doch bleiben sie beysammen, fangen den Choral an, und endigen ihn auch. Was noch ſonſten die anderen 4. Buchstaben, die wir hier Knechte nennen, ans langt, alsf.a.h.d. ſo ſoll einem ieden von ſelbigen ſein Mitknecht bemerker werden, wie sie nemlich zufamen ftimmen. Und ob mir war wol am Ens De alles auf Tafeln wollen ſehen laſſen, ſo wollen wir doch) daneben den Fluß thin (t+t) • Der Barrir ißt nach der gemeinen Redens-Art der Lenor, der Löner ater der Riko Barrir and Toener. 73 Barrir¹ (tenor), and G in the Toener (alto). Thus the alto and the bass begin on G. This order may, however, be inverted, when, e. g., the melody does not begin with C. Nevertheless these letters (notes) must remain together and begin and end the tune. "As regards the four remaining letters (notes), F, A, B, D, which we shall designate servants, let each be told how he must serve his fellow-servants, so that they may harmonize. And although we shall show all this in dia- grams at the close, we will now give ourselves the addi- tional trouble of explaining which must be the two asso- ciates of each of these letters (notes). "If F occurs in the melody it is served by D in the tenor and bass, and by A in the alto; A demands D in the tenor and bass, and A in the alto, sometimes also in the bass; B calls for D in the tenor, and G in the alto and bass; D asks for B in the tenor, and G in the alto and bass. In this manner a melody in C may be harmonized in four parts. "Let us now show how the pitch may be recovered when it has fallen. To do so, the beginning must always be made with the key-note. If the melody is in C, sing C, D, D#; then call D# C, and continue on this pitch. "Now let us proceed from the key of C to the key of A (minor). Here again let us first give attention to the three masters with which the four parts must begin and ¹ Conrad Beissel here gives an explanatory footnote regarding the use of the terms Barrir and Toener, stating that in ordinary language the former stands for tenor, the latter for alto. Both of these terms were used arbitrarily by Beissel, as neither appears to have been known to the Rev. H. Ernst Muhlen- berg, the best philologist in Pennsylvania during the last quarter of the eight- eenth century. In a previous translation I was misled in the use of these terms by a person to whom I submitted my copy under the impression that he was an expert musician. In the present translation the modern terms are used wherever they occur.-JULIUS F. SACHSE. ► 74 Music of the Ephrata Cloister. 1 Jery. Stimmen. Schlüſſel in deu C. Steiſen ・O・ + ट et t e- end, and then bring together the four servants and assign each his duty. As A is here the ruler (key-note) of the melody, its associates are C in the tenor (occasionally also in the bass), and E in the alto and bass. This is the four- part chord in the key of A (minor). The remaining four servants which do duty besides, are F, G, B and D. F calls for B in the tenor, and for D in the alto and bass; G G Four-part Key for Melodies in C. = E 16 Melodies in A and G Minor. 75 for E in the tenor and bass, and C in alto; B for G# in the tenor, and E in the alto and bass; D for B in the tenor, and G in the alto and bass. If the pitch has sunk I must call the C I am singing A, ascend to a new C, call that A, and continue. Thus we also clearly see how to bring melodies in A (minor) into four-part harmony, and how to regain the pitch when it has fallen. "Let us now pass from melodies in the key of A (minor) to those in the key of Bb. In the latter key Bb, D and F are the lords and masters. Bb is the key-note of the melody, D governs the tenor, and F the alto and bass, though Bb indeed remains the ruler in the bass. The four servants are G, A, C and Eb. Of these we associate G with the melody, but C with the tenor and bass (though the upper G more conveniently takes Eb in the bass), whilst the alto invariably becomes Eb. A calls for C in the tenor, and F in the alto and bass; C for A in the tenor, and F in the alto and bass; Eb for C in the tenor and base, and G in the alto. If the pitch has fallen I call my Bb G, ascend the proper number of degrees to a new Bb, and sing on. "And now let us look at these melodies in which G is the ruler, and Bb and D are the associates (G minor). In these we come to a wonderfully strange turn, inasmuch as altogether different letters (notes) are made to do ser- vice in the three other parts. We begin with the three masters. In these melodies the parts start with G, Bb and D. Let it be understood that the three letters (notes), invariably stay together and form the beginning of a tune in four parts; that, as already stated, the fourth part is the octave; and that it does not matter with which of these three letters (notes) a tune begins. That in our descrip- tion we always begin with the letter which designates the 76 Music of the Ephrata Cloister. Ser & Stimmen Schlüffel Zû den cokeiſen AL bu 입니다 ​& G पै € # Ser Ser & Stinen Schlüſſel Zu den A Neisen ← & E #+ 6 母 ​€ # € # Serx Numen Fblüffel die den 9. baben a 6 Şer & Nimmen Schlüſſel die den ÿß. ûfis babë (1) C MAJOR, (2) A MINOR, (3) G MINOR, (4) G MAJOR. KEY DIAGRAM FROM THE SCORE BOOK OF THE CLOISTER. Key Diagram. Der & Stimmen Deblüffel die den 23 warden inaaben o et K धे er 4 Mimen ſoblüſſel die den f baben Et G ← Der Stimmen Schlüssel für den Dis Wei- b a for. a 4. & Et Der 4 Stimmen geblüffel Zü dencdis Weiſen G च Et ← 77 (5) Bb MAJOR, (6) F MAJOR, (7) Eb MAJOR, (8) C MINOR. KEY DIAGRAM FROM THE SCORE BOOK OF THE CLOISTER. 