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"Nun bitten wir den Heiligen Geist"
Hymn by Martin Luther
Portrait of the Protestant Reformer Martin Luther, dressed in black, with black and blue background
Portrait of Luther, 1525
English"We now implore the Holy Ghost"
CatalogueZahn 2029a
LanguageGerman
Based onChant
Meter9.9.11.10.4
Published1524 (1524)

"Nun bitten wir den Heiligen Geist" (We now implore the Holy Ghost)[1] is the title of several hymns in German. The first was a 13th-century leise, one of the oldest hymns in German. Further versions expand this leise, retaining its text as a first stanza and using melodies derived from its medieval tune; the Protestant reformer Martin Luther expanded the leise in 1524, while different Catholic versions were published between 1537 and 1975.

The text of the 13th-century leise alludes to the Latin sequence for Pentecost, Veni Sancte Spiritus (Come, Holy Spirit). The leise was widely known, used as a song for the dying, a procession song and in sacred plays.

The leise contained an appeal for the right faith which especially suited Luther's theology; he wrote three additional stanzas, first published in Wittenberg in 1547 as part of Johann Walter's choral songbook Eyn geystlich Gesangk Buchleyn. His version's themes of faith, love and hope made the hymn appropriate for general occasions and funerals.

Alternate versions of the hymn have appeared in Catholic hymnals, first in 1537 in a collection published by Michael Vehe within the Counter-Reformation. Over the following centuries, Protestant versions remained in use, adapted to changes in religion and philosophy, but restored to Luther's version by the 19th century's restoration of chorales. Catholic use was discontinued after the Baroque period, but the hymn reappeared in a modified version in Heinrich Bone's Cantate! hymnal in 1647. It became used more after the 1938 collection Kirchenlied included it in a version based on Vehe's. Maria Luise Thurmair wrote three stanzas for the 1975 Gotteslob which appeared combined with one stanza from the Vehe version.

Luther's chorale is sung by several Christian denominations in different languages, having received various English translations. It inspired vocal and organ music from the Renaissance to contemporary by composers such as Johann Crüger, Johann Sebastian Bach, Hugo Distler and Ernst Pepping.

Medieval leise

"Nun bitten wir den Heiligen Geist was first a medieval leise;"[2] it was customary that the congregation sang a leise in the native language alternating with a priest's Kyrie in the Latin mass.[3] "Nun bitten wir den Heiligen Geist" is documented in the 13th century, quoted by the Franciscan Berthold von Regensburg in a sermon.[4][5][6] Its text reads:

black-and-white-drawing of the preacher Berthold von Regensburg, speaking from an open-air pulpit to a group of people, with a church left and the Holy Spirit as a dove in the upper right corner
Berthold von Regensburg (1447)

The leise is a prayer in German addressing the Holy Spirit, reminiscent of the Latin sequence Veni Sancte Spiritus.[9][4][10] It was first a Sterbelied, a song for someone dying.[11] As in the conclusion of Veni Sancte Spiritus ("da salutis exitum"), the focus is the assistance of the Holy Spirit at the time of death.[4] The concern is "most of all" (allermeist) the "right faith" (rechten glouben), considering to return "home" (heim) after the "exile" (ellende) of life. In the old German, "ellende" meant exile and was stressed on the second syllable, rhyming with "ende", whereas the modern "Elend" is stressed on the first syllable and translates to "misery".[12] The person praying is aware that human life is transient and believes that the true home is Heaven, following a line from a letter of Paul the Apostle, Philippians 3:20.[11]

The leise was widely known.[4] A tune derived from the chant of the sequence first appeared in Jistebnitz around 1420.[13] The leise was used as a procession song[11][14] and in sacred plays.[14] It is one of the oldest hymns in German.[11] "Nun bitten wir den Heiligen Geist" and "Christ ist erstanden" (Christ is risen) are the only medieval songs still in use.[15]

