Der 100. Psalm

Der 100. Psalm
Choral composition by Max Reger

The composer at the piano, c. 1910
English The 100th Psalm
Key D major
Catalogue Op. 106
Occasion 350th anniversary of the Jena University
Text Psalm 100
Language German
Composed 1908 (1908)–09
Dedication Philosophical Faculty of the Jena University
Performed
  • 31 July 1908 (1908-07-31): Leipzig (Part I)
  • 23 February 1910 (1910-02-23): Chemnitz
  • 23 February 1910 (1910-02-23): Breslau
Published 1916 (1916): Leipzig by Peters
Movements 4
Scoring
  • chorus
  • orchestra
  • organ

Der 100. Psalm (The 100th Psalm), Op. 106, is a composition in four movements by Max Reger in D major for mixed choir and orchestra, a late Romantic setting of Psalm 100. Reger began to compose the work in 1908 for the 350th anniversary of Jena University. The occasion was celebrated on 31 July that year with the premiere of Part I, conducted by Fritz Stein. Reger completed the composition in 1909.[1] It was published that year and premiered on 23 February 1910 simultaneously in both Chemnitz, conducted by the composer, and in Breslau, conducted by Georg Dohrn.

Reger structured the text in four movements, as a choral symphony. He scored it for a four-part choir with often divided voices, a large symphony orchestra and organ. He requests additional brass players for the climax in the last movement when four trumpets and four trombones play the melody of Luther's chorale "Ein feste Burg ist unser Gott". Reger used both, late-Romantic features of harmony and dynamics, and polyphony in the Baroque tradition, culminating in the final movement, a double fugue with the added instrumental cantus firmus.

The biographer Eugen Segnitz noted in 1922 that the work of intense expression was singular in the sacred music of its period, with a convincing musical interpretation of the biblical text and its manifold shades of emotion. Paul Hindemith wrote an trimmed adaption which probably helped to keep the work in the repertory, and François Callebout wrote an organ version, making the work accessible for smaller choirs. It was first performed in Wiesbaden, where the composer studied, in 2003. The celebration of the Reger Year 2016 led to several performances.

Background

Reger, who was born in Bavaria in 1873 and studied at the Wiesbaden Conservatory, worked as a concert pianist and composer. His work focused first on chamber music, Lied and choral music. After his studies he returned to his parental home in 1898 and concentrated on works for organ, continuing the tradition of Johann Sebastian Bach. Raised Catholic, he was still inspired by Lutheran hymns, writing chorale fantasias such as Zwei Choralphantasien, Op. 40, in 1899. He moved to Munich in 1901 and married in 1902 Elsa von Bercken, a divorced Protestant. In 1907, Reger was appointed professor at the Royal Conservatory in Leipzig. A year later he began the composition.[2]

History

Reger wrote the first part of the work for the 350th anniversary of the Jena University.[2] He based the composition on Psalm 100 in the translation by Martin Luther.[1] He composed the work in Leipzig, beginning on 24 April 1908 and working on it until the beginning of July that year. He dedicated it "Der hohen Philosophischen Fakultät der Universität Jena zum 350jährigen Jubiläum der Universität Jena" (To the high Faculty of Philosophy of the University of Jena for the 350th anniversary of the University).[1] Part I was first performed on 31 July 1908 for the university's anniversary. Fritz Stein conducted the Akademischer Chor Jena and the Sängerschaft zu St. Pauli, the band of the 71. Infanterieregiment Erfurt and members of the Weimar court orchestra (Weimarer Hofkapelle), and organist Kurt Gorn.[1] After the first performance, Reger received an honourary doctorate from the Jena University.[2][3] Reger demanded many rehearsals from the conductor and wrote to him: *Die Hörer des Psalms müssen nachher als 'Relief‘ an der Wand kleben; ich will, dass der Psalm eine niederschmetternde Wirkung bekommt! Also sei so gut und besorge das!" (The listeners of the psalm must stick as a 'relief' to the wall afterwards; I want the psalm to make a smashing impression! So be good and care for that.)[4][5]

