SACH5E 
 
(Cornell ImtJeraita SJibrara 
 
 atliaca, Kew lark 
 
 BOUGHT WITH THE INCOME OF THE 
 
 SAGE ENDOWMENT FUND 
 
 THE GIFT OF 
 
 HENRY W. SAGE 
 
 1891 
 
Cornell University Library 
 ML 3178.S12 
 
 The music of the Ephrata cloister :also 
 
 3 1924 021 747 997 
 
Cornell University 
 Library 
 
 The original of this book is in 
 the Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924021747997 
 
l^lusic of Cl)e €pt)rata Cloteter 
 
 ALSO 
 
 ConraD BSeiiSjSel'js Creatisie on 0imic 
 
 AS SET FORTH IN A PREFACE TO THE 
 
 '*%mttl%aubt" of 1747 
 
 AMPLIFIED WITH FAC-SIMILE REPRODUCTIONS OF PARTS OF THE TEXT 
 AND SOME ORIGINAL EPHRATA MUSIC 
 
 OF THE 
 
 ^epratttjB pnstl, 1739 ; Eo«en tttiH lilien, 1745; Curtel Caube, 
 1747 ; C-boral ^8ut!), 1754, etc. 
 
 BY 
 
 JULIUS FRIEDRICH SACHSE, LiTT.D. 
 
 Member Atnerican Philosophical Society — Historical Society 0/ Pennsylvania — Pennsylvania- 
 German Society — American Historical Association — XHI International 
 Congress 0/ Orientalists^ etc., etc. 
 
 Reprinted from Volume XII., Proceedings of the Pennsylvania-German Society 
 
 LANCASTER 
 
 PRINTED FOR THE AUTHOR 
 1903 
 
Copyright, 1902, by 
 J. F. SACHSE. 
 
 All rights reserved, 
 
 Of this Edition two hundred and fift^^ copies have been 
 
 printed of which this is No 
 
 Julius Friedrich Sachse. 
 
 PRESS OF 
 
 THE NEW ERA PRINTING COMPANY, 
 
 LANOASTEn, PA. 
 
PREFACE. 
 
 MITHOUT doubt the music 
 of the Ephrata Cloister, 
 as evolved in the Settlement on 
 the Cocalico, during the first half 
 of the XVIII. century, and based 
 on Beissel's peculiar system of 
 harmony, exercised a far greater 
 influence upon the community at 
 large than is generally supposed. 
 It not only had its effect upon the 
 social life and development of the 
 German settlers of Lancaster and 
 adjoining counties who had fallen 
 away from the orthodox faith of 
 their fathers, by guiding their 
 thoughts and minds into a spiritual channel ; but it grad- 
 ually extended its influence beyond its original bounds, 
 across the Susquehanna ; and in the course of a few years 
 we find it installed in the valleys of the Antietam and 
 Shenandoah where it found a lodgment until long after 
 the parent community had passed out of existence. 
 
 It was even carried west of the Alleghanies, and into 
 far-off New England, by these pious celibates, and it is 
 not altogether improbable that one of the Ephrata tune 
 books was largely instrumental in shaping the musical 
 work of the Yankee tanner. 
 
 For many years this native Pennsylvania-German music 
 
 (3) 
 
4 Preface. 
 
 was a sealed book to the student and historian, but the 
 recent discovery of the original score and tune books of 
 the Cloister, together with Beissel's " Dissertation on Har- 
 mony," as set forth in the preface of the hymnal known as 
 the Turtel Taube, enables us now for the first time to give 
 the English reader a clear insight into this peculiar product. 
 For the translation of the " Dissertation " and for the trans- 
 position of several musical numbers into modern notation, 
 we are indebted to the Rev. J. F. Ohl, Mus.D., of Phila- 
 delphia. 
 
 Thanks are also due to General John Y. Roller, of Har- 
 risonberg, Va., for valuable aid rendered the writer in 
 tracing the history of the German sectarians in Virginia ; 
 to Mr. W. H. Richardson, of Norristown, Pa., for two 
 valuable illustrations; and to J. F. Mentzer, M.D., of 
 Ephrata, and other fellow-members of the Pennsylvania^ 
 German Society who have so generously aided the writer 
 in his researches during the past years. 
 
 Julius Friedrich Sachse. 
 
 Philadelphia, December, 1902. 
 
TABLE OF CONTENTS. 
 
 CHAPTER I, 
 
 THE MUSIC OF THE CLOISTER. 
 Unique Notation, Quaint Melodies — Earliest Ephrata Music — 
 Contemporary Accounts, decline of the Community — Music Fos- 
 tered at Snowhill Nunnery — Manuscript Music Books — Published 
 Accounts — Beissel's Knowledge of Music— History of the Klos- 
 ter — Dr. Wm. M. Fah'nestock — Dr. Oswald Seidensticker — First 
 Issue of the Ephrata Press — Title Pages — The Turtel Tanbe 
 
 — Inadvertent Mistake — Score Book of the Cloister .... 6-23 
 
 CHAPTER II. 
 
 BEISSEL'S APOLOGY FOR SACRED SONG. 
 Scripture Texts — Song of the Godless — Song of the Early 
 Christians — at the Table — Psaltery of Ten Strings — The Holy 
 Spirit, the True Singing Master 24-26 
 
 CHAPTER III. 
 
 THE MUSIC OP THE KLOSTER. 
 New Material — Correct Transposition, Beissel's System of Har- 
 mony — Ludwig Blum, Alleged Portrait — Curious Features of the 
 Music — Movable C Clef — Seven-part Motet — Choral Songs, an 
 Ephrata Sister 27-31 
 
 CHAPTER IV. 
 
 HYMN-BOOKS OF THE COMMUNITY. 
 Early Efforts at Hymnology — Franklin Imprints, Manuscript 
 Hymnal — Wyrauchs Hiigel — Song of the Solitary Turtel Taube 
 
 — Wunderspiel — Rare and Interesting Titles — Great Hymnal — 
 Sub-Titles — Various Editions — Prior Jaebez 32-5* 
 
 CHAPTER V. 
 
 THE TURTEL TAUBE OF 1747- 
 Foreword — Original English Version — Power of the Church — 
 Hymns and Music Adapted to Worship of God — Spirit of Singing, 
 Mysteries of God — Conclusion of Foreword 53-58 
 
 5 
 
6 Table of Contents. 
 
 CHAPTER VI. 
 
 FATHER FRIEDSAM'S DISSERTATION. 
 Facsimile of Prologue 59-65 
 
 CHAPTER VII. 
 
 Beissel's Unique Instructions on the Voice Relations of Pupil 
 and Master — Demands of the Spirit — Kinds of Food — Effects of 
 Milk, Cheese, Butter, Eggs, Honey — Cooked Dishes — Common 
 Vegetables — Concerning Drink — Enochian Life 66-69 
 
 CHAPTER VIII. 
 
 BEISSEL'S DISSERTATION ON HARMONY. 
 Translator's Note — Qualification of Teacher — the Voices — 
 What Constitutes a Four-part Tune — Barrir and Toener — Beissel 's 
 Explanation — Major and Minor Keys — Four-part Key for Melo- 
 dies in C. — Key Diagram 70-79 
 
 CHAPTER IX. 
 
 ORIGINAL AND MODERN NOTATION. 
 Conclusion — Original Four-part Score on Single Staff — Ren- 
 dition — Illustrations, Wohl auf in Four-part — Seven-part Motet 
 — Five-part Melody — Six-part Choral — Rendition by Mrs. Frank 
 Binnix — Sister Anna Thomen ... 80-92 
 
 APPENDIX. 
 
 A PAGE OP EPHRATA THEOSOPHY. 
 
 An Old Manuscript — German Proverb — Brother Obed — His 
 Primer — A Newly-discovered Ephrata Imprint — Credit Due Penn- 
 sylvania-Germans — Appearance of Guardian Spirit — Various 
 Transmigrations — Man's Cruelty — Woman's Frailty — Moral and 
 Conclusions 93-106 
 
LIST OF PLATES. 
 
 Negatives and Reproductions by Juwus F. SachsB- 
 
 The Ephrata Kloster, General View frontispiece 
 
 Portrait Late Professor Oswald Seidensticker facing page 17 
 
 Specimen Page from Choral Buch " "40 
 
 Interior Views of Sister Saal or Chapel " "52 
 
 An Old Ephrate Hand Press " "96 
 
 ILLUSTRATIONS. 
 
 PAGE. 
 
 Vignette, Wisdom 3 
 
 Head Piece, Music 9 
 
 Initial E 9 
 
 Snowhill Main Building .... 11 
 
 Ephrata Pen Work 12 
 
 Ephrata Sampler 14 
 
 Bethania 14 
 
 Sister House and Chapel .... 15 
 
 Wm. M. Fahnestock .... 16 
 Head Piece, Delicae Ephraten- 
 
 ses 24 
 
 Ornate I ... 24 
 
 Tailpiece, "LausDeo" ... 26 
 
 Head Piece, Doves 27 
 
 Ephrata T 27 
 
 Silhouette Beissel 28 
 
 Ephrata Lily .... ■ ■ 31 
 
 Ephrata Sister 32 
 
 Head Piece, Books and Pens . . 33 
 
 Ornate T 33 
 
 PAGE. 
 
 Peter Miller Portrait ... 51 
 
 Head Piece, Cupid 53 
 
 Script I 53 
 
 Tail Piece, Passion Cross . . 58 
 
 Ephrata Water Mark .... 65 
 
 Head Piece, Lilies 66 
 
 Vignette 66 
 
 Script Alphabet 69 
 
 Head Piece, Beaux Art .... 70 
 
 Initial T .70 
 
 Watermark, 1744 .... 79 
 
 Head Piece and Initial 80 
 
 Tail Piece 86 
 
 Ephrata Symbol . . . . 92 
 Seal Pennsylvania-German So- 
 ciety 93 
 
 Head Piece, Knowledge . . 95 
 
 Vignette, Wisdom 95 
 
 Schwenkfelder Inital .... 99 
 
 Tail Piece ," Finis " 106 
 
 (7) 
 
Title Pages and Music. 
 
 TITLE PAGES AND MUSIC. 
 
 PAGE, 
 
 Music, Earliest Ephrata, 1735 . 10 
 
 Arndt's Gebethe, Ephrata . . 17 
 
 Wunderschrift, Ephrata, 1745 . 18 
 
 Dissertatian on Man's fall, 1765 . 19 
 
 Chronicon Ephratease, 1786 . 20 
 Leben eines Herzogs, Ephrata, 
 
 1790 21 
 
 Music, Gott ein Herscher . . 30 
 
 Gottliche Liebes gethone, 1730 . 34 
 
 Vorspiel der Neuen-welt, 1732 . 35 
 Paradisische Nachts Tropfifen, 
 
 1734 36 
 
 Jacobs Kampf u. Ritter-Platz, 
 
 1736 37 
 
 Zionitischer Weyrauchs Hugel, 
 
 1739 ■ ■ • • • • -38 
 
 Gesang der Turtel Taube, 1747 . 39 
 Paradisisches Wunderspiel, 1754 40 
 Turtel Taube Nachklang, 1755 . 41 
 Turtel Taube Neuvermehrtes, 
 
 1762 . 41 
 
 Rosen u. Lilien. " Saron," 1756 . 42 
 Rosen u. Lilien. " Bethania," 
 
 1756 41 
 
 Wunderspiel, 1766 . . .42 
 
 Ausbund geistreicher Lieder, 
 
 1785 43 
 
 Gilfende Hertzens-Bewegungen 
 
 1749 44 
 
 Turtel Taube, sub-titles . . . 46-48 
 Zionitischer Rosen Garten, 1754. 49 
 
 Neuer Nachklang der Turtel 
 
 Taube 52 
 
 Prologue, fac-simile . . . 59-65 
 Barrir and Toener, fac-simile, 72 
 Music, four-part, key for Melo- 
 dies in C, original and trans- 
 position -74 
 
 Music, Key Diagrams . . . . 76, 77 
 Music, original scores . . .81 
 
 Music, Die Braut ist Erwachet 
 
 (original) . . . .82 
 
 Music, Die Braut ist Erwachet 
 
 (modern) . ... 83 
 
 Music, four-part anthem . 84 
 
 Music, Wie ist doch der Herr, 
 
 five-part (original) .... 85 
 Music, Gott wir Kommen dir, 
 
 five-part (original) ... 85 
 Music, Gedencke Herr an David, 
 
 six-part (original) . 87 
 
 Music, Wohlauf und Schmiicke, 
 
 four-part (original) . . 88 
 Music, four-part (modern) . . 89 
 Music, Gott ein Herrscher aller 
 Heiden 7-part Motet, Mod- 
 ern Notation ... 90, 91 
 Title, Ephrata Primer, 1786 . . 94 
 Title, Geistliche Briefe eines 
 Friedsamen Pilgers Eph- 
 rata, 1794 98 
 
CHAPTER I. 
 
 The Music of the Cloister. 
 
 VEN more interesting 
 than the high-gabled 
 cloister buildings at 
 Ephrata, with their 
 curious history and 
 associations, or the 
 issues of the print- 
 ing'office and writing 
 room, with its ornate 
 specimens of calig- 
 raphy, is the music 
 of the Ephrata Klo- 
 ster, with its distinc- 
 tive system of har- 
 mony, unique nota- 
 tion and quaint melodies, with a peculiar method of vocal 
 rendition, all of which were an outgrowth of the the- 
 osophy taught by Conrad Beissel and his followers on the 
 Cocalico. 
 
 That this singular system of harmony (if strictly speak- 
 ing it can be called a system), was an original evolution 
 
 (9) 
 
 F^ 
 
 
 
 % 
 
 i 
 
 
 ■ 
 
 
 
 ^\:i 
 
 
 5^ 
 
lO 
 
 The Pennsylvania- German Society. 
 
 O 
 
 
 ^-/Trrmtit^ 
 
 ISA 
 
 V-- '--^// '-^-^ t^f.jrp^/n.H'^^-TZ 
 
 
 c4 
 
 •y 
 
 
 EARt,IEST EPHRATA MUSIC — FROM MS. HYMN-BOOK USED AT AMWE1,I<, 
 N. J., ABOUT 1735. 
 
Efhrata Music. 
 
 II 
 
 from the brain of the Magus on the Cocalico cannot be 
 denied, and it has the additional distinction of being the 
 first original treatise on harmony to be published in the 
 western world. This was fully a quarter of a century be- 
 fore the Yankee tanner, William Billings, published his 
 " New England Psalm Singer." 
 
 MAIN BDItDING OF THE SNOWHII,I< INSTITUTION. 
 
 Contemporary accounts by visitors to the Ephrata com- 
 munity during the eighteenth century, all bear witness to 
 the peculiar sweetness and weird beauty of the song of the 
 sisterhood, and the impressive cadence of the chorals and 
 hj'mns of the combined choirs. Some writers even dwell 
 upon the angelic or celestial quality of the vocal music as 
 it floated through the spaces of the large Saal, as the re- 
 sponses were sung and reverberated from gallery to choir. 
 
 Much of the beauty of the music was no doubt due to 
 the quality of the voices and the way they were used. 
 
 With the decline of the monastic or celibate feature of 
 the Ephrata community, the music of the Kloster fell into 
 disuse, and gradually became a lost art. The only place 
 where any attempt was made to keep the Ephrata music 
 alive, was at the institution known as the "Nunnery" at 
 Snowhill in Franklin County. Here the music and Beis- 
 
12 
 
 The Pennsylvania-German Society. 
 
 sel's system of harmony were fostered, taught and prac- 
 ticed until a few years ago, when the last of the Snow- 
 hill celibates passed from time into eternity. 
 
 SPECIMEN OF BPHRATA PENWORK FROM MS. HYMN-BOOK OF 1745- 
 
 It may truthfully be said that during the whole of 
 the nineteenth century no effort was made outside of the 
 Snowhill " Nunnery " to practice or keep alive this dis- 
 tinctive Pennsylvania-German music. 
 
Penwork of the Celibates. 13 
 
 The manuscript music books, frequently embellished 
 with beautiful penwork, became objects for the cupidity of 
 the book collector, and are now scattered. A few have 
 found resting-places in museums and great libraries of the 
 country, but some of the best specimens are in private 
 hands. 
 