78 Music of the Ephrata Cloister. 1 key in which the melody is written, is done for the sake of accuracy. This is also the reason why, in our account, we seem to insinuate that all melodies begin with the letter (note) which is the chief in the melody (the key- note); yet this is not possible. In our further description we will, therefore, continue to be governed by the special characteristics of the melody. This, then, is the manner of those melodies in G that contain Bb (G minor). G in the melody takes Bb in the tenor, and D in the alto and bass. This is the chord, and it remains the same through the whole piece, excepting that when G is sustained in the melody, the tenor always sings B instead of Bb. This is also the case with melodies in A (minor), in which the tenor sings C# to a sustained A in the melody. The four remaining letters (notes) F, A, C and D# (Eb), serve as follows: F requires Bb in the tenor and bass, and D in the alto; A demands D in the alto and bass, and F# in the tenor; C calls for A in the tenor, and for F in the alto and bass; and D# (Eb) is served by G in the tenor, and by E (probably meant for C-TR.), in the alto and bass. To raise the pitch when it has sunk, proceed as under melo- dies in Bb. "We now come to the melodies in G that have B and F# (G major), in which G, B and D form the triad and give us the four parts. The remaining letters (notes) F#, A, C and E are treated as follows: F# is served by B in the tenor (sometimes also in the bass), and by D in the alto and bass; A by D in the tenor and bass, and by F# in the alto; C by upper E in the tenor, and by A in the alto and bass; E by C in the tenor and bass, and by A in the alto. The directions given under melodies in Bb will show how the pitch may be raised. "There yet remain the melodies in F, in which the triad 1 The Secret of Spiritual Song. 79 F, A, C gives us the four parts. The remaining four servants G, Bb, D and E are disposed as follows: G is served by C in the tenor and bass, and by E in the alto; Bb by D in the tenor, and by G in the alto and bass; D by Bb in the tenor and bass, and by G in the alto; E by C in the tenor and bass, and by A, sometimes by G, in the alto. If the pitch has fallen, I do as indicated above, i. e., I get another F by singing F, G, Ab, and then calling Ab F, on which pitch I continue. "We have now imparted, as well as we are able, the secret of our spiritual song. Although in this work (the Turtel Taube) we are more concerned with hymns than with tunes, and a well-informed person might ask why so much has been said about music when none appears in the book, we have yet thought it proper to write this introduc- tion, partly because from music the hymns in this volume derive their attire and adornment, and partly because it will stimulate lovers of this noble and paradisiacal art to inquire further into its secrets." Thus ends Beissel's extraordinary Dissertation on Har- mony, which was the basis of the Ephrata music. A few short paragraphs of an apologetic character conclude his “Vorrede über die Sing-Arbeit." 1744 FACSIMILE OF WATERMARK IN WRITER'S LARGE PAPER COPY OF THE TURTEL TAUBE; vide pp. 65 supra. CHAPTER IX. ORIGINAL AND MODERN NOTATION. N conclusion we present a few examples of Ephrata music, in their original form as well as in modern notation. One of the most characteristic of these is Die Braut ist Er- wachet, set in four parts. How the original score of this tune was written on a single staff is shown on the following page. It will be noticed that all this music is very strange in its progressions, and violates almost every rule of har- mony, as is to be expected from one who was not an educated musician. This fact, however, does not lessen the historic value of these unique compositions, but rather tends to increase our admiration for the enthusiastic celibates of the mystic community on the Cocalico, who, at so early a day, in the midst of their primitive surroundings, found time and inspiration to work out their own system of har- mony and compose so many original hymns and tunes. The rendition of this music was as peculiar as the music itself, and was sung according to the old records in a fal- setto voice without opening wide the lips. The result, we are told, was a "soft measured cadence of sweet harmony." The true Ephrata vocal music virtually died out with the community. (80) • 18 A Unique Score. ie Braut if er Von dem marbet Gefbrey # fo 화우 ​Gie if angelam mit dem remen hochzeit fie gebet eulgegen dem Bramligam · G Wat TILA [/AM der Wähler. * HA DIE BRAUT IST ERWACHET. FOUR-PART ANTHEM SET ON A SINGLE STAFF. Et UAN (Y/N MUSIC AS WRITTEN FOR AND USED BY THE SECULAR CONGREGATION. 