Music for the Celebration of Peace

Throughout history, the conclusion of political peace has always provided an occasion for the writing of musical compositions. In times of absolutism, musical homage was paid to the ruler who had brought about peace, who was in most cases the victor of the war preceding it. Probably the most popular composition of this kind is Händel's "Music for the Royal Fireworks," composed to celebrate the 1748 Peace of Aachen which put an end to the Austrian war of succession. Even as early as the Hundred Years' War such music was composed, on the side of the English, for example, by John Dunstable. In the 15 [th] and 16 [th] centuries there is evidence of a large number of compositions written to accompany both peace treaties and the negotiation meetings between potentates. Quite often the respective court orchestra directors — composers such as Guillaume Dufay, Jacobus Obrecht, Loyset Compère, Heinrich Isaac, Cristobál de Morales and Orlando di Lasso, to name the most important of them — were commissioned to produce the work. [1] This tradition can be traced into the 20 [th] century: In 1944 Radio Geneva commissioned the Swiss composer Frank Martin with a work for the approaching end of the war, leading to the oratorio "In terra pax." [2] And Benjamin Britten's "War Requiem," though written in the form of a lamentation, was the fulfilment of a commission by the BBC for the consecration of the Cathedral of Coventry, newly built following destruction by German bombs.

Thus it comes as no surprise that the Peace of Westphalia also inspired musical production. Yet the writing of compositions for celebration and tribute did not wait for the proclamation of the Peace of Westphalia, but already accompanied several occasions during the Thirty Years' War. The first in the series of war-related compositions are two works by Heinrich Schütz (1585-1672) of the year 1621. On November 3 [rd] of that year, the Saxon prince elector received the homage paid by the Silesian diets in Breslau on behalf of Emperor Ferdinand II. Prince Johann Georg took his court orchestra and its director Schütz with him to the festivities. On this occasion Schütz composed two works whose Latin texts revolved around the war in progress and the peace anticipated. The first composition, "Syncharma musicum," [3] honours the prince elector as the bringer of peace offerings. The second work, [4] — about whose connection with the celebration of homage Schütz scholars are not entirely certain [5] — begins with the words: "Dunkle Gefahren belasten so lange schon Deutschland" [Dark dangers have burdened Germany for so long]. The verse "Holdester Friede, von dir komme uns tausendfach Freud!" [Fairest peace, may you bring us joy a thousand times over] is incorporated into each individual text section in rondo form. In these two early compositions, little is to be felt of the great suffering and harm that the Thirty Years' War would bring with it in the years to follow. These are political compositions of tribute, containing allusions to the current events of war and peace.



Peace Compositions of Königsberg

The Königsberg cantor and court orchestra director in the service of the prince elector of Brandenburg-Prussia, Johann Stobaeus, distinguished himself in 1630 by writing two compositions for the truce between Poland and Sweden, works printed by Lorentz Segebad in Königsberg. The title of the first reads: "Lob- unnd Danck Lied Dem grossen Gott zu schuldigen Ehren, daß er seinen gerechten Zorn wegen des erbärmlichen Kriegswesens nunmehro von diesem Lande und dessen Einwohnern in allen Gnaden so fern abgewendet, durch den zwischen beyden Königreichen Pohlen unn Schweden getroffenen und confirmirten sechsjährigen Stillstand ..." [Song of praise and thanks, the honour owed to our great God, for turning aside in all mercy his just wrath due to the deplorable warfare, [for turning it] so far from this land and its inhabitants by means of the six-year truce agreed upon and confirmed by the two kingdoms of Poland and Sweden ...]; that of the second: "Ein anderes auf denselben von Gott gnädigste verliehenen sechsjährigen Stillstand" [Another [work] for the same six-year truce most mercifully bestowed upon us by God]. The poet of the six- and five-stanza texts is identified by the initials "G. W.," quite possibly referring to Georg Weissel, a member of the circle of Königsberg poets whose works Stobaeus frequently set to music. The two six-part polyphonic movements are choral arrangements with hymnal melodies in the upper part, the melody of the first work being referred to by the hymn title "Herzlich tut mich verlangen" [I desire with all my heart]. In 1635, in connection with the Truce of Stuhmsdorf between Poland and Sweden, Stobaeus wrote a similar work entitled "Preußisches Alleluja" [Prussian Hallelujah] and printed by Georg Rheten in Gdansk. [6] As had been the case on the occasion of the previous truce of 1630, Stobaeus again wrote two independent motets for Stuhmsdorf, of which only the first has been preserved. It is likewise a six-part polyphonic choral arrangement, now to the melody of "Ach Gott, tu dich erbarmen" [O God have mercy] with six stanzas. It can be assumed that Stobaeus was commissioned to write these works by the Council of the City of Königsberg or the Prussian government. [7] All three movements were published by Stobaeus for the second time in his collection of 1642 and 1644 entitled "Preußische Festlieder" [Prussian Festival Songs]. This publication included works by his teacher Johann Eccard, supplementing Stobaeus' own works which were also written in the spirit of the late 16 [th] century. Particularly by abstaining from the use of the basso continuo and concertising elements, Stobaeus imitates the older style. A composition written for the same occasion by Stobaeus' Königsberg colleague Heinrich Albert is somewhat more progressive, if less elaborate. The work of the latter is a two-part homophonic "aria" with basso continuo, bearing the title "Lob der Könige. Nach erhaltenem Frieden in Preußen" [Praise to the kings. Following the attainment of peace in Prussia]. [8]