 Unfortunately many of the music books of the Ephrata 
 community deteriorated, by virtue of the peculiar composi- 
 tion of the ink used, which destroyed the fiber of the paper. 
 Others again suffered from careless handling in addition 
 to the ravages of time ; then again in many cases copies 
 were thrown aside or destroyed by their ignorant owners 
 as worthless Dutch books. Thus it happens that the orig- 
 inal collection of the Ephrata manuscript music, which 
 was never a very large one, is now scattered, and speci- 
 mens are eagerly sought after and difficult to obtain. 
 
 During the past quarter of a century the writer has made 
 a systematic search for such music, scores and books, not 
 passing even fragments. His search has been rewarded 
 to so great an extent that it is now possible again to form 
 a conception of Beissel's remarkable musical productions, 
 and have them rendered once more in their original form. 
 
 Particular attention has also been devoted to the pub- 
 lished accounts of Beissel's theories on harmony, in both 
 the Chronicon E^hratense and the hymn-book known as 
 the Turtel Taubeoi 1747. Comparisons have been made 
 between original scores by Beissel and the elementary 
 exercises used in the singing school, as well as with the 
 finished and concerted pieces used at the Kloster services. 
 Thus we are now in a position to form a tolerably clear 
 idea of this system of harmony which had its development 
 on the banks of the Cocalico, as well as of the original 
 manner of rendering the music. 
 
H 
 
 The Pennsylvania- German Society. 
 
 
 FROM AN EPHRATA SAMPLER. 
 
 Conrad Beissel evidently had but a scant acquaintance 
 with the church music of the Reformation period, and his 
 musical compositions, it now appears, stand in the same 
 category with his theosophical writings. The music of 
 the Ephrata Kloster is entirely unlike the ancient church 
 music, and it has none of the rhythm and swing of either 
 the religious or secular folk-song of the Reformation. Our 
 
 BETHANIA, THE OLD BROTHER HOUSE. 
 
 Ephrata music, like the hymns to which they were set, 
 contains many elements of mysticism. 
 
 It will be remembered that this music, with its peculiar 
 system of harmony, was a native Pennsylvania product — 
 
History of the Kloster. 
 
 IS 
 
 the earliest and most original distinctive system of music 
 evolved in the western world during the eighteenth cen- 
 tury. Though crude in many of its progressions and often 
 incorrect in its harmonies, yet from both a-n historical and 
 a musical standpoint it is unique and valuable. 
 
 Sung as it was with fervor and feeling, by the enthusi- 
 astic mystic celibates within the confines of the Kloster 
 Saal, the music unquestionably had a charm of its own. 
 
 The history of the old Kloster has for years been a 
 fruitful subject for writers of varied accomplishments. No 
 matter from what point of view we approach it — whether 
 from a domestic, social, religious, educational or architec- 
 tural one — we are astounded with the wealth of the novel 
 situations which present themselves before us, changing at 
 every turn with kaleidoscopic rapidity, ever presenting new 
 
 ^T^ 
 
 
 H. 
 
 
 ^m 
 
 1 
 
 c::^£HHS2^52U22o«^ 
 
 Mm 
 
 ^^Mht 
 
 
 SISTER HOUSE AND CHAPEL. 
 
 and curious combinations, and offering for consideration 
 themes for study and an incentive for further research and 
 discovery. 
 
1 6 The Pennsylvania-German Society. 
 
 During the past quarter of a century, the reading public 
 has been kept tolerably well informed of the history of this 
 mystic community that had its origin in Lancaster County 
 within our own.State. In most cases these accounts were 
 mere newspaper sketches, superficially written by the 
 average reporter of the day, who usually has a vivid 
 imagination, without any time or training for research or 
 historic investigation. 
 
 DR. WM. M. FAHNESTOCK, b. APRII, lO, l8o2; d. DEC. I5, I854. 
 
 Even worse than these ephemeral stories, we have been 
 afflicted with occasional dissertations and opinions by 
 would-be authorities, who, although totally ignorant . of 
 the German tongue, and the habits and customs of our 
 people and their literature, have set themselves up to speak 
 authoritatively of the Ephrata people, their writings and 
 
MUSIC OF THE EFHRATA CLOISTER. 
 
 FROF. OSWALD SElDEMSTlCt\ER. 
 
 B. MAY 3, 18:3'^ ; D, JANUARY 10, 1894. 
 
A Unique Imfrint. 
 
 17 
 
 music. These, in almost every case have been mere idle 
 vaporings, unworthy of notice and valueless for reference, 
 except as to such portions as they have taken bodily from 
 the publications of the Pennsylvania-German Society — or 
 its members. 
 
 In bold contrast with the above screeds, we have a num- 
 ber of fugitive and fragmentary papers in both German 
 and English — publications of great value by such writers, 
 investigators and scholars as the late Dr. Wm. M. Fahne- 
 stock, Professor Oswald Seidensticker and others. 
 
 These publications were followed by the ' ' Critical and 
 Legendary History of the 
 Ephrata Cloister and the 
 Dunkers," an exhaustive 
 work by the present wri- 
 ter, forming the basis of 
 his "German Sectarians." 
 This work, representing 
 a research and labor of 
 more than twenty years, 
 was supposed to have been 
 exhaustive, giving the 
 whole history of the move- 
 ment and settlement of the 
 mystic community, as well 
 as a complete list of the 
 issues of the Ephrata press 
 and a bibliography of the 
 Kloster. But since its 
 issue, a number of new 
 imprints, broadsides and 
 manuscripts have come to 
 light, chiefly through the incentive offered by the pub- 
 
 Ultt) 
 
 2lbcnb • 
 
 ©ecrucft: ttrib 3^ ^tt'- 
 
 bcn in -Sancajler bcv 
 
 ^enrlcl) £)5m in oef 
 
 5)ontgal'-fira§. 
 
 TITLE OP ARNDT'S SPIRITCAI, 
 PRAYERS. 
 
i8 
 
 Music of the Efhrata Cloister. 
 
 lished list in the " German Sectarians," among them being 
 a copy of Arndt's Gehethe, supposed to have been the ear- 
 liest issue of the Ephrata press. 
 
 So far as the writer has been able to discover in his in- 
 vestigations of the Ephrata press, there are evidences of 
 
 S)at 
 
 £t6en 
 
 6ine4 jffngeo 
 
 SofgitiOe ©«f(I)l#te wjebft, 6c»ni fl|ttn !5l(|i!o 
 ^(inn«» «ertvanti((t, un& flUbt. 
 
 iSpbtaia, @e&tufi im 3<i9v \nv». 
 
 K i<atei,y discovbreb ephrata imprint. 
 
 three instances where efforts were made to issue an orig- 
 inal work of the community in both German and English. 
 The first of these was Beissel's Wunderschrift (1745). 
 The English version, " A Dissertation on Man's Fall," 
 was not printed until 1765. 
 
Page of an E-phrata Imfrint. 19 
 
 ) » ( 
 
 '*3ne fi<fe anscrcgenfifit imUic^ ©cjflctf ^at tiftt Ufr 
 ' fiwi)? qcgcben Dicfc2S!ttll^c^ea)riffrml^3ure0fn: u. 
 
 m-. x>\\\^ mW tuU«crctncU)Ha*( tliidcfed.(n^U(tl 
 MSi baron ael^oniiiiaf , t>tti. Unb «& fIcU fctcu (id ^{f|^ 
 IttttMHUu @n(}9efoll)ri otit^reigc ft> tuid toc^r aftf iiur 
 chomDe; (ttva^ aitmercem/.um.efma HEingang sn0 ®(U 
 $e 811 JttflcDcn. ^, ,.^ ^ 
 
 3d) f)o&e gtvar fn rm $ag(» nictticr ^(t(((((n SitflcnK 
 gcmclntft, it \Wt \vKt vm, fdjkti/ t«anttic() unf (& ti^o^tci 
 auCtiii^ frtulH'iec iiren/ tun iiictnm SSSmttcl iin.9* ^(^ 
 licHsfH'ti Utt^ <Bpttlt(^m &(^te jn fiUrrn. Sllletn rufM^ 
 litt fo ttitk^attc uub f(()tvctc ^rcvcnrprOct^e crntcc{tt;ta# 
 niicb eft ^lUfc^^cii ttnb ^raufeir onfmiu tDimoM <(& '(Os 
 tieten tndn .^. $8(tK(btsfct)ii rcttfc^^tC/ tti bet <^emtknd (^ 
 im €i(d S" sen'inom. ddciii/ fe nicbr SteiO it^ antttantfj 
 reffo cim (icmflctc iHehQicnic^ in ntit ctwccf tc »el($(« 
 liti(& frci)Itc() fj> dcObct itnb acftcf«e^ (o^ cfmiaj He 6t(iRir« 
 trrnn (te J^ciftcn cine (SuirmiDltc^tdt ge^l't; mtt mte ^^ 
 ten f(I)tct;cn na'tOtti/ fouDcatct^ nxit ter grDfe SKig tind rte 
 (illcttcinftr ©ninff fct Ciete flOcacit Dfl^ §«iif«t gcm^ittr Jtf 
 einem ncmn Sillatni. (i) S)lcre^ 6at nii$ frcjpcf^ ^.m 
 
 % t#6 
 
 (0 !^tr C^^ftm titfdr gt(»(n iff fcl<|cnD<r:3(.m(tr li'fir iin» Ifijjfen la? 
 ^liK (iMjtfcgm f(9n, tcffo mt^r fvitA (a^ UcMl <p tmtf rigf. & IB 
 
 INITIAI, PAGB OF THB GERMAN VERSION OF BEISSEL'S WUNDBRSCHRIFT. 
 
20 
 
 Music of the Ephrata Cloister. 
 
 A 
 
 Diffetcation on 
 
 MANS FALL, 
 
 Tranftatcd from ihc I£gh-Gemiaa Ori^^bal. 
 
 ttimed: £PB2t.^4 AfliiD MDCCLXV* 
 
 old at FluIiaSelplnB bs^ MJ^iteanCmifiTonr 
 
 Marshal '^d Wilutakc DorKZ.A.F 
 
 TITIvE FAGS OP THE ENGLISH VERSION OF BEISSEL'S WDNDERSCHRIFT. 
 
Title Page of the Chronicon Efhratense. 21 
 
 Chronicon Ephratenfe, 
 
 Stiebfam ©ottret^t/ 
 
 SB(0l(lu^ @t|fter« uno ^orfle^ertf D« gtiftl. Dibentf Dcr (E&iranwn tti 
 
 Ephrata hi bCC IBfafTcl^afl Laacafter (n PcNNtrtvAHiA. 
 
 3«famen getraflf n Don 33r. Lamech u. Agrippa. 
 
 <pr tjt iVK Pad Scuct etncg @oIbfd)mU&«, unD nU ble (Stiffe t« ^ofcbn: Ci 
 toiiD Die XinOcr %V)\ «(iniden roie (Sold nnb @t(b(t. !!RaIa4>. Sj 2. 3. 
 
 & i|l 6le 3eit, PaS onfa^e 6a« (9»t(t)t am J^aufc @ottt«/ fo obn iunfl an 
 vKi, na< istii «ot tin lEnDe tectben mit benen, bit Don Ssan^elto @0tttf 
 nitt)t glauben. Unb fo b» ®eTe4>te f&mmctli^ <Tl)a(tcii »itb/ mtt ttt4 iM 
 (Sotclorc unb @&nbtt nrtlxinen 1. ^ctt. ^ 17.- 18> 
 
 i)f.lici;e ephratenseSx 
 
 EPHRATAj (BeDraCft Anno MDCC£.ZX%VI. 
 
 TITXE PAGB OF CHRONICON EPHRATBNSB. 
 
22 Music of the Ephrata Cloister. 
 
 The next venture was the Chronicon Efhratense. This 
 was translated by Brother Jaebez, and the MS. sent to 
 Christopher Marshall for correction and revision. The out- 
 break of the American Revolution prevented its publication. 
 
 The third work, and to us at present the most important 
 one, was Beissel's Dissertation on Harmony as it appears 
 in the preface of the Turtel Tauhe of 1747. The writer 
 has never been able to find a complete copy of this trac- 
 tate in English. A fragment, however, has come down 
 to us, proving the fact that it was translated and printed 
 in English ; but it unfortunately lacks the title and con- 
 cluding pages. Such portions as we have are printed 
 verbatim et literatim, the missing parts being translated 
 and supplied by the present writer. 
 
 The attention of the writer has been repeatedly called, 
 by musicians and other competent musical judges, to cer- 
 tain glaring errors in the music as printed in the musical 
 chapter of his work, and supposed to have been a correct 
 translation of the Ephrata scores into modern notation. 
 The writer greatly regrets the inadvertent introduction of 
 this erroneous matter into his work — mistakes for which 
 he can hardly be held responsible. In compiling the 
 chapter on the Ephrata music ^ the writer, not being an 
 expert skilled in the rules of harmony, nor proficient in 
 instrumental music, entrusted the transposition of several 
 specimen pieces into modern notation to the hands of a per- 
 son whom he believed to be a competent and practical 
 musician — one who claimed to have some knowledge of 
 this kind of music. Fortunately for the writer, only three 
 of the transpositions were used. 
 
 The many criticisms which they brought forth led to a 
 closer and more general examination and study of such 
 Ephrata scores, manuscript music books and sheets as were 
 
 ' " German Sectarians," Vol. II., Chapter VI., pp. 127-160. 
 
An Efhrata Score Book. 23 
 
 available, and a comparison of them with such descriptive 
 and explanatory matter as appears in the Chronicon, the 
 Turtel Taube and other books of the Ephrata institution. 
 
 Since the issue of the final volume of the " German 
 Sectarians," quite opportunely several new and heretofore 
 unknown music books and manuscripts were found and 
 brought forth from their resting-places, and were kindly 
 sent, by their various inheritors, owners or legatees of 
 some of the old Sabbatarians, to the writer. Two of these 
 books deserve special mention, as they give to us the 
 key to the whole system or manner of the rendition of the 
 music, and how it was originally written or composed by 
 the versatile genius on the Cocalico. These books, in 
 fact, bear the same relation to Beissel's musical hiero- 
 glyphics that the Rosetta stone does to the Egyptian ones. 
 One of these books appears to have been the score book 
 of either Beissel or some other leader of the choirs. It 
 also differs from any of the other known music books, as it 
 contains some of the music as originally written by the 
 composer, Conrad Beissel. In some places the entire four 
 parts are written consecutively upon a single staff, the 
 clef being shifted to suit the voice or part. In many cases 
 the words of the hymns are also divided, showing the num- 
 ber of words sung respectively to each bar, which in many 
 cases is an arbitrary selection. 
 
 The other book shows how the above four-part music, 
 as originally written on a single staff, was written out 
 when used in actual practice. 
 
 Another interesting bit of information that has come to 
 light in this connection is " Beissel's Apology for Sacred 
 Song," a colloquial tractate consisting of eleven questions 
 and answers whereby Beissel justifies the introduction of 
 sacred song. This tractate is now for the first time ren- 
 dered into English and here follows. 
 
CHAPTER II. 
 
 Beissel's Apology for Sacred Song. 
 
 S it consistent with the 
 Word of God that we 
 sing? 
 
 Yes, as we find in both 
 Old and New Testaments 
 commands and examples. 
 Psalm Ixviii. 5, 33; 
 Matthew xxvi. 30 ; Eph. 
 V. 19; James v. 13. 
 
 Who shall then sing? 
 All the saints of God, 
 whose hearts and mouths 
 are full of praise, thanks- 
 giving and prayer. 
 Cannot the godless sing a hymn in a manner acceptable 
 to God? 
 
 Oh, no, for, like unto the prayer of the wicked, so also 
 is their song abhorrent unto God. The bawling of their 
 hymns pleaseth Him not. Amos v. 
 Why cannot such people sing rightly? 
 Because they have not the spirit of Christ, who alone 
 can intone the true tone and song. 
 
 (24) 
 
The Song of the Early Christians. 25 
 
 How sang the early Christians? 
 
 One of the old chroniclers speaks thereof as follows : 
 
 "The husbandman sings behind the plow a joyful 
 hallelujah ; the tired reaper enlivens himself with psalms, 
 and the vinedresser sings portions of David's hymns, and 
 so forth." 
 
 At their meetings did they sing together ? 
 
 Yes. For as they met together before break of day 
 they read some selections, offered prayer, and in the sim- 
 plicity of Christ sang hymns of praise as heathen writers 
 have testified of them . 
 
 Did they sing at the table? 
 
 Yes. In place of disgraceful laughter and unnecessary 
 conversation at the table, they, with wife, children and 
 guests, intoned hymns of praise and thanksgiving. 
 
