Die güldne Sonne voll Freud und Wonne

"Die güldne Sonne voll Freud und Wonne" (The golden sun full of joy and delight) is a Lutheran hymn by Paul Gerhardt. It is a morning hymn which was first published in 1666, with a four-part setting by Johann Georg Ebeling. Gerhardt created an unusual meter (5.5. 5.5. 10. 5.6. 5.6. 10.) for its 12 stanzas.

"Die güldne Sonne voll Freud und Wonne"
Christian morning hymn
In an 1878 American hymnal
EnglishThe golden sun full of joy and delight
CatalogueZahn 8013–8018a
Textby Paul Gerhardt
LanguageGerman
Meter5.5. 5.5. 10. 5.6. 5.6. 10.
Melodyby Johann Georg Ebeling
Published1666 (1666)

Among the hymn tunes for "Die güldne Sonne" is also Johann Anastasius Freylinghausen's, which was published in 1708. This tune was adopted in Schemellis Gesangbuch (1736), with an accompaniment attributed to Johann Sebastian Bach (BWV 451). Ebeling's melody, however, remained the standard for the hymn, and with this tune it is, for instance, included in the Evangelisches Gesangbuch.

Catherine Winkworth translated seven stanzas of the hymn ("The golden sunbeams with their joyous gleams", 1855), and Richard Massie six ("Evening and Morning", 1857). Full translations include those by John Kelly ("The golden morning", 1867) and Herman Brueckner ("The sun ascending", 1918). Four stanzas of the hymn are included in the 2006 Lutheran Service Book.

Context
Southern entrance of the Nikolaikirche in Berlin, with early 17th-century wall decorations

Johann Crüger started to publish hymns by Paul Gerhardt in 1649, a year after the end of the Thirty Years' War.[1]:14[2]:37 Crüger was cantor of the Nikolaikirche in Berlin since 1622.[2]:8 In 1657 Gerhardt became pastor of that church.[2]:37 By 1661, the Praxis pietatis melica, that is the hymnal published by Crüger, contained 90 hymns by Gerhardt.[2]:38 Crüger died in 1662, and as cantor of the Nikolaikirche he was succeeded by Johann Georg Ebeling.[1]:15 In Februari 1666 Gerhardt had to step down, temporarily, as pastor of the Nikolaikirche.[2]:38 That year, Ebeling started to publish Gerhardt's hymns in a series called Pauli Gerhardi Geistliche Andachten (lit. 'Paul Gerhardt's spiritual devotions').[3] The first three volumes of that series were printed by Erasmus Rösner in Frankfurt an der Oder.[4]:322

Gerhardt based his work partially on Johann Arndt's writings.[2]:22[5] Arndt's Sechs Bücher vom wahren Christentum (lit. 'six books on true Christianity'; True Christianity) and Paradiesgärtlein aller christlichen Tugenden (lit. 'little paradise garden of all Christian virtues'; Little Garden of Paradise) were published in the early 17th century, before the outbreak of the Thirty Years' War.[2]:2, 22, 37[5] Both Arndt and Gerhardt adhered to Orthodox Lutheranism.[2]:21–22 Specific for both authors is that they talk about religion primarily as a personal experience.[2]:21–22 Their writings are characterised as devotional, and are in that sense seen as step-stones towards Pietism, an offshoot of Lutheranism which developed towards the end of the 17th century.[2]:2–3, 21–22 Gerhardt's "Die güldne Sonne voll Freud und Wonne" follows in Arndt's footsteps by inviting the reader to contemplate the beauty and blessings of God's creation.[2]:25 It is considered to have been written in the poet's mature years.[1]:15

"Die güldne Sonne" was first published in the third volume of Pauli Gerhardi Geistliche Andachten (1666), with a SATB setting by Ebeling.[4]:322[6] It appeared under the header "Morgen-Segen" (Morning–blessing):[6][7]

  • First edition, p. 70, with soprano and alto parts.[8]
  • First edition, p. 71, with tenor and bass parts.[8]