Protestant expansion

Protestant Reformers tried to continue medieval tradition.[11] Martin Luther issued a liturgy for services in 1523, Formula missae et communionis; one aspect was the inclusion of hymns in German. He recommended, for lack of alternatives, three medieval songs to be sung regularly: "Gott sei gelobet und gebenedeiet", "Ein Kindelein so lobelich" and, probably as the gradual, "Nun bitten wir den Heiligen Geist".[4][10] The leise had a long tradition. Its topics of the right faith (rechter Glaube, veram fide) and the thought of the time of death must have appealed to Luther. He had mentioned veram fide in an early sermon about the leise (1509 or 1510), and promoted salvation by faith alone (sola fide). Anxiety in the hour of death was a topic that Luther reflected for all of his life.[14] In 1524, possibly for Pentecost,[14] Luther expanded "Nun bitten wir" by three stanzas, addressing the Holy Spirit three more times.[13]

Luther 1724

Luther's text in modernised German, with a free rhymed translation into English, reads as follows:

four stanzas in a 16th-century print
The text in the Wittenberg hymnal of 1524
The hymn with tune and figured bass in the 1653 edition of Johann Crüger's Praxis pietatis melica

Luther expanded "Nun bitten wir" by three stanzas, addressing the Holy Spirit three more times, as "Du wertes Licht" (You esteemed light), "Du süße Lieb" (You sweet love) and "Du höchster Tröster" (You highest comforter).[13][16] In the tradition of songs about the Holy Spirit, which mention its manifold gifts, the focus is on the aspects: light, love and comforter.[14] His three stanzas can be seen as related to "Glaube, Liebe, Hoffnung", the theological virtues of faith, love and hope, which Paul the Apostle expressed in his letter, 1 Corinthians 13:13.[11] Luther interpreted faith as belief in Jesus Christ, love to people and living in peace and unity, and hope in assistance of the Holy Spirit in remaining unafraid in the hour of death.[11] He followed the medieval irregular metre,[17] and ended each stanza with "Kyrieleis", as in the model.[18][19]

Publication

Luther's text appeared in print first in 1524, in a collection Teutsch Kirchen ampt (German church office) in Strasbourg,[11] and in Wittenberg, set to music by Johann Walter (Zahn No. 2029a), as part of Walter's choral hymnal Eyn geystlich Gesangk Buchleyn, sometimes called the First Wittenberg Hymnal.[13][18][20][21] Luther prescribed the song for regular use between epistle reading and gospel reading in his Deutsche Messe, a 1526 liturgy for services in German, and included it among his funeral songs (Begräbnisgesänge) in 1542.[14] Johann Crüger included the song, among many other hymn by Luther, in his hymnal Praxis pietatis melica, first published in 1647.

During the 18th and 19th centuries, several attempts were made to adapt the hymn to changing views of religion and aesthetic aspects.[11] A Leipzig hymnal of 1796, Sammlung christlicher Gesänge (Collection of Christian songs) for use in public worship in the town's city churches, contains a version that is focused not on the right faith but (negatively) on protection against false doctrine and conversion of the erring. Faith becomes a topic only in its second stanza, combined with a prayer for a virtuous life.[22]

Luther's version was restored in the 19th century with the movement to restore chorales (Choralrestauration).[11] It is part of many hymnals and songbooks; in the current Protestant hymnal, Evangelisches Gesangbuch, the hymn appears as EG 124,[9][23] opening the section of Pentecost songs.[9]

Translations

The oldest translation of Luther's hymn, into Danish, appeared in 1528.[5] Translations into English include "We now implore God the Holy Ghost" in The Lutheran Hymnal, St. Louis, 1941.[24] Arthur Tozer Russell wrote a translation, rendered in the 1884 book Martin Luther, The Hymns of Martin Luther, "Now pray we all God, the Comforter".[25] It was also translated as "To God the Holy Spirit let us pray".[26] Like other hymns by Luther, it is part of several hymnals in English, recommended as an introit and a song for Pentecost.[27]

