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| - The Moravian musical tradition in United States began with the earliest Moravian settlers in the first half of the 18th century. These Moravians were members of a well-established church – officially called Unitas Fratrum or Unity of Brethren – that by [the mid-18th century] had already seen almost three centuries of rich experience of religious life. They were spiritual descendants of the Czech priest Jan Hus, who for his attempts at reform was martyred in 1415. Forty-two years later in 1457, some of his followers founded a church body consecrated to following Christ in simplicity and dedicated living. This newly constituted church developed a rich and orderly ecclesiastical life in the 15th and 16th centuries, but in the Thirty Years War of 1618-48 it was virtually wiped out. In the 1720s a few exiles of this religious heritage, along with various other seekers after truth, found refuge on an estate of a Saxon nobleman named Nicholaus Ludwig von Zinzendorf. There in their village of Herrnhut the ancient church experienced a rebirth culminating in a spiritual blessing on August 13, 1727, in which their former diversity of purpose was welded into one. In a brief five years, by 1732, that first little village of the Renewed Moravian Church began sending missionaries to all corners of the world. After establishing work in England, the Moravians sent colonists to America in 1735. The initial settlement in Georgia proved unsuccessful, partly because of war between Protestant England and Catholic Spain to the south in Florida. More permanent work was established in Pennsylvania in 1741, with the town of Bethlehem as their chief center. Other settlements in Pennsylvania followed. The Moravians purchased 100,000 acres (400 km²) in North Carolina and settled at Bethabara in 1753 with the central town of Salem being founded in 1766.” [Villages of the Lord] From its very beginning the Unitas Fratrum, or Moravian Church, kept and preserved careful and meticulous records of church, community, and commercial life. Along with this emphasis on record-keeping, the Moravians maintained active communication with other Moravian centers in Europe and throughout the world. This dedication to sharing and receiving information continues today through the worldwide Moravian Unity, including Africa and the Caribbean. Along with their rich devotional life and their missionary fervor, the Moravians maintained their high regard for education and their love of music as an essential part of life. Moravian composers – also serving as teachers, pastors, and church administrators – were well versed in the European Classical tradition of music, and wrote thousands of anthems, solo arias, duets, and the like for their worship services, for voices accompanied not only by organ but also by string orchestras supplemented by woodwinds and brasses. In addition, these musicians copied thousands of works by the best-known and loved European composers of their day – Carl Stamitz, Haydn, Carl Friedrich Abel, Adalbert Gyrowetz, Mozart, the Bach family, and many whose names have descended into relative obscurity. This rich collection of music manuscripts and early imprints comprises nearly 10,000 manuscripts and printed works, with some works appearing in several individual collections. The collections originating in North Carolina are housed in the Moravian Music Foundation headquarters in Winston-Salem, NC; those originating in Moravian centers in Pennsylvania and Ohio are housed in the Moravian Archives, Northern Province in Bethlehem, PA. The musical life in the Moravian settlements was rich and became respected by many in the young country. This musical life included sacred vocal music for worship services, including, of course, hymns; brass ensembles, especially trombones, serving specific sociological and liturgical functions; and instrumental ensemble music for recreation, ranging from works for unaccompanied solo instrument to symphonies and large oratorios. A musicologist who knows nothing of the Moravian Church or of its theology and life in the 18th and 19th centuries can analyze and certainly appreciate Moravian music. However, the more one knows of the Moravian Church, its life and worship, the more adequate and helpful is the appreciation and understanding of the music. Nearly all of the sacred vocal music written by Moravian composers was for use in worship services. Because of the Moravian penchant for recording the crucial factors in their lives, and for preserving these records in their archives, there is ample means of knowing in depth the context in which the early Moravian composers lived, wrote, and performed. In the thought of Zinzendorf, and of the Moravians of his time, all life was seen as “liturgical”. That is, every aspect of life, even the most mundane, was a sort of worship to be offered to God, after the example of Christ himself. For this reason, such normally “secular” matters as beginning a new business or reaping the fields had a religious connotation. To give this ideal of life concrete expression and to nurture the soul of those who would live it, practical realities naturally led to the development of various worship services and devotions which gave the Moravian communities a character of their own. Each day began and ended with worship, both in smaller groups within the community (divided by age and condition of life) and with the community as a whole. A significant addition to Moravian worship materials was made with the introduction of the Losungen, or Daily Texts, in 1728. This could be a private devotional, but it assumed corporate congregational importance as well. From the time of the first printed Text Book (1731), Moravians throughout the world have used these texts as a daily devotional guide, either in private devotions or in the brief morning or evening services for the whole congregation or a specific part of it. While the 18th century Losungen were generally drawn from Scripture texts, they might also consist of a hymn stanza or a portion thereof. This was characteristic of the Moravian Church, for it was in its hymnody and music that it expressed its theology most frequently and visibly. Zinzendorf encouraged the development of hymn singing. In the early days of Herrnhut, when the community did not yet enjoy a large repertoire of hymns, he conducted singing classes in which not only the hymns, but something of the life and purpose of the author was learned. A large hymnal was produced in 1735 and many more texts were added in its numerous appendices. A slightly more manageable collection was made in 1754 and 1767. In 1778 there appeared the extremely influential hymnbook of Christian Gregor, which remained in use among the German-speaking congregations for about a century. This contained 1750 hymns, 308 of them written or recast by Gregor himself. Gregor’s procedure in compiling these hymns is also instructive: he often took familiar stanzas from originally different hymns and put them together into one hymn, sometimes weaving them together with new stanzas of his own. In 1784, Gregor edited a Choralbuch which contained the most-frequently-used tunes for these hymns. In this book he cleaned up and added to a tune numbering system developed earlier in the century – a system by which tunes of the same meter share a number and are distinguished from one another by a letter. For instance, all the “tune 22s” are long-meter tunes with 8 syllables in each of their four lines. Tunes with the same number are interchangeable with regard to their meter, although the selection of which particular tune to use with which text is a choice requiring care and experience. The church bands still use this system today, with tunes called by number rather than name. Gregor’s procedure of recombining and adding to the stanzas of hymns may sound a bit unusual. In fact, that is a very Moravian thing to do, and indeed this sort of approach, which combined new and old hymn stanzas in creative ways, was central to that most characteristic of Moravian services, the Singstunde. In a Singstunde, the person in charge selects with care individual stanzas from various hymns in such a manner that they will develop some Christian truth or theme as the singing progresses. In the 18th century, the congregation, which possessed an unusual command of the hymnal, would fall in with the leader before he reached the end of the first line of each stanza, singing by heart. No address was given on such occasions as none was needed. And even now, the first-line index to the Moravian Book of Worship includes first lines of all stanzas, not just the first. (en)
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