Further volumes of Ebeling's Pauli Gerhardi Geistliche Andachten were first published by Christoph Runge in Berlin.[4]:322 The publication of the series was complete in 1667, soon followed by new editions of the entire collection in Berlin and other German cities.[4]:320–321 The Pauli Gerhardi Geistliche Andachten collection totals 120 hymns by Gerhardt, all of them with a musical setting provided by Ebeling.[4]:320–322[9] 112 of these settings, including that of "Die güldne Sonne", were based on an original hymn tune by Ebeling, first published in the series.[6][10][11] In 1667 Gerhardt briefly returned as pastor of the Nikolaikirche.[2]:38

Text

Gerhardt's hymn is in twelve stanzas of ten lines.[12] In a comparatively small number of his poems, Gerhardt used an unusual verse structure.[1]:20 Half a dozen complicated stanza formats appear in Gerhardt's poetry, half of which, including the one he used for "Die güldne Sonne", are his own invention.[1]:20 This hymn's stanza format is:[9]

Line: 1–2 3–4 5 6–7 8–9 10     
rhyme scheme: aa bb c dd ee  c[13]
hymn meter: 5.5. 5.5. 10. 5.6. 5.6. 10.[7][11]

According to Theodore Brown Hewitt, this stanza format is neither harmonious nor artistic, but nonetheless very compatible with typical 17th-century melodies.[1]:20 A style characteristic of the poetry is the Baroque usage of twin formulas, a.k.a. doublets of exact or approximate synonyms, such as "Freud und Wonne" (lit. 'happiness and bliss'), sometimes with alliteration, e.g. "Wort und Wille" (lit. 'word and will') or assonance, e.g. "Meeresbrausen und Windessausen" (droning of the sea and howling of the wind).[1]:19, 152–155, 151–152[5] Eduard Emil Koch's 19th-century summary of the poem's content:[6]

Zuerst gibt es dem Sinneneindruck einen feinen Ausdruck: das Auge wird zum Licht, zum Himmel, zur Stätte der ewigen Güter gezogen V. 1. 2. Dahin soll unser Dank aufsteigen, wie ein süßer Weihrauch V. 3, denn in Gott ruhen wir getrost und wohlbesorgt Abends und Morgens, ob wir uns niederlegen oder aufstehen V. 4. — Darum steigen zu ihm unsre Bitten empor. Laß meinen Beruf glücklich ergehen V. 5, doch ohne Neid gegen den Nächsten V. 6; denn das menschliche Wesen ist nichtig V. 7, aber das göttliche Wesen und Walten bleibt feste und segensvoll V. 8. — Vergib mir meine Sünden und segne mich aus Gnaden V. 9, es sei im Glück, daß es mich zur Quelle des Glücks ziehe V. 10, oder im Unglück, daß ich der weisen Vatergüte versichert bleibe V. 11. — Hat es im eingang geheißen: himmelan! so heißt es am schluß: dort hinaus! Vom jammer der Zeit schaue ich hinaus auf den güldnen Morgen der Ewigkeit und Freude V. 12.

[The hymn] starts with finely expressing a sensory impression: the eye is drawn towards the light, towards heaven, towards the place of the heavenly goods (stanzas 1 and 2). That's where our gratitude should ascend to, like a sweet incense (stanza 3), while we repose in God, comforted and cared for in the evening and in the morning, whether we lay down or get up (stanza 4). — That's why our prayers ascend to Him. May my call fare happily (stanza 5), though without jealousy towards my neighbour (stanza 6); while humans are of no consequence (stanza 7), but God's presence and choices remain fixed and full of blessings (stanza 8). — Pardon my sins, and bless me mercifully (stanza 9), may I, when happy, be drawn to the source of happiness (stanza 10), or, when unhappy, still be assured of God's wise mercy (stanza 11). — At the outset it was "towards heaven!" The end is "look outside!" From the misery of this time I see the gilt morning of eternity and joy outside (stanza 12).