Music for the Nuremberg Execution Days

Along with Hamburg, Leipzig and Dresden, Nuremberg was one of the leading centres of music in 17 [th]-century Germany. The city boasts four successive generations of noted musicians: The first includes Hans Leo Hassler (1564-1612), who received his training in Italy, and Johann Staden (1581-1634); Staden is the teacher of his son Sigmund Theophil (1607-1655), Johann Erasmus Kindermann (1616-1655) and David Schedlich (1607-1687); the third generation comprises the Kindermann students Schwemmer, Wecker and Lunssdörffer, and in the fourth generation their student Pacheibel appears, leading the teacher-student tradition on to Johann Sebastian Bach. Despite the grave effects of the Thirty Years' War on the city, the musicians were able to remain in their positions of employment, musical culture being the pride and crowning achievement of the old patrician Nuremberg. Particularly after 1635, when the most disastrous years of war and plague were over for the city on the River Pegnitz, the cultivation of music received fresh impetus. The renewed or newly established "Musikkränzchen" [little music circles] played a major role in this development. And music was an essential element of the "Pegnesischen Blumenorden" [Pegnitz Order of Flowers] founded by the poets Harsdörffer and Klaj. Sigmund Theophil Staden, the organist of St. Lorenz, organised a "great historical concert" in 1643 and attracted attention again in 1644 with the allegorical Singspiel "Seelewig." This oldest preserved work of German musical theatre was first published in Harsdörffer's "Frauenzimmer Gesprechsspiele."

In view of Nuremberg's musical tradition, it was only natural that the Peace of Westphalia be saluted with great musical activity. An account of a peace banquet held on September 25, 1649, preserved in a hand-written source in Stockholm, conveys an impression of these doings. The occasion was the visit of Karl Gustav, the Swedish field marshal and future Swedish king, to the imperial city. Altogether forty-three musicians, divided into four choirs, participated in the banquet's musical setting. They were joined by four organ blowers and four superintendents. Each of the choirs contained instrumentalists and the obligatory continuo group in addition to singers in the various registers. In the first choir the singers were in the majority, in the second the eight violinists; the third choir consisted mainly of trombonists and harpists, while the dolcian and bassoon dominated the tone of the fourth. The chief conductor was Sigmund Theophil Staden. Joachim von Sandrart produced an oil painting of this event, [9] a work frequently copied thereafter in engravings. In these illustrations the four choirs in the four corners of the hall are clearly recognisable, [10] and chief conductor Sigmund Theophil Staden stands at the front right (fig. 1). The music performed was primarily the work of Nuremberg composers. As the potentates entered the hall, a twenty-three-part "Herr Gott, dich loben wir" [Lord God, we praise you] sounded, a work by the Heilig Geist organist David Schedlich, who also participated as the organist of the third choir. Then a prayer was spoken, succeeded by a twenty-two-part "Laudate Dominum" by a certain "M. A." whose identity has remained a mystery. [11] The vocal works that followed were interspersed with instrumental violin pieces whose composers remained anonymous. Staden's "Ihr Himmel, lobet den Herrn" [You heavens, praise the Lord] was heard, and in response a three-choir "Te deum laudamus" by Georg Walch was sung. Walch was present as a bassist in the first choir. The next work listed was a "Gloria in excelsis Deo per Choros. Auth: Giov: Rovettj." This is very likely a reference to Giovanni Rovetta, the orchestra conductor of San Marco in Venice, whose works were printed and circulated in numerous editions. The Nuremberg musician Paul Hainlein (1626-1686) had established contact to this Venetian master just a short time earlier. In 1647-48 Hainlein had been sent by his "patron" Lukas Friedrich Behaim to study music in Venice and other North Italian cities, on which occasion he had made the acquaintance of Rovetta. In the letters Hainlein wrote to Behaim there is no mention, however, of a teacher-student relationship. Hainlein also wrote to Sigmund Theophil Staden with reports of his experiences in Italy; these letters have, however, not been preserved. [12] At the peace banquet of Nuremberg, both Paul Hainlein and his father Sebastian played the trombone; the Hainleins were highly regarded Nuremberg trumpet and trombone makers. The source identifies the final work on the programme as the 150 [th] Psalm "Lobet den Herrn inn seinem Heyligthumb" [Praise God in his sanctuary] by Sigmund Theophil Staden. [13] It is possible that this is the same forty-part composition performed at the historical concert of 1643 mentioned above. The works on the programme of the peace banquet have all either been lost or are no longer clearly identifiable.