 How shall the heart be qualified when we want to 
 sing? 
 
 As it has been crushed under the law and made pensive 
 after God, then comes the Holy Ghost and brings peace 
 and joy into the heart, that the mouth overflows to the 
 praise of God. 
 
 What is meant by the psaltery with ten strings, of which 
 David speaks? 
 
 As the tenth number is a perfect number (when one has 
 counted ten, one begins again and commences with one), 
 therefore is Christ our psaltery with ten strings, whose per- 
 fection is continually in our hearts and to be sung with our 
 lips. 
 
 Who therefore teaches us to sing aright? 
 
 The Holy Spirit, as the true singing-master, can turn 
 the heart into a celestial harp and divine instrument, so 
 that it can be used without outward instrument and sound, 
 and often also without any audible voice. 
 
26 
 
 Music of the Efhrata Cloister. 
 
 Is it not sufficient when one outwardly listens to a beauti- 
 ful melody? 
 
 Oh, no. Paul speaks : " Sing unto the Lord in or with 
 your hearts." Even the lips of the godless can carry a 
 fine voice. 
 
 Intone then ye saints to the Lord, intone a hymn unto 
 the Lord, with the celestial choirs of the upper and lower 
 Jerusalem ; yea, let everything that hath breath praise the 
 Lord. 
 
 Hallelujah. 
 
j 
 
 '&!&*' 
 
 fl 
 
 i 
 
 m 
 
 mm 
 
 ^^m 
 
 i 
 
 C-lJBfc 
 
 ai 
 
 jf^S 
 
 J^ (^^s 
 
 ^^^/™^5^^ 
 
 /d^^mS^ -J^^^^ J'^^^^St 
 
 i 
 
 ^ 
 
 m 
 
 ^ 
 
 mm^ 
 
 mm^mm 
 
 CHAPTER III. 
 
 The Music of the Kloster. 
 
 .HE finding of this new material 
 and the discovery of other 
 interesting features of mys- 
 tical Pennsylvania music, to- 
 gether with an earnest desire 
 of the writer to correct the 
 evident errors in the musi- 
 cal transcriptions in his chap- 
 ter on the Ephrata music, 
 have been among the incen- 
 tives to write this paper, and 
 thereby to perfect his account of the Kloster music. For 
 this purpose he has secured the cooperation of the Rev. J. 
 F. Ohl, Mus. Doc, well known as a musical editor and 
 writer on musical subjects. This authority has made 
 correct transpositions of the native Pennsylvania-German 
 music into modern notation, enabling us to present in its 
 proper light the peculiar system of harmony evolved in 
 the versatile brain of Conrad Beissel in his seclusion on 
 the Cocalico. A number of illustrations, sufficient for our 
 purpose, are given both in the original and in modern form. 
 The system of harmony here brought to our notice, it 
 must be remembered, was the original outgrowth of the 
 
 (27) 
 
28 Music of the Efhrata Cloister. 
 
 mind of a comparatively uneducated man, whose practical 
 knowledge of music was limited to a few scrapings of 
 dance music when he was yet a journeyman baker in the 
 Fatherland. How much instruction he may have received 
 in theoretical or practical notation from Ludwig Blum 
 during the latter's short sojourn on the Cocalico it is difficult 
 to surmise. But, judging from the tenor of the Ephrata 
 
 AI,I<EGED PORTRAIT OF CONRAD BEISSEI,. 
 
 records, Beissel evidently received no information from 
 Blum, except such as was carried to him by Sister Anas- 
 tasia and her associates. Yet here we find Conrad Beissel, 
 we may say almost at a moment's notice, without previous 
 
Curious Features. 29 
 
 preparation, teaching and publishing novel rules on har- 
 mony, composition and vocal music — taking for his guide, 
 the records inform us, the ^olian harp — in other words, 
 the music of nature ; and in less than twenty years he com- 
 poses, it is stated, over a thousand different melodies and 
 tunes, set in two, four, five, six and even seven parts, to 
 as many different hymns, most of which were also of his 
 composition. 
 
 A curious feature of this Ephrata music is that it was 
 chiefly sung by female voices ; thus the four-part pieces 
 were rendered by a female tenor, alto and soprano, the 
 music being written in the movable C clef, while the bass 
 appears in the F clef. In the five-part scores, a second 
 bass is added, making three female and two male parts. 
 The six-part compositions have the same arrangement, 
 with the addition of another female tenor. An additional 
 high female voice completes the seven-part music, which 
 I believe stands unique in musical literature. This had 
 five female parts and two male: viz., two sopranos or 
 high female voices, one alto or counter tenor, two female 
 tenors, and first and second bass. 
 
 The peculiar arrangement of the voices prevailed in all 
 the Ephrata music, a peculiarity which is distinctly men- 
 tioned in different contemporary MSS., which state that 
 all the parts save the bass, which is set in two parts, are 
 led and sung exclusively by the females. Thus, in the 
 seven-part music, counting from below, the first part is 
 lower bass ; second, upper bass ; third, female tenor ; 
 fourth, female treble ; fifth, counter, high female voice ; 
 sixth, leading voice ; seventh, second leading voice. 
 
 Our illustration of Beissel's seven-part music, Gott der 
 Herscher aller Heiden, is taken from the Paradisisches 
 Wunders^iel of 1754, which was his last musical work. 
 
30 
 
 Music of the Ephrata Cloister. 
 
 /«tP>(?<^«to ©«nWn:«On:S)fBrni,li« frin ©cW toft wlro tmlft^ Itttob 
 OA^trC'Urt) *i Wtcftt Men ^c* (Ktfltljn: ttoni SSRStcn f(i6nttirl> 
 fiOiliwtni, i||r«»cU »«> laffm nrt^ rtctm, fo vm man SKM^unf SBonnc fc^i« 
 
 *^ . T> -■**- 
 
 ^ 
 
 I II » -ft, 
 
 
 ' ? '/i'/li ' 
 
 > -*1OT-t 
 
 S::;^! 
 
 
 ?-«l-T 
 
 ^^ 
 
 — ;■ 
 
 ^ 
 
 :g 
 
 I 
 
 :^ 
 
 i 
 
 L . 'i '^ M 
 
 ■a^-^ 
 
 T ',A ■^•' 
 
 ^3=r. 
 
 I 
 
 T- * * V 
 
 •^rxr 
 
 -f^ 
 
 l-I^ 
 
 r:^3cj3 | 
 
 i 
 
 -^ 
 
 i * *; <■' 
 
 1 
 
 ■ f ' T .« 
 
 *S 
 
 . .^11 ,':^. 
 
 ^A 
 
 , ,(^vf;^7 ^^ 
 
 ; ^ i-LX 
 
 =jii?S 
 
 j ^>t< 
 
 " t| 
 
 ¥^ 
 
 <•) ' ■? > , 
 
 fc^ 
 
 ^ 
 
 '•4^^ 
 
 :j:i 
 
 3 
 
 -r i '■■ 
 
 -"»-fr 
 
 t 
 
 fe 
 
 ^ 
 
 ^ V-J-" ""^^-^ a 
 
 I 
 
 i 
 
 ^ 
 
 iSr- ■ 
 
 itr fit n^agt/ J9i 3}6ldn ((^rl aic eOnc^ Staut nun (in^nflc^t. 196. 
 
 P^=^ 
 
 A SEVEN-PART MOTET. 
 
Choral Songs. 
 
 31 
 
 and the Chronicon says that it was by many masters de- 
 clared the most important. These were the choral songs, 
 and they consist of a folio volume partly written, partly 
 printed. 
 
32 
 
 Music of the Ephrata Cloister. 
 
 AN EPHRATA SISTER FROM II,I<UMINATED HYMN-BOOK. 
 
CHAPTER IV- 
 
 The Hymn-Books of the Community. 
 
 HE earliest hymn and music 
 books of the Ephrata com- 
 munity were all laboriously 
 and carefully executed 
 with the pen. These were 
 supplanted by the hymn- 
 books printed for their use 
 by Franklin in 1730, 1732 
 and 1736, and Sauer in 
 1739. Shortly after the 
 large printing press was 
 established in the institu- 
 tion on the Cocalico the membership as well as the num- 
 ber of original hymns and tunes having greatly increased, 
 it was proposed to issue a distinctive original hymn-book 
 for the uses of both the solitary and secular organizations, 
 all of the compositions being the work of the inmates of 
 the Kloster and set to tunes of their own. This book was 
 to replace in the Kloster worship those previously printed 
 by Franklin as well as the Weyrauchs Hiigel, which bears 
 the imprint of Christopher Sauer of Germantown. 
 
 (33) 
 
34 Music of the Efhrata Cloister. 
 
 GOTTilCHE 
 
 tiehes und holes gethSne 
 
 Welche in den herczen der kinder 
 derweifzheit zufammen ein4 
 
 IJnd von d» wieder aujhgafhjllen 
 
 2UM LOB GOTTES, 
 
 I7nd nun denen ichulern der himliichen 
 
 mreiizheit 2ur erweckung und auf- 
 
 munterung in ihiem Greutz und 
 
 leiden aus hertzlicher lie* 
 
 be mitgethcilet; 
 
 D A N N 
 
 •Ai» UA t^SUa fiig, hti^ff Gm den iefiep Prt0i 
 VU^rimmfiigaimu, diealkr/dtSefie vaifs, 
 
 ^ im mnnnnuuuiiiixmiinimm m 
 
 7,n<PhladeIj>hia: Gedrndttt^^m/ama 
 FratdJ/fi in der Mitr(k^f^ ^y>* 
 
 HYMNALS OF THE EPHRATA COMMUNITY, 
 
Hymnals of the E-phrata Kloster. 35 
 
 V O R S P I E L 
 
 NEUEN-WELX 
 
 Welches iich in deflet^ten Abendroethe 
 
 als ein paradififcher Lichtes-glancz 
 
 unter den Kindem Gottes 
 
 hieivor gethan, 
 
 tMBES^ UQBESy LBWEm^ KRJFFT 
 
 and Bifahrungs tiedemi^iebildety'd^ 
 
 gedtiScktey gehuchie umCretttss* 
 
 trag^iSe Ksrche a^Erdeni 
 
 Die obere find Triumphirende Kif^ 
 
 als cine Paradieiirche vorkoft.hei>*' 
 
 vorthut und ofTebl^ahret* 
 
 Ernlllicfae und zarufiende wSchtjcrfiiflUneil 
 
 aa^lle annoch zerftreuete Kinder Gottes; dv(k 
 
 ilch laiamleo und bereitmaohen aaf dea 
 
 italdigen ; Ja bald herein brechea> 
 
 ^D Hocbseit-Tag derbrauc 
 
 des L^qofioi 
 
 SLa '<P&iladelplbia i Gedrackt bey B,enjamia 
 FmcUiotMdaMttek^rifs* 1731. 
 
 HYMNAI,S OF THE EPHRATA COMMUNITY. 
 
36 Music of the Ej>hrata Cloister. 
 
 'TSdrBieiiMe 4^Skis ^o^en 
 
 -and 
 aJif 
 
 0'mfiM' d y ^ 4 
 
 HYMNAI,S OF THB EPHRATA COMMUNITY. 
 
Hymnals of the Efhrata Kloster. 37 
 
 JACOBS 
 
 KampfF und Ritter-Platz 
 
 ^ ALL wo 
 
 Der nach fcinem urfprang fich fehnenae 
 
 gcift der in Sophiam vcriiebtcn feele 
 
 mic Gott um den neiien namen 
 
 geruDgeii, und den Sieg 
 
 davon gecrageU' 
 
 ENTWORFFEN 
 
 mVNtEKSCHIDLlCHRNGLAUBmS- 
 
 0. ydenS"liederniU.erfahrungs volknaus^ 
 
 iruchangendes germths^ dmnmnfich 
 
 dar ftelkty fo laol aaffeiten Gotfes 
 
 Jeineunermttedete arbeitzurrei*^ 
 
 ttigmgjokher feeleny die fich 
 
 Teimr fnerung atrvertrauU 
 ALSAUCH 
 
 AtlfiTeiten des Menfchen der ernft de» 
 
 geiftes im aushalten unter demprocos 
 
 der laarerung und abfchmeltzoog 
 
 des Menfchen der Sunden famt 
 
 dem daraus entfpringen- 
 
 den lobes-getbon. 
 
 2XJR 
 
 Gem&thlichen erweckung derer die das'faeil 
 
 TeruCalems lieb habep. 
 
 VERLEGET 
 
 Vm iioem llebhaher d(r wabrbeit dii'mvtt* 
 
 horgemn loohnt, 
 ^^•55^ «0Sla» «oigt» «(KSt» ^50^ «bP.8^ «o5 
 TM^Bhikdel^hia^ gcdnicktbcy B.P* 1730. 
 
 HYMNALS OF THE EPHRATA COMMUNITY. 
 
38 Music of the E-phrata Cloister. 
 
 ZIONITISCUER 
 
 Ot)»: 
 
 wr^en 
 
 OSJonnnm affericp (iebrtc^eg unb wo^( rfet^ene 
 9iau(t|:aSBer(f jtt finDen. 
 
 Sn aBer[ei>Siebed»20Burcfun9cn Dfrm ©O'^'S 
 
 snitiligftnSedtn/ »el(t>eil(& in oc«ler unb ffiancbeclto 
 
 gei|lli(t)m unD liebliKien PieOecn au^scbilbtl. 
 
 9((d barinnm 
 
 fen (5(Dtte6 attf unterfc^teMtcbe tTcife 
 trcffiii^ aiis 0edrii(fet ili; 
 
 Sum S)ien(l 
 
 5)cr ill bem 2lbcnt)*?flnt)ifc^cn 2Beft*Tf)«if aid 
 
 b(i; beni Unttcgang Dec 0oiineii (c»c<fien Jtir(()c 
 
 (SOitej, unt> jti ibrcr Srinnnftriing auf Die 
 
 ^ii<(tndi{)'ig( 3uf nnffl DeS SrdutigamS 
 
 ans Jlt4)t gciSeben. 
 
 CSC 
 '(Seriitan'oiDa \ ffit&riicfr bep €^rilIog^ 6autr. 1719 
 
 HYMNAI^ OK THE EPHRATA COMMUNITY. 
 
The Solitary Turtle Dove. 39 
 
 (r($e. 
 
 ^^ Dorinnm bep^cd die S)otf oft dec mum S8e(t a(^ 
 «m(^ (ie (at^n>tr(6en vorfominmDe ^mt0e^siin& €ei^»itf# 
 
 geiftlic&e 0{eimm gebmc^t 
 
 $8oneinem ^tiebfamen un( nac^^er 
 
 fhum (Stoigmt tvallendm 
 {Tepmtmlet wn^ an« Li^t segebm 
 
 E P H R A TA 
 
 HYMNAW OP THE EPHRATA COMMDNirSC. 
 
40 
 
 Music of the Efhrata Cloister. 
 
 ara6(jlf(pfg 
 
 Sn Wcfcn Ie$tcn Seitcit unb Sa^en 
 
 3n bcnm 3ll)en^gdnbtfc(|en sa3fMt)eiIm alJ rin S8or* 
 
 fpt^I ^et neueit Se(t fervor get^an. 33eiic$en^e 
 
 Sn einei' gan& neueit uiU) un^meinen (Sing* 
 
 3[rt atif SBeife t>ei: ^ngafc^n un^ ^ttnnt' 
 
 Iif4ien ffi^^ren cingerit^tet. 
 
 nU )ifmt no<6 mcbma Srasniiffen au< Wt Silxl lm^ ontttn i^etlisro 
 
 in li(6Il($( QRclotven gcbta^t- SBoiitQ nfa^ tetirigct AtrSunif tcr 
 
 fSrout »c« Camnij, fommt (n Subeteltung onf tm ^Jiudm 
 
 $o(83rtt»Ia3 frrffltco Prxfigurin nrtt», 
 
 ani«.oai$ Sognjiten (r^Sno (Bcfanst'Xdft mtt »ft( SDlfi$t mt gnlhn 51(9 
 ou^gcfnttact eon dntm 
 
 Ccr fdoU in bi'crer XX>ix w^tt timtm no<{> CM rwAet. 
 
 EPHRATjE Svunptibus Societatis: 1754; 
 
 TITI,E PAGE OF BEISSEI,'S MOST IMPORTANT MUSICAI, WORK, 
 THE EOI<IO CHORAI, BOOK. 
 
Hymnals of the Efhrata Kloster. 
 