Gerhardt's hymn has kept its presence in German hymnals and songbooks: in the 21st century it is available in dozens of these, which include collections of songs for children and young people, and collections for funerals.[14]

Translations

The 1907 Dictionary of Hymnology considered these versions of Gerhardt's hymn as being in common use:[12]

  • "The golden sunbeams with their joyous gleams", Catherine Winkworth's translation of stanzas 1–4, 8, 9 and 12, first published in 1855.[1]:76–77[12][15]
  • Richard Massie's "Evening and Morning", a translation of stanzas 4 and 8—12, first published in 1857.[1]:77[12][16]

Translations not in common use, according to the Dictionary of Hymnology:[12]

  • "The sun's golden beams" by Catherine Hannah Dunn (1857)[1]:77[12]
  • "Sunbeams all golden" by Frances Elizabeth Cox (1864)[1]:77[12][17]
  • "What is our mortal race" (beginning with stanza 7) by Edward Massie (1866)[1]:77[12]
  • "See the sun's glorious light", also by E. Massie (1867)[1]:77[12]
  • "The golden morning" by John Kelly (1867).[1]:77[12][17][18]

Herman Brueckner's translation of the hymn, "The sun ascending", was first published in 1918.[19] The Lutheran Service Book, published in 2006, has four stanzas of the hymn, that is two in R. Massie's translation, and two in Brueckner's translation.[17] The Free Lutheran Chorale-Book website presents a composite singable translation of the entire hymn, titled "The Golden Morning", which is based, in part, on the translations of Kelly, R. Massie and Cox.[17]

Winkworth

Winkworth's "The golden sunbeams with their joyous gleams", a translation of stanzas 1–4, 8, 9 and 12 of Gerhardt's hymn, was published in her Lyra Germanica of 1855. This translation follows the rhyme scheme of the original, but partially diverts from its meter. Kennedy's hymnal of 1863 retained stanzas 1, 3, 4 and 12 of Winkworth's translation. Winkworth's translation of the first stanza:[13][1]:76–77[12][15]

1. Die güldne Sonne
voll Freud und Wonne
bringt unsern Grenzen
mit ihrem Glänzen
ein herzerquickendes, liebliches Licht.
Mein Haupt und Glieder,
die lagen darnieder;
aber nun steh ich,
bin munter und fröhlich,
schaue den Himmel mit meinem Gesicht.

The golden sunbeams
with their joyous gleams,
Are kindling o'er earth,
her life and mirth,
Shedding forth lovely and heart-cheering light;
Through the dark hours' chill
I lay silent and still,
But risen at length
to gladness and strength,
I gaze on the heavens all glowing and bright.

R. Massie

R. Massie's "Evening and Morning", which follows the original meter throughout, is a singable English-language version. It translates stanzas 4 and 8—12 of Gerhardt's hymn, and was published in Mercer's Church Psalm & Hymn Book in 1857. It was adopted, in whole or in part, in several subsequent hymnals. One of these hymnals, James Martineau's Hymns of Praise and Prayer of 1876, has R. Massie's translation of stanzas 4, 9 and 12. R. Massie's translation of the fourth stanza:[13][1]:77[12][16][20]

4. Abend und Morgen
sind seine Sorgen;
segnen und mehren,
Unglück verwehren
sind seine Werke und Taten allein.
Wenn wir uns legen,
so ist er zugegen;
wenn wir aufstehen,
so lässt er aufgehen
über uns seiner Barmherzigkeit Schein.

Evening and morning,
Sunset and dawning,
Wealth, peace and gladness,
Comfort in sadness,—
These are Thy works; all the glory be Thine!
Times without number,
Awake or in slumber,
Thine eye observes us,
From danger preserves us,
Causing Thy mercy upon us to shine.

Kelly

Kelly published his translations of the 120 hymns in Pauli Gerhardi Geistliche Andachten in 1867. For each translation the meter of the original is followed. According to the Dictionary of Hymnology, Kelly renders Gerhardt's hymns faithfully. Kelly's translation of stanza 8:[13][18][21]

8. Alles vergehet,
Gott aber stehet
ohn alles Wanken;
seine Gedanken,
sein Wort und Wille hat ewigen Grund.
Sein Heil und Gnaden,
die nehmen nicht Schaden,
heilen im Herzen
die tödlichen Schmerzen,
halten uns zeitlich und ewig gesund.

All—all decayeth,
But God still stayeth,
His thoughts they waver
A moment never,
His word and will both eternally 'dure.
His grace and favour
Uninjur'd are ever,
Deadly wounds healing,
The heart with peace filling,
Health here and yonder to us they ensure.