Reger completed the composition of the psalm in May to August 1909.[1] The work was published by Peters in Leipzig, first the vocal score with piano in September 1909, with the piano reduction prepared by Reger himself. The score and the parts appeared in December that year.[1][6] The complete work was premiered simultaneously on 23 February 1910 in both Chemnitz and Breslau. In Chemnitz, Reger conducted the church choir of St. Lukas and the municipal orchestra (Städtische Kapelle), with Georg Stolz at the organ. In Breslau, Georg Dohrn conducted the Sing-Akademie and the Orchester-Verein, with organist Max Ansorge.[1] A reviewer wrote in the journal NMZ: "Noch unter dem Eindruck des Gehörten, des Miterlebten stehend, ist es mir unsagbar schwer, all das Tiefempfundene, das Erhabene und Göttliche jener Stunde hier zum Ausdruck zu bringen. Man war tief erschüttert, als die gewaltige Doppelfuge verklungen war, hatte etwas Unvergessliches erlebt." (Still under the impression of what we heard and experienced, it is unspeakably difficult for me to express here all the deeply experienced, the sublime and divine of that hour. One was deeply shaken, when the gigantic double fugue ended, had experienced something unforgettable.")[4]

Psalm 100 and settings

The text is Psalm 100 , also known as the Jubilate Deo,[7] in the translation by Martin Luther. The rather short psalm calls to rejoice in the Lord, serve him with gladness, come before his countenance with joy, realize that he made us, go enter his gates, because he is friendly (Psalms 100).

Luther
Jauchzet dem Herrn alle Welt.
Dienet dem Herrn mit Freuden.
Kommt vor sein Angesicht mit Frohlocken.

Erkennet, dass der Herre Gott ist.
Er hat uns gemacht, und nicht wir selbst,
zu seinem Volk und zu Schafen seiner Weide.

Gehet zu seinen Toren ein mit Danken,
zu seinen Vorhöfen mit Loben.
Danket ihm, lobet seinen Namen,
 
denn der Herr ist freundlich
und seine Gnade währet ewig
und seine Wahrheit für und für.

literal translation
Rejoice to the Lord, all world.
Serve the Lord with gladness,
Come before his countenance with joy.

Realize that the Lord is God.
He has made us, and not we ourselves,
as his people and the sheep of his pasture.

Go enter his gates with thanksgiving,
To his courts with praise.
Thank him, praise his name.

For the Lord is friendly;
And his mercy lasts forever,
And his truth for ever and ever.
Old Hundredth, Psalm 100, the beginning of a traditional tune in 1628 print

The call to rejoice leads to music, especially suitable for festive occasions. The psalm has been set many times, mostly for liturgical use, for example by Palestrina (1575)[8] and Lully who composed a motet, LWV77/16, in honor of the marriage of Louis XIV and peace with Spain in 1660.[9] In England, the Jubilate was traditionally combined with the Te Deum, such as Henry Purcell's Te Deum and Jubilate, and Handel's Utrecht Te Deum and Jubilate. In German, Heinrich Schütz included a setting of Psalm 100, along with an extended setting of Psalm 119 and a Magnificat, in his final collection, known as Opus ultimum or his Swan Song.[10] A pasticcio motet Jauchzet dem Herrn alle Welt includes music by Georg Philipp Telemann and Johann Sebastian Bach.[11][12] The themes of the first psalm verses are paraphrased in the opening movement of Bach's 1734 Christmas Oratorio, Jauchzet, frohlocket, with a later contrasting section Dienet dem Höchstenen mit herrlichen Chören (Serve the Most High with wonderful choirs).

Ralph Vaughan Williams, who wrote in 1928 an arrangement of the traditional tune associated with the psalm, Old 100th ("All people that on earth do dwell"), arranged it for congregation, organ and orchestra for the coronation of Elizabeth II, becoming ubiquitous at festive occasions in the Anglophone world.[13] Reger's setting, however, was not intended for church use, but first for a secular occasion, then for the concert hall.