Melody and musical settings

Johann Walter, who collaborated with Luther on the music, modified the medieval chant tune slightly giving it distinct rhythmic shape. In later versions over the centuries, the rhythmic features disappeared, but his version was restored in the 19th century with the movement to restore chorales.[11]

Walter set the hymn for four parts in his Eyn geystlich Gesangk Buchleyn.[16] He set it for five parts, SATBB, for the 1537 edition of the hymnal.[28] He also wrote a six-part version, SSAATB.[29]

Michael Praetorius composed seven a cappella settings for two to six voices.[30] Dieterich Buxtehude composed two chorale preludes, BuxWV 208 and BuxWV 209.[31] Johann Crüger set the hymn (transcribed below) as one of 161 hymns in his 1649 collection Geistliche Kirchen-Melodien (Sacred church melodies).[32]

<< << \new Staff { \clef treble \time 2/2 \key f \major \set Staff.midiInstrument = "church organ" \set Score.tempoHideNote = ##t \override Score.BarNumber #'transparent = ##t \relative c' << { \cadenzaOn f1 g2 g f1 d2 c d e f1 \bar"|" a2 c d c a f d e f1 \bar"|" a2 a a g a1 f2 f g g a1 f \bar"|" g2 g a1 f d g f2 e d1 c \bar"|" d4. d8 e2 f\breve \bar"|." } \\ { c2. d4 es2 es d a bes c bes1 a f'2 f f f f c d c c1 f2 f f e f1 d2 c d e f1 d d2 e f1 d bes d c2 c1 b2 c1 f,4. f8 c'2 a\breve } >> } \new Lyrics \lyricmode { Nun1 bit2 -- ten wir1 den2 hei -- li -- gen Geist1 um2 den rech -- ten Glau -- ben al -- ler -- meist,1 daß2 er uns be -- hü1 -- te2 an un -- serm En1 -- de, wenn2 wir heim1 -- fahrn aus die -- sem2 E -- len1 -- de. Ky4. -- ri8 -- e2 -- leis!1 } \new Staff { \clef bass \key f \major \set Staff.midiInstrument = "church organ" \relative c' << { a1 c2 c a f1 f2 f g c,1 c'2 a bes a c a g g f1 c'2 c c c c1 bes2 f4.( a8) g2 c c1 bes b2 c c1 bes f bes a2 g g1 g bes4. a8 g2 f\breve } \\ { f1 c2 c d1 bes2 a bes g f1 f'2 f bes, f' f, a bes c f,1 f'2 f f c f1 bes,2 a b c f,1 bes g2 c f,1 bes bes g a4. bes8 c2 g1 c bes4. bes8 c2 f,\breve } >> } >> >> \layout { indent = #0 } \midi { \tempo 2 = 120 }

Johann Sebastian Bach used the third stanza to conclude his cantata Gott soll allein mein Herze haben, BWV 169.[33][34] It was composed in Leipzig for the 18th Sunday after Trinity, dealing with the topic of the Great Commandment and first performed on 20 October 1726.[35] Bach also set the same stanza for a wedding cantata in the 1730s, Gott ist unsre Zuversicht, BWV 197, where it concluded Part I, the fifth of ten movements.[36][37] His third setting is an untexted four-part version, BWV 385.[38]

Organ preludes were composed by Georg Böhm, Helmut Eder, Paul Hamburger, Arnold Mendelssohn, Ernst Pepping, Heinrich Scheidemann, Johann Gottfried Vierling, Helmut Walcha and Johann Gottfried Walther, among others.[39]

In 1936, Johann Nepomuk David wrote a chorale motet for four-part choir a cappella, Nun bitten wir den Heiligen Geist.[40] Hugo Distler composed a setting for three high voices (SSA) with instrumental interludes for a trio of flute, oboe and violin, or two violins and viola.[41] The song is the first movement of Pepping's 1951 Deutsche Choralmesse (Chorale Mass in German) for six voices a cappella (SSATBB),[42] in the position of the Kyrie call of the Latin mass.