 41 
 
 Sum 
 
 ©efdnfl t)cif einfamen 
 
 urfel ^a* 
 
 ent^aIten^ cine neur @ammlun3 
 
 EPHRATA fjrucf^ bet ^nikrfiliap 
 
 Wtig »e( emfanten 
 
 3at gnn(lar4afFtni$(n <£t6auung g(> 
 famnM ull^ antf CictXflcgtttg. 
 
 bPHRjirx T/fit Sxielatii Anno 1764. 
 
 €tit 
 
 ofcititit&V^ 
 
 
 au5 itt @4)>Dc9er(i#tfl ® tfriU 
 
 f*afft tttSAEONi ' 
 
 SmS«6f M^m i7f 6v 
 
 (gin 
 
 pfraun5^t(trtt 
 
 ®teiinsN6ct:S)einut6anftf 
 «>mS)ocnrB^er»or5cii)a0fm. 
 
 
 3m3<ftt jrtUrtS i7f 6. 
 
 I<ATER ADDITIONS TO THE TURTBI< TAUBE op 1747. 
 
42 
 
 Music of the Efhrata Cloister. 
 
 
 \ 
 
 3n &iefen ieltmSeitm irn^ $agenth^ritm3C6ettN 
 
 2$e(iel7ett& m etittt neuett @4nimlatts anb^AtulKC tuib 3imt .£o^ 
 3ium C&m tnibltcimt: &(b<t:. 
 
 EPHRATM: Typis& Ccmfenfu SocieUtis A: D: JM D C C L X Yf» 
 
 THE GREAT HYMNAI, OF THB EPHRATA COMMUNITY. 
 
Hymnals of the Ephrata Kloster. 
 
 43 
 
 
 ^tfgm, <9(tniA tn-'Sa^ irtit^ 
 
 TITXB PAGE OF lyAST HYMN-BOOK PRINTED BY THE, EPHRATA COMMUNITY. 
 (Original in collection of the writer.) 
 
44 Music of the E^hrata Cloister. 
 
 £)truntfrMf5ittigeni>nt)trt«iTenm 
 
 Itttfainen. 
 
 $a$tI<Q( ^a« SSun((r itt ^(mitiKrc&m ^citf^dt (n cine gfffj^ 
 
 (t(^ Gc^ule }uf(immrn get)ra(t>t: in tcrli^er (te in mans 
 
 <9«;k9 aetflftc&m Uebungcn Dm 2Bitt»(n>un& 
 
 SB(l9^ctl^@tan^ crlanger, 
 
 tlnl> fofcCcn (IT 9c(|!ffc^ STneac^ftn iin» ifcecm on %m gt^ctit 
 
 S9t(d!K null/ (ur s<mc(nr(^afftric6(n Srfraimns, a(« da tHai^? 
 
 (I<ui5 ttm @(|;$n9 Cer veriaffenm %wx\a» 
 
 EPHRATA in Penfylvanlen 
 
 %!!gg.»ni> ggertagg iitr gaitrja^lftrAnno MDCCXLIX. 
 
 SUB-TITI,E OF THB EPHRATA TURTEI, TAUBE. 
 
©etWe asraut^cj^mucf 
 ©ei* ^eiliacn 
 
 ant lit g. 
 
 Hog 
 
 Sec cinfameit itn^ mloffenm 
 
 S)ie <]t9dre txtf i^immettf Oitnmm ittit mi/ iioD tHe 
 
 taafj^femM 
 
 7 
 
 Ate (!( enve^et t»(r& 
 iittq)rop§rtir(§m©rtfl 
 
 iin& erMWtt i|re ittWnfftige asemeduns 
 
 tmttt 
 
 StofmunDSilteit. 
 
 (45) SUB-TITXES OF thb ephrata ttirtel tatjbe. 
 
46 Music of the Efhrata Cloister. 
 
 This movement resulted in the issue in 1747 of a small 
 quarto of 360 pages, seven and one half inches by six 
 inches, known as the Turtel Taube, which contains some 
 277 hymns. This book, so far as we know, was the first 
 original hymn-book printed at Ephrata, and the first to be 
 printed in the western world, wherein all of the hymns 
 were original compositions. 
 
 This collection is divided into six parts, viz : 
 (i) Der geistliche Brautschmuck der heiligen Jung- 
 frauen, 60 hymns. 
 
 (2) Das Kirren der Einsamen und Verlassenen Turtel- 
 tauben, 62 hymns. 
 
 (3) Die Braut des Lamms, als sie erwecket wird, an- 
 them and choral. 
 
 (4) Abend-ldndische Morgen-Rothe, 88 hymns. 
 
 (5) Gilfende Hertzens-Bewegungen, 35 hymns. 
 
 (6) No special title, but ornamental head piece, 31 hymns. 
 
 
 tern Cxtm crbltcf et m'rfr: 
 
 ©efdngem 
 
The Turiel Taube. 47 
 
 About two-thirds of these hymns were contributed by 
 Conrad Beissel. The collection of hymns, 277 in number, 
 is prefaced by a foreword of five pages, and a prologue of 
 fourteen pages, the whole really forming, as before stated, 
 a treatise on harmony. At the end of the volu me there 
 is an epilogue and conclusion of " the song of the solitary 
 and deserted turtle dove," an invocation of three pages in 
 bold display type, followed by the usual index. 
 
 Two other editions of the Turtel Taube of 1747 were 
 issued subsequently without change of date, but differing 
 
 gcr'faflenen ^inttt 
 
 Ttas ^er Propbettfcben VOmnA Aufse/ucbt/ utib w 
 
 2!ktrd)Iidx!t Uebunfl tmtgetl?«Iet von mm 
 
 fMcf)t>ct: fliUeit i^wi^titxccMt^m 
 
 gmbfamen. 
 
 somewhat in the arrangement after page 294, together 
 with the addition of a large number of hymns, and an 
 elimination of a few of the original edition. Thus, in the 
 second edition 1749 ^^^ P^'"* known as the Gilfende Her- 
 tzens-Bewegungen consists of 114 hymns all of which are 
 the work of the solitary brothers and sisters. Most of the 
 hymns of the sixth part of the original edition are rele- 
 
48 Music of the E^hrata Cloister. 
 
 gated to the fifth part, and an entire new part containing 
 47 hymns by Beissel is added under the title " Von der 
 Zerfallenen Hiitte Davids, und ihrer Wiederaufrichtung" 
 etc. The collation of this edition is the same as above 
 
 m 
 
 a u f 9 c t i (() t ( t 
 3ur ^efronnng ^f6 <ptieftfr OrDcntf uv Sinfamcn in 
 
 ^on einer ©trdteriit 3(?fu %\}X\% 
 
 except that it contains 372 hymns, pp. 495 ; no epilogue 
 but seven pages of index. 
 
 The last and complete edition of the Turtel Taube of 
 1747, issued during the next decade without change of 
 
 sncK^ffbf. 
 
 Ser ©eiji f*Itefet mit emem greu&en* 
 vfic()enSo6 im&!£)ance/ imb cinem 
 
 date, is virtually the same as the one just described except 
 
 that a page of hymns is added in brevier. Then follows : 
 
 * ' A spiritual monument and Eulogy Erected for the 
 
 crowning of the priestly order of the solitary in EPH- 
 
Music of the Efhrata Kloster. 49 
 
 RATA, by a female Warrior of Jesus Christ who for 
 many years has suffered spiritual Martyrdom ;" this is fol- 
 lowed by an epilogue, 
 
 ••The spirit closes with an abundance of Praise and 
 gratitude, and a prophetic fragrancy of Lilies," the last 
 page of this epilogue being the same as the one in the 
 original edition, except that it is printed in the regular 
 type. The additional matter forms eight pages and the 
 usual index is also included in the book. It is in the pro- 
 logue of this hymn-book that our interest centers at the 
 present time, as it contains Conrad Beissel's dissertation 
 on harmony, setting forth his peculiar system of music. 
 As has been previously stated there was an English ver- 
 sion of both foreword and prologue. A fragment, how- 
 ever, of the former alone is known to the present writer. 
 
 A complete translation of the foreword is here pre- 
 sented, such parts of the original English version being 
 presented verbatim. The whole matter as now given in 
 its entirety, amplified by fac-similes of original scores, text 
 and Beissel's apology for the introduction of sacred song 
 into the curriculum of the Kloster, will enable the student of 
 the future to form a better conception of this peculiar out- 
 growth of the mystical Kloster theosophy on the Cocalico 
 than was heretofore possible, while to the would-be critic, 
 who is non-conversant with the German tongue and the 
 history of the mystical speculations of the Ephrata Com- 
 munity, it will offer an insight into Conrad Beissel's strictly 
 Pennsylvania-German musical structure. 
 
 Before passing too strict a judgment on this music for 
 its constant violation of the accepted rules of harmony, let 
 us consider how both hymns and music originated. 
 
 These hymns and tunes were virtually the outpourings 
 of religious enthusiasts, whose nervous systems had been 
 wrought up to a high pitch by incessant vigils, fast- 
 
so 
 
 Music of the Ej^hrata Cloister. 
 
Hymnals of the Efhrata Kloster. 
 
 SI 
 
 ings and an abstemious mode of life. Then, again, it 
 must be considered that neither Beissel nor his musical 
 co-laborers seemed to understand an3^hing about harmony 
 beyond the rules governing the common chord and its 
 inversions. So far as known no one connected with the 
 community was a skilled musician. 
 
 The only known portrait of prior jaebez 
 
 (rev. JOHN peter miller). 
 
 Just who the author was of the foreword and prologue 
 cannot be definitely stated ; it is usually credited wholly 
 to Beissel. The dissertation on harmony is undoubtedly 
 
52 
 
 Music of the E^hrata Cloister. 
 
 solely his own composition. The literary portion, how- 
 ever, shows the evident pruning of Prior Jaebez (Rev. 
 Peter Miller) who was without question the translator of 
 the original English version. 
 
 A page of the most important part of the system of har- 
 mony is reproduced in fac-simile the better to enable the 
 reader who does not have access to an original copy to 
 compare the present translation with the original. 
 
 The utility of presenting a complete translation of this 
 matter prefixed to the Turtel Taube may be questioned 
 by some. In the writer's chapter on the Ephrata music 
 in his German Sectarians, only the vital parts bearing on 
 Beissel's system of harmony were presented. The desire 
 having been expressed in some quarters that it were well 
 to have the matter in its entirety, regardless of its mystical 
 and vague phraseology , the whole matter is here presented, 
 together with fac-similes of the subtitles, and illustrations 
 of the "Spiritual Monument" and Epilogue, which are to 
 be found in only a very few of the known specimens of 
 the Turtel Taube of 1747. 
 
 M mmxi 
 
 Sjr Cfi ©OK! lie? »o($ rtn»it»IrtriiKattf<(8fift mWBaf 
 <* nml <iuf mtlnffl fljofra fo Mtctf4 flo-iflm an* 6« 
 ®4ttittjni, n. Wit trt Suttu sajrft, U (<5 *« \,\Am €»» 
 nietmir tm« €el)cn fangt ant cffl teat WB,®aiffim xa^u, 
 iragt: l<0 ()al> jn aDm Sleifiu. uin airoimr iiadn Ju tban,nKi< 
 Itrc M«n aanenn ^n^ni/Ba. Mt gffant. SSir fttwia ton* 
 
 gtdm wit gtofmi ^(t^diM^ 
 
 ju mtin Cettn ftllifJ, auf« te te «t) txnt) «!!«* fajtm (afloi, 
 fttfl ftingnKflflt: fond tin t«n weUlTtJjthjfltoft r" " 
 (JtJnjnffcJ mug ja frf^ »«= (<9 f'N 'aflt«. 
 
 . U.cbWjrmSttcWfiWtt, 
 
 weU tit nittr^tofi mnnSK^m oK ivate i($ DRatmn, ro Ate 
 X. asanmi Bfft birl* 5a«(«»o(ftirt<ttanrju|If6diM. 
 tttit atmra Stion niU) Crtnun? mSteu; nitb 06 (cfioit itimuiMr 
 t4 tmftt ni<et tin Jtlfi, 6«Tog mid 3at)t tttriibt flTw. 
 fol<*C() ttagra (OH! tett in((*feii, r» wcig tcb dmA, Sirtn 
 »«nii trtne ®ftt im$flt(nifrtB BOttnrtrtiminiiwbflelim 6n» 
 (Hifidttinnr, »aS inue rr^stnii £)bsftl($ tn Saniiiut atofi M 
 t>nimanfBdn(tertrnt93fl()« Bm brttiWrn xagni, fp ni«H 
 (4 6<iti(ia nm M« mttoaacd i(ti t)o4 nocb »«o «ottM efi< 
 «)tn9t«)m,uiu>.8a*Mi«<iUmfini?f«fltB. •'""'"wii.. 
 Sag rtn WmttlUSrtT&bcn; . r. ©wj (ff ontto^ jut Prit 
 , J, 3(1 tMim twflt(rmi8aWeIfielteftt)n;tct9(n,ttn| 
 
 HYMNAI<S OF THE EPHRATA COMMTJNITY. 
 
o 
 O 
 
 3 
 
 O 
 r~ 
 O 
 
CHAPTER V. 
 
 The Turtkl Taube of 1747.' Foreword. 
 
 T IS written, "Behold a Tabernacle of God 
 With men." Rev 21. There is a dam broken 
 of the heavenly ocean, through the forth- 
 coming of the Church. Which from eternal 
 ages remained concealed in God, as between 
 Father and Son : but in due time appeared among men, 
 and has now as in the last days, shown forth herself anew, 
 with vigor and strength as in the early ages. 
 
 This holy Church, having through the heavenly dove ; 
 which in the early days decended upon our high head 
 Christ, at his baptism ; appeared in the world, and from 
 time to time drawn souls unto herself, who under her pro- 
 tection, remained steadfast unto the end in their calling, 
 we believe the Church to possess, a renewing, reviving, 
 and sanctifying power. And that all, spoken of by the 
 prophets and apostles, which should come to pass in future 
 ages, finds its beginning in the Church ; in which all the 
 wonders and powers of future glory are found concealed. 
 Whosoever therefore, honoreth the Church, honoreth God : 
 for God is in the Church; and he that abideth in the 
 Church, abideth in God, and has his free city, where he 
 
 * Original Bnglish version. 
 
 (53) 
 
54 Music of the Ej^hrata Cloister. 
 
 may find protection when pursued by the blood-avenger of 
 the powers of darkness. Deut. 19. 
 
 After the same manner in which God, reveals forward 
 into eternity through the Church, all his mysteries : it also 
 remains for him to receive from the Church, praise, and 
 the glorifying of his name, unto everlasting ages. In ac- 
 cordance with this, it was ordained by the spirit of the 
 Church, or heavenly dove, that the talent of singing 
 should be added unto spiritual services, and be employed 
 in outspreading the praise of God unto endless ages. 
 
 By the use of this talent the holy angels, made known 
 the near approach of the Church, when they at the incar- 
 nation of him, who was the heart of the Church ; entered 
 within her borders, and by singing gave honor unto his 
 appearance in the flesh. 
 
 We who were lying at the hedges, having by the good- 
 ness of God, been brought unto the Church, that we might 
 become heirs to the kingdom prepared for the righteous, 
 through the sanctification of the blood of Christ, he, who 
 is the heart of the CHURCH. We have in this Church 
 found a strong support in setting forward our spiritual 
 labors ; and greatly find ourselves indebted unto her for 
 the many privileges bestowed upon us, from which we 
 have derived so much profit. For untill the present, she 
 has been unto us, when forsaken, our spiritual mother; 
 when comfortless, our nurse ; in cold, our garment ; in 
 heat, our shadow ; in shame, our crown ; in loss, our gain ; 
 and in want, our abundance : yea, she has outspread her- 
 self over us, with her wings, like a hen over her little 
 ones, and protected us from the robbing hawks of the 
 regions of despair. 
 
 We nevertheless found, upon entering into the Church, 
 a contrariness of things, between ourselves and the spirit, 
 
Hymnals of the Efhrata Kloster. 55 
 
 preparing the way to a newness of life. For as said be- 
 fore, God having ordained, that through the church his 
 name should be glorified; there were required, voices, 
 hymns and music written for the use of the singers. 
 
 After the manner of heavenly things,there was found in 
 the Church an outflowing fountain of good. On the con- 
 trary, our state of being brought this with itself that the 
 good which flowed from the Church, was continually con- 
 sumed by our selfishness : through which such a loss might 
 have fallen upon the Church, as would have exhausted the 
 original fountain of good ; had there not remained in the 
 mystery of the Church, causes, through which her losses 
 could be restored. 
 