In 1650 the Egidien organist of Nuremberg, Johann Erasmus Kindermann, had a collection entitled "Musicalische Friedensfreud" [Musical Celebration of Peace] printed. The work consists of fourteen individual songs whose number of stanzas ranges between three and ten. The lyrics of the first eight movements were written by Johann Vogel, the rector of St. Sebald, the remaining texts by Johann Klaj, curate of Kitzingen. The poems of Klaj had first appeared in that poet's collection "Schwedisches Fried- und Freudenmahl zu Nürnberg den 25. des Herbstmonates im Heiljahr 1649 ..." [Swedish peace and celebration banquet of Nuremberg on the 25 [th] of the month of autumn in the holy year 1649], the title providing evidence of a connection to the above-described peace banquet. Johann Vogel's poem No. 3 had appeared in his 1649 work "Meditationes Emblematicae De Restaurata Pace Germaniae." For all of the fourteen texts in Kindermann's collection, well-known melodies are named, according to a quite frequently employed method. Thus we can assume that the texts were intended for singing by large groups of the population, for example church congregations. Even Klaj's collection of poems refers to applicable hymn melodies. Whereas Vogel's texts primarily illuminate the bygone war, the poems of Klaj are filled with joy about the present state of peace. Kindermann then wrote new music for these texts, arrangements for one and two voice parts and basso continuo. He also provided sinfonias and ritornelli for two violins and bass, to be played between the song sections and in one case accompanying a song.

The intended purpose of the collection can be clearly inferred from its dedication. Because the participants of the Execution Days are mentioned by name — Palsgrave Karl Gustav, Albert, Margrave of Brandenburg, Christian August, Carl Gustav Wrangel, Alexander Erkskein and Benedict Oxenstierna — and because there is even a reference to the conference itself, it is obvious that Kindermann composed his "Friedensfreud" as a musical accompaniment to these negotiations. [14] The printed edition of this work was advertised in the fair catalogues of the spring fairs of 1650 in Frankfurt and Leipzig. [15]

Another work composed for the negotiations of Nuremberg is Sigmund Theophil Staden's collection "Musikalische Friedensgesänge" [Musical Songs of Peace], published by Michael Endter in Nuremberg in 1651. [16] It consists of twelve parts, some of which themselves comprise several sections. Many of the parts have as many as six stanzas. The collection is arranged for three voices — two sopranos and bass — and three instruments, in most cases two violins and viola. Other instruments are referred to as possible alternatives for some sections — bombard, chalumeau, bassoon, trombone, flute and harp. The texts, as testified by the title page, have been "composed by various different famous poets." Three of the sections bear monograms, providing a means of identifying their authors: At the end of the fourth part the monogram "G.P.H." points to Georg Philipp Harsdörffer; the initials "J.K." at the end of Part Five stand for the name Johann Klaj, and "A.S." following Part Seven could refer to Adam Staden, Sigmund Theophil's brother, who distinguished himself as a writer of song lyrics.