In 1984, Herbert Blendinger wrote a composition for cello and organ titled Meditation über den Choral "Nun bitten wir den heiligen Geist", Op. 36.[43] Jacques Wildberger composed Pentecostal music for viola solo in 1986, Diaphanie: Fantasia super "Veni creator spiritus" et Canones diversi super "Nun bitten wir den heiligen Geist", combining the hymn with another Latin sequence, Veni creator spiritus. It was published in Zürich in 1989.[44]

Catholic expansions

Vehe 1537

In response to the Reformation's movement for singing hymns in German, the Catholics countered with different hymns and hymnals, also in German.[11] In 1537 Michael Vehe, a Dominican friar and theologian, published a hymnal in Leipzig, Ein New Gesangbuechlin Geystlicher Lieder (A new little songbook of sacred songs) with the description vor alle gutthe Christen nach ordenung Christlicher kirchen. Ordenung vnd Gebrauch der Geystlichen Lieder (for all good Christians after the order of Christian churches. Order and use of sacred songs.) It contained a song that also used the medieval stanza as a starting point for three additional stanzas, independent from Luther's. This hymn was placed in a section for Pentecost.[11] It reads:[11] The three stanzas read as follows:[45]

Erleuchte uns, o ewiges Licht;
hilf, daß alles, was durch uns geschieht,
Gott sei wohlgefällig durch Jesum Christum,
der uns macht heilig durch sein Priestertum.
Kyrieleis.

O höchster Tröster und wahrer Gott,
steh uns treulich bei in aller Not;
mach rein unser Leben, schein uns dein Gnade,
laß uns nicht weichem von dem rechten Pfade.
Kyrieleis.

Dein heilge Lieb und Allgütigkeit
mache gnädig unser Herz bereit,
daß wir unsern Nächsten recht christlich lieben,
und stets bleiben in deinem heilgen Frieden.
Kyrieleis.

Like in Luther's version, the Holy Spirit is addressed three times, as eternal light, comforter and finally love and goodness. The prayer is firstly for actions pleasing God, secondly for a pure life, not deviating from the right path, and finally to love one's neighbour and remain in peace. For Catholics, the "right path" meant the Catholic church, and deviating meant to follow the Reformation.[11]

With few exceptions, the hymn disappeared from Catholic hymnals after the Baroque period.[11] Heinrich Bone, a Catholic educator and hymnwriter, revived it when he published his hymnal Cantate! in Mainz in 1847;[11] it contained the hymn in a version not imploring the Holy Spirit for the right faith, but in the right faith,[46] taking for granted that the singer had the right faith, and finding to doubt that offfensive.[11]

The hymn received wider distribution only in the second half of the 20th century, after the collection Kirchenlied, a 1938 attempt at a common Christian hymnal in German published by Josef Diewald [de], Adolf Lohmann and Georg Thurmair,[47] included it. Its version was based on Vehe's,[11] while other hymns by Luther were included although without credit to his name.[47]

Thurmair 1975

The hymn-writer Maria Luise Thurmair was active in the preparation of the first common German Catholic hymnal Gotteslob, published in 1975. She wrote three new stanzas, which were taken as stanzas 2 to 4 of a hymn beginning with the medieval first stanza and ending with the second stanza from the Vehe version.[48][49] In the three inner stanzas, the Holy Spirit is addressed, now as "Du heller Schein" (You radiant light), "Du stille Macht" (You silent power), and "Du mächtger Hauch" (You mighty breath).[48] She alluded to Luther's version in some aspects, but completely ignored the aspect of transience when dying.[11] The melody of her song is a transcription of the chant in fixed rhythm.[11][48]

