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From the old custom termed Kindeiwiegen, which remained in the German Protestant Church centuries after the Reformation, Luther borrowed the refrain, "Susaninne" for one of his Christmas chorales. The beginning of the little song which Gretel sings used to be "Sause liebe Ninne," which, of course, is Luther's "Susaninne." The song dominates the whole of the first act.
The congregation sit at ease while the parson does the praying for them, and while they are droning the long-drawn-out chorales, he retires into a little wooden box just big enough to hold him. He does not come out until he thinks we have sung enough, nor do we stop until his appearance gives us the signal.
The peaceful little church with its high pews, where they sat to sing and stood to pray, the homely German pastor with his plain yet forcible sermon on "Das Gebet,": the restful feeling of unity which so infinitely outweighed all the trifling differences, and the comfort of the sweet old German chorales. The words of one of them lingered always in her memory.
A member of the Roman Church amid a people chiefly of the Reformed religion, Duke Carl would creep sometimes into the curtained court pew of the Lutheran Church, to which he had presented its massive golden crucifix, to listen to the chorales, the execution of which he had managed to time to his liking, relishing, he could hardly explain why, those passages of a pleasantly monotonous and, as it might seem, unending melody which certainly never came to what could rightly be called an ending here on earth; and having also a sympathy with the cheerful genius of Dr.
A member of the Roman Church amid a people chiefly of the Reformed religion, Duke Carl would creep sometimes into the curtained court pew of the Lutheran Church, to which he had presented its massive golden crucifix, to listen to the chorales, the execution of which he had managed to time to his liking, relishing, he could hardly explain why, those passages of a pleasantly monotonous and, as it might seem, unending melody which certainly never came to what could rightly be called an ending here on earth; and having also a sympathy with the cheerful genius of Dr.
It goes without saying that the Jewish musicians are treated with scant consideration; and even the great Protestant musicians, giants in their art, do not escape rebuke. If Goudimel is mentioned, it is because he was Palestrina's master, and his achievement of "turning the Calvinist psalms into chorales" is dismissed as being of little importance.
It was absolutely free from extravagant language; and, therefore, it has not only been used by the Brethren from that day to this, but is highly valued by Christians of other Churches. In 1784 Christian Gregor brought out a volume of "Chorales," where noble thoughts and stately music were wedded. The next class of literature issued was historical.
At this period the objection was raised by some that the old chorales were too difficult for Englishmen to sing; but to this objection Peter La Trobe had given a crushing answer.160 At St.
He begged to have the sofa drawn to the window that he might see the sky and the clouds sailing past. He then asked her to play to him, and she went through several of his favourite hymns and chorales. After she had played some time she looked round and saw him lying back, his hands folded as if in prayer, and his eyes shut. He lay so long without moving that she thought he had fallen asleep.
And yet, despite this official attitude, certain standard chorales fell into disuse, and were replaced by flimsier English airs. Another proof of the influence of English ideas is found in the decline of peculiar Moravian customs. At present the British congregations may be roughly divided into two classes.
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