The first part of the composition salutes the emperor and bears the title "Friedens = Freude der drei Hauptströme des H. Reichs Donaw / Elbe und Rhein" [Peace celebration of the three main rivers of the holy empire Danube, Elbe and Rhine]. In three sections the rivers 'appear' one after the other, sung first by one voice, in the third part by three, introduced and interspersed by instrumental ritornelli. In the culminating final passage, the instruments join the voices. The two first sections end in the call "weil Ferdinand bringet den Frieden zustand" [for Ferdinand brings about peace]; the third concludes with "dem Kaiser zu Ehren, der Deutschland gesetzet in friedlichen Stand" [to honour the emperor who has brought Germany into peaceful circumstances].

Part Two is addressed "an die Königin" [to the queen] and is entitled "Lied der Bellona / Nice und Irene / wie es von einem hohen Gen: gestellt und angegeben" [Song of Bellona, Nike and Irene, as placed at our disposal by a high genius]. Bellona is the Roman goddess of war, Nike personifies victory in Greek mythology and Irene stands for peace in Greek. The text of Irene's song reads: "Oh schöner Friedensstern, du strahlest weit und fern, und kriegst den Ruhm der Friedenszeit zu Lohne. Die ganze Welt wird fröhlich über dir, umb daß sich deinetwegen, der Krieg muß wider legen, und Mars die Brust entwappnet für und für" [Oh lovely star of peace, you shine far and wide, and receive the fame of times of peace as your reward. You cheer the whole world since for your sake the war must end and Mars must disarm his breast]. The three one-part songs are introduced by short instrumental pieces called "Sonata." For this second part of the collection, the above-mentioned wind instruments are indicated as possible alternatives to the strings and assigned to the respective mythical characters according to their quality of tone. Staden suggests brass instruments and bombards for the song of Bellona, chalumeaus for the song of Nike, and flutes and a harp for Irene (fig. 2).

The third part of the collection bears the heading "Friedensauffzug. & c. Carolo Gustavo ... Fama, Victoria, Concordia. Mit drei Discänden gesungen" [Procession of peace, etc. Karl Gustav Count Palatine ... Fama, Victoria, Concordia. Sung with three descants]. The first to sing is Fama, the Roman personification of fame; she is followed by the goddess of victory Victoria and then Concordia, who embodies unity. This third figure concludes her three stanzas with the verdict: "Einigkeit machet nach feindlichen Streiten eiserne Jahre zu guldenen Zeiten" [Following hostile war, unity makes iron years into golden times]. Then the three protagonists join to sing of the four planets Saturn, Jupiter, Mars and Mercury. As the second of the four verses relates: "Mars lässet nicht schneiden den tapferen Degen, ihn decket die Scheiden, daß Felder und Wälder der Sicherheit pflegen" [Mars no longer allows the brave sword to cut, he covers its sheath, so that the fields and forest will be in safety]. The first three sections are preceded by instrumental passages, now designated as "Symph." No formal difference can be detected between the ritornello of Part One, the sonatas of Part Two and the sinfonias of Part Three; all three terms refer to a few measures of three-part instrumental music.

Part Four of Staden's collection is called "Friedens = Willkom" [Welcoming of Peace]. Harsdörffer was the author of the six verses, of which the first reads: "Willkomm, oh guldne Friedenszeit, der Anker in dem Ungestimme, die Hoffnung in der Waffengrimme, Willkomm, verlangte Fröhlichkeit! Man höret nicht mehrers von Morden und Kriegen, es schlafen die Waffen in Friedensbesiegen, sie müssen ermüdet an müßigen Pfosten enthalten, erkalten, veralten und rosten" [Welcome, oh golden time of peace, anchor in discord, hope when weapons rage, Welcome, long-desired gaiety! One hears no longer of murder and war, the weapons sleep in the triumph of peace, exhausted they must stay at idle posts, abstaining, growing cold, ageing and rusting]. The third stanza begins: "Was der Krieg genommen hat, bringt nun der Fried' beheglich wieder, die Kaufmannschaft lag vor darnieder, und hindert sie nun kein Soldat" [What the war took, freedom is now content to bring back, commerce was at a standstill, now no soldier hinders it]. Here again, several measures of instrumental music serve as an introduction, albeit unlabelled. The stanzas are arranged for three voices in imitative polyphonic style; in the second section, written in triple time, the likewise polyphonically arranged string instruments join the voices.