Structure and scoring

Reger structured the text of the psalm in four movements, as a choral symphony,[14] in the typical structure of a symphony: first movement in sonata form (Hauptsatz), slow movement, scherzo and finale.[7] The following table is based on the choral score and shows the movement number, incipit, the verse(s) of the Psalm, voices (SATB chorus, at times divided further), marking, key (beginning and ending in D major) and time, using the symbol for common time.[4]

 Structure of Reger's Der 100. Psalm
No. Text Verse Vocal Marking Key Time
1 Jauchzet 1,2 SATB Maestoso (animato) D major
2 Erkennet 3 SSAATTBB Andante sostenuto
3 Gehet zu seinen Toren ein 4 SSAATTBB Allegretto con grazia F-sharp major – C major 3/4
4 Denn der Herr ist freundlich 5 SATB Maestoso D major

The work is scored for a four-part choir, with often divided voices, and an orchestra of two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, three timpani and more percussion, organ, and strings. In the final movement, an additional brass ensemble of four trumpets and four trombones plays the cantus firmus of Luther's chorale "Ein feste Burg ist unser Gott".[1] Reger used Lutheran hymns in the tradition of Johann Sebastian Bach often in his work. He had written already a chorale fantasia on the hymn, Ein' feste Burg ist unser Gott, Op. 27 in 1898.[15] Reger's harmonies are advanced and at times close to atonality, but he claimed that he did nothing that Bach had not done before: harmonies as the result of the polyphon individual lines (Stimmführung).[15]

All movements are written in D major, but Reger often modulates.[4] The movements follow each other without a break.[16] A short instrumental introduction, marked Andante sostenuto, leads to the fourth movement.[4] Reger achieves a unity of form by including material (both text and music) from the first movement to the later ones.[7]

Jauchzet

First page of the score

A timpani roll on C of two measures leads to an orchestral D major chord in the third measure, marked ff, and a syncopated entry of the choir one beat later, pronouncing in unison "Jauchzet, jauchzet" (Rejoice, rejoice). The choir first sings a quart motif downwards, while the strings add a turn motif (Doppelschlag-Motiv) which gets repeated throughout the piece and finally opens a theme of the double fugue in Part 4.[7] The short motifs are treated to upward sequences, then continued in upward scales in triplets, again in sequences, then another upward line in dotted rhythm, but no melody,[7] rendering only the repeated word "jauchzet" with different expression. Fred Kirshnit, who introduced the piece for a performance of the American Symphony Orchestra, regarded the treatment as an "orchestral explosion",[14] The text is continued in measure 16 by "dem Herrn alle Welt" (to the Lord, all world).[4]

In contrast, the following verse, beginning with "Dienet" (Serve), is quiet, marked sostenuto and pp.[4] It has been compared to the second, often contrasting theme of the sonata form, often found in first movements of symphonies.[7] From the lowest voice to the highest, the material is expanded in imitation, with all voices divided. The phrase "Dienet dem Herrn" is first sung by the alto, imitated by the other voices. "Dienet dem Herrn mit Freuden" appears first in the lower voices, while the sopranos expand the theme one measure later, marked espressivo und crescendo.[4] Joyful groups of sixteenths appear, first in single voices, then in denser texture, leading to the first topic, "Jauchzet". In measure 111 the third topic appears, "Kommt". This word is again repeated many times before the phrase is continued, "vor sein Angesicht" (before his face), later also "mit Frohlocken" (with shouts of joy). In measure 130, a reprise of the first section leads to a close of the movement in a unison "alle Welt", with a fermata on every syllable.[4]