1 T 82 Music of the Ephrata Cloister. Die brauf iſt etwachef von dem geschrey der wächler: ſie ist angelhau mit dem reinen hochzeitſchmuck. ſie gehel * ป € I ATV && 舞 ​# A ет enfgegen dem bräutigam. ſi ruff. Er kom̃k Gelobel ſey, der du komť in namen des Herzen. Hosianna in der höhr G 4 G 1904 qq Et q # "DIE BRAUT IST ERWACHET," AS AN ANTHEM FROM MS. HYMN AND TUNE-BOOK. D W Bt Die Braut ist er-wach-et OFF OH von dem sie ruft: dem Bräu-tig-am: sie ruft: DIE BRAUT IST ERWACHET. Ge-schrei der Wächt-er: sie ist an-ge-than mit dem rein- en Hoch-zeits-schmuck: Er kommt, Ge-lo-bet sei, der da kommt im Na-men des Her-ren, Ho - si-an-na in der Höh- e. I f f sie ge-het ent-ge-gen ANTHEM DIE BRAUT IST ERWACHET TRANSPOSED INTO MODERN NOTATION. Music of the Ephrata Kloster. 83 84 Music of the Ephrata Cloister. After the singing schools became established, the celi- bates, male and female, were divided into five choirs, with five persons to each choir, namely, one soprano, one tenor, one alto and two bass singers. The sisters were divided into three choirs, the upper, middle and lower; and in the choruses a sign was made for each choir, when to be silent and when to join in the singing. These three choirs had their separate seats at the table of the sisters during love feasts, the upper choir at the upper end, the middle at the middle, and the lower at the lower end. In singing anti- phonally, therefore, the singing went alternately up and down the table. Not only had each choir to observe its time when to join in, but, because there were solos in Gotz GOTT wir formen die entgegen, zeigen wußte Frucht der Saat, die wir unter X k k k k k k A k ad A A A tt A CX t k FC A A A A * K A K k W X X X X X A £ Z X X X X A ZA A A A A A A dethen-Seigen ausgefået duræ deine Gnað, hter find wote und zeigen an, wad Tu an uns haft gethan. Z Z V COM 27.1 -Il # AN ANTHEM ARRANGED TO BE SUNG ANTIPHONALLY FROM WUN- DERSPIEL, P. 9. Music of the Ephrata Kloster. o! wir kommen Dir entgegen, zeigen Gegen, ausgefät durch seine Gaas. Sier 12 POL T Dar CHH of 10 es Bi es "WI ARRANGED AS A HYMN FOR FIVE-PART CHOIR. TURTEL TAUBE, HYMN 13, PART ONE, p. 66. ZIONITISCHER ROSENGARTEN, p. 27. sie ist doch der sserr so gütig und gefrea unser Berg erfreut, und hilft aus der gröften noth, zeige if Ci ZIONITISCHER ROSENGARTEN, p. 102. NO. 98, PART FOUR, pp. 402, TURTEL TAUBE. in unserm Leid? sehr gedultig und fanftmüthig eh er fich als ein treuer 6035: darum will ich ihn von Sergen toben in den größten schm US 85 KO 10. P NENADIIS CAVE OVE ཉ་ ་ འ་་་་ ་་་ MEHRH NYC ILCARE VA| 'UI TREAS FACI BAY.CU EXTE 191 I HAMISA I 113011 2: II. LII. IVE CACH DaSNIK: KA NONE ju se, HU. JUTAANU PAL 1996 ▼ ~ HER MAL ·D. EMUSI T HSA ACEST [|k4| DO) 86 Music of the Ephrata Cloister. each chorale, every voice knew when to keep silent, all of which was most attentively observed. The next illustration presented here is the hymn Wohl- auf wohl-auf und schmück dich. This is also given in both the original and the modern form. Both of the above melodies, with that of the seven-part choral Gott ein Herrscher aller Heiden were artistically rendered by Mrs. Frank Binnix at our annual gathering at Harrisburg, Oc- tober, 1901. An illustration of the five-part setting “Wie ist doch der Herr so gütig,” is given upon the previous page. The words and music of this hymn are by Sister Ana- stasia (Anna Thomen), who afterwards eloped with and married Johannes Wüster, the Philadelphia merchant. How the same words and tune were frequently set as an anthem as well as a hymn is shown by the two versions of the hymn Gott wir kommen Dir entgegen, on pages 84 and 85. An illustration of music set in six parts is also presented in the original form. This is taken from the Paradisches Wunderspiel, or the great choral book of 1754. In closing our paper upon the music of the cloister we present a version of the celebrated seven-part motet Gott ein Hersher aller Heiden transposed into modern notation. The same criticisms as to progressions that apply to the other pieces apply also to this composition. B 02 87 Motet in Sıx Parts. Gedencke HERR, an David und sein Leyden, weil er dir selbst geschworen er Dir zu allen 11 p Et * 우오 ​Eiffe the CINE T OE # tt TH CL & 12 H Fett Al 牛 ​E Je G 44 एं # A # AN EPHRATA MOTET IN SIX PARTS. TURTEL TAUBE, HYMN 27, p. 192. PARADISCHES WUNDERSPIEL, HYMN 100, p. 71. CHORAL BOOK, p. 195. WEYRAUCHS HUEGEL, HYMN 20, p. 771. 