Part Five is a "Friedens Danck = Lied" [Song of Thanks for Peace], the setting of a text by Johann Klaj. Here three voices and three instruments have been arranged polyphonically, and Staden has employed the effect of the echo.

The sixth part is headed by the comment: "The following songs were originally set with only one voice, the other two were made ad libitum," indicating that the following parts have been kept simpler than the preceding ones. It is obvious from the design of the three vocal parts that there was indeed only the upper voice to begin with. The lower voice closely imitates the basso continuo part in its completed form and the middle voice functions as a harmonic complement. From this point on, the stanza movements have been arranged homophonically; the lower and middle voices are dispensable, as they are contained by the basso continuo part. Instrumental passages, somewhat more polyphonically structured, serve only as short preludes and interludes, and instruments are no longer enlisted to accompany the singing voices. This is the form in which Parts Six to Twelve appear, and so it may suffice here to note their titles: VII. "Frieden-Frewd"[Celebration of Peace], VIII. "Der Helden Lob" [The Heroes' Praise], IX. "Fried und Freudenschals fröhliche Post" [Cheerful Message of Peace and Joy], X. "Friedens = Wunsch" [Wish for Peace], XI. "Aufmahnung zur Fröligkeit" [Exhortation to Joyfulness], XII. "Abschied = Lied" [Song of Departure].

The printed edition of the voice parts was listed in the fair catalogues of the spring and autumn fairs of Frankfurt and Leipzig in 1651. [17] According to the score-printing standards of the present, the work comprises some seventy-five pages and is thus of quite considerable length for the time in which it was written. In the other cities which hosted negotiations for peace — Osnabrück and Münster — there is no evidence of a musical-cultural response as great and lively as that witnessed in Nuremberg.



Music for the Celebration of Peace in the German Imperial Free Cities

For the celebration of peace taking place in Frankfurt am Main in 1649, Johann Andreas Herbst (1588-1666) composed a "Danck- und Lobgesang Auß dem 107. Psalm des Königlichen Propheten Davids" [Song of Thanks and Praise from the 107 [th] Psalm of the royal prophet David]. [18] In an arrangement comprising 177 measures, the psalm is set trichordally in twelve parts for strings, trombones, voices and basso continuo. The first verse of the psalm — "O Give thanks unto the Lord, for he is good: for his mercy endureth for ever" — is repeated throughout the piece in refrain-like manner; verses 2, 6, 8 and 32 are incorporated in the form of stanzas. Thus the composition corresponds closely to the overall structure of the psalm, which contains forty-three verses. For in the psalm as well, the tribulations from which God has delivered man are repeatedly juxtaposed with the admonition to thank God.

Hamburg's 1648 celebration of the Peace of Westphalia was the occasion for yet another setting of a psalm to music. Thomas Selle (1599-1663), the musical director of the major churches of Hamburg, composed an arrangement for Psalm 150 "Praise God in his sanctuary." [19] The result is a work of sizeable dimension considering the standards of the 17 [th] century. The fifteen parts are divided into four choirs and in addition to violins, Selle makes use of trombones, cornetti and clarini as a means of creating a resounding tone and sensualising the instruments alluded to in the text of the psalm. This composition was performed once again at a peace celebration in September, 1650. On the same occasion, Johann Rist's "Hamburgisches Fried- und Freudenfeur" [Hamburg Fire for Peace and Joy] was published by Jacob Rebenlein [20] whose preface indicates that on this day there was indeed a display of fireworks. In addition to the usual forewords, the printed work contains a seven-page poem on the subject of the political circumstances. It is followed by a song of thirty-two stanzas, "Neues Frieden und Freudenlied" [New Song of Peace and Joy], and then a two-part melody for descant and bass. The composer is Johann Schop (ca. 1590-1667), the first council violinist of Hamburg, several of whose song compositions have been preserved in the Protestant repertoire. The same publisher had already issued Johann Martin Rubert's "Friedens = Frewde" [Celebration of Peace] in 1645, an aria for two tenors with interludes for two violins. [21] Nothing is known about the particular occasion for the composition of this piece, nor about its performance. The beginning of negotiations for peace in Osnabrück and Münster and the general development of peace in the northern German region may well have formed the background for the work. Musically it is to be regarded as somewhat inferior due to the repetition of third parallels through most of its length.