\relative c' { \clef "petrucci-g" \override Staff.Stem #'transparent = ##t \override Staff.TimeSignature #'stencil = ##f \set Score.timing = ##f \override Voice.NoteHead #'style = #'baroque \set suggestAccidentals = ##f \key f \major \tiny f4 g4 g4 f4 d4 c4 d4 f4 f4 \bar "'" a4 c4 d4 c4 a4 f4 d4 f4 f4 \bar "'" a4 a4 a4 g4 a4 f4 f4 g4 g4 a4 f4 \bar "'" g4 g4 a4 f4 d4 f4 f4 g4( f4) d4 c4 \bar "" d4 e4 f4 f4 \bar "||" } \addlyrics { \tiny Nun bit -- ten wir den Hei -- li -- gen Geist um den rech -- ten Glau -- ben al -- ler -- meist, dass er uns be -- hü -- te an un -- serm En -- de, wann wir heim -- fahrn aus die -- sem E -- len -- de. Ky -- ri -- e -- leis! }

The first edition of Gotteslob also contained Vehe's version in regional sections, such as for the Diocese of Limburg as GL 870 with the same transcription of the chant.[50] Thurmair's version was retained in the second edition of the Gotteslob in 2013, as GL 348.[49]

References

  1. ^ Carus 2011.
  2. ^ Strohm 2024.
  3. ^ Smith 1956.
  4. ^ a b c d e Hahn 2000, p. 70.
  5. ^ a b c d BLC 2011.
  6. ^ Predigten 1862.
  7. ^ Fischer 2007, p. A.
  8. ^ a b Free Lutheran Chorale-Book 2024.
  9. ^ a b c Dictionary of Hymnology 2013.
  10. ^ a b Haubold 2012.
  11. ^ a b c d e f g h i j k l m n o p q r s t u Fischer 2007.
  12. ^ Kluge 1975.
  13. ^ a b c d Gesellschaft 2017.
  14. ^ a b c d e f Hahn 2000, p. 71.
  15. ^ Becker 2022.
  16. ^ a b Browne 2015.
  17. ^ Hymnary tune 2019.
  18. ^ a b Fischer 2007, p. B.
  19. ^ Braatz & Oron 2011.
  20. ^ Korth 2004.
  21. ^ Zahn 1889.
  22. ^ Fischer 2007, p. D.
  23. ^ Marti 2024.
  24. ^ Hymnary 2011.
  25. ^ Bacon 1884.
  26. ^ Hymnary 2019.
  27. ^ Missouri Synod 2016.
  28. ^ Nun bitten wir den heiligen Geist a 5 (Johann Walter): Free scores at the Choral Public Domain Library (ChoralWiki)
  29. ^ Nun bitten wir den heiligen Geist a 6 (Johann Walter): Free scores at the Choral Public Domain Library (ChoralWiki)
  30. ^ Buelow 2004.
  31. ^ Randel 1996, p. 123.
  32. ^ Rosenberger 2014.
  33. ^ Dellal 2014.
  34. ^ Luke Dahn: BWV 169.7 bach-chorales.com
  35. ^ Bach digital 2017.
  36. ^ Oron 2018.
  37. ^ Luke Dahn: BWV 197.5 bach-chorales.com
  38. ^ Luke Dahn: BWV 385 bach-chorales.com
  39. ^ Organ 2011.
  40. ^ David 2011.
  41. ^ Nun bitten wir den heiligen Geist (Hugo Distler): Free scores at the Choral Public Domain Library (ChoralWiki)
  42. ^ Schott 2011.
  43. ^ Blendinger 2011.
  44. ^ Wildberger 2011.
  45. ^ Fischer 2007, p. C.
  46. ^ Fischer 2007, p. E.
  47. ^ a b Labonté 2008.
  48. ^ a b c Fischer 2007, p. F.
  49. ^ a b Frey 2019.
  50. ^ Gotteslob 1975.

Cited sources

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source: https://en.wikipedia.org/wiki/Nun_bitten_wir_den_Heiligen_Geist
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