Brueckner

The 1930 American Lutheran Hymnal retained stanzas 1, 3, 5 and 12 of Brueckner's 1918 translation.[17][22] The final stanza of Gerhardt's hymn, with Brueckner's translation:[13][19]:59

12. Kreuz und Elende,
das nimmt ein Ende;
nach Meeresbrausen
und Windessausen
leuchtet der Sonnen gewünschtes Gesicht.
Freude die Fülle
und selige Stille
wird mich erwarten
im himmlischen Garten;
dahin sind meine Gedanken gericht'.

Ills that still grieve me
Soon are to leave me;
Though waves may tower
And winds gain power,
After the storm the fair sun shows its face.
Joys e'er increasing,
And peace never ceasing,
These I shall treasure
And share in full measure
When in his mansions God grants me a place.

Hymn tunes and settings

The hymn meter of "Die güldne Sonne" lends itself most easily to a setting in a ternary rhythm.[23] Originally such triple meter was rather associated with church melodies, while settings in a strict binary meter had dance-like connotations.[23] A 21st-century interpretation is that the triple meter of Ebeling's setting has the character of a galliard, a dance with a "light-footed" rhythm, which musically elevates the earth-heavy (erdenschwer) statements of Gerhardt's text, so that these begin to float.[5] Also Freylinghausen's setting adopts a ternary rhythm for the hymn.[23]

Ebeling

Ebeling published his setting of "Die güldne Sonne", in G major, for SATB voices.[8] His melody for the hymn is known as Zahn No. 8013.[11] According to Koch, this hymn tune, that is the soprano's melody of the original setting,[8][11] makes the hymn more suitable for singing in a small gathering at home, than for public performance in church.[6] This author nonetheless relates of a performance during a church service at Easter Monday where he was deeply touched by a rendering of the hymn.[6] Koch describes the hymn tune as lively, and in full accordance with Gerhardt's text.[6]

According to the Dictionary of Hymnology, where Ebeling's hymn tune is called a "beautiful melody", this tune is known under the name "Franconia" in Ireland.[12] The hymn tune named "Philippi", for hymn texts in 6.6.4.6.6.6.4. meter, is derived from Ebeling's setting of "Die güldne Sonne".[24][25] The German Protestant hymnal, Evangelisches Gesangbuch, includes "Die güldne Sonne voll Freud und Wonne", with Ebeling's melody, as EG 449.[9] In the 21st century, Gerhard Raßner provided a modern edition, in F major, of Ebeling's four-part setting.[26]

According to author Christa Kirschbaum, speaking in a 2016 WDR 3 broadcast on the hymn, Ebeling's melody follows the text of the first stanza, beginning high, like the sun, turning downward when "lying down" (lagen darnieder) is mentioned, and rising again starting from "But now I stand" (Aber nun steh ich). Kirschbaum thinks that Gerhardt and Ebeling, more than just depicting the rising of the sun, thus rather refer to the resurrection (Auferstehung) of Christ.[5]

With Ebeling's tune, the hymn was recorded by Dieter Falk, by the Bachchor Siegen (conducted by Ulrich Stötzel), and by the Wilhelmshavener Vokalensemble (conducted by Ralf Popken).[5] Ebeling's setting was also recorded by Klaus Mertens, accompanied by the pianist Götz Payer (2011),[27] and by the Stuttgarter Hymnus-Chorknaben, conducted by Gerhard Wilhelm (1986).[28] Instrumental settings of the hymn tune, mostly for organ, were composed by Hermann Paul Claußnitzer, Herbert Collum, Paul Manz, Lothar Graap, and others.[29][30][31][32][33]

Hintze

Jacob Hintze published "Die güldne Sonne voll Freud und Wonne" with a different tune, Zahn No. 8014, in 1670.[11] With this tune, the hymn was included in the Praxis pietatis melica, which was continued by Runge after Crüger's death, from its 1671 edition.[7][11] Other hymnals mostly adopted the hymn with Ebeling's tune.[11]

Freylinghausen, Bach
BWV 451, No. 13 in Schemellis Gesangbuch.