In 1649 a work entitled "Jubilum Sionis, das ist: Fried und Freudens = Jauchtzer Christgläubiger danckbarer Hertzen / Wegen des bißhero im Heiligen Römischen Reich so lang gewünschten / nunmehro aber (Gott Lob) beschlossenen Friedens" [Jubilum Sionis, i.e.: Shouts of peace and joy from grateful Christian hearts, because of the peace so long desired in the Holy Roman Empire and now (thank God) concluded] was issued by Georg Sengenwald of Jena. [22] The designation of the composer reads: "Johanne Mullero, Gossitio-Varisco, Musicæ." As there were several composers by this name in the musical history of the 17 [th] century, it is difficult to attribute with certainty. Doubts remains as to whether it was the organist who played in the Saxon court orchestra in 1627 under Heinrich Schütz. [23] As indicated by the title page, the work is based on a poetic version of the 98 [th] Psalm by Martin Rinckart. The composition is arranged for eight parts in two choirs and basso continuo, the two choirs frequently contrasted by antiphonal means. The words of the refrain are: "Jetzt ist es Zeit, wir sind bereit, unserm Gott anzusingen. Alleluja, der Fried ist da. Des sind wir froh, singen in dulci jubilo" [Now it is time, we are prepared to sing to our God. Hallelujah, peace is here. About this we are happy and sing in dulci jubilo]. In the six stanzas the bygone war and the accomplished peace are addressed in various ways as extensions of the psalm text. "Gott sieget mit seinen siegharten Händen: Das blutige Kriegesunwesen zu wenden, Erhebet er seinen Allmächtigen Arm" [God triumphs with his victorious hands: To avert bloody warfare, He raises His almighty arm].

Johann Ernst Löber composed a work headed: "Musical Text on Peace. For 1, 2, 4, 5, 8 or 13 instrumental as well as vocal parts in Concerto and per Choros along with the Basso per Organo" for peace festivities occurring in Weimar on August 19, 1650. The work is in the collection of the Historical Archive of the City of Weimar, but is presently evacuated and inaccessible.

For the Leipzig peace ceremony of September 7, 1650, the cantor of St. Thomas, Tobias Michael, composed three festive concertante motets for eight voices in two choirs and basso continuo. The three pieces bear the titles "Israel hat dennoch Gott zum Trost" [Israel still has the comfort of God], "Singet dem Herrn ein neues Lied" [Sing unto the Lord a new song] and "Alleluja. Danket dem Herrn" [Hallelujah. Thank the Lord]. Before the Second World War, the works' manuscripts were to be found in Königsberg; Arnold Schering reprinted the beginnings of the three motets in his Musical History of Leipzig. [24] Presently the works are thought to have been lost.

The same fate was suffered by the composition "Fried-, Freud- und Jubelgeschrey" [Shouts of peace, joy and cheer] written by the cantor of Mühlhausen, Johann Rudolf Ahle (1625-1673). This setting of a psalm text "Singet dem Herrn ein neues Lied" [Sing unto the Lord a new song] already alludes to particular tonal splendour in the subtitle: "composed for 15, 20, 24 and more voices in various choirs." A copy of the work, printed by Fr. M. Dedekind in Erfurt in 1650, was also in the Universitätsbibliothek of Königsberg before World War II — reference to it is found in several publications issued before 1945. Since then it has not turned up again, the second composition for the Peace of Westphalia to have been lost in the turmoil of World War II.

A further work inspired by the conclusion of peace and not preserved for posterity is the "Magnum Tricinium tergeminum in memoriam Belli Germanici, finiti & Pacis tandem reductae" by Andreas Berger. This composition, published in Ulm, is known to us only by virtue of its listing in the catalogues of the 1650 spring fairs of Frankfurt and Leipzig. [25] The composer was above all a proponent of the Venetian multichoral style. His ten-part, double-choral "Da Pacem Domine" printed in Augsburg 1635 has come down to us, [26] a work which also may well have emerged in connection with current political events. The term "Tricinium" in the title of the Ulm edition refers to a three-part piece deviating from the norm of four parts; the term "tergeminum" also points to the number three, leading to the speculation that the work was in three sections for three voices. The more probable assumption, however, is that it was a triple-choral work for nine voices, a form more typical for this composer. The title continues with references to the German war now over and the newly attained peace.