88 Music of the Ephrata Cloister. git Bvhlauf wohlauf, und ſchmück dich herrlich in dem gehen, ſuch Sein geſchmeid zieh Seine kleider an G ен gee Lae ? aq q A 6 ? et a J A fa Su fulf nun bald Cor Golfes throne ſtehen. Du heiligs volk ſteh auf, den der dich liebt iſt auf der bahu प FROM MS. TUNE AND HYMN BOOK. G &f if Wohl-auf, 200 WOHLAUF, WOHLAUF, UND SCHMÜCK DICH HERRLICH. wohl-auf, u. schmück dich herr- TO lich in du sollst nun bald vor Gottes Thro- ne stehen. dem Geh - en, such dein Ge-schmeid, zieh dei- ne Kleider an; F AS TRANSPOSED INTO MODERN NOTATION. M Du heil- igs Volk steh auf, denn der dich liebt ist auf der Bahn. € Modern Notation. 89 90 Music of the Ephrata Cloister. Gott ein Herr wenn er Zi - Ģott ein HERRSCHER ALLER HEIDEN. ler Hei den, der sein Volk bald wird herz-lich lei-ten, scher al on schön wird schmück-en, ihr Heil wird las- sen näh-er rück- en, - O ›) Gott ein Herrscher aller Hei - den, on schön wird schmück-en, wenn er Zi - und ihr recht las- sen hoch her-gehn: so wird man Freud und Won-ne sehen ( der sein Volk bald wird herz-lich lei-ten, und ihr recht las- sen hoch her-gehn: ihr Heil wird las- sen näh-er rück - en, so wird man Freud und Won-ne sehen BAG BE # ## ### CH ▬▬▬▬▬▬▬▬▬▬▬ an sei - nem Ei-gen-thum, dass nun giebt Preiss und Ruhm Gott dem Kö-nig, der sie er-höht, ihr Völ-ker seht wie Got-tes Braut nun ein-her-geht. f SEVEN PART MOTET. CTT D an sèi - nem Ei-gen-thum, dass nun giebt Preiss und Ruhm Gott dem Kö-nig, der sie er-höht, ihr Völ-ker seht! wie Got-tes Braut nun ein-her-geht. •·) WEYRAUCHS HUEGEL, HYMN 652, p. 740. TURTEL TAUBE, HYMN 30, p. 196- WUNDERSPIEL, HYMN 108, p. 75. ZIONITISCHER ROSENGARTEN, p. 51. P. Modern Notation. 91 92 Music of the Ephrata Cloister. Arbeite und Blu hoffe SYMBOL AND MOTTO OF THE EPHRATA COMMUNITY. பம் Appendix. A Page of Ephrata Theosophy. READ AT THE ANNUAL MEETING OF THE PENNSYLVANIA GERMAN SOCIETY, EPHRATA, PENNA., OCTOBER 20, 1899. JULIUS FRIEDRICH SACHSE, LITT.D. & www SEAL OF By 33 THE PENNSYLV ONGANIER! • GERMAN 18. 100% MIRO SOCIETY MA LANCASTER, PA 1903. m 94 Ephrata Theosophy. Kurz gefaßte. Nüßliches Schul - Büchlein Die kinder zu unterrichten, in Buchstabieren, Leſen, und auswendig lernen, Deme angehänger ein kurzer doch deutlicher, und gründlicher Unterricht Zur Rechenkunst. Aufgefcht zum Nuß und Gebrauch vor Kinder, Bon L. H Zweote Auflage. EPHRATA. Gedruckt und zu bekommen bey dem Schulmeiftce, Drucker unb Buchbinder 1786 TITLE PAGE OF HOECKER'S EPHRATA PRIMER. ( 1 EPHRATA THEOSOPHY. A MONG a mass of papers and manu- scripts which it was the good fortune of the writer to examine some months ago, dating from the pro- vincial period, and re- lating more or less to the upper end of Lancaster County, there was one that particularly attracted his attention. This was an old manu- script, yellow and dis- colored by age. It was written on the ordinary coarse writing-paper, such as was the product of the paper-mills on the Wissahickon and Cocalico. The writing was still distinct and clear, done in a firm hand, with a well-pointed quill, showing that the writer must have been one of education and experience. Upon the outside, as a legend, it bore the old German proverb or Sprüchwort: (95) 96 Ephrata Theosophy. } "Quäle nie ein Thier aus scherz, Dann es fühlt wie du den schmerz." ("Ne'er torment a beast in sport, For it feels like you when hurt.") Upon examining the paper it proved to be a plea for mercy toward the brute creation. This ended with an earnest entreaty for social purity, and incidentally illus- trated the theory of the migration of the soul. The more it was examined, the greater became the in- terest in the subject and the manner wherein it was pre- sented. The only possible clue to authorship was the en- dorsement upon the first page: "Obed, ein wallender nach der seligen ewigkeit." This was the signature and Kloster name of Ludwig Höcker, one of the most devout members of the Ephrata Community, who was the school- master of the settlement, and has the honor of having es- tablished, in 1739, the first Sunday-school of which we have any record. Brother Obed was also one of the in- structors in the classical school or academy maintained by the Brotherhood, and the present paper is evidently one of his lectures or discourses delivered before the higher class. He was a prominent character in the Ephrata Community, and a firm supporter of Prior Jaebez. When he was in his seventieth year, and the institution was already verging into a state of decline, the old philoso- pher published a second edition of his primer and school- book. Upon the reverse of the title he gives as a reason for its publication that "if it be used by the children, it will pre- vent, in every case, the destruction of a Psalter or a Testa- ment"; thus showing that the chief text-book of the Ephrata system of education was based upon the daily use of these two fundamental parts of Holy Writ. At the J. F. SACHSE, PHOTO. MUSIC OF THE EPHRATA CLOISTER. 