Freylinghausen published another setting of the hymn in 1708.[11] The melody is aria-like: Carl von Winterfeld, a 19th-century hymnologist, considers it to be among Freylinghausen's least dance-like hymn settings.[23] Freylinghausen's hymn tune, Zahn No. 8015, was adopted in Schemellis Gesangbuch (1736), with an accompaniment attributed to Bach (BWV 451).[11][34] The accompaniment consists of an un-figured basso continuo.[35]

The Bach Gesellschaft published BWV 451 in 1893, and in the New Bach Edition it was published in 1991.[36] Recordings of this setting:

Other settings

Two new melodies for the hymn were published in the 18th century (Zahn Nos. 8016 and 8017), and another in the first half of the 19th century (Zahn No. 8018a).[11] The Zahn 8017 melody, composed by Johannes Schmidlin, appears in the Paul-Gerhardt-Chorbuch, published in 2006.[9][11] J. Martineau's 1876 publication with R. Massie's translation of the hymn contains a new four-part setting for it (not in Zahn), by the publisher's brother Basil.[45]

References
  1. Hewitt, Theodore Brown (1918). Paul Gerhardt as a Hymn Writer and his Influence on English Hymnody. New Haven: Yale University Press. pp. 14–15, 19, 20, 76–77, 151–152 and 152–155.
  2. Schmeling, Gaylin R. (2007). "Paul Gerhardt: Pastor and Theologian" (PDF). Bethany Lutheran Theological Seminary. Also in Lutheran Synod Quarterly, Vol. 48, No. 1, pp. 7–69.
  3. Paul Gerhardt at hymnary.org.
  4. Koch, Eduard Emil (1867). Erster Haupttheil: Die Dichter und Sänger. Geschichte des Kirchenlieds und Kirchengesangs der christlichen, insbesondere der deutschen evangelischen Kirche (in German). 3 (3rd ed.). Stuttgart: Belser. pp. 320–321, 322.
  5. Kirschbaum, Christa (6 August 2016). "Choralandacht / Die güldene Sonne voll Freud und Wonne (EG 449)". WDR (in German). Retrieved 24 September 2020.
  6. Koch, Eduard Emil (1876). "73. Die güldne Sonne voll Freud und Wonne". In Lauxmann, Richard (ed.). Zweiter Haupttheil: Die Lieder und Weisen. Geschichte des Kirchenlieds und Kirchengesangs der christlichen, insbesondere der deutschen evangelischen Kirche (in German). 8 (3rd ed.). Stuttgart: Belser. pp. 185–186.
  7. "Die güldne Sonne". The Free Lutheran Chorale-Book. Retrieved 30 July 2017.
  8. "XXV. Morgen-Segen" [25. Morning–blessing]. Pauli Gerhardi Geistliche Andachten [Paul Gerhardt's spiritual devotions] (in German). 3. Gerhardt, Paul (text author); Ebeling, Johann Georg (editor, composer) (1st ed.). Frankfurt an der Oder: Erasmus Rösner. 1666. pp. 70–71.CS1 maint: others (link)
  9. Kohler, Paul (March 2007). Lieder von Paul Gerhardt [Hymns by Paul Gerhardt] (in German). Swiss Ecclesiastical Chant Federation. p. 11. Available as PDF download at the "Resources for hymns, hymnals, and liturgical song" page of the International society for hymnological studies website.
  10. Liebig, Elke (2008). Johann Georg Ebeling und Paul Gerhardt: Liedkomposition im Konfessionskonflikt. Die Geistlichen Andachten Berlin 1666/67. Europäische Hochschulschriften (in German). 253. Frankfurt am Main: Peter Lang. p. 11. ISBN 9783631574690.
  11. Zahn, Johannes (1891). Die Melodien der deutschen evangelischen Kirchenlieder (in German). IV. Gütersloh: Bertelsmann. p. 642–644.
  12. Mearns, James (1907). "Die güldne Sonne". In Julian, John (ed.). A Dictionary of Hymnology. 1 (reprint ed.). Dover. p. 294.
  13. "Die güldne Sonne, voll Freud und Wonne". hymnary.org. Retrieved 24 September 2020.
  14. "Die güldene Sonne voll Freud und Wonne". www.evangeliums.net (in German). Retrieved 24 September 2020.
  15. "The golden sunbeams with their joyous gleams". hymnary.org. Retrieved 24 September 2020.