Peace Festivities in Coburg

Music was an essential element of the Baroque festival, not only with respect to the pompous ceremonials of the large imperial cities but also as regards smaller-scale events. The peace festivities of Coburg are evidence of the latter. In the organisation of these events, a central role was played by an employee of the Coburg City Council Latin School — Michael Franck (1609-1667) — still known today as the author of the hymn "Ach wie flüchtig, ach wie nichtig."

In 1649 Franck published a work with the informative title: "Davidischer / und aller frommer in diesem Dreissig=Jährigen teutschen Krieg / geplagt und verjagter Davids=Herzen Traur= und Trostgesang auch Der darauff erfolgt über alle maß freudige Harppfen=Klang und Jetzo wegen des im H. Röm. Reich / Gottlob / getroffenen Friedenschlusses gebührender Hertz= und Lippendanck / Aus dem edlen Psalterbüchlein auffs neu widerholet / angestimmet und mit drei Stimen gesetzet Durch Michael Francken von Schleusingen / bey der Stad'schule zu Coburgk Mitarbeitern" [Davidian, and all devout in this Thirty Years' German war, afflicted and dispelled hearts of David song of sorrow and consolation also the following overjoyous sound of harps and now because of the treaty of peace concluded, thank God, in the Holy Roman Empire the due thanks of the heart and lips, From the noble Book of Psalms repeated anew, intoned and set with three voices by Michael Francken of Schleusingen, employee of the City School of Coburg] (fig. 3). The work is a setting of Psalms 13 and 66 for two upper voices and bass. The respective seventh and eighth verses are set syllabically. The arrangement of the 13 [th] Psalm exhibits polyphonic structures in part, while the 66 [th] Psalm has been composed homophonically to a large extent. Although the movements are simple, they do not lack charm.

In 1651 Michael Franck had a "Coburg Festival of Thanks for Peace" printed. [27] In it he describes the Coburg peace celebration of August 19, 1650 in an extensive poem — the historical edition of the poem comprises 53 pages of 32 - 36 lines each, amounting to more than 1,700 lines altogether! In the course of the description there are references to 22 Protestant hymns which were performed, most of them by a choir. There is also mention of an instrumental ensemble and a large number of instruments. The Lutheran chorale "Ein feste Burg ist unser Gott" [A mighty fortress is our God] was sung three times, "Nun lob mein Seel den Herren" [Now praise my soul the Lord] twice. At the end of the 64-page edition a 14-stanza song by Michael Franck appears, the first verse of which reads: "Wolauff mein gantzes Ich und lasse Gott zu Ehren auf deinem PsalterSpiel ein feines Danck Lied hören / Daß er das Kriegsgetümmel getrieben aus dem Land / und dir vom hohen Himmel hat wieder Fried gesandt" [Awaken my whole self and let God hear a fine song of thanks to your Psalter melody, That he drove the tumult of war from the land, and from the high heaven has sent you peace again]. The following verses also refer to the war which is over and the peace now attained. The text has been set in four-part cantional setting and bears the initials M.F.S. (Melchior Franck von Schleusingen). A later edition of the "Friedens-Danck-Fest" contains another setting of the same text by a composer referred to as Adam Dresse, probably identical with Adam Drese (1620-1701). This edition of 1657 also includes further song settings by the same musician.

Yet another musical edition appeared in Coburg in 1658: "Bußfertiges Friedens = Seuffzerlein / Oder Das beste Mittel / dadurch der edle werthe Fried in der Christenheit von dem lieben GOtt zu erlangen und zu erhalten / in einem Christlichen Gesänglein / bey der am 19. Augusti allhier zu Coburg nunmehr / Gott Lob / zum Neundten = mahl feyerlicher Begehung des Friedens-Danck-Festes aus wohlmeynendem Gemüth gezeiget / und Mit einer von Herrn Hammerschmidt anmuthig gesetzten Melodey in dreyen Stimmen zu gebrauchen / Sonsten auch in dem Thon: Keinen hat GOtt verlassen / zu singen / fürgestellet von Michaël Francken / Mit = Arbeitern bey der Stadt = Schul allhier" [Repentant Suspirations of Peace, or: The best means, by which the noble esteemed peace is to be attained from our dear God and preserved in Christianity, in a Christian song, at the ceremonial observation of the Festival of Thanks for Peace, to take place on August 19 [th], Thank God, for the ninth time here in Coburg, shown in well-meaning sentiment, and to be used with a melody in three parts gracefully set by Mr. Hammerschmidt, Otherwise to be sung to the melody of Keinen hat Gott verlassen, provided by Michael Francken, employee of the City School here]. The assiduous Michael Franck thus once again distinguishes himself by presenting music for the celebration of peace. We also learn that from 1650 on, the "Friedens-Danck-Fest" was observed in Coburg every year on August 19 [th], St. Sebald's Day. In this case Franck is merely the poet of the nine stanzas which indeed seem to be quite pleasant. The composer is a "Mr. Hammerschmidt" whose name appears again above the three voice parts. As general assumption would have it, this is none other than Andreas Hammerschmidt (1611-1675), the Johannis organist of Zittau. [28] Yet while the melody possesses a certain standard of quality, the harmonisation is frequently quite awkward, leading the attribution to the reputable and highly regarded composer Andreas Hammerschmidt to appear doubtful, unless the defects are due to printing errors. Hammerschmidt's connection to Coburg is not supported by any other source.