 Now as such a selection of hymns and music adapted to 
 the worship, of God; was not to be sought in our own 
 abilities, nor in the power of the unsanctified mind : (for 
 by the unsanctified mind, heaven is constantly being locked 
 up,) but in the abilities which God bestows : so we found 
 it necessary constantly to renew our diligence in practicing 
 selfdenial, if at all heaven should again be unlocked at our 
 natural state, and the praise of God from thence brought 
 out. So much then, as we made it our object to gain a 
 knowledge of church music, and to improve the talent of 
 singing ; so much was the toil and labor to be overcome. 
 
 In this way we were brought to see the loftiness of 
 heavenly things, the little value of our own works, and at 
 the same time were placed in a state of poorness of spirit 
 wherein alone the highway of holiness is found. Isa 55. 
 For the Church does not allow us to suppose that we of 
 ourselves can accomplish any good ; and he that has with 
 all his works become subject unto the Church ; the same 
 has indeed attained a deep state of spiritual poverty. 
 
 On the contrary, so far as consolation is sought in the 
 
56 Music of the Efhrata Cloister. 
 
 amusements of the visible world, so far we lose com- 
 munion with the Church : the spirit of singing, as the 
 heavenly dove, retreats : and the praise of God is no more 
 heard. It is therefore of the greatest importance to be al- 
 ways engaged in laboring for the prosperity of the church ; 
 and it cannot well be expressed in few words, what atten- 
 tion must be paid to a careful walk of life, and what 
 acquirements are necessary, to establish excellent church 
 music. 
 
 In this course of life, there is learned, the constant coming 
 off from one's self ; which is by all means necessary, if an 
 agreement of understanding, and a unity of spirit is to be 
 brought forth and established in our midst. Therefore, as 
 all this is found in the Church, we may expect ; that therein 
 trials without any cessation will continue to arise ; through 
 which our human nature may be so far subdued as to 
 allow the praise of God constantly to flow from the heart. 
 
 We also have in the Church, a sure prospect, with respect 
 to the salvation, which shall in due time, be revealed unto 
 all those who did not flee at the approach of trials, but have 
 sought to remain faithful in the service of their divine 
 Master. Here it nevertheless at length followed, after we 
 had long silent remained, that our spirits aroused under the 
 pressure, and coming to a state of heavenly meditation 
 gave God the glory who called us to such a work which 
 far exceeds anything which the natural mind is able to 
 comprehend. We therefore feel inclined to bestow the 
 highest praise upon the Church, for having brought us 
 under her control and government that we without her 
 consent, are not allowed to determine upon some particular 
 course of our own. Which, in like manner as it brought 
 trials upon human nature it also had the tendency to bring 
 to light an abundant supply of hymns, and that for the 
 
Hymnals of the E-phrata Kloster. 57 
 
 most part in those directions where the ice was first 
 broken. 
 
 In a general sense, the hymns contained in this selection, 
 may be looked upon as roses which have grown forth from 
 among the piercing thorns of the cross, and consequently 
 are not without some beauty of color and pleasantness of 
 fragrance. 
 
 And so far as the greater portion of them is concerned, 
 were brought to light in the rigid school of the cross, 
 within a period of many years, and for the most part by 
 persons who labored much for the edification of the 
 Church. 
 
 The spirit of the Church, having taught us in the course 
 of our spiritual labors, to place a high estimation upon the 
 hymns of the followers of Christ, brought forth in their 
 trials under the cross ; and believing them to be instruc- 
 tive, we have concluded to secure them as treasures, and 
 have in the compilation as well as in the print of this work, 
 applied our utmost care that no errors might occur through 
 which occasion might be taken to give our labors a low 
 estimation. 
 
 But to speak yet further of the compilation of this spir- 
 itual work; it is a field of flowers, grown forth of many 
 different colors, and of various fragrance : as they were 
 produced by the spirit of the Church, out of the Mysterio 
 of God. In some the spirit of prophecy, soared above all 
 mountains of the cross ; bidding defiance to his enemies ; 
 setting forth as present, the future glory of the Church. 
 In others, the spirit trod into the inner court, and exalted 
 his voice in the holiest of all. Again, others, have the 
 pleasant odor of roses; others, on the contrary, sprung 
 up upon the myrrh mountains. 
 
 [Here ends the fragment of the original English version in my possession, 
 J. F. S.] 
 
5 8 Music of the Ej)hrata Cloister. 
 
 [Now as the Church hath extended herself, so also have 
 the voices increased in our own spiritual school, in which 
 our hearts were the praise of the great God. And any 
 one who has had only a limited experience in this, our 
 spiritual school, can readily perceive that in this entire 
 work can be found naught that reminds one of human 
 effort or wild fancy, but that the words of the spiritual 
 songs herein contained, sprang from many and varied 
 emotions. 
 
 Here we would conclude our foreword, did not an impor- 
 tant matter still remain. For after having come into pos- 
 session of so rich a treasure for the praise of God, it became 
 a question in our spiritual school how our voices could be 
 cultivated for spiritual song ; hence such a matter of spirit- 
 ual practice became imperatively necessary as would bring 
 the voices into spiritual harmony and at the same time 
 make our sacrifice of praise conformable to good common 
 sense. Therefore we will now impart the preliminary 
 treatise on singing, which we esteem necessary to give 
 completeness to the work.] 
 
 [As the first part of the German Prologue does not bear 
 directly on the subject under discussion, we give this only 
 in facsimile.'^ 
 
Prologue of the Turtel Taube. 59 
 
 CHAPTER VI. 
 
 Sine 
 
 iff jtc^ m ()o()c utiD tt)fc&ti3C 
 
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 MxWmiml mi JrtD?u|m Don 6ef 
 
 ^mmm gtieJf(|mrniinjtnac$ 
 
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 »« /4«i^^<iii p^jwjttdi (tffi<4^fc-«f to W<ftt0r«if(»r<rr»!<ff s<r<>frc»i> 
 
6o Music of the Efhrata Cloister. 
 
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Prologue Continued. 6i 
 
 tim.me^r g((;jitff((/, nKtlcn.nir cine Undtc^n'ijfdt ie^ tin; fourteen/ bap 
 nrff, ©0'^iJi«d)t fonKn, jmc^ Ixm voffcit (gtuDnicf. lx« 0d|T«S fcet^rrii* 
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62 Music of the E^hrata Cloister. 
 
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 niip ((rgan^cn^ac^c <r(tci((( wertcn:: »ie in (tf{ aQ< 2(rt(n txr jJ)2<(oM* 
 <n <n f«l& fdbfl<|)W<<3<n<#<mitt JI^^%t ;^fl6{»: t»i« ,«t» 4uf »«* 9iB<f* 
 fc tu AnDtvn @ft'mm(niu iKiffm/ itnO wad vor^iK^fiiifrQt ■Atif'<in< j^te 
 ^<f( na^ i$rcrl2(r( dntreffen/ Dap ftc ni% ;#a>«|3!i£(ha'(»i« 4ln^ (tnd^ 
 >^cr (n(3(6dt latiffm. tJnb iDae; tvoUtn wfr (|^nnf0ii0<,^^<6du 
 
 ffltbtv ketcifleit/ Weibc <ti»f inwbwwl^ert mft t>eri&«Tt^en C4i>* 
 be bie bfo^«r<>ttHt^re^ ^r^fecrirt onM^e^^erMf 0en>efet> 
 i« aUm »nferrttX%€tr/^|te nirts battn witter wM-tftefeultiw^ 
 itiDenfcfeAfft Jeti» ®^etmiwg W iiebe . wttferfi^ .^CSottte »e» 
 bcleii; / fortbcrit bi'e pfortm bcr ^einHi^txt'vnb i^^rgeneii 
 tPeigbeit <iufffejtcgclt/ imb 3» wns t^trme' 0?ipritett7.itee.M 
 
 (.ttaJ «"^ 
 
Prologue Continued. 63 
 
 )£)wrre^e 
 
 ?*l ^;.^***"*"^"''* rtngero'oet/ WM mit t>crgl«4)«t eocb«rt 
 beKbafltiB* 3« KT"/ welcbe «Ut»omrt w jewer Welt )vert>ett 
 
 I0«rc3en{)<ii Mtftr 6a<tK <rf<*j>im; fe j«(i«b t»«r uni ml 
 riM Un<nMid)e aue tidun ma^oa, miiin soit in €rfi«* 
 )imi wcftr H«n0«J^3<«r«n3<t»K<m^o^ Smdkn <rltr« 
 )"«• 55rt »<r.l>ftM« nidbtAMn iinfan 6<tt<nn aii«6<tii 
 
 r^SLS?^"^^^'' *"*** C5tpcrli*<» fiber B*lt«b«ii 
 
 !S£*fftlL""5l i^«^"'"3*!L"^'^'?'<^f aeiwtvin,mmxmr> ia^$i 
 «B<n unf<tQ ^htm Stcfcftt^Bm imfc e*«n6<<t 6(mvM iotei, Affo ixtfi 
 
 ^ teS-^A^*"' T5'i •?"' "?"^"S» wdrdt on M< 6|«w 
 
 cTdl 
 
64 Music of the Efhrata Cloister. 
 
 tfei* un& ^oXiin \m @(Hj(n vorfDmint; ^<\vn illicit Uin({<i»Nn nitmo* 
 Itii ful) xm9,ix §ct)( jei^tt, D<r im l^lje n 2luf fiejgm ubtrDw redxaw 
 fi()en '^^on vortommt; wd4)<d wx oiki in vicfcin ii»M»ic^ri(jtm !}2ad)< 
 *mcf(ii b«{)(rv3«, n>a? ncinhd) ixr flb^cfattcnc iJRsnf* f<!)t> «n& witiin* 
 fucOti^ « Jctj ill ©ojfKcfien eacftcit, mjfwtjctt n><r aUcrWna* ««» W(f<ni 
 £)rt woQm ^(tt ^fnfanj mac^cn^ tvd( fofdK^ iit aa<r<r|{ »otfommf. S>cc$ 
 «{)c n>ir n>d(cr fdJKiKii/ »oflm mx tinm @cf)ri« juriicf 3<^n^ imb iit 
 ()!|{ noc{> (in xomo, bctroc^ttn / n>a« mbm ^cm^aKtm (it Mtftr (>o^eii 
 ;^ttn|tdc()6r</ (Kti>(i( tthfcr^inn nicfic daratif «i{« \^, Mtfo: ^f)m @aM 
 fc«r loort @Otf ^ocI)<gradirtcn @tn3«j\mt(l -»!'«( ©d&mucf ttnD (£^K (» 
 QBortcn aniufesm , n>ci(<n (!< fd)ctt mvor aUc^ »c(f<it vofr/ tin» Sdiitdfam 
 (f{/ ftc{) f((f)(r aitjitpKiftn. S>arum tMr mi atid) ttic^Vi<( ta(t fttrsMaKli 
 ^(j^cn tvoacn attff)(i((.<it, fbnbtrn )ur @a(4 fddff f(&rd«n; »o<4 dn '^S^ 
 tng<« <m 3JorbC93«JKn wcUKti/ tt«(*rt Mcjitf ^ofKtt ®d(l«^ 3t« w* 
 gsj{fw.f«ij«, Mitb dnrcft i»a« 9KifK( »<r itBtf 6<5 3^m rtnitw JtlieHma* 
 djltn^ ^<i| tt>ir <jt fdn« @(dcf)f)dt fommm. 
 
 2>te XPet^^ett vott 9ben/ bte bte^o uttj|ere ffe^e&tte ^Atp* 
 gebertti/ jdl^rerttt nn\> ^ Uwmi<i)$ ffewefeK t» Mtn »t^^ 
 VOtScn/ mb uns btefctf ^od^c^etire (Bkfd^eit^ o^t^^c* m* 
 mtfgel^fct; t>te 0ebe feriKr^ttt et»cm feglt4>eit / ^AJ «r in^fliiwttf 
 C^uti (0(l>te^efaU»f im& bei» iWmfcJjert wert^/ (^ wir^.^4» 
 
 £>& itvar tvoUi^ tMdm Uittvtffcnotit vi<(c iinf»<bl(^({<(t>c Uti|)(U( 9(fi(M 
 WtrDtit; dldc^ ali ob man m<t Mefcr von ®£)n ^d^idcatdRR im^ gradi^ 
 ten j^imft mit t«m ®d|l( M<f(r 'iSStHin @^<b^tit (Iiintt; fo t^nnt witbc^ 
 fo(($(^ gan^ nn» gar n<c^ d<f?<$(R; fontidm »k{ttui»r Mtf @(S(n(|d( m 
 <r»df<n ^bcn, wdkn n><r {ii Wtftr trtcfirfam ©aclKtwNr frtmK §<«♦<» 
 nod) gr<itif< ^a<tr gtbraiid^r; fonbcrn iH<b<tt <iKdnc b<9 t<n tnmf^idim 
 @fimm(n^ ad bit mxd> bai ^cnxscn btt S^m tm» @dfkr «n0(»«* 
 b(n ill 4ob unb (St)r< bm :2(IIm!icbff5(n. S><nn fo bU ge^ettm 4»n^ 
 verborgene YX>et^^e^t ntd^ttv^rt iu untf ^txm$*itei^x<x JCamm<rs« 
 mttn; (^ foftc um tool b<(r( @6t(it(^< ^un|! (bt 3<^m(tf 9{J4<i un^tKr* 
 ^9c(((r ^rf(f stbftebm ftpn. @i'ntemAr lefr s(f<<&(n Wti)ttt Nijstf xni 
 edU MtfcrOIMc fdn«i^n(? jit/ bit iwaQtirmii Ijiimmlii^Vf ^mni* 
 
Bnd of Prologue. 
 
 65 
 
 XX/tXi!^t. 
 
 (tl<d; fonll<m Xf^ tcsm victim^ i^xm \Xcfimi txm ^oxixU^i {1(9; cSax dod^ 
 fH/ (^ (^ fn »(nf<(6<fi (r|?or6(n,/ wit au^ t(r iO^cnfd^ Am S^ixmnU 
 
 fi^tbcr tuc^tta ttird.ititf ^immdnict) tiitiuscticn . 2Clfo ff? aitcf) fn »i(f«r @a« 
 
 fit tw'ct<t,mtf.<ns ^orflMW <in,, wci/m jbflftftfl ,i[)r «d^tti: Ur|?<in& «nl> 
 
 sHpTb^A^ 
 
 WATERMARK OF THE ZIONITIC BROTHERHOOD, IN THE TWO FIRST PARTS 
 OF THE TT7RTEI, TAUBE, SIG. A TO M, PP. I TO 90. 
 These were evidently printed several years prior to date on the title page. The con- 
 tinuation is printed upon a somewhat lighter paper. Two editions of the Turtel Taube 
 were printed, one for general use, sYi X 7?^ inches ; the other one, on larger and much 
 heavier paper, 6J^ X 8 inches, for church use. The copy of the latter in the writer's 
 collection also bears the watermark 1744. 
 
CHAPTER VII. 
 Beissel's Unique Instructions on the Voice. 
 
 XET us now proceed directly 
 to the subject, and show, 
 as briefly as possible, by what 
 means and opportunities we may, 
 both spiritually and physically, 
 attain to this art of high degree, 
 and then consider further what- 
 soever things the circumstances 
 of the case may require. In the 
 first place, be it observed, that 
 divine virtue must be viewed from 
 the summit of perfection, and occupy the first place, if one 
 would become the right kind of pupil and thereafter a 
 master of this exalted and divine art. 
 
 '• Furthermore, both pupil and master ought to know 
 how necessary it is, in addition to all other circumstances, 
 to embrace every opportunity to make oneself agreeable 
 and acceptable to the spirit of this exalted and divine vir- 
 tue, inasmuch as according to our experience and knowl- 
 edge it has within itself the purest and chastest spirit of 
 eternal and celestial virginity. 
 
 " This naturally requires compliance with the demands 
 
 (66) 
 
Food to Make the Spirit Teachable. 6'j 
 
 of an angelic and heavenly life. Care must be taken of 
 the body, and its requirements reduced to a minimum, so 
 that the voice may become angelic, heavenly, pure and 
 clear, and not rough and harsh through the use of coarse 
 food, and therefore unfit to produce the proper quality of 
 tone, but on the contrary, in place of genuine song, only 
 an unseemly grunting and gasping. 
 