Erkennet

The second movement begins with a soft instrumental introduction of thirteen measures. Horns and trombones play the same note three times in unison, which is later sung with the word "Erkennet" ("Realize" or Recognize")“. The rhythm dominates the introduction. The choir picks up, singing it first on a unison C, marked ppp. After several repetitions, the phrase is continued in measure 26: "dass der Herr Gott ist" (that the Lord is God) with a rapid crescendo from Lord to God.[4] The Swiss musicologist Michael Eidenbenz, writing for the Zürcher Bach Chor, describes the section as mystical and reflective ("mystisch-reflektierend").[7] In a middle section the divided voices express, mostly in homophony, gradually more intense: "Er hat uns gemacht und nicht wir selbst zu seinem Volk" (He has made us, and not we ourselves, his people).[4] The continuation "und zu Schafen seiner Weide" (and the sheep of his pasture) is presented expessively by the lower voices, then repeated by pure triads in A major and B major, first by three soprano parts, then three alto parts, finally three male voices,[4] with a solo violin.[14]

As a first link to the first movements, "He has made us, and not we ourselves, his people" is repeated with the music used for "Dienet dem Herrn mit Freuden",[7] connecting both the musical form and the content of being created God's people and serving him with gladness. The movement closes by a reprise of the first topic, this time ending pp.[4] Kirshnit described the movement as "mysteriously, almost spectrally" music.[14]

Gehet zu seinen Toren ein

The key of F-sharp minor and a triple meter are introduced by the orchestra. The divided female voices express in homophony and "dolcissimo": "Gehet zu seinen Toren ein" (Go enter his gates), with the measure most often divided in a halfnote and a quarter. The male voices answer "Gehet" (Go), then the female voices repeat their line in a new version. The play is repeated, now the male voices beginning. The following text appears in growing density and intensity, modulating constantly, ending in C major.[4]

Denn der Herr ist freundlich

A short instrumental prelude reprises the orchestral motifs of the beginning of movement 1.[7] Soprano and tenor sing simultaneously the two themes of a double fugue on the text "Denn der Herr ist freundlich" (For the Lord is friendly). Both themes are lively, but have their fastest movement at different times. The melody of the soprano begins with the turn-motiv from the first movement, while the tenors sing mostly a rising broken D major chord and have fast motion in the second measure. The alto takes the tenor melody, the bass the soprano melody in their following entry. After an instrumental interlude from measure 77, the themes appear in measure 91 in bass and soprano, while the melody of Luther's "Ein feste Burg ist unser Gott" are played by brass in unison. The work ends, slowing down majestically, with the text "und seine Wahrheit für und für" (and his truth for ever and ever).[4]

Evaluation

The biographer Eugen Segnitz wrote in 1922 that the work was not only singular in the composer's work, but in the sacred music of its period, with a rare intense power of expression ("intensive Ausdruckskraft") and a convincing musical exegesis of the biblical text and also its turns and manifold shades of emotion ("überzeugende musikalische Auslegung des biblischen Textes, wie auch seiner Wendungen und mannigfaltigen Gefühlsschattierungen").[17]

A reviewer of a recording noted the work's "quasi-symphonic sequence" and its "balanced overall shape which brings musical satisfaction even though the choral-orchestral presentation is at times somewhat unrelenting".[18] Eidenbenz noted that Reger achieved a direct expressivity of smallest entities of material ("unmittelbare Expressivität kleinster Materialteile"), and saw in this "atomization" and relentless modulation a modern radicality ("moderne Radikalität").[15] He then describes: "Expressivität statt Verstehbarkeit, die Intention einer 'Druckwelle', die das Publikum zum Relief macht, die unaufhörliche Modulation, die äusserliche Opulenz und die innere kalkulierte Logik, die naive und unhinterfragte Selbstverständlichkeit seiner Musik" (Expressivity instead of understandability, the intention of a shock wave making the audience a relief, relentless modulation, external opulence and inner calculated logic, the naive and unquestioned naturalness of his music) and noted how these elements also characterize Reger's life.