THE PEACE OF WESTPHALIA IN THE THIRD REICH: RICHARD STRAUSS' OPERA "FRIEDENSTAG"

The most significant work of music in which the Peace of Westphalia is celebrated is the opera "Friedenstag" [Day of Peace] by Richard Strauss. The story told by the work — which bore the working title "1648" for quite a long time — was designed by Stefan Zweig. His basic idea, which was realised in only slightly changed form, shall now be quoted as a means of providing insight into the work:

Let me explain my plan in theatrical terms. Time: the thirtieth year of the Thirty Years' War. Place: the interior of a citadel. A German fortress is being besieged by the Swedes. The commander has sworn not to let it fall into the hands of the enemy as long as he is alive. The besieging commander has sworn to give no quarter. The city below the citadel is in a state of dire misery. The burgomaster implores the commander to surrender the fortress. The townsfolk enter by force; diverse voices of misery, fear and hunger are personified (individual, intertwined voices, crowd scenes). The commander does not yield. He has his soldiers force the townsfolk out; they curse him. Once again alone with his officers and soldiers, he declares that he can no longer hold the fortress. But he will not surrender it, would rather blow it up. He gives everyone present the option of going down to the city and receiving quarter from the enemy; he himself refuses to do so. Now single scenes (brief but each one very accentuated. Some go, some remain, depending on the respective character).

Those remaining: heroic, tragic atmosphere. Religious scene. The wife of the commander appears. He orders her to go without telling her of his plans. She guesses his intentions. Strong scene. She does not try to dissuade him, for she knows his oath. But neither does she go. She stays with him (— this is the lyrical element) to die with him.

Preparation for the bombing of the citadel. Final farewell. All embrace. The fuse is made ready. It is lit. Complete silence.

There — a cannon shot. All start up. The commander expects an attack. The fuse is extinguished. They are happy with the prospect of dying in open battle. But no second cannon shot. All wait. Puzzled. Uneasy.

An instant of new strong suspense.

In the distance, from the neighbouring village, a bell (very distant) breaks the silence. Then a second from another village. Then (still very distant) a third. The blast of a trumpet. A parlementaire is reported to be approaching with a white flag. Then more and more bells. And suddenly from below the call: Peace, peace has been concluded. The bells roar increasingly with the cheering of the crowds.

The parlementaire appears. Peace has been concluded in Osnabrück. The enemy commander requests to be allowed to greet him. Affirmation. Scene of dawn. Again and again the bells, which flood the whole scene like organs. The enemy commander appears. The two men look at each other grimly. Each had sworn to destroy the other. Gradual reduction of tension. They approach one another. They shake hands. They embrace.

The masses crowd in. Cheer the commander. He delivers an address: Now everyone must set to work. Reconstruction and reconciliation. All for all. Individual responses of approval. One diet after the other takes the floor. And from within the midst of all of this, the great choir emerges gradually, in which all of the tasks and achievements of the peace between the nations is celebrated in accordance with the wishes of each respective diet, culminating in a mighty final sweep: the hymn to community.

That is my plan. Now one may choose if one will, to refer to the idea of peace between nations disdainfully as pacifist, but here it seems to me to be bound entirely to the heroic. I would leave everything and everybody anonymous, provide names neither for the city nor for the commander; it should all just be figure, symbol, and not unique individual. [29]

FOOTNOTES