3 Männerchöre, Op.54 (Speidel, Wilhelm)

		Movements/Sections 3: Schwarzwälder Heimathlied: „O Schwarzwald, o Heimath, wie bist du so schön“. Waldmorgen: „Es ist so still die Maiennacht“. (m. I. B.-Solo.) Frater Kellermeister: „Den Frater Kellermeister, den schickt man an den Rhein“. (m. II. B.-Solo.) First Publication 1876 – Hamburg: Pohle Genre Categories Secular choruses; Choruses; For male chorus; Scores featuring male chorus; For unaccompanied chorus; For voice, male chorus; For unaccompanied voices and chorus; Scores featuring the voice; Scores featuring the bass voice; German language

Sheet Music

• Scores (1)

Scores

 2. Forest Dawn / Waldmorgen (F major, Andantino con moto) (Preview)
*#241359 - 1.58MB, 7 pp. -  0.0/10 2 4 6 8 10 (0) - V/V/V - 68x⇩

PDF scanned by Libr. of Congress
Schissel (2012/7/10)

Translator:

Louisa T. Cragin (1837–1886) (spelled as Craigin), English "version".

Publisher Info.:

Boston: Carl Prüfer, 1882. Plate C.P. 452.

Copyright:

Public Domain [tag/del]

Misc. Notes:

Can't tell without some German-language copy of the original whether Cragin's text is a close or free translation. (Es is so still die Maiennacht / The lovely night is calm and still are the two contrasting first lines, so not the same exactly but pretty close?)

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General Information

Work Title	3 Männerchöre
Alternative Title

Composer	Speidel, Wilhelm
Opus/Catalogue Number	Op.54
Movements/Sections	3: Schwarzwälder Heimathlied: „O Schwarzwald, o Heimath, wie bist du so schön“. Waldmorgen: „Es ist so still die Maiennacht“. (m. I. B.-Solo.) Frater Kellermeister: „Den Frater Kellermeister, den schickt man an den Rhein“. (m. II. B.-Solo.)
First Publication	1876 – Hamburg: Pohle
Librettist	No.2: Franz Alfred Muth (1839–1890)
Language	German
Piece Style	Romantic
Instrumentation	Men's chorus, with bass solo in nos. 2 and 3

Misc. Comments

Hofmeister's Monatsbericht (1876), p.290.

The end of no.2 suggests a sacred purpose and resolves into a lengthy sort of Amen (at least as translated by Cragin- I am guessing that it is similar in Speidel's original) but am not certain that this is enough to categorize it as a sacred chorus, as most of the brief work and poem does not seem to carry such connotations.