0. ONE OF THE EPHRATA PRINTING PRESSES. IN COLLECTION OF HISTORICAL SOCIETY OF PENNSYLVANIA. Ephrata Theosophy. 97 time of its issue, as will be seen from the title, the pious recluse then filled the position of schoolmaster, printer and bookbinder to the Brotherhood. Brother Obed died dur- ing the summer of 1792, after passing the allotted three- score years and ten. The paper under consideration has the distinction of being the earliest effort made in this country to prevent cruelty to animals, and to inculcate in the minds of the growing generation the duty of protecting and respecting the virtue of the gentler sex. The illustrations in the course of the lecture are occasionally of a somewhat har- rowing nature; at the same time, we must bear in mind the state of the country and its people at that period, when it will be found that the similes are well suited to the times in which they are used. It matters but little whether or not good Brother Obed was the author of the paper. There were others among the solitary recluses equally devout. At the same time it is an excellent illustration of the code of morals taught in this community. Then, again, we have here the earliest known plea for the two movements which now, in the clos- ing years of the nineteenth century, have become a fashion- able fad. It is but another illustration of how the Penn- sylvania German has lost the honor and credit due to him through his innate modesty. Here the lecturer was far ahead of his time. What fruits his labors bore, both history and tradition have failed to record. What great good was accomplished by this plea, so quaintly and forcibly presented to the youth of the middle of the eighteenth century, will never be known. Even the existence of this essay was unknown and forgot- ten until it fortunately fell into the hands of the writer, and is now translated into the language of the country: ? 1 98 Ephrata Theosophy. Geistliche Briefe eines Fried samen Pilgers, Welche er von 1721. bis an feine 1768. darauf erfolgte Entbindung geschrieben. Ephrata, gedruckt im Jah 1794, Title page of a unique Ephrata Imprint in the collection of the writer. t Ephrata Theosophy. 99 S HILE sitting in my chair and dozing one evening, it seemed to me that I heard a voice saying: "Take up your pen and write what I dictate." I looked around whence the voice came, but could see nothing. My lamp was still burning, but the room was empty. I was alone. Then I felt that it was my guardian spirit (Schutz- geist) who had made his presence known, so I at once pre- pared myself to write, when the voice dictated the following story: "I was the oldest son of a country gentleman, who was possessed of large wealth, and when I was about nineteen years of age, I was thrown by my horse while hunting, and by the fall dislocated my neck, and from a lack of immediate attention, died before I could be taken home. "In the next moment, to my inexpressible sorrow and sur- prise, I found myself in the shape of a pug-dog, in the stable of a country tavern kept by a man who formerly had been my father's butler, and married the cook. As a pug, I really received many caresses. Alas! my master, to increase, as he said, my beauty and strength, soon after- wards cropped my ears and cut off a piece of my tail. In addition to the pain this operation caused me, I quickly ex- perienced in a thousand ways what great inconvenience this mutilation subjected me to, and how it placed me at disadvantage. At the same time, this was but the least part of my misfortunes, which I was destined to suffer in this condition. "My master had a son who was about five years old, and Ephrata Theosophy. even more of a favorite than I was; and as his whims and passions were condoned as soon as they manifested them- selves, he was encouraged to vent his spite against any living or inanimate thing which offended him, by beating me. When he did any damage (of other transgression no notice was taken) the father, the mother, or servants were ever ready to flog me in his place. "This intercourse with persons whom formerly I had but looked at with disdain, and was wont haughtily to com- mand, was not to be endured; so, early one morning, I ran away. Although it was raining hard I kept on my journey until the afternoon without intermission. It was about four o'clock when I came to a village, and at a house where some carpenters were at work I noticed a heap of shavings under a temporary cover to keep them dry. So I crawled, as I believed, unnoticed into a corner and lay down. Alas! a man, who was just working on some lumber, seeing that I was a strange dog and of the pug variety, conceived the idea of amusing himself