Versions

Paul Hindemith revised the work to achieve more clarity.[14] According to Wolfgang Rathert, Hindemith "sought to moderate Reger's 'uncontrolled invention',[19] while Kirshnit described Reger's original scoring as "gloriously polychromatic".[14] Hindemith "thinned" the orchestra, especially the horns. The organ, which reinforced the voices throughout the piece in the Reger's scoring resulting in a lack of clarity for the polyphon passages, is only used for the climaxes." Hindemith used the organ only for climaxes. In the double fugue, he assigned one theme to a voice, the other simultaneous theme to the orchestra.[20] Hindemith's approach, which enables more analytical listening,[21] seems justified by Reger's own scoring of later compositions which were more refined and focused. It is probably due to his version that Der 100. Psalm enjoyed unbroken presence in concert halls, while other works by Reger were neglected.[20]

François Callebout wrote an organ version that was published in 2004 by Dr. J. Butz.[22] Gabriel Dessauer explains in the preface that the work was conceived for oratorio choirs at the beginning of the 20th century, of up to 500 singers. The organ version enables smaller choirs to perform the music.[4] It was premiered in 2003 by the Reger-Chor in St. Bonifatius, Wiesbaden, the parish to which the composer belonged during his studies in Wiesbaden. The organ was played by Ignace Michiels, organist at the St. Salvator Cathedral in Bruges.[23]

Reger Year

Reger-Chor, August 2016 in Bruges before a performance of the organ version

In 2016, celebrating the centenary of Reger's death, the work was performed at the Thomaskirche in Leipzig on 11 May, his day of death in the town. The Leipziger Universitätschor (Leipzig University Choir) and the MDR Sinfonieorchester were conducted by David Timm.[24][25] Two days later the MDR aired a live concert recording from 1984 at the Kreuzkirche in Dresden, performed by the Dresdner Kreuzchor, the Philharmonischer Chor Dresden, the Rundfunkchor Berlin, organist Michael-Christfried Winkler, the Dresdner Philharmonie, conducted by Martin Flämig.[26] The Reger-Chor performed the organ version in Bruges and Wiesbaden, again with Dessauer and Michiels.[27][28]

Recordings

Recordings of Der 100. Psalm (Reger)
Title Conductor / Choir / Orchestra Soloists Label Year
Max Reger – Der 100. Psalm
(Präludium und Fuge, Op. 85/4
Te Deum, Op. 59)[29]		 Röhrig, WolframWolfram Röhrig
Gemischter Chor des Nürnberger Lehrergesangvereins / Rolf Beck
Nürnberger Symphoniker		 Werner Jacob (organ) SABA 1967 (1967)
Die Weihe der Nacht, Op. 119 / Der 100. Psalm / Weihegesang[30][31][32] Stein, HorstHorst Stein
Chor der Bamberger Symphoniker
Bamberger Symphoniker		 Fritz Walter-Lingquist (organ) Koch Schwann 1995 (1995)
Max Reger: Der 100. Psalm; Der Einsiedler; Requiem (Hebbel)[33] Ludwig, Klaus UweKlaus Uwe Ludwig
Bach-Chor Wiesbaden
Bach-Orchester Wiesbaden		 Wolf Kalipp Melisma (recorded live in the Lutherkirche, Wiesbaden) 2000 (2000)
Reger: Psalm 100, etc.[21][18][34]
(Hindemith arrangement)		 Polyansky, ValeriValeri Polyansky
State Symphony Capella of Russia
State Symphony Orchestra of Russia		 Chandos 2002 (2002)
Der 100. Psalm[35]
(organ version)		 Dessauer, GabrielGabriel Dessauer
Reger-Chor		 Ignace Michiels (organ) live recording of the premiere 2003 (2003)
Reger - Timm: 100th Psalm - Jazzmesse[34] Biller, Georg ChristophGeorg Christoph Biller
Leipzig University Choir
Gewandhausorchester		 Querstand 2014 (2014)

References

Bibliography

Scores

Max-Reger-Institut

Books

Journals

Newspapers

Online sources

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