  16. "Evening and Morning". hymnary.org. Retrieved 24 September 2020.
  17. The Golden Morning at The Free Lutheran Chorale-Book website.
  18. Gerhardt, Paul (1867). "Morning Blessing: The golden morning, Joy her adorning". hymnary.org. Translated by Kelly, John. Retrieved 11 October 2020.
  19. Habermann, John (1920) [1918]. Morning and Evening Prayers for All Days of the Week. Translated by Rausch, Emil H. Chicago: Wartburg. pp. (5), 55–59.
  20. Gerhardt, Paul (1876). "425". In Martineau, James (ed.). Hymns of Praise and Prayer. Translated by Massie, Richard (text ed.). London: Longmans, Green, Reader and Dyer.
  21. John Kelly at hymnary.org.
  22. American Lutheran Hymnal No. 557 at hymnary.org.
  23. Winterfeld, Carl von (1847). Der Evangelische Kirchengesang im achtzehnten Jahrhunderte [Evangelical sacred song in the 18th century]. Der evangelische Kirchengesang und sein Verhältniss zur Kunst des Tonsatzes (in German). III. Leipzig: Breitkopf & Härtel. p. 276.
  24. "Die Güldne Sonne". hymnary.org. Retrieved 6 October 2020.
  25. The Church Hymnal, No. 367 at hymnary.org.
  26. Ebeling, Johann Georg; Gerhardt, Paul. Raßner, Gerhard (ed.). "Die güldne Sonne voll Freud und Wonne (in F)". Musicalion.
  27. Aus meines Herzens Grunde: Vocal Works by Bach, Schulz, Handel, etc. at Classical Archives website.
  28. Der Tag bricht an: Famous Chorales at Classical Archives website.
  29. Chorale prelude "Die güld'ne Sonne, voll Freud' und Wonne", "Die güldene Sonne, voll Freud und Wonne" (for organ), "Die güldne Sonne voll Freud und Wonne" (for organ): arrangements by Hermann Paul Claußnitzer, Herbert Collum and Gaël Liardon of Ebeling's hymn tune, at the International Music Score Library Project
  30. Three Hymns for Flute, Oboe and Organ (Paul Manz) at hymnary.org.
  31. Easy Hymn Settings-General - Set 2 (Michael Burkhardt) at hymnary.org.
  32. "Die güldne Sonne voll Freud und Wonne" (variations for keyboard instrument) by Lothar Graap, at stretta music website.
  33. Jörn Tegtmeyer: Die güldne Sonne voll Freud und Wonne – chorale prelude at musicalion website.
  34. "Die güldne Sonne (sacred song) BWV 451". Bach Digital. Leipzig: Bach Archive; et al. 2019-03-11.
  35. Schemelli, Georg Christian (1736). Musicalisches Gesang-Buch, Darinnen 954 geistreiche, sowohl alte als neue Lieder und Arien, mit wohlgesetzten Melodien, in Discant und Baß, befindlich sind: Vornehmlich denen Evangelischen Gemeinen im Stifte Naumburg-Zeitz gewidmet (in German). Leipzig: Bernhard Christoph Breitkopf. pp. 9f. RISM No. 990003407 – facsimiles: szMJMq_zmygC at Google Books; 1077430 Liturg. 1372 o at Bavarian State Library; Musicalisches Gesang-Buch (Schemelli, Georg Christian) at IMSLP website.
  36. Songs and Arias, BWV 439–518, Die güldne Sonne, BWV 451: recordings and scores at the International Music Score Library Project
  37. Side B, track 7 of Solokantaten und Lieder des Barock (1961), BNF 37902299t (audio sample); OCLC 921517195.
  38. Sacred songs & arias from Schemellis Gesangbuch at Muziekweb website
  39. 20 Lieder aus Schemellis Gesangbuch at Muziekweb website
  40. Hymnen Psalmen Geistliche Lieder at Muziekweb website
  41. Johann Sebastian Bach: Schemelli-Gesangbuch at Muziekweb website
  42. A Book of Chorale-Settings for Johann Sebastian Bach at Muziekweb website
  43. Thomanerchor Leipzig at Muziekweb website
  44. Prayer: Voice & organ at Muziekweb website
  45. Gerhardt, Paul (1876). "425". In Martineau, James (ed.). Hymns of Praise and Prayer, with Tunes. Translated by Massie, Richard. Martineau, Basil (composer). London: Longmans, Green, Reader and Dyer.

Further reading
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