and his fellow-workmen at my expense. For this purpose he bored a hole about two inches in diameter in a piece of deal. He then caught me suddenly and poked the stump of my tail through this hellish machine, and with a hammer drove a heavy wedge beside it, so as to firmly fasten all together. The act crushed the bones and cause me indescribable torture. As he set me down, the wretches who witnessed this barbaric play, broke out into boisterous laughter over the painful efforts to which I gave expression, in my miserable attempts to escape and release myself from the board which I was forced to drag after me. They hissed me until I was out of their sight. In the meantime, as fright, pain and embarrassment urged me on with an un- willing speed, I ran with such force between two posts, 100 Ephrata Theosophy. IOI which were not far enough apart to let my block pass through, that the board with the remains of my tail stayed behind. Soon after, I found myself on the grounds of a gentleman farmer, where I saw in the distance the large watch-dog; so, fearing to be torn to pieces, I continued in my flight. Alas! several farmers at work in a barn some distance off, seeing that I ran without being pursued, that my eyes gleamed, and that I was frothing at the mouth, imagined I was mad and struck me dead with a threshing flail. Thereby I was released from this mutilated and perse- cuted body, and found myself under the wings of a flicker, together with three others just hatched. I now rejoiced in the thought that I, like my mother, would be a denizen of the air, and could swing myself aloft to such a height that no human cruelty could reach me. Alas! even before I could rightly fly, my mother was surprised in her nest by a school-boy, and in her attempt to escape was squeezed so hard that soon after she died. The boy thereupon took the nest, and all there was in it, and placed it in a basket where I soon lost my three companions in misery by the unsuitable food and improper attention. I remained alive, and after I was able to feed myself, my tyrant's mother took me as a present for the daughter of her landlord. This young girl was a beautiful creature, in her eighteenth year. 66 My imprisonment now seemed to lose its terrors. I did not have to fear the rough fist of an ignorant lout whose caresses were even more to be dreaded than his anger, who, even in his passion and inclination for a new toy, was apt to neglect me and let me starve to death, or would twist my neck for the penny given him to buy my food. I now became accustomed to confinement in a cage; I was Ephrata Theosophy. hung out of a cheerful window, and regularly fed by one of the most beautiful hands in the world. Thus I fondly imagined that henceforth, being under the shelter of the tender caresses of this fair being, with every evidence of love and affection, no sorrow would come to me. 102 My fate, however, was destined otherwise. As a young lady from the city made an afternoon call at my mistress' house, the latter embraced the opportunity to ex- hibit me with others of her pets, among which were a parrot, a monkey, and a small dog. She whistled and held out her finger; I hopped upon it; she stroked my feathers, and I laid my head against her cheek, and, further to show my appreciation and how I valued her at- tentions, I began to sing. As soon as my lay was ended, the visitor turned to my mistress and said that the dear creature would necessarily become the most beautiful sing- ing bird in the world if its eyes were burned out, and it were confined in a narrow cage. 66 "This dreadful suggestion was sanctioned by my beau- tiful mistress, upon the repeated assurance that my song would be greatly increased thereby. Accordingly, upon the next day, she undertook the inhuman operation, ac- cording to the given directions, using the point of a heated knitting-needle. "My condition may now be easier imagined than de- scribed. Fortunately I was not permitted to endure the sad loneliness of constant darkness for any extended time, as on one occasion, in the dusk of the evening, a cat came unnoticed into the room, pulled me through the bars of my cage and ate me up. "I was far from dissatisfied to be again released from both blindness and imprisonment, and in the shape of a May-bug to fly about in the air. However, I had scarcely Ephrata Theosophy. 