 " At the same time it is especially necessary to know 
 what kinds of food will make the spirit teachable, and the 
 voice flexible and clear ; as also what kinds make it coarse, 
 dull, lazy and heavy. For it is certain that all meat dishes, 
 by whatever name known, quite discommode us, and bring 
 no small injury to the pilgrim on his way to the silent be- 
 yond. Then there are those other articles of food which 
 we improperly derive from animals, e. g., milk, which 
 causes heaviness and uneasiness ; cheese, which produces 
 heat and begets desire for other and forbidden things ; 
 butter, which makes indolent and dull, and satiates to 
 such an extent that one no longer feels the need of sing- 
 ing or praying ; eggs, which arouse numerous capricious 
 cravings ; honey, which brings bright eyes and a cheerful 
 spirit, but not a clear voice. 
 
 " Of bread and cooked dishes none are better for pro- 
 ducing cheerfulness of disposition and buoyancy of spirit 
 than -wheat and after this buckwheat, which, though ex- 
 ternally different, have the same virtues in their uses, 
 whether used in bread or in cooked dishes. 
 
 "As regards the other common vegetables, none are 
 more useful than the ordinary potato, the beet, and other 
 tubers. Beans are too heavy, satiate too much, and are 
 liable to arouse impure desires. Above all must it be 
 remembered that the spirit of this exalted art, because it is 
 a pure, chaste and virtuous spirit, suffers no unclean, pol- 
 
68 Music of the Efhrata Cloister. 
 
 luted and sinful love for woman, which so inflames and 
 agitates the blood of the young as completely to undo 
 them in mind, heart, voice and soul ; whilst in the more 
 mature it awakens excessive desire after the dark things 
 of this world, and consequently closes heart, mind and 
 voice to this pure spirit as its haven. 
 
 " As concerns drink, it has long been settled that noth- 
 ing is better than pure, clear water, just as it comes from 
 the well, or as made into soup to which a little bread is 
 added. Every other manner of cooking, however, whereby 
 the water is deprived of its healthgiving properties and 
 turned into an unnatural sort of delicacy, is to be consid- 
 ered as a vain and sinful abuse ; just as other articles 
 of diet, which we do not deem worthy of mention in this 
 place, have, through many and diverse lusts, been turned 
 from their natural and harmless use into delicacies. Of 
 those who gormandize we cannot here speak, for we are 
 concerned only with those who are already engaged in the 
 spiritual warfare, and who in all respects strive lawfully. 
 With those who walk disorderly and unlawfully we, 
 therefore, have nothing to do. It of course stands to rea- 
 son that the power to exercise divine virtue is not to be 
 sought in the selection of this or that particular diet ; for, 
 were this the case, we would wish, if it were possible, to 
 be entirely relieved of eating, so that we might lead an 
 Enochian, supernatural and supersensual life. Then this 
 heavenly wonder-song would of itself break forth, without 
 the addition of any of those things that are only transient 
 and never reach eternity. 
 
 "And now, not to dwell upon this matter too long, let 
 us take up the next part of our subject. Let us first say, 
 however, that if we were to undertake a§ complete an ex- 
 position as the subject demands, we would fail to reach the 
 
Unique Instructions. 
 
 69 
 
 end. Nevertheless, we will spare no pains to make it as 
 clear as possible ; but, let it be borne in mind that we will 
 still leave something for the educated and practical (musi- 
 cian) to study and think over." 
 
 ALPHABET USSD IN THE MANUSCRIPT TUNB BOOKS OF THE EPHRATA 
 COMMUNITY. 
 
CHAPTER VIII. 
 
 Beissel's Dissertation on Harmony. 
 
 Translation by the Rev. J. F. Ohl, Mus.D. 
 
 TRANSIvATOR'S NOTE. 
 It will be evident to any musician who reads this " Dissertation," or who 
 examines any of Beissel's compositions, that beyond the most rudimentary 
 knowledge of the common chord and its inversions, he had little under- 
 standing of the laws of harmony, and none whatever of meter and rhythm. 
 The work done by him and his associates is therefore correspondingly crude 
 and inaccurate, and it becomes interesting only from the fact that it belongs 
 to the first attempts made on American soil to compose sacred music. The 
 translator has aimed to reproduce the evident thought of the writer rather 
 than his exact language, which is often very obscure, and most difficult to ren- 
 der into idiomatic English. 
 
 [HE all-important and most use- 
 ful qualification in a teacher 
 of new pupils is first to know 
 that he must not teach them 
 merely to sing the A, B, C, or 
 the seven letters, and then at 
 once introduce them to thirds 
 and intervals before they have 
 learned the characteristics of 
 each letter, or, indeed, under- 
 stand what they have learned. Special care must be 
 
 in) 
 
Harmony of the Efhrata Cloister. 71 
 
 taken to bring out the distinguishing quality of each letter 
 (?. e. , note or sound) ; and this requires such diligence and 
 costs so much labor that we cannot here describe it. The 
 voices may either be harsh and unsympathetic, or false 
 notes, that do not reach the required pitch, may be 
 sung. In such cases efforts must not be relaxed until it is 
 learned and seen how much remains to be overcome ; 
 but if one seems to be totally incapable, let him desist for 
 a time, in order that he may not become entirely dis- 
 couraged. 
 
 "When the characteristic quality of each letter (note) 
 has been taught, diligent efforts must be made to train the 
 voice ; and such directions must be given regarding tone- 
 production as will enable the singer himself to correct 
 mistakes. For at this stage of the instruction everything 
 that is needed for ultimate success may be imparted, whilst 
 at the same time so much may be overlooked as thereafter 
 to require years to make good the loss. 
 
 "And now let us proceed to show what constitutes a 
 four-part tune, and what letters (notes) in the other parts 
 must accompany the melody in the different keys ; then 
 also to give a diagram of the keys, and to indicate how 
 the pitch may be raised when it has fallen. 
 
 •« Let it be known that not more than three letters (notes) 
 can be used for the four parts. Consequently the fourth 
 part is always the octave. The three letters (notes), how- 
 ever, always appear at the beginning of each tune. Thus 
 we obtain the four parts. The three letters (notes) which 
 appear at the beginning must be regarded as the masters 
 and lords that dominate everything from beginning to end, 
 inasmuch as the tune must close with the same letters 
 (notes) with which it began. 
 
 "If the melody is in the key of C, E is the note in the 
 
72 Music of the E^hrata Cloister. 
 
 W* man m(tcf<f im6 fi<^<f / wic «wff <» <(ncr 6<m S)i'incfcn nad) jitbv(ngm 
 (km. -©cftrinct <ftva <(n« gan^HclK Unfil^flfdt (ti fqjn , fo gtb* imi» «« t<» 
 m ^drfanj m(( fofdKin aiif^ ^mir man fcin @cmii( nt(t)r gar vcrfirir^r mo* 
 (fit. ^ajann abcr <inti! jctxn 9ii(()flafr(n0 ^n (xraittf gcbradx <fl: fo mii^ 
 ^rnacft aa<rg[«(^an3wanbt»<rt><n, tap man W< ®t<mm« (arm br<rt)<n/ 
 iine»a« cmctf jcD<n^iic&(?aI>{n« 3(rf f<9t, ann«<|t/ auf 6a0 <r fi< (<iii« ifcrfld 
 ^H/ bamit/ tvann (^cmad) foU .K»<fr(r scj^angcn ivcrtm^ man fid) bet; ^(^s 
 Itrn lint) 0)!i^fd)(j<)(n iu ^(iff<n tvt|ft. %»m Ki fan aUcrbni^tf an eicfmt 
 flXa; aac0 f)cf)o(<t wcrt(n ; ttoA ^vtnaA) <n t<r jjanQtn @ad)c nji()(d/ nn» 
 (an ai(d) fo »<<( V(rf((Kn wcrNn, Daf n ^(rnad> faiim (n vUI 3a()r fan dm 
 tim 3c()o((t wcrXn . 9a« <|? mm M<f<« : {)f)im nxrNn n><r an etcfem $|ii)> 
 (((n nid)( todrtr se^tn/ fonbtrn woOcn ((n srattn Qlkg tarfcgtn/ ivntf <o 
 n<n 4. @«mmf3(n ®(fan5 aii0ma(6<r f unb leatf 6(9 aOcn unb i<ti(n QBd* 
 ftn nac^ Wj/ttx 2(r( vor <}M(f)fta(<n (n <f ntr |(t(n ® rfmm auf Mn Choral v^k 
 fen/ w<c auc^ t(n @(()(riff<( dntr i<((n SBdp (n 4. 0«mm<n auf dncr %m 
 \%\ f(^n (affcn* iir& nann dn 0<fan9 scfaOtn, wit tr tvittor (u ^(« 
 itn/ tap (r nicpt auftr fdntr 3(ni unt Manier gcfctt nxrbc . 
 
 (Etf i^ m wtfjtn^ bof nid)( mt^r altf 3. <8iid)^a6(n fi^n f^mtm ^ fo M( 
 4. ©({rnrnm aii^madim/ »<«n)(9<nM(4K@(<mm aBdna( mit tor Octav 
 g(f(6i(bm tvirt/ todc^t 3. 9it(I)|fa6(n >ann aD<ma( ((9 dn<r f(Nnt9?do« 
 t<( ${dd) ven ^nfanj aiifattrdtn fommtnr tap f!<imtfM(4.@(<mmcn9& 
 %m, ivoi)(9 tann jii m<r(f<n/ bap M<fc 3. ^iidiffabmr M( <m ^(nfans «or« 
 (ommtn; M< SRdfltr unb ^mn f!nb/ wo aOc^ vonXnfanj Mtf au vnbt mii$ 
 «uf ixru^n Mdbdi/ wdhn Nr Ocfan^ aDcmal am (Enb iv(A<r m(( <6(n ((n« 
 fdfrcn 3.9ud)|!a6<n an^afrtn miip^ tvomit cr anstfangdt. 3(( <^ <'"< 
 C«9Bdp/ fo<ftimbfo(9<(fdnXnb(r<r/ ar^Nre.nnb mac^i Nn@d)(uf» 
 (<f lubdn * Bairir, b<r g. (|{ fdn ^rtmr^ ba tann t<r obcrc ten Tancr^ii. 
 ttr unKrt Choral g. ben Bars anfjnjt; bo(fi fantf fommnt/ baffle vcrivcd)* 
 
 Kr wdrbdt/ wenn n<mlf(6 bcr Choral n<d)( (up mif bcm C. anfAnst; bcdr 
 Ib(nf!(b<9famm(n/fan3(nb(n Choral an > imb(nbfg(n<()naiid>. QSa« 
 no(6 fonfl(nb((anba(n4.^u(6|labcn/ Mewfr ()i(r J^nedirt mmunf an* 
 binst/ altff . a. h. d. fo foO dnmt fcbtn von fdHctcn fdn Q)»tfn<d)t hvmxUt 
 tbtrben; »(( fit ndnHdft |ii(am<n ^mmm. Unb ob siir (itai ivoi am $n« 
 ^ «1I(< «»f %afdn woOcn f(6<n (affcn , fo ivolkn f»(r bod) bancbtn ><n ^(dp 
 
 • axt i»«rti ill o«4 tit ««i«cio«i gttNoi^rt »<r ««nor/ t« WMuNt »o«ii» 
 
Barrir and Toener. 73 
 
 Barrir^ (tenor), and G in the Toener (alto). Thus the 
 alto and the bass begin on G. This order may, however, 
 be inverted, when, e. g., the melody does not begin with 
 C. Nevertheless these letters (notes) must remain together 
 and begin and end the tune. 
 
 "As regards the four remaining letters (notes), F, A, 
 
 B, D, which we shall designate servants, let each be told 
 how he must serve his fellow-servants, so that they may 
 harmonize. And although we shall show all this in dia- 
 grams at the close, we will now give ourselves the addi- 
 tional trouble of explaining which must be the two asso- 
 ciates of each of these letters (notes). 
 
 *' If F occurs in the melody it is served by D in the 
 tenor and bass, and by A in the alto ; A demands D in the 
 tenor and bass, and A in the alto, sometimes also in the 
 bass ; B calls for D in the tenor, and G in the alto and 
 bass ; D asks for B in the tenor, and G in the alto and 
 bass. In this manner a melody in C may be harmonized 
 in four parts. 
 
 •'Let us now show how the pitch may be recovered 
 when it has fallen. To do so, the beginning must always 
 be made with the key-note. If the melody is in C, sing 
 
 C, D, Dijj; ; then call D:)|! C, and continue on this pitch. 
 
 '• Now let us proceed from the key of C to the key of 
 A (minor). Here again let us first give attention to the 
 three masters with which the four parts must begin and 
 
 ' Conrad Beissel here gives an explanatory footnote regarding the use of the 
 terms Barrir and Xoener, stating that in ordinary language the former stands 
 for tenor, the latter for alto. Both of these terms were used arbitrarily by 
 Beissel, as neither appears to have been known to the Rev. H. Ernst Muhlen- 
 berg, the best philologist in Pennsylvania during the last quarter of the eight- 
 eenth century. In a previous translation I was misled in the use of these 
 terms by a person to whom I submitted my copy under the impression that 
 he was an expert musician. In the present translation the modern terms are 
 used wherever they occur. — ^Julius P. Sachse. 
 
74 
 
 Music of the Efhrata Cloister. 
 
 
 end, and then bring together the four servants and assign 
 each his duty. As A is here the ruler (key-note) of the 
 melody, its associates are C in the tenor (occasionally also 
 in the bass), and E in the alto and bass. This is the four- 
 part chord in the key of A (minor). The remaining four 
 servants which do duty besides, are F, G, B and D. F 
 calls for B in the tenor, and for D in the alto and bass ; G 
 
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 Four-part Key for Melodies in C. 
 
Melodies in A and G Minor. 75 
 
 for E in the tenor and bass, and C in alto ; B for G# in the 
 tenor, and E in the alto and bass ; D for B in the tenor, 
 and G in the alto and bass. If the pitch has sunk I must 
 call the C I am singing A, ascend to a new C, call that 
 A, and continue. Thus we also clearly see how to bring 
 melodies in A (minor) into four-part harmony, and how to 
 regain the pitch when it has fallen. 
 
 " Let us now pass from melodies in the key of A (minor) 
 to those in the key of B^?. In the latter key '^f, D and F 
 are the lords and masters. B^ is the key-note of the 
 melody, D governs the tenor, and F the alto and bass, 
 though Bj? indeed remains the ruler in the bass. The 
 four servants are G, A, C and Ef?. Of these we associate 
 G with the melody, but C with the tenor and bass (though 
 the upper G more conveniently takes E^? in the bass), 
 whilst the alto invariably becomes Ej?. A calls for C in 
 the tenor, and F in the alto and bass ; C for A in the tenor, 
 and F in the alto and bass ; E[? for C in the tenor and 
 base, and G in the alto. If the pitch has fallen I call my 
 B|? G, ascend the proper number of degrees to a new B|?, 
 and sing on. 
 
 "And now let us look at these melodies in which G is 
 the ruler, and Bl? and D are the associates (G minor). In 
 these we come to a wonderfully strange turn, inasmuch 
 as altogether different letters (notes) are made to do ser- 
 vice in the three other parts. We begin with the three 
 masters. In these melodies the parts start with G, Bj? 
 and D. Let it be understood that the three letters (notes), 
 invariably stay together and form the beginning of a tune 
 in four parts ; that, as already stated, the fourth part is 
 the octave ; and that it does not matter with which of these 
 three letters (notes) a tune begins. That in our descrip- 
 tion we always begin with the letter which designates the 
 
76 
 
 Music of the E-phrata Cloister. 
 
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 g 
 
 ■^h — 
 
 «F 
 
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 3CF 
 
 :fi- 
 
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 g 
 
 C I c 
 
 s 
 
 C C I 
 
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 w 
 
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 ■±L 
 
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 (l) C MAJOR, (2) A MINOR, (3) G MINOR, (4) G MAJOR. 
 KEY DIAGRAM FROM THE SCORE BOOK OF THE CI,OISTER. 
 
Key Diagram. 
 
 11 
 
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 (S) Bb BIAJOR, (6) F MAJOR, (7) Eb MAJOR, (8) C MINOR. 
 KEY DIAGRAM FROM THE SCORE BOOK OF THE CI,OISTER. 
 
78 Music of the Efhrata Cloister. 
 
 key in which the melody is written, is done for the sake of 
 accuracy. This is also the reason why, in our account, 
 we seem to insinuate that all melodies begin with the 
 letter (note) which is the chief in the melody (the key- 
 note) ; yet this is not possible. In our further description 
 we will, therefore, continue to be governed by the special 
 characteristics of the melody. This, then, is the manner 
 of those melodies in G that contain B[? (G minor). G in 
 the melody takes B[? in the tenor, and D in the alto and 
 bass. This is the chord, and it remains the same through 
 the whole piece, excepting that when G is sustained in 
 the melody, the tenor always sings B instead of B[?. This 
 is also the case with melodies in A (minor), in which the 
 tenor sings C# to a sustained A in the melody. The four 
 remaining letters (notes) F, A, C and D# (E^), serve as 
 follows : F requires Bj? in the tenor and bass, and D in 
 the alto ; A demands D in the alto and bass, and F# in 
 the tenor ; C calls for A in the tenor, and for F in the alto 
 and bass ; and D^ (E^) is served by G in the tenor, and by 
 E (probably meant for C — Tr.), in the alto and bass. To 
 raise the pitch when it has sunk, proceed as under melo- 
 dies in B[7. 
 
 " We now come to the melodies in G that have B and 
 Fifji (G major), in which G, B and D form the triad and 
 give us the four parts. The remaining letters (notes) F#, 
 A, C and E are treated as follows : F# is served by B in 
 the tenor (sometimes also in the bass), and by D in the alto 
 and bass ; A by D in the tenor and bass, and by Fij^ in the 
 alto ; C by upper E in the tenor, and by A in the alto and 
 bass ; E by C in the tenor and bass, and by A in the alto. 
 The directions given under melodies in Bl? will show how 
 the pitch may be raised. 
 
 " There yet remain the melodies in F, in which the triad 
 
The Secret of Spiritual Song. 
 
 19 
 
 F, A, C gives us the four parts. The remaining four 
 servants G, B[?, D and E are disposed as follows : G is 
 served by C in the tenor and bass, and by E in the alto ; 
 'B>\> by D in the tenor, and by G in the alto and bass ; D 
 by B^7 in the tenor and bass, and by G in the alto ; E by 
 C in the tenor and bass, and by A, sometimes by G, in the 
 alto. If the pitch has fallen, I do as indicated above, 
 i. e., I get another F by singing F, G, A[?, and then calling 
 A[? F, on which pitch I continue. 
 
 " We have now imparted, as well as we are able, the 
 secret of our spiritual song. Although in this work (the 
 Turtel Taube) we are more concerned with hymns than 
 with tunes, and a well-informed person might ask why so 
 much has been said about music when none appears in the 
 book, we have yet thought it proper to write this introduc- 
 tion, partly because from music the hymns in this volume 
 derive their attire and adornment, and partly because it 
 will stimulate lovers of this noble and paradisiacal art to 
 inquire further into its secrets." 
 
 Thus ends Beissel's extraordinary Dissertation on Har- 
 mony, which was the basis of the Ephrata music. A few 
 short paragraphs of an apologetic character conclude his 
 «' Vorrede ilber die Sing-Arbeit." 
 
 FACSIMHB OF WATERMARK IN WRITER'S I,ARGE PAPER COPY OP THE 
 
 TURTEI/ TAUBE ; vide pp. 65 supra. 
 
CHAPTER IX. 
 
 Original and Modern Notation. 
 
 )N conclusion we present a few examples of 
 Ephrata music, in their original form as well 
 as in modern notation. One of the most 
 characteristic of these is Die Braut ist Er- 
 wachet, set in four parts. How the original 
 score of this tune was written on a single staff is shown 
 on the following page. 
 
 It will be noticed that all this music is very strange in 
 its progressions, and violates almost every rule of har- 
 mony, as is to be expected from one who was not an 
 educated musician. This fact, however, does not lessen the 
 historic value of these unique compositions, but rather tends 
 to increase our admiration for the enthusiastic celibates of 
 the mystic community on the Cocalico, who, at so early a 
 day, in the midst of their primitive surroundings, found 
 time and inspiration to work out their own system of har- 
 mony and compose so many original hymns and tunes. 
 
 The rendition of this music was as peculiar as the music 
 itself, and was sung according to the old records in a fal- 
 setto voice without opening wide the lips. The result, we 
 are told, was a " soft measured cadence of sweet harmony." 
 The true Ephrata vocal music virtually died out with the 
 
 community. 
 
 (80) 
 
A Unique Score. 
 
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 Music of the Efhrata Cloister. 
 
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Music of the Efhrata Kloster. 
 
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84 
 
 Music of the Efhrata Cloister. 
 
 After the singing schools became established, the celi- 
 bates, male and female, were divided into five choirs, with 
 five persons to each choir, namely, one soprano, one tenor, 
 one alto and two bass singers. The sisters were divided into 
 three choirs, the upper, middle and lower; and in the 
 choruses a sign was made for each choir, when to be silent 
 and when to join in the singing. These three choirs had 
 their separate seats at the table of the sisters during love 
 feasts, the upper choir at the upper end, the middle at the 
 middle, and the lower at the lower end. In singing anti- 
 phonally, therefore, the singing went alternately up and 
 down the table. Not only had each choir to observe its 
 time when to join in, but, because there were solos in 
 
 ttX'Vtt tcir fomMi Mr Mtftcgm, }(tgni usIVt Snc^t (ft @iiat, (it tsii untci 
 
 fttttiaa'^Rgtn aa^ddct mitc^ Mnc (9nae, bin fiib wtrunD 3<i()m m, ivotf ru 
 an mi ^iift setbon. 
 
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 AN ANTHEM ARRANGED TO BE SUNG ANTIPH0NA1,I<Y FROM WXTN- 
 DERSPIEI,, p. 9. 
 
Music of the Ephrata Kloster. 85 
 
 ^^ ^raen, axtsi^^i durd^ ^rine (gnaii . Jaier 
 
 ARRANGED AS A HYMN POR FIVE-PART CHOIR. TURTEI/ TAUBE, HYMN I3, 
 PART ONE, p. 66. ZIONITISCHER ROSENGARTEN, p. 27. 
 
 
 NO. 98, PART FOUR, pp. 402, TURTEI, TAUBE. 
 
 ill rdtm fe/? fir Mk% uW |anfiinil|io| pr 
 
 f4 fife «n ^'PT ©»SJ. ifiram m\i) m vm Sn^en fcjpn in i)en irrDp-ii jjrim 
 
 ZIONITISCHER ROSENGARTEN, p. I02. 
 
86 Music of the E^hrata Cloister. 
 
 each chorale, every voice knew when to keep silent, all of 
 which was most attentively observed. 
 
 The next illustration presented here is the hymn Wohl- 
 auf wohl-auf und schmuck dich. This is also given in 
 both the original and the modern form. Both of the above 
 melodies, with that of the seven-part choral Gott ein 
 Herrscher aller Heiden were artistically rendered by Mrs. 
 Frank Binnix at our annual gathering at Harrisburg, Oc- 
 tober, 1901. 
 
 An illustration of the five-part setting " Wie ist dock der 
 Herr so giitig" is given upon the previous page. 
 
 The words and music of this hymn are by Sister Ana- 
 stasia (Anna Thomen), who afterwards eloped with and 
 married Johannes Wuster, the Philadelphia merchant. 
 
 How the same words and tune were frequently set as an 
 anthem as well as a hymn is shown by the two versions of 
 the hymn Gott wir kommen Dir entgegen, on pages 84 
 and 85. 
 
 An illustration of music set in six parts is also presented 
 in the original form. This is taken from the Paradisches 
 Wundersfiel, or the great choral book of 1754. 
 
 In closing our paper upon the music of the cloister we 
 present a version of the celebrated seven-part motet Gott 
 ein Hersher aller Heiden transposed into modern notation. 
 The same criticisms as to progressions that apply to the 
 other pieces apply also to this composition. 
 
Motet tn Six Parts, 
 
 87 
 
88 
 
 Music of the Ephrata Cloister. 
 
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 Music of the Efhrata Cloister. 
 
Modern Notation. 
 
 91 
 
92 Music of the Efhrata Cloister. 
 
 SYMBOL AND MOTTO OF THE EPHRATA COMMUNITY. 
 
^ppi^ni^u. 
 
 E page of iSpbtata tlbeosopb^. 
 
 Read at the annual meeting of the Pennsylvania 
 
 German Society, Ephrata, Penna., 
 
 October 20, 1899. 
 
 By 
 JULIUS FRIEDRICH SACHSE, LiTT.D. 
 
 LANCASTER, PA 
 1903. 
 
94 Efhrata Theosofhy. 
 
 ^mt onsej^dnsct (in furjer &0(|i iMutntbo^ unB 
 
 Unt(tti($r 
 
 9u^()| |tm 9{u^ im5 ©ebi^iu^ dm STubo. 
 
 Slon L. H 
 
 EPHR ATA^ 
 
 Qd^ntCr nob tv tMfonnuD bc9 »ai^ Gf^oM^z 
 
 TITI,E PAGB OF HOECKBR'S KPHRATA PRIMER. 
 
EPHRATA THEOSOPHY. 
 
 HMONG a mass of 
 papers and manu- 
 scripts which it was the 
 good f ortun e of the writer 
 to examine some months 
 ago, dating from the pro- 
 vincial period, and re- 
 lating more or less to the 
 upper end of Lancaster 
 County, there was one 
 that particularly attracted 
 his attention. 
 
 This was an old manu- 
 script, yellow and dis- 
 colored by age. It was 
 written on the ordinary coarse writing-paper, such as was 
 the product of the paper-mills on the Wissahickon and 
 Cocalico. The writing was still distinct and clear, done 
 in a firm hand, with a well-pointed quill, showing that the 
 writer must have been one of education and experience. 
 
 Upon the outside, as a legend, it bore the old German 
 proverb or Sprilckwort : 
 
 (95) 
 
g6 E^hrata Theosophy. 
 
 " Quale nie ein Thier aus scherz, 
 Daun es fuhlt wie du den schmerz." 
 
 ( " Ne'er torment a beast in sport, 
 For it feels like you when hurt.") 
 
 Upon examining the paper it proved to be a plea for 
 mercy toward the brute creation. This ended with an 
 earnest entreaty for social purity, and incidentally illus- 
 trated the theory of the migration of the soul. 
 
 The more it was examined, the greater became the in- 
 terest in the subject and the manner wherein it was pre- 
 sented. The only possible clue to authorship was the en- 
 dorsement upon the first page : ' ' Obed, ein wallender 
 nach der seligen ewigkeit." This was the signature and 
 Kloster name of Ludwig Hocker, one of the most devout 
 members of the Ephrata Community, who was the school- 
 master of the settlement, and has the honor of having es- 
 tablished, in 1739, the first Sunday-school of which we 
 have any record. Brother Obed was also one of the in- 
 structors in the classical school or academy maintained by 
 the Brotherhood, and the present paper is evidently one of 
 his lectures or discourses delivered before the higher class. 
 He was a prominent character in the Ephrata Community, 
 and a firm supporter of Prior Jaebez. 
 
 When he was in his seventieth year, and the institution 
 was already verging into a state of decline, the old philoso- 
 pher published a second edition of his primer and school- 
 book. 
 
 Upon the reverse of the title he gives as a reason for its 
 publication that " if it be used by the children, it will pre- 
 vent, in every case, the destruction of a Psalter or a Testa- 
 ment " ; thus showing that the chief text-book of the 
 Ephrata system of education was based upon the daily 
 use of these two fundamental parts of Holy Writ. At the 
 
nUSIC OF THE EFHRATA CLOISTER. 
 
 ONE OF THE EFHRATft PRINTING PRESSES. 
 
 IN COLLECTION OF HISTORICHL SOCIETY OP PE N N ST LU A N 1 H , 
 
Efhrata Theosofhy. 97 
 
 time of its issue, as will be seen from the title, the pious 
 recluse then filled the position of schoolmaster, printer and 
 bookbinder to the Brotherhood. Brother Obed died dur- 
 ing the summer of 1792, after passing the allotted three- 
 score years and ten. 
 
 The paper under consideration has the distinction of 
 being the earliest effort made in this country to prevent 
 cruelty to animals, and to inculcate in the minds of the 
 growing generation the duty of protecting and respecting 
 the virtue of the gentler sex. The illustrations in the 
 course of the lecture are occasionally of a somewhat har- 
 rowing nature; at the same time, we must bear in mind 
 the state of the country and its people at that period, when 
 it will be found that the similes are well suited to the times 
 in which they are used. 
 
 It matters but little whether or not good Brother Obed 
 was the author of the paper. There were others among 
 the solitary recluses equally devout. At the same time it 
 is an excellent illustration of the code of morals taught in 
 this community. Then, again, we have here the earliest 
 known plea for the two movements which now, in the clos- 
 ing years of the nineteenth century, have become a fashion- 
 able fad. It is but another illustration of how the Penn- 
 sylvania German has lost the honor and credit due to him 
 through his innate modesty. 
 
 Here the lecturer was far ahead of his time. What 
 fruits his labors bore, both history and tradition have failed 
 to record. What great good was accomplished by this 
 plea, so quaintly and forcibly presented to the youth of the 
 middle of the eighteenth century, will never be known. 
 Even the existence of this essay was unknown and forgot- 
 ten until it fortunately fell into the hands of the writer, and 
 is now translated into the language of the country : 
 
98 Efhrata Theosofhy . 
 
 
 ^eiriicjj e 
 
 ^ 
 
 r i e f '^ 
 
 
 <ine^ 
 
 s 
 
 tieJfftJtten 
 
 
 95i I9 c t:^, 
 
 !IBe(c^e ctDott lyai, big nn fcine i768» 
 
 gpl)rafa, seUtucft im 3a^ i7M« 
 
 Title page of a unique Bphrata Imprint in the collection of the writer. 
 
Efhrata Theosofhy . 99 
 
 / /'"""^k f^^. ^y^^^\^ HILE sitting in my chair 
 
 \n C^Ut 1 VJm^'BM!/ ^"'^ dozing one evening, it 
 •^ VKl/ /XT. Cs^"^ seemed to me that I heard a 
 
 voice saying: "Take up 
 your pen and write what I 
 dictate." I looked around 
 whence the voice came, but 
 could see nothing. My lamp 
 was still burning, but the 
 room was empty. I was 
 alone. Then I felt that it was my guardian spirit (Schutz- 
 getst) who had made his presence known, so I at once pre- 
 pared myself to write, when the voice dictated the following 
 story : 
 
 " I was the oldest son of a country gentleman, who was 
 possessed of large wealth, and when I was about nineteen 
 years of age, I was thrown by my horse while hunting, 
 and by the fall dislocated my neck, and from a lack of 
 immediate attention, died before I could be taken home. 
 "In the next moment, to my inexpressible sorrow and sur- 
 prise, I found myself in the shape of a pug-dog, in the 
 stable of a country tavern kept by a man who formerly 
 had been my father's butler, and married the cook. As a 
 pug, I really received many caresses. Alas ! my master, 
 to increase, as he said, my beauty and strength, soon after- 
 wards cropped my ears and cut off a piece of my tail. In 
 addition to the pain this operation caused me, I quickly ex- 
 perienced in a thousand ways what great inconvenience 
 this mutilation subjected me to, and how it placed me at 
 disadvantage. At the same time, this was but the least 
 part of my misfortunes, which I was destined to suffer in 
 this condition. 
 
 "My master had a son who was about five years old, and 
 
lOO Efhrata Theosofhy. 
 
 even more of a favorite than I was ; and as his whims and 
 passions were condoned as soon as they manifested them- 
 selves, he was encouraged to vent his spite against any 
 living or inanimate thing which offended him, by beating 
 me. When he did any damage (of other transgression no 
 notice was taken) the father, the mother, or servants were 
 ever ready to flog me in his place. 
 
 "This intercourse with persons whom formerly I had but 
 looked at with disdain, and was wont haughtily to com- 
 mand, was not to be endured ; so, early one morning, I 
 ran away. Although it was raining hard I kept on my 
 journey until the afternoon without intermission. It was 
 about four o'clock when I came to a village, and at a house 
 where some carpenters were at work I noticed a heap of 
 shavings under a temporary cover to keep them dry. So 
 I crawled, as I believed, unnoticed into a corner and lay 
 down. Alas ! a man, who was just working on some 
 lumber, seeing that I was a strange dog and of the pug 
 variety, conceived the idea of amusing himself and his 
 fellow-workmen at my expense. For this purpose he bored 
 a hole about two inches in diameter in a piece of deal. 
 He then caught me suddenly and poked the stump of my 
 tail through this hellish machine, and with a hammer drove 
 a heavy wedge beside it, so as to firmly fasten all together. 
 The act crushed the bones and cause me indescribable 
 torture. As he set me down, the wretches who witnessed 
 this barbaric play, broke out into boisterous laughter over 
 the painful efforts to which I gave expression, in my 
 miserable attempts to escape and release myself from the 
 board which I was forced to drag after me. They hissed 
 me until I was out of their sight. In the meantime, as 
 fright, pain and embarrassment urged me on with an un- 
 willing speed, I ran with such force between two posts, 
 
E^hrata Tkeosofhy. lOi 
 
 which were not far enough apart to let my block pass 
 through, that the board with the remains of my tail stayed 
 behind. Soon after, I found myself on the grounds of a 
 gentleman farmer, where I saw in the distance the large 
 watch-dog ; so, fearing to be torn to pieces, I continued in 
 my flight. Alas ! several farmers at work in a barn some 
 distance off, seeing that I ran without being pursued, that 
 my eyes gleamed, and that I was frothing at the mouth, 
 imagined I was mad and struck me dead with a threshing 
 flail. 
 
 ' ' Thereby I was released from this mutilated and perse- 
 cuted body, and found myself under the wings of a flicker, 
 together with three others just hatched. I now rejoiced in 
 the thought that I, like my mother, would be a denizen of 
 the air, and could swing myself aloft to such a height that 
 no human cruelty could reach me. Alas ! even before I 
 could rightly fly, my mother was surprised in her nest by 
 a school-boy, and in her attempt to escape was squeezed 
 so hard that soon after she died. The boy thereupon took 
 the nest, and all there was in it, and placed it in a basket 
 where I soon lost my three companions in misery by the 
 unsuitable food and improper attention. I remained alive, 
 and after I was able to feed myself, my tyrant's mother 
 took me as a present for the daughter of her landlord. 
 This young girl was a beautiful creature, in her eighteenth 
 year, 
 
 " My imprisonment now seemed to lose its terrors. I did 
 not have to fear the rough fist of an ignorant lout whose 
 caresses were even more to be dreaded than his anger, 
 who, even in his passion and inclination ior'a new toy, was 
 apt to neglect me and let me starve to death, or would 
 twist my neck for the penny given him to buy my food. 
 I now became accustomed to confinement in a cage ; I was 
 
I02 Efhrata Theoso-phy. 
 
 hung out of a cheerful window, and regularly fed by one 
 of the most beautiful hands in the world. Thus I fondly 
 imagined that henceforth, being under the shelter of the 
 tender caresses of this fair being, with every evidence of 
 love and affection, no sorrow would come to me. 
 
 " My fate, however, was destined otherwise. As a 
 young lady from the city made an afternoon call at my 
 mistress' house, the latter embraced the opportunity to ex- 
 hibit me with others of her pets, among which were a 
 parrot, a monkey, and a small dog. She whistled and 
 held out her finger; I hopped upon it; she stroked my 
 feathers, and I laid my head against her cheek, and, 
 further to show my appreciation and how I valued her at- 
 tentions, I began to sing. As soon as my lay was ended, 
 the visitor turned to my mistress and said that the dear 
 creature would necessarily become the most beautiful sing- 
 ing bird in the world if its eyes were burned out, and it 
 were confined in a narrow cage. 
 
 "This dreadful suggestion was sanctioned by my beau- 
 tiful mistress, upon the repeated assurance that my song 
 would be greatly increased thereby. Accordingly, upon 
 the next day, she undertook the inhuman operation, ac- 
 cording to the given directions, using the point of a heated 
 knitting-needle. 
 
 " My condition may now be easier imagined than de- 
 scribed. Fortunately I was not permitted to endure the 
 sad loneliness of constant darkness for any extended time, 
 as on one occasion, in the dusk of the evening, a cat came 
 unnoticed into the room, pulled me through the bars of my 
 cage and ate me up. 
 
 "I was far from dissatisfied to be again released from 
 both blindness and imprisonment, and in the shape of a 
 May-bug to fly about in the air. However, I had scarcely 
 
E-phrata Theosofhy. 103 
 
 entered into this sphere of my existence when a gentleman, 
 in whose garden I was seeking food on a cherry leaf, caught 
 me and gave me to his son, a little fellow who was just 
 luxuriating in his first pair of trousers, saying : ' Here, 
 Charlie, is a bird for you.' The boy received me with 
 pleasure, expressing Satanic joy, and forthwith impaled 
 me alive, as he had been taught, upon a needle fastened to 
 a linen thread. Thus I was condemned to afford pleasure 
 to my young master by sailing around in the anguish and 
 torment of death. When I was completely exhausted and 
 unable to use my wings any longer, he was told to crush 
 me under foot, as I was of no further use, a command 
 which he executed in a merciful manner by scrunching me 
 in an instant in the dust. 
 
 "From a May-bug I migrated into a rain-worm, and found 
 .myself esconced in the dung-heap of a farm-yard. By 
 this change of my condition I consoled myself with the 
 reflection that, while I could not now rise in the air and with 
 the rapidity of thought take myself from one place to 
 another, I was at least in a position where I could neither be 
 a pleasure to mankind nor evoke their enmity, both of which 
 had proven equally disastrous to me. Thus I hoped now 
 to end my life in peace, as in my humble condition I would 
 escape the notice of the most cruel of all created creatures. 
 
 "Alas! I was not suffered to rest long in my fancied 
 security. One morning I was disturbed by an unusual 
 noise, and remarked that the whole earth around me 
 trembled. Quickly crawling up to the surface to learn 
 the cause, I no sooner got to the top than I was eagerly 
 seized by the person who had loosened the earth with a 
 digging-fork for just the purpose of what had brought me 
 to the light. Thus, together with many others of my kind, 
 all companions in misfortune, I was thrown pi-omiscuously 
 
I04 Efhrata Theoso-phy . 
 
 into a broken pot, and soon after became the property of a 
 tender-hearted shepherd who found his pleasure in angling. 
 
 " The next morning this man took us to the banks of a 
 stream, and forthwith took out one of my companions ; and, 
 while whistling a lively tune, forced a barbed fish-hook 
 through the entire length of the worm, as the point entered 
 at the head and emerged at the tail. The unfortunate ani- 
 mal squirmed on the bloody hook in pain and suffered 
 torture greater than any human being ever experienced, 
 and which no animal can feel whose muscular vitality does 
 not extend to all parts of its being. 
 
 " In this condition it was thrown into the water as bait 
 for a fish, until it, together with the concealed hook, was 
 swallowed by an eel. As I witnessed this tragedy I made 
 my own reflections upon the great disproportion between 
 the pleasure of catching the game and the torment inflicted 
 upon the bait. However, these reflections were suddenly 
 dispelled by the identical anguish of death of which I had 
 just been a witness. 
 
 " You would not have space enough upon your paper if 
 I were to relate to you all that I suffered from the thought- 
 less brutality of the human race : what I experienced as 
 a cock, a lobster, and a pig. It will suffice to say that I 
 have suffered equal to the malefactor who is broken on the 
 wheel, for I was boiled alive upon a slow fire, and beaten 
 to death with five thongs, to tickle the sensual palate of the 
 epicure or furnish enjoyment for the rabble." 
 
 Thus far I had been the amanuensis of an unseen men- 
 tor. During the continuation of my musing I felt some- 
 thing tickle my hand. As I lifted my eyes from the paper 
 to see what it was, I found it to be a common house-fly, 
 which I immediately caught and killed by holding it in the 
 flame of my lamp. In an instant the fly disappeared and 
 
Efhrata Theosofhy. 105 
 
 a young maiden of exquisite form and beauty, in all the 
 glory of budding womanhood, stood before me. "Thought- 
 less wretch," said she, "you have once again changed the 
 condition of my existence, and have now exposed me to 
 far greater fatalities than any to which I have thus far 
 been subjected. As a house-fly, I was your mentor and I 
 might have escaped from your cruelty, were it not my in- 
 tention to instruct you. Alas ! now it is impossible for me 
 to remain concealed, and therefore equally impossible to 
 be safe. The eyes of sensuality and unbridled desire are 
 centered upon me. Man will henceforth use all his wit, 
 and employ an indefatigable resolution to lead me into dis- 
 honor and vice. But, although man still remains my 
 enemy, and henceforth attacks me with greater ardor and 
 persists in his desires with greater stubbornness, I have 
 now less strength to withstand him than formerly. There 
 is an element within my own bosom which will exert itself 
 to annihilate me ; its influence is constant, and a constant 
 influence is not easily overcome. In the meantime pub- 
 lish unto the world what I have disclosed unto you ; and if 
 perchance thereby a single human being is turned from the 
 exercise of a guilty inadvertence to do aught for the pro- 
 tection of the inferior creatures, and also by these consid- 
 erations to prevent the unfortunate results of one's inhuman 
 actions, which cause pain and suffering, then I have not 
 suffered in vain. 
 
 " But as I am now exposed to accidental as well as to 
 incidental evil, and as I not only stand in danger of wanton 
 caprice and indiscretion, but also of the wicked designs of 
 cunning and knavery, therefore, in order to expiate for 
 some of the great wrong you have done me, let it hence- 
 forth be your bounden duty to warn, in public print and 
 upon all proper occasions, the female sex against the snares 
 
io6 
 
 E-phrata Theosofhy. 
 
 that are laid for their destruction, and discourage the male 
 sex from all attempts to decoy and debauch innocence- 
 Show unto the latter the enormity of their crime, which 
 they heap upon themselves, and picture to them the shame- 
 less, dissimulating treachery that they commit under the 
 guise of ardent and tender affection for that beauty and 
 innocence alone which makes love credulous, and in its 
 guilelessness is free from suspicion, and is thus cast into 
 unfathomable misery." 
 
 As I listened to this charge, my heart beat so strongly 
 that the anxious efforts I made to answer awakened me. 
 
 "^.-y^.^* 
 
INDEX. 
 
 Alphabet, script, 29. 
 Anastasia sister, 86. 
 Apology for sacred song, 23, 24. 
 Arndt's prayers, 17, 21. 
 Ansbund geistlicher Lieder, 43. 
 
 Barrir and Toener, Beissel's ex- 
 planation of, 72-73 ; note on, 73. 
 
 Beans, Effect on voice, 67. 
 
 Beissel, Conrad, theories, 13 ; Wun- 
 derschrift, 18 ; English version, 
 19, 21 ; dissertation on harmony, 
 22, 50, 71-79 ; apology for sacred 
 song, 23-24 ; as composer, 23, 28 ; 
 hymns by, 49 ; instructions on 
 the voice, 66-69. 
 
 Billings, William, 11. 
 
 Binnix, Mrs. Frank, renders music, 
 86. 
 
 Blum, Ludwig, 29. 
 
 Braut des Lamms, 45. 
 
 Braut Schmuck, Geistlicher, 45. 
 
 Buckwheat, effect on voice, 67. 
 
 Butter, effect on voice, 67. 
 
 Cheese, effect on voice, 67. 
 Chronicon Ephratense, 13 ; title, 20. 
 Cloister, music of, 27. 
 Dissertation on harmony, 70-79- 
 Dissertation on man's fall, 19, 21. 
 Drink, effect on voice, 68. 
 
 Early Christians, song of, 25. 
 
 Eggs, effect on voice, 67. 
 
 Ephrata, pen work, 12 ; sampler, 
 14 ; brother house, 14 ; sister 
 house, 15 ; cloister history, 15, i7 ; 
 unique imprints, 17, 21 ; score 
 
 book, 23 ; sister, 32 ; watermark, 
 65 ; script alphabet, 69 ; symbol, 
 92 ; theosophy, 95-106 ; primer, 
 1786, 94 ; a new imprint, 98. 
 
 Fahnestock, Dr. Wm., portrait, 16; 
 mention of, 17. 
 
 Geistlich briefe, title, 98. 
 Geistlich Denckmahl, 48. 
 Geistliche Lieder, ausbund, 43. 
 German sectarians, mention of, 17 ; 
 
 error in, corrected, 22, 23, 52. 
 Gott ein Herscher aller Heiden, 29 ; 
 
 original score, 30. 
 
 Harmony, Beissel's, 14. 
 Hertzen's Bewegung, 1749, 44. 
 Historians, soi-disant, 16. 
 Hooker, Ludwig (Bro. Obed), 
 
 primer, 94 ; mention of, 96, 97. 
 Honey, effect on voice, 67. 
 Hymnals of Ephrata Community, 
 
 33 ; title pages of, 1730, 34 ; 1732, 
 
 35 ; 1734, 36 ; 1736, 37 ; 1739. 38 ; 
 1747, 39; 1754, 40; 1755- 41 ; 1756, 
 
 ib. ; 1762, ib. ; 1766, 42 ; 1785, 43. 
 
 Jaebez, Prior, 22 ; portrait of, 51 ; 
 mention of, 52, 96. 
 
 Key diagram from score book, 76, 
 
 77- 
 Leben eines Herzogs, 21. 
 
 Marshall, Christopher, 22. 
 Melodies, in C, four part, 74. 
 Miller, Rev. Peter — vide Jaebez 
 Prior. 
 
 (107) 
 
io8 
 
 Index. 
 
 Milk, effect on voice, 67. 
 
 Morgen-Rothe, Abend-landische, 
 46. 
 
 Movable C clef, 29. 
 
 Music, earliest Epbrata, 10; at Suow- 
 hill, II, 12; 'MSS., 13; unlike 
 reformation tunes, 14 ; how sung, 
 15 ; score book, 22, 23 ; four-part 
 music on single staff, 23 ; new 
 material, 27 ; alleged portrait, 28 ; 
 movable C clef, 29 ; arrangement 
 of voices, 29 ; seven-part ib. on 
 single staff; 81 ; four-part key, 
 74 ; key diagram, 77 ; on single 
 staff, 81 ; double staff ib.. Die 
 braut ist erwachet — original 
 and modern, 82, 83 ; four-part 
 anthem, 84; same in five-part, 
 85 ; six- part setting, 87 ; wohlauf, 
 wohlauf, original and modern 
 four-part, 88, 89 ; seven-part 
 motet, modern notation, go, 91. 
 
 New England psalm singer, ir. 
 Notation, original and modern, 80. 
 Nunnery, -Snowhill, 11. 
 
 Obed, Bro., see Hocker, I/udwig 
 Ohl, Rev. J. F., Mus. D., 27 ; note 
 by, 70 ; translation by, 70-79. 
 
 Paradisisches Wunderspiel, 29 ; title, 
 
 42. 
 Peculiar rendition of music, 80. 
 
 Rosen und Lilien, title of, 41. 
 Reformation music, 14. 
 
 Sacred song, Eeissel'sapologyfor,23. 
 Score book MS., Ephrata, 23. 
 Score, four-part on single staff, 81. 
 Sectarians, German, 17. 
 Seidensticker, Prof. Oswald, 17. 
 Singing school of kloster, 84; classes 
 
 in, 84. 
 Sister, sketch of, 32. 
 Snowhill nunnery, 11, 12. 
 
 Theosophy, Ephrata, a page of, 93- 
 io5. 
 
 Transmigration of the soul, 99-106. 
 
 Thomen, Anna, 86. 
 
 Tubers, effect on voice, 67. 
 
 Turtel Taube, 13, 22, 23 ; title page 
 of, 39 ; Nachklang, 41 ; neuver- 
 mehrtes, its sub-titles, 44, 45, 46, 
 47, 48 ; various editions, 47 ; epi- 
 logue, 50 ; Neuer Nachklang, 52 ; 
 foreword, 53-58 ; facsimile of pro- 
 logue, 59-65 ; water-mark in, 65, 
 79 ; dissertation on harmony, 70- 
 79 ; Kirren, von, 45. 
 
 Voice, Beissel's instructions on, 
 67 ; milk, effect on, ib., cheese, ib., 
 butter, eggs, honey, wheat, buck- 
 wheat, effect on, ib., drink, effect, 
 on, 68. 
 
 Voices, peculiar arrangements of, 
 29. 
 
 Wheat, effect on voice, 67. 
 Wunderschrift, Beissel's, 21. 
 
 Zerfallenen, Hiitte Davids, 47, 48. 
 Zionitischer Rosen Garten, 49. 
 Zionitic watermark, 65.