103 entered into this sphere of my existence when a gentleman, in whose garden I was seeking food on a cherry leaf, caught me and gave me to his son, a little fellow who was just luxuriating in his first pair of trousers, saying: 'Here, Charlie, is a bird for you.' The boy received me with pleasure, expressing Satanic joy, and forthwith impaled me alive, as he had been taught, upon a needle fastened to a linen thread. Thus I was condemned to afford pleasure to my young master by sailing around in the anguish and torment of death. When I was completely exhausted and unable to use my wings any longer, he was told to crush. me under foot, as I was of no further use, a command which he executed in a merciful manner by scrunching me in an instant in the dust. "From a May-bug I migrated into a rain-worm, and found myself esconced in the dung-heap of a farm-yard. By this change of my condition I consoled myself with the reflection that, while I could not now rise in the air and with the rapidity of thought take myself from one place to another, I was at least in a position where I could neither be a pleasure to mankind nor evoke their enmity, both of which had proven equally disastrous to me. Thus I hoped now to end my life in peace, as in my humble condition I would escape the notice of the most cruel of all created creatures. "Alas! I was not suffered to rest long in my fancied security. One morning I was disturbed by an unusual noise, and remarked that the whole earth around me trembled. Quickly crawling up to the surface to learn the cause, I no sooner got to the top than I was eagerly seized by the person who had loosened the earth with a digging-fork for just the purpose of what had brought me to the light. Thus, together with many others of my kind, all companions in misfortune, I was thrown promiscuously 104 Ephrata Theosophy. into a broken pot, and soon after became the property of a tender-hearted shepherd who found his pleasure in angling. "The next morning this man took us to the banks of a stream, and forthwith took out one of my companions; and, while whistling a lively tune, forced a barbed fish-hook through the entire length of the worm, as the point entered at the head and emerged at the tail. The unfortunate ani- mal squirmed on the bloody hook in pain and suffered torture greater than any human being ever experienced, and which no animal can feel whose muscular vitality does not extend to all parts of its being. "In this condition it was thrown into the water as bait for a fish, until it, together with the concealed hook, was swallowed by an eel. As I witnessed this tragedy I made my own reflections upon the great disproportion between the pleasure of catching the game and the torment inflicted upon the bait. However, these reflections were suddenly dispelled by the identical anguish of death of which I had just been a witness. "You would not have space enough upon your paper if I were to relate to you all that I suffered from the thought- less brutality of the human race: what I experienced as a cock, a lobster, and a pig. It will suffice to say that I have suffered equal to the malefactor who is broken on the wheel, for I was boiled alive upon a slow fire, and beaten to death with five thongs, to tickle the sensual palate of the epicure or furnish enjoyment for the rabble.” Thus far I had been the amanuensis of an unseen men- tor. During the continuation of my musing I felt some- thing tickle my hand. As I lifted my eyes from the paper to see what it was, I found it to be a common house-fly, which I immediately caught and killed by holding it in the flame of my lamp. In an instant the fly disappeared and G Ephrata Theosophy. 105 a young maiden of exquisite form and beauty, in all the glory of budding womanhood, stood before me. "Thought- less wretch," said she, "you have once again changed the condition of my existence, and have now exposed me to far greater fatalities than any to which I have thus far been subjected. As a house-fly, I was your mentor and I might have escaped from your cruelty, were it not in- my tention to instruct you. Alas! now it is impossible for me to remain concealed, and therefore equally impossible to be safe. The eyes of sensuality and unbridled desire are centered upon me. Man will henceforth use all his wit, and employ an indefatigable resolution to lead me into dis- honor and vice. But, although man still remains my enemy, and henceforth attacks me with greater ardor and persists in his desires with greater stubbornness, I have now less strength to withstand him than formerly. There is an element within my own bosom which will exert itself to annihilate me; its influence is constant, and a constant influence is not easily overcome. In the meantime pub- lish unto the world what I have disclosed unto you; and if perchance thereby a single human being is turned from the exercise of a guilty inadvertence to do aught for the pro- tection of the inferior creatures, and also by these consid- erations to prevent the unfortunate results of one's inhuman actions, which cause pain and suffering, then I have not suffered in vain. - "But as I am now exposed to accidental as well as to incidental evil, and as I not only stand in danger of wanton caprice and indiscretion, but also of the wicked designs of cunning and knavery, therefore, in order to expiate for some of the great wrong you have done me, let it hence- forth be your bounden duty to warn, in public print and upon all proper occasions, the female sex against the snares доб Ephrata Theosophy. that are laid for their destruction, and discourage the male sex from all attempts to decoy and debauch innocence. Show unto the latter the enormity of their crime, which they heap upon themselves, and picture to them the shame- less, dissimulating treachery that they commit under the guise of ardent and tender affection for that beauty and innocence alone which makes love credulous, and in its guilelessness is free from suspicion, and is thus cast into unfathomable misery.' "" As I listened to this charge, my heart beat so strongly that the anxious efforts I made to answer awakened me. THE END YAHI Alphabet, script, 29. Anastasia sister, 86. INDEX. Apology for sacred song, 23, 24. Arndt's prayers, 17, 21. Ausbund geistlicher Lieder, 43. Barrir and Toener, Beissel's ex- planation of, 72–73; note on, 73. Beans, Effect on voice, 67. Beissel, Conrad, theories, 13; Wun- derschrift, 18; English version, 19, 21; dissertation on harmony, 22, 50, 71–79; apology for sacred song, 23-24; as composer, 23, 28; hymns by, 49; instructions on the voice, 66-69. Billings, William, II. Binnix, Mrs. Frank, renders music, Historians, soi-disant, 16. Harmony, Beissel's, 14. Hertzen's Bewegung, 1749, 44. 86. Blum, Ludwig, 29. Braut des Lamms, 45. Braut Schmuck, Geistlicher, 45. Buckwheat, effect on voice, 67. Butter, effect on voice, 67. Cheese, effect on voice, 67. Chronicon Ephratense, 13; title, 20. Cloister, music of, 27. book, 23; sister, 32; watermark, 65; script alphabet, 69; symbol, 92; theosophy, 95-106; primer, 1786, 94; a new imprint, 98. Fahnestock, Dr. Wm., portrait, 16; mention of, 17. Dissertation on harmony, 70-79. Dissertation on man's fall, 19, 21. Drink, effect on voice, 68. Geistlich briefe, title, 98. Geistlich Denckmahl, 48. Geistliche Lieder, ausbund, 43. German sectarians, mention of, 17; error in, corrected, 22, 23, 52. Gott ein Herscher aller Heiden, 29; original score, 30. Höcker, Ludwig (Bro. Obed), primer, 94; mention of, 96, 97. Honey, effect on voice, 67. Hymnals of Ephrata Community, 33; title pages of, 1730, 34; 1732, 35; 1734, 36; 1736, 37; 1739, 38; 1747, 39; 1754, 40; 1755, 41; 1756, ib.; 1762, ib.; 1766, 42; 1785, 43. Jaebez, Prior, 22; portrait of, 51; mention of, 52, 96. Key diagram from score book, 76, 77. Leben eines Herzogs, 21. Early Christians, song of, 25. Eggs, effect on voice, 67. Ephrata, pen work, 12; sampler, 14; brother house, 14; sister house, 15; cloister history, 15, 17; unique imprints, 17, 21; score Prior. Marshall, Christopher, 22. Melodies, in C, four part, 74. Miller, Rev. Peter-vide Jaebez (107) 108 Milk, effect on voice, 67. Morgen-Röthe, Abend-ländische, 46. Movable C clef, 29. Index. Music, earliest Ephrata, 10; at Snow- hill, 11, 12; MSS., 13; unlike reformation tunes, 14; how sung, 15; score book, 22, 23; four-part music on single staff, 23; new material, 27; alleged portrait, 28; movable C clef, 29; arrangement of voices, 29; seven-part ib. on single staff, 81; four-part key, Transmigration of the soul, 99–106. Thomen, Anna, 86. 74; key diagram, 77; on single staff, 81; double staff ib., Die braut ist erwachet - original and modern, 82, 83; four-part anthem, 84; same in five-part, 85; six-part setting, 87; wohlauf, wohlauf, original and modern four-part, 88, 89; seven-part motet, modern notation, 90, 91. New England psalm singer, II. Notation, original and modern, 80. Nunnery, Snowhill, 11. Obed, Bro., see Höcker, Ludwig Ohl, Rev. J. F., Mus. D., 27; note by, 70; translation by, 70-79. 42. Peculiar rendition of music, 80. Sacred song, Beissel's apology for, 23. Score book MS., Ephrata, 23. Score, four-part on single staff, 81. Sectarians, German, 17. Seidensticker, Prof. Oswald, 17. Singing school of kloster, 84; classes in, 84. Sister, sketch of, 32. Snowhill nunnery, II, 12. Rosen und Lilien, title of, 41. Reformation music, 14. Theosophy, Ephrata, a page of, 93– 106. Tubers, effect on voice, 67. Turtel Taube, 13, 22, 23; title page of, 39; Nachklang, 41; neuver- mehrtes, its sub-titles, 44, 45, 46, 47, 48; various editions, 47; epi- logue, 50; Neuer Nachklang, 52; foreword, 53-58; facsimile of pro- logue, 59-65; water-mark in, 65, 79; dissertation on harmony, 70- 79; Kirren, von, 45. Paradisisches Wunderspiel, 29; title, Wheat, effect on voice, 67. Wunderschrift, Beissel's, 21. Voice, Beissel's instructions on, 67; milk, effect on, ib., cheese, ib., butter, eggs, honey, wheat, buck- wheat, effect on, ib., drink, effect, on, 68. Voices, peculiar arrangements of, 29. Zerfallenen, Hütte Davids, 47, 48. Zionitischer Rosen Garten, 49. Zionitic watermark, 65. UNIV. OF MICKICES, JAN 21 1910 UNIVERSITY OF MICHIGAN 3 9015 05